DOCSLIB.ORG

Myron's Pristae

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Myron's Pristae The Classical Review http://journals.cambridge.org/CAR Additional services for The Classical Review: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Myron's Pristae A. S. Murray The Classical Review / Volume 1 / Issue 01 / March 1887, pp 3 - 4 DOI: 10.1017/S0009840X00182988, Published online: 27 October 2009 Link to this article: http://journals.cambridge.org/abstract_S0009840X00182988 How to cite this article: A. S. Murray (1887). Myron's Pristae. The Classical Review, 1, pp 3-4 doi:10.1017/ S0009840X00182988 Request Permissions : Click here Downloaded from http://journals.cambridge.org/CAR, IP address: 138.251.14.35 on 06 Jun 2015 The Classical Review. MYRON'S PRISTAE. HE sculptor Myron is credited by Pliny1 raised, so that the only hold they have on it T with certain works in bronze, among is where their knees rest. The plank is which are. figures of pristae. By a misunder- placed horizontally on a pivot raised a little standing these pristae were long considered from the ground. Such a group would suit to be sea-monsters. It is now held that they admirably for sculpture in the round. The could have been nothing else than ' sawyers of plank being short and placed at no distance wood,' and since the notion of a number of up from the ground, would range with the disconnected figures in the attitude of sawyers top of the pedestal and present no incon- is contrary to modern views about Greek gruity. The keen excitement of the contest sculpture of the higher order, recourse has would bring out a display of action and been had to the reasonable idea of a group expression such as would have commended of two sawyers at work. It would be easy itself to Myron, with his love of closely to conceive such a group in bas-relief, if that observing nature in her commoner forms. were admissible, as it is not; for Myron is While then it is clear that the Greeks had only known to have worked in the round. not only a game answering to our ' see-saw ' But a group of sawyers, executed in the but also a variety of it very suitable for a round, would present a spectacle for which group of sculpture, it remains to be proved there is nothing to prepare us among the that the word pristae was applied to it as remains of Greek sculpture. The saw and well as to actual sawyers. If that could be the piece of wood are elements in the design done, the difficulty in this case would be much which cannot be reconciled with the princi- reduced, if not altogether removed. Aristo- ples of Greek statuary; and yet they are phanes, Achar. 36, plays on the words irpia> necessary elements. As the matter now and vpLiov. The speaker says that his demos stands, it is admitted that the pristae were did not know the word ' buy '; his demos pro- a group of sawyers, but as yet no copy, or duced everything itself ; there was no •Kplutv, other trace of them than in Pliny, has been no ' see-sawing,' as I suppose. Upon this 2 found. the scholiast remarks, TOVTO TraiSia KoXtirar Believing that the strict interpretation of a/iro yap TOV irpiui ptffiaTOS ovo/Jta rov irpiwv. If he pristae as sawyers lands us in an impossible merely means ' This is what is called a pun,' group, I propose to argue that this word may then, being not much the wiser for that, we have been applied also to a game in which must look elsewhere for a definition of irpimv. the process of sawing was imitated in some Hesychius gives it as an equivalent of dyo- measure. There is in the British Museum p&Zfov, while the scholiast to Achar. 625 has a painted vase8 of the red figure style, on ayopd£<ov as iv dyopa StaTpifieiv. If dyopaZfOv which are seen two satyrs playing at a game contained the sense of being pulled at by like our ' see-saw,' with this difference— rival traders in the market, the word irpiuiv important for a group in the round—that may readily have come to be used with the each is within arm's reach of the other. The same signification, since the working of a one, in fact, holds the other firmly by the saw by two persons presented so obvious an wrists, with the intention of pulling him analogy. To this I am inclined to add the over, and thus upsetting the balance of the proverb dyopa KepKwircoi/, because on one of plank, near the centre of which they are the archaic metopes from Selinus we see both placed, the one opposite to the other. Herakles carrying over his shoulder the two They do not stand on the plank, but have Kerkopes bound by the knees to a plank, sunk, each on his knees, with the heels and presenting just the appearance of the two satyrs on our vase, turned upside down. 1 Nat. Sist. xxxiv. 