Originalveröffentlichung in: Journal of the Warburg and Courtauld Institutes 57 (1994), S. 278-283

278 NOTES AND DOCUMENTS THE PYTHAGOREAN INSCRIPTION ON ROSA'S LONDON 'SELF-PORTRAIT'

he inscription on Salvator Rosa's 'self- T portrait' in the National Gallery in London (PI. 30)'—'Aut tace aut loquere meliora silentio' ('Either be silent or say something better than silence')—has rare­ ly received extensive consideration in the literature on the painter.2 Yet an artist as attached to ancient themes as we know Rosa to have been, would surely have intended his motto to be taken not as a mere personal invention, but the expression of a classical way of thinking. The lack of scholarly atten­ tion given to Rosa's inscription probably stems from the fact that not only is it un­ recorded in any of the contemporary em­ blem books or collections of proverbs,'' but there is also a complete absence of parallel or related sayings in classical Eatin.4 Yet there is a clear Greek parallel unmen­ tioned in any publication on Rosa, even though a note to this effect has for some time lain unnoticed in the files of the

1 W. YV. Roworth, in "The Consolations of Friend­ ship: Salvator Rosa's Sell­Portrait for Giovanni Battista Ricciardi', Metropolitan Museum Journal, xxiii, 1988, pp. 103­24, has rightly argued against the proposal by Zeri and Meroni to identify as Giovanni Battista Ricciardi the man in Rosa's self­portrait in New York and in his highly probable self­portrait in London. 2 The best treatment so far is W. W. Roworth, 'Sal­ vator Rosa's Self­Portraits: Some Problems of Identitv and Meaning', The Seventeenth Century, iv, 1989, pp. 117­48, esp. 137­41. See also H. Langdon, 'Salvator Rosa in Florence', Apollo, cli, 1974, pp. 190­7, and W. YV. Roworth, Pictor succensor. A Study of Salvator Rosa as Satirist, Cynic and Painter, London 1978, pp. 249­51. Roworth's reference to one of the sayings of Kpictelus (no. 29), however, is unconvincing. 3 Roworth, 'Salvator Rosa's Self­Portraits' (as in n. 2). collected a number of contemporary and ancient sayings on different aspects of silence that she thought relevant to Rosa (cf. also n. 21 below). These are certainly not without interest, but none is a direct source for the London motto. 1 This was confirmed by a computerised search through the Thesaurus linguae latinae.

jiiurtmt of lilt1 Wiirlnirfr unit C.tml ttittlil lii\lltutr\. Vnlumc 57, 1994 ROSA'S INSCRIPTION 279

National Gallery.5 Stobaeus writes (iii.34.7): Above all the fact that Stobaeus names nuOayopoD. "Eteyev 6 nueayopac; Xpft. avyav f\ Pythagoras as the author gives this expla­

Kpeiaaova myn<; XEJEW ('From Pythagoras: nation a high degree of probability—a point Pythagoras said one ought to be silent or say I shall return to later. Of minor importance something better than silence').b The close is a question that still remains unanswered: connection with Rosa's motto is evident. did Rosa know any Greek?8 The artist's dis­ The sole difference is the imperative of the tinguished circle of humanist friends in London motto. A saying in this form, how­ Florence could have easily helped him arrive ever, is to be found in Stobaeus seven lines at a knowledge of these sayings, and at the above (hi.34.1): "H Xeyt ti CHyn<; Kpeuiov fi formulation adopted in his painting. Rosa's myriv £%z ('Either say something better than efforts, in letters, poems and works of art, silence or be silent').7 In philological terms, to use Greek texts and to introduce Greek the London motto presents itself as a Latin words and phrases, indicate how highly he fusion of the Pythagorean dictum, Stobaeus valued the language9 and how much he iii.34.7, and the 'inverted' version of Rosa's wanted to be admired for his familiarity with imperative, Stobaeus iii.34.1. it. At the same time there were available at this period a number of parallel (Greek­ Latin) editions and Latin translations of Sto­ baeus's Anthologia.H) None of these provides