57, I would have liked to take the iraiSid of the 2 E. Petersen, Arch. Zeit. 1865, p. 91. scholiast in its ordinary sense of a game and 3 Vase Cat. No. 996; engraved in Bullet, de suppose him to say : ' from the verb trpiw is VAcad. de Bruxelles, xii. pt. i. p. 289. For an exam- 4 ple of 'see-saw,' practised in the modern manner, see the name of ?rptW, the game.' If that a Greek vase in Gerhard's Ant. Bildwerke, pi. 53, or 4 In another passage, Wasps, 694, Aristophanes Panof ka's Bilder antiken Lebens, pi. 18, fig. 3. seems to refer to an actual group of sawyers. B 2 THE CLASSICAL REVIEW. is right, the persons playing at this game ' fettered * had been superadded to the signi- would naturally be called pristae, and we fication of ' sawing.' It is conceivable that should be free to take Pliny's word as ap- the use of irpiwv for a game as practised plicable to Myron either in the sense of on our vase may have helped to bring about actual sawyers, or of a group of two figures this new meaning. But these are questions playing at a game, as on our vase. These on which I venture with all diffidence. figures may have been satyrs, as on the vase, It has been suggested that the game in or boys in ordinary life. A known group question may have been called TreTavpio-fios, by Myron consisted of Athene and a satyr. a plank being viravpa, Trcrsvpov or irevrevpov. But boys or satyrs would have made an But the metaphor of a •n-eTaupioy/.os T»JS -nr^s equally admirable subject for him. would seem to suit better the ordinary game I may note that Suidas gives wpio-flei's as of ' see-saw' as practised on a vase already equivalent to 8eo-p.eu0€is, citing Soph. Ajax, referred to (in note 3), than the vase of which 1019 (Lobeck), while Hesychius gives irptovas I have been speaking more particularly. = X€pu>v T'OVS &e<T/Aovs, from which it appears that the signification of ' being bound' or A. S. MURRAY. ON SOME POLITICAL TERMS EMPLOYED IN THE NEW TESTAMENT. THE title of this paper is vague, and needs TTJS KaAAiVnjs aTro8o)(rj<s afioii/Aevos Trap avruS. definition. By ' political terms' I do not It may also be worth observing that the mean titles of magistrates and other officials word Trpo<rKa.pT€pr)(ris, which is a dira£ Xeyo- mentioned in the New Testament; although [t-arov in Ephes. vi. 18 (although, of course, to the student of Greek antiquities these the verb irpoo-Kaprepeiv is frequent enough in afford an interesting field of inquiry, in the New Testament,) is employed, exactly as which a good deal remains to be done.1 My St. Paul used it, in a Jewish deed of enfran- object will rather resemble that of the late chisement from Kertch, dated the 377th year Dr. Field in part iii. of his Otium Norvioenst., of the Pontic era, i.e. 81 A.D. It is published a book which its learned, author issued pri- by Gille, Antiquites du Bosphore Cimmerien, vately, but which deserves to be more widely vol. ii. Inscriptions, No. xxii. (compare published ; for no student of Scripture can C.I.G. 2114 66), and is worth quoting for read it without profit and delight. I have more reasons than one. It runs thus :— often wished to do with Greek inscriptions, what Dr. Field has done with later Greek BacrtXevovTos / literature, viz. employ their diction and pCov 'lovXiov 'P phraseology to illustrate New Testament KaiVapos nal <£iXop<o//.auw evtre- idioms. It is certain that they would repay o-£/3o{!s, Irons ZOT, |U,r;vos IIepei[Tt]- the search. Thus in addition to the instances ov ift, Xp-^o-nj ywi) irpdrefpo]- 5 of the phrase diroSoY^s a£ios cited by Field v II (V) &(p)ov<rov d</>€«;/x.i 67U T^s 7rp[o]- on 1 Tim. i. 15, we may quote the follow- } O 'Hpa.KA.afv] ing from an Ephesian inscription now at f p Ka.9a.ira£ Kara ] Oxford: TITOU AlXtov | IIpitrKou, dvSpos BOKI/XU)- fx,ov, TOLTOU, Kai ( 7rdo"*7s Tip^s Kai aTroSov^s a£iov (\Tp-ov airb TTCLVTOS KXrjpovofi. ] 10 (Baillie, Fasc. Inter. Gr. No. 2 ; see Wadding- [TJpiirecrTai (sic) avrbv OTTOV av fiov- ton, Fastes, p. 225).
Load more

Recommended publications
  • Marsyas in the Garden?
    http://www.diva-portal.org This is the published version of a paper published in Opuscula: Annual of the Swedish Institutes at Athens and Rome. Citation for the original published paper (version of record): Habetzeder, J. (2010) Marsyas in the garden?: Small-scale sculptures referring to the Marsyas in the forum Opuscula: Annual of the Swedish Institutes at Athens and Rome, 3: 163-178 https://doi.org/10.30549/opathrom-03-07 Access to the published version may require subscription. N.B. When citing this work, cite the original published paper. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-274654 MARSYAS IN THE GARDEN? • JULIA HABETZEDER • 163 JULIA HABETZEDER Marsyas in the garden? Small-scale sculptures referring to the Marsyas in the forum Abstract antiquities bought in Rome in the eighteenth century by While studying a small-scale sculpture in the collections of the the Swedish king Gustav III. This collection belongs today Nationalmuseum in Stockholm, I noticed that it belongs to a pre- to the Nationalmuseum in Stockholm. It is currently being viously unrecognized sculpture type. The type depicts a paunchy, thoroughly published and a number of articles on the col- bearded satyr who stands with one arm raised. To my knowledge, four lection have previously appeared in Opuscula Romana and replicas exist. By means of stylistic comparison, they can be dated to 3 the late second to early third centuries AD. Due to their scale and ren- Opuscula. dering they are likely to have been freestanding decorative elements in A second reason why the sculpture type has not previ- Roman villas or gardens.
    [Show full text]
  • Focus on Greek Sculpture
    Focus on Greek Sculpture Notes for teachers Greek sculpture at the Ashmolean • The classical world was full of large high quality statues of bronze and marble that honoured gods, heroes, rulers, military leaders and ordinary people. The Ashmolean’s cast collection, one of the best- preserved collections of casts of Greek and Roman sculpture in the UK, contains some 900 plaster casts of statues, reliefs and architectural sculptures. It is particularly strong in classical sculpture but also includes important Hellenistic and Roman material. Cast collections provided exemplary models for students in art academies to learn to draw and were used for teaching classical archaeology. • Many of the historical casts, some dating back to the eighteenth and nineteenth centuries, are in better condition than the acid rain-damaged originals from which they were moulded. They are exact plaster replicas made, with piece moulds that leave distinctive seams on the surface of the cast. • The thematic arrangement of the Cast Gallery presents the contexts in which statues were used in antiquity; sanctuaries, tombs and public spaces. Other galleries containing Greek sculpture, casts and ancient Greek objects Gallery 14: Cast Gallery Gallery 21: Greek and Roman Sculpture Gallery 16: The Greek World Gallery 7: Money Gallery 2: Crossing Cultures Gallery 14: Cast Gallery 1. Cast of early Greek kouros, Delphi, Greece, 2. Cast of ‘Peplos kore’, from Athenian Acropolis, c570BC c530BC The stocky, heavily muscled naked figure stands The young woman held an offering in her in the schematic ‘walking’ pose copied from outstretched left hand (missing) and wears an Egypt by early Greek sculptors, signifying motion unusual combination of clothes: a thin under- and life.
    [Show full text]
  • The Riace Bronzes
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2005 The Riace bronzes: a comparative study in style and technique Jennifer Alaine Henrichs Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Henrichs, Jennifer Alaine, "The Riace bronzes: a comparative study in style and technique" (2005). LSU Master's Theses. 2355. https://digitalcommons.lsu.edu/gradschool_theses/2355 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE RIACE BRONZES: A COMPARATIVE STUDY IN STYLE AND TECHNIQUE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Jennifer A. Henrichs B.A., University of West Florida-Pensacola, 2003 May 2005 To Cheryl and Gladys ii ACKNOWLEDGMENTS I would like to express my sincere appreciation to professors Dr. Patricia Lawrence, Dr. Darius Spieth, and H. Parrott Bacot for serving on my thesis committee. Their willing involvement and support has proven essential in both the research and writing of this paper. I am also grateful to my family and friends for their many words of advice and encouragement during the course of my graduate studies.
    [Show full text]
  • Finding the Originals: a Study of the Roman Copies of the Tyrannicides
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 Finding the originals: a study of the Roman copies of the Tyrannicides and the Amazon group Courtney Ann Rader Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Rader, Courtney Ann, "Finding the originals: a study of the Roman copies of the Tyrannicides and the Amazon group" (2010). LSU Master's Theses. 3630. https://digitalcommons.lsu.edu/gradschool_theses/3630 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. FINDING THE ORIGINALS: A STUDY OF THE ROMAN COPIES OF THE TYRANNICIDES AND THE AMAZON GROUP A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Courtney Ann Rader B.A., Purdue University, 2008 May 2010 Acknowledgements First and foremost I would like to thank my parents for their love and constant support, and it was with their encouragement that I pursued this field. Thanks to my sister and brother for always listening. A special thanks goes to Dr. David Parrish for fueling my interest in Greek art and architecture. I would like to thank my committee members, Nick Camerlenghi and Steven Ross, for your thorough review and editing of my thesis.