5 Having sent the National Gallery an account of the conclusions presented in this paper after completing the first draft, 1 was allowed access to the picture's dossier in the Gallery. I was surprised to discover a letter (dated 14 May 1976) from E. W. Playfair to H Meroni, who for the sake of his argument about Michael Levey, reporting a conversation with Arnaldo Ricciardi (cf. n. 1), must make the painter appear Momigliano. He writes: 'We were talking about those intellectually limited, categorically denies that Rosa apparently classical tags which turn out to be products could have known Greek: U. Meroni, 'Salvator Rosa: of the renaissance or later. [Momigliano] quoted as an autoritratti e ritratti di amid', Prospettiva, xxv, 1981 pp example of the much rarer converse case the inscrip­ 65­70. tion on Salvator Rosa's portrait, which he had long 9 See e.g. the inscription f\vi itoi note on the self­ thought to be composed ad hoc, but later to his sur­ portrait in New York; also Rosa's letter to Ricciardi of prise found to be a genuine classical piece: a Pythagor­ 16 Sep. 1662 (G. A. Cesareo, Poesie e lettere di S. Rosa, ean dictum, he said, preserved only in Stobaeus; or Naples 1892, ii, p. 119): 'Lessi subito la vita d'Apollonio rather a Latin translation of the Greek dictum in Sto­ composta da Filostrato con mia particolar sodisfazione baeus, probably by Carnerus [he means Canterus].' It per quel che s'appartiene alia curiosita; ma non ci ho was thus Momigliano who first discovered the Stobaeus trovato quello, ch'ella mi signified, che ci averia trovato parallel. di singolare, e stravagante per la pittura, essendo fatti, '"' Quotations are based on G. Wachsmuth and O. che quasi tutti darebbono in una cosa medesima, onde Hense, loannis Stobaei anthologhim, iii, Berlin 1894, p. ti prego a propormi qualch'altra cosa, acrid vi potessi 683, i.12­14 (= iii.34.7), and p. 682, xi.8­9 (= iii.34.1). trovar cose piu fuori dell'ordinario, avendovi pero 7 The author's name is given: Atovucaou, cf. I'ragi- notato alcttni fatti per servirmene.' Even small refer­ corum Craecorum fragmenla, ii. ed. B. Snell, revised by R. ences in his correspondence show how Rosa aimed at Kannicht, Gottingen 1986, p. 244 (Dionysii fragmenla, Greek erudition: letter to Ricciardi, 4 June 1664 (Ces­ no. 6). Stobaeus iii.34.7 is almost without parallel in areo, op. ( it., p. 123), 'Vi ricordi, che val piu tin solo Greek literature; cf. only Leutsch's Mantissa provnti- verso d'Omero che un intero poema d'un Cherilo [= orum, 3.46 (Corpus paroemiographorum Graecorum [here­ Choirilos]'. The question of the degree to which Rosa after CPG], ed. E. von Leutsch, ii, Gottingen 1851, p. was acquainted with classical literature is beyond the 779), and Gnomologium vaticanum, 459 (ed. I.. Stern­ scope of this paper. My examples have been chosen to bach, Vienna 1887­9, repr. Berlin 1963, p. 170), both indic ate the impression of learning the artist hoped to of which name Pythagoras as the author of the dictum. make on his circle and on the public in general. The imperative iii.34.1 occurs slightly more often, but 1,1 The following editions have been checked: —as also in the case of iii.34.7—in rather remote texts a) Othmar Luscinius (Nachtgal), Senarii graecanici quin- that we would do well to exclude as possible sources for genti el en amp/ins versi, singtdi moralem quandam senten- Rosa: Menandri senlmtiae, 292 (ed. S. Jaekel, Leipzig tiam aut typum proverbialem prae se ferentes, Strasbourg 1964): Appendix proverbiorum, iii.7 (CPG, i, Gottingen 1515, only Stobaeus iii.34.1: 'Aut prorsus taceas, aut 1839, p. 416); Macarius, iv.44 (CPG, ii, p. 171); Gregorius sermonem ede silentio meliorem'—the translator has Cyprius Codex Mosquensis, iii.61 (CPG, ii, p. 116); and inverted the two halves of the sentence, thus presenting ApostoHus, viii.48 (CPG, ii, p. 444). it in the form of Rosa's inscription! 280 NOTES AND DOCUMENTS us with an exact model for Rosa's motto, but alike, and said he had come from the Under­ this does not argue against their relevance. world and had seen there the soul of Homer and The artist's talent in creating verbal vari­ Hesiod and other deceptive rubbish typical of those simple­minded times..." ations is evident in his poetry and in many of the inscriptions to his prints. Yet the apparently dismissive phrase used to Pythagoras himself features more than describe the claims of Pythagoras, 'coglione­ 1 once in the works of Rosa. In his satire La rie affettatorie', ­ is perhaps only a rather musica he commends the ancient philos­ crude attempt to compensate for the proud opher as a singer who (unlike those of his words in which Rosa has just described the own day) encouraged youth to chastity: new subjects he has devised. It need not prevent us from supposing that, whatever Ma chi m'adita in questa nostra eta Un cantor che a Pitlagora simile his view of the philosopher's precepts, he La gioventtu riduca a castita? (11. 82­4) chose Pythagoras to exemplify the early 'golden age' of Stoic philosophy. He might Then there are the two paintings, executed in fact have wished to indicate the circum­ as a pair in 1662: Pythagoras and the Fisher­ stances in which a sage like Pythagoras was men (Berlin) and Pythagoras Emerging from the able to teach in early Greece and southern Undertvorld (Fort Worth). In the letter about these to his friend Ricciardi he seemed to affect at once pride in the originality of his subject­matter and a disparaging attitude 11 Letter to Ricciardi, 29 July 1662, in Cesareo (as in towards their hero. As he puts it: n. 9), ii, p. 118; also A. de Rinaldis, Lellere inedite di Salvator Rosa a G. B. Ricciardi, Rome 1963, p. 141, no. I have finished the two pictures I was working 107, whose transcription of the text runs: 'Ho concluso on, the subjects of which are entirely novel, never i due quadri, che stavo lavorando, i soggetti de'quali touched on before. I have painted on one canvas sono del tutto e per tutto nuovi, ne tocchi mai da ... Pythagoras by the sea-shore surrounded by his nessuno. / Ho dipinto in una tela di palmi 8. per lo lungo Pilagora lungo la riva del mare cortegiato dalla sect, paying some fishermen for the net which sua Setta in atto di pagare ad alcuni pescatori una rete, they are pulling in, so as to set the fish free again, che stanno tiranno [= tirando], a cio si ridia la liberta a theme taken from one of the essays of Plutarch. a i pesci, motivo tolto da un opuscolo di Plutarco. / The other is when the same man, after spend­ L'altro e quando il medesimo, dopo esser stato un anno ing a year living underground, at the end of it sotteranea abitazione, alia fine d'esso, aspettato dalla emerged, awaited by his sect, men and women sua Setta, cosi d'huomini, come di donne, usci fuori e disse venir dagli [nferi, e d'haver veduto cola l'anima d'Homero, d'Esiodo, ed altre coglionerie appettatorie di quei tempi cosi dolcissimi di sale. Queste due opere b) Apophthegmata ex variis aucloribus per Ioannem Sto- l'ho fatte per esporle, alia fine di quest'altro mese, alia baeum collecta Varino Camerte interprets, Rome 1517, repr. festa di S. Giovanni Deccollato: di quanto succedera, ne Cologne 1530 (Latin translation only, without Greek sarete puntualmente avisato.' On appettatorie see below, text): only Stobaeus iii.34.7, 'Pythagoras, oportet tacere n. 12. For the paintings see H. Langdon in Salvator vel silentio meliora dicere'. Rosa, exhib. cat., London 1973, pp. 33f, under no. 36 c) foannis Stobei Senlenliae ex thesauri* Graecorum delectae, and pi. 37; Kimbell Art Museum. Catalogue of the Collection, quarum uuctores circiter ducenios & quinquaginta dial, & Fort Worth, Texas 1972, pp. 76­80; and Roworth (Piclor in sermones sive locos communes digestae, nunc primum a succensor, as in n. 2), pp. 290­3, though her translation Comrade Gesnero Doclore Medico, Tigurino, in Latimtm of the last passage is misleading (p. 292). sermonem traduclae, sicul l.atina Graecis e regione respon- 12 I have been unable to find a suitable translation for deanl, Basle 1543: Stobaeus iii.34.1, 'Aut die aliquid de Rinaldis's appettatorie—nothing in the Grande Dizio- silentio melius, aut sile' (as 'Euripidis'); and iii.34.7, nario delta Lingua Italiana under appettare or appettato 'Pythagoras dicebat, aut oportere silere, aut afferre seems to make sense here. It has been proposed to me meliora silentio'. thai the word should