    [Show full text]
  • A Roman Athena from the Pnyx and the Agora in Athens
    HESPERIA 78 (2OO9) A ROMAN ATHENA Pages 481-499 FROM THE PNYX AND THE AGORA IN ATHENS ABSTRACT one on Two fragments of marble sculpture, found in late fill the Pnyx and the other in theAthenian Agora, join to form part of a large helmeted head, a probably from Roman statue ofAthena. Unusual, wavelike curls escaping from beneath the helmet suggest a date in the mid-1st century a.d. The a Pnyx/Agora statuemay have been commissioned inAthens during period of renewed interest in the Panathenaic festival by Athenians who saw the promotion of their city's religious traditions as a way of enhancing their own status and that of their city. Between 1931 and 1937, theAmerican School of Classical Studies exca at some vations the Pnyx in Athens turned up 31 sculpture fragments, a including many figurines, small group of unfinished marble pieces, and was excavators a what termed by the limestone "study piece."1 Almost all the items, ranging in date from Classical to Roman, were discovered in one an fills.2 Just fragmentary statuette, part of unfinished, draped male a more ca. figure, emerged from precisely dated area, Pnyx III, 340 b.c.3 But Rotroff and Camp have shown how extensive the intrusions of Ro man were area so material in this too, itmay not be possible to assign even a an this piece late-4th-century date.4 In addition to assortment of unrelated some fragments, marble votive pinakes from the Zeus Hypsistos Roman sanctuary?a development of the 1st century a.d., when the Pnyx no as a longer functioned site for civic meetings?were recovered.5 The 1.
    [Show full text]
  • Inscriptions of the Peloponnesos'
    INSCRIPTIONSOF THE PELOPONNESOS' (PLATES 49-52) A. HERMIONE J[NSCRIPTIONS1-5 are on the " Bisti " (Albanian, " tail "), the aKTq of Pau- sanias (II, 34, 9) which projects into the sea from the modern town. They are all in or near the second tower from the south of the Venetian wall which cuts across the promontory roughly halfway from the tip (see the plan, copied from A. Phila- delpheus, in Ath. Mitt., XXXVI, 1911, pl. I). Nos. 1, 2, 3, 4. Four dedications to Demeter Chthonia, spanning in all proba- bility four generations. Nos. 1, 2, and 4, large rectangular bases of limestone, placed lengthwise and forming the west face of the tower, can be seen on Plate 50 (Nos. 2, 4, and 1, from front to back). 1* (P1. 50). I.G., IV, 684 (S.E.G., XI, 1950, 379). Height, 0.32 m.; width, 0.76 m.; length, 2.20 m. For other details see W. Peek, " Griechische Inschriften," Ath. Mitt., LIX, 1934, pp. 46-7. This and the following inscription, known since Fourmont, were redis- covered by A. Philadelpheus (llpaKrtKa, 1909, p. 174); the upper surface has been completely uncovered since Peek republished the inscription. With Peek I underline those letters read by Fourmont but now lost. 'AptcrropE'vE avEOE [K] E 'AXEeta ra&ALacrpl rat XOoviaL hep,utovEvl AOpo0'oE EFepyac'TaO'ApyE2oT Noteworthy in the text of the dedication are the forms + for e in 'AXEt'a, and Y for x in XOovtat; the alphabetis that used in the Argolic Akte.2 The signature,in 1 These inscriptions were examined by my wife and me in the winter and spring of 1950 while we were members of the American School of Classical Studies at Athens.
    [Show full text]
  • The Olympics in Ancient Art
    HIDDEN HISTORY ARCHAEOLOGY AND TRAVEL http://www.hiddenhistory.co.uk The Olympics in Ancient Art Return to Antiquities home page. 1. THE DISCOBOLUS Roman bronze reduction of Myron's Discobolus, 2nd century AD (Glyptothek, Munich). The discus-thrower (Gk. discobolus) has become the iconic image of the Olympic Games, and a fantastic representation of the athletic ideal. The original Greek statue was cast in bronze in the mid-fifth century BC and continued to be much admired as a masterpiece into Roman times, when several copies were made before the original was lost. Thus the Discobolus image lives- on today as one of the most famous sculptures from ancient times. The original Discobolus is attributed to the Greek sculptor Myron, a contemporary of Pheidias and Polykleitos and famous in antiquity for his representations of athletes. His discus-thrower was admired not only for the way it conveys movement and action in a single pose, but also for capturing Greek ideals about proportion, harmony, rhythm and balance. Experts since antiquity have noted how the fluidity of movement in the body combines with a calm expression on the face, as if the thrower has achieved a perfect state of control in mind, body and spirit. Or