be taken as appestatorie, but Prof. d) Michael Neander, Basle 1557, follows the translation Edgar Radtke of Heidelberg, who has kindly discussed of Gesner, as do most of the later editors (e.g. Canter­ the matter with me, considers this unlikely. Instead he us): Stobaeus iii.34.7, 'Pythagoras dicebat aut oportere suggested the reading appetltjitorie, which would, how­ silere, aut afferre meliora silentio'. ever, yield a considerable change in meaning. Since I e) Dicta Poelarum quae apud lo. Stobaeum exstant. Emen- have had no opportunity to check the original text of dala el latino carmine reddila ah Hugone Grolio, Paris 1623: the letter I have here, provisionally, adopted the old Stobaeus iii.34.1, 'Silentio ni melius quid portas, tace' reading given in L. Ozzola, Vila e opere di Salvator Rosa, (as 'Incertus'; iii.34.7 is missing in this edition, which Strasbourg 1908, p. 140, even if this is not completely concentrates on the fragments of poets). satisfactory. ROSA'S INSCRIPTION 281 Italy. Pythagoras, according to his ancient di sale', but it was precisely this unspoilt biographers, found a context in which his disposition that ensured the effectiveness of admonitions were appreciated, and proved Pythagorean philosophy. Rosa's motive for of 'natural' efficacy. This felicitous harmony painting the two works might thus be closer between philosophical teachings and 'in­ to classical thought than first impressions stinctive' obedience to those teachings on would indicate. the part of the philosopher's followers may Even if Rosa's comments are taken as well have constituted for Rosa the notion of essentially negative, the words of someone a happier past. It is not unlikely that the who looks at Pythagoras as an entertaining artist—in the wake of the Stoic view on the (not to say ridiculous) figure,"' it should origins of philosophy13—saw this 'antiqua be remembered that certain aspects of the credulitas' (Seneca),1'1 the benevolent naivety Pythagorean 'way of life' already aroused ir­ with which people trusted and obeyed the ritation in antiquity. Seneca's mildly ironical early sapientes, as a positive trait of the epoch account of reactions to his Pythagorean veg­ in which Pythagoras taught. For it was this etarianism is a famous example.17 Thus, the naivety which, according to the doctrine of attitude of amused distance to Pythagoras it­ the Stoics, actually enabled men like Pyth­ self has a classical tradition. agoras to get their teachings across—in the Rosa also mentions the custom among case of Pythagoras by the use of his highly Pythagoras's pupils of remaining in absolute characteristic 'symbolic' method of instruc­ silence for three to five years. He does so in tion.15 These people were indeed 'dolcissimi a way that shows he was well acquainted with this habit.18 The rule of silence in the school of Pythagoras is indeed well­attested and 151 13 Cf. especially Seneca's letter xc.5­6: the reign of seems to have been almost proverbial. But the sapientes was a natural one; their subjects accepted their admonitions and teachings because they were (quasi instinctively and through natural gift) aware of their correctness. For the free translation of Seneca's independent choice of words which appears to have no aetas aurea letter (xc) by Rosa's friend Evangelista Tor­ close parallel in the ancient sources about the anecdote ricelli see Langdon (as in n. 2), pp. 190f. (available in G. Giannantoni, Socraticorum reliquiae, ii. 14 Seneca, De constantia sapientis, ii.3: 'excussa iam Rome 1983, nos 156­62, 175, 191, 298, 536, 543). This antiqua credulitate', where he contrasts ancient sim­ inscription too reflects a search for originality. plicity and the cruelty of present times. It is a further 16 This is the position of the catalogue entry for a case in point that Seneca uses the word 'credulitas' in second version of 'Pythagoras and the Fishermen' in his slightly ironical account of his own Pythagorean the Kunsthaus Zurich: see C. Klemm, Die Gemdlde der phase (Epistolae, cviii.21). He probably saw his enthusi­ Stiftung Betty und David M. Koelser, Zurich 1988, p. 124. astic Pythagorean beginnings as a first step towards 17 Cf. Seneca, Epistolae, cviii.22. It is revealing to find Stoicism—not a false step, but a stage which had to be that certain passages in which Rosa criticises or mocks passed and left behind. particular customs of classical antiquity have close 15 'Ergo brevis ilia et compendiosa docendi ratio parallels, of similar intention, in ancient philosophical vocatur cupfioXiioi': O. Casel, Dephilosophontm graecorum writings. For example, Rosa's 'Era Dea sin la febre, e a' silentio mystico, Giessen 1919, p. 58. Pythagoras's skill in suoi pericoli / Si facean sacrificij' (L'Invidia, 177f, in 'dressing up wisdom [of the Egyptians]' (E. H. Gom­ Cesareo, as in n. 9, i, p. 291), looks very much like Epic­ brich, 'Icones symbolicae', in idem, Symbolic Images. tetus, Discourses, i.19.6: 'E^Etaeoutiv on cte Set eepajtEuetv Studies in the Art of the Renaissance, London 1972, p. 144) KCH ax; jropExbv KOC'I coc, xotepav mi (koubv cTfjaai, toe, EV had the double function of making his message at­ 'Piouri nupcrat) |3(op.6c, Ecmv (cf. also Cicero, De legibus tractive and preventing it from profanation. 'Symbolic ii.28). actions' such as those which Rosa chose for his Pyth­ 18 'Vi diedi Aviso della Comparsa del sig.r Ugo, ne da agorean paintings were likewise favoured by the Cynic quel hora in qua ho ha[v]uto mai piu nuova di Voi: school; cf. the episode of Diogenes throwing away his che Domine sara con tanto silentio? Che volete forse cup, which Seneca expressly admired in his aetas aurea farvi Scolare di Pitaghora? Ma parliamo d'altro': letter letter (EpistoUie, xc; cf. above, n. 13) and which was to Ricciardi, 28 Oct. 1651 (Cesareo, as in n. 9, ii, p. 88); painted and etched by Rosa (R. M. Wallace, The Etch­ already mentioned without precise reference in Lang­ ings of Salvator Rosa, Princeton 1979, pp. 257­60, no. don (as in n. 2), p. 190. 103). Roworth (Pictor succensor, as in n. 2, p. 292) is 19 A list with quotations from antiquity and the Re­ perfectly right in stressing the cynic qualities of Rosa's naissance is provided in E. Wind, Pagan Mysteries in the Pythagoras. It may be noted that the Latin inscription Renaissance, Oxford 1980, p. 53 n. 4. To this can be on Rosa's Diogenes print exhibits a characteristically added Seneca's letters Hi.10 and xc.6; Clement of 282 NOTES AND DOCUMENTS this most famous of silences belongs with­ probably incidental for Rosa: he and Lu­ in the wider complex of philosophical or crezia simply provided the most easily avail­ 2 wise retention of speech, exe|iuOia, euKatptx; able subjects. ­ Of greater importance is the ovyrj­"—about which Rosa says: concept of philosophical silence which the II silenzio in un uomo e una virtu, la piu loquace beholder could recognise, without necess­ che possi decantar le sue glorie.21 arily understanding all its implications. Pre­ senting the typical appearance of a painted It is within this context that we should Seicento philosopher, Rosa poses as the seek to understand Rosa's motivation in representative of philosophy while, as was using the Pythagorean saying. Because he recognised long ago,23 Lucrezia embodies naturally could not expect the ordinary Poetry. An attentive viewer could go a little viewer to identify the motto of his picture as further: connecting 'philosophical silence' a very precise reference to a specific classical with 'Pythagoras' such a viewer might have source, Rosa presented more than one way recalled classical references to Pythagoras of reading the painting (and likewise its as the inventor of the word 'philosophy'.24 companion­piece in Hartford). First—but A select few, the 'experts', would have con­ not foremost—it functions as a self­portrait, nected the picture's motto with the saying while the Hartford picture represents his from Stobaeus. Rosa's quotation qua quo­ mistress Lucrezia. This aspect, however, was tation was thus perhaps nothing but a per­ sonal message to a friend. The complicated process by which a Greek saying turned into a Latin inscription for a picture has, as far as I am aware, no Alexandria, Stromala, v. 11.1; and Apuleius, Florida, 15, 2 which is worth quoting here: 'Nihil prius discipulos parallel in the period. "' Even in Rosa's other suos docuit [sc. Pythagoras] quam tacere, primaque apud eum meditatio sapienti futuro linguam omnem coercere, verbaqne, quae volantia poetae appellant, ea verba detractis pinnis intra murum candentium denti- um premere. Prorsus, inquam, hoc erat primum sa- pientiae rudimentum, meditari condiscere, loquitari dediscere'. The two poetical descriptions of pictures 22 Cf. Roworth, 'Salvator Rosa's Self­Portraits' (as in representing Pythagoras in the Anthologia graeca (xvi. n. 2), p. 118: 'While the National Gallery painting may 325 and 326) have already been noted by Wind, as incorporate the artist's idealised features, it must pri­ well as Lessing's paraphrase ('Warum dies Bild nicht marily be understood as an allegorical figure'. E. T. A. spricht? Es ist Pythagoras'). On Pythagorean silence cf. Hoffmann grasped Rosa's 'method' very precisely: also W. Burkert, Weisheit und Wissenschafl. Siudien zu 'Man merkt es, daft HIT selbsl Euer reges lebendiges Pythagoras, Philolaos und Platan, Nuremberg 1962, pp. Modell seid, indent Ihr, wann Ihr zeichnet oder mall, 1621. The Pythagoras madrigals of Marino are briefly vor einem groBen Spiegel die Figur darstellt, die Ihr discussed by M. Albrecht-Bolt, Die bildende Kunst in der auf die Leinwand /.u bringen im Sinne habtl'—'Der ilalienischen l.yrik der Renaissance und des Barock, Wies­ Tausendl Antonio', rief Salvator lachend, 'ich glaube, baden 1976, p. 82. The inscription of Rene Boyvin's Ihr habt schon oilers, ohne daB ich es eben gewahr 'Pythagoras' (A. Robert­Dumesnil, l.e peintre-graveur worden. in mcine Werkstalt gekuckt, da Ihr so genau francais, viii, Paris 1850, p. 55, no. 92) is 'Pythagoras wissei, wie es darin hergeht?' (E. T. A. Hoffmann, Samius laudasse silentia fertur, / Pythagorae vera est Signor Formica, pp. 7781 of his novel Die Serapions- numquid imago: tacet'. bruder, edn Munich 1976). 20 Cf. R. Waddinglon, 'The Iconography of Silence 2S For the most recent survey of the picture's history and Chapman's Hercules', this journal, xxxiii, 1970, and that of its companion­piece cf. J. K. Cadogan, pp. 248­63. There is a bibliography on all aspects of Wadsworth Atheneum Paintings, II: Italy and Spain, Hart­ 'silence' in U. Schmitz (ed.), 'Schweigen', Osnabriicker ford 1991, pp. 213­16. BeitrdgezurSprachtheorie, xlii, 1990, pp. 43­58. 24 Cf. Cicero, Tusculanae disputationes, v.8­10 (Herac­ -' Salvator Rosa, II teatro delta politico. Sentenziosi afjor- lides is named as the source; cf. H. B. Gottschalk. ismi delta prudenza, ed. G. Baroni, Bologna 1991, p. 98, Ileraclides of Ponlus, Oxford 1980, pp. 29­31); Diogenes no. 822 (I am indebted to Jonathan Scott for this Laerdus, Vitae, i.12; Isidore, Origenes, xiv.6.31. reference). Roworth, 'Salvator Rosa's Self­Portraits' (as I have identified one case in the CinquecentO of in n. 2), p. 140 (cf. her n. 42), quotes further antique the use of painted mottoes which were taken from sayings connected with silence from the painter's note­ Stobaeus's Anthologia. We find them on the tablets held book (this notebook was still unpublished when she by two Greek celebrities on the ceiling of Zuccaro's wrote her article). 'Stanza della solitudine' at Caprarola. Annibale Caro's ROSA'S INSCRIPTION 283 Latin inscriptions there seems to be nothing in the use of ancient sources. But perhaps more than—at best—a certain eclecticism this case will lead to further explorations and further discoveries. concetto for this room (A. Caro, Letter? familiari, ed. A. ECKHARD LEUSCHNER Greco, i, Florence 1957, p. 239) gives to Euripides the HEIDELBERG motto 'Qui agit plurima, plurimum peccat'. The Greek original is preserved only in Stobaeus (Anthologia, iv.16.13): 6 nXficxa npdaaiov nteTae'&napTdvei Ppotibv. The tavola of Menander, 'Virtutis et liberae vitae magis- tra optima solitudo', is also, in a remarkably free trans­ lation, derived from Stobaeus (Anthologia, iv.15.5—the preceding chapterl): 'Ap'eoftv dpeTfic, Km piou 8i8da­ KaXoc, / itevOepov TO!<; ndcnv dvepumot^ dypdi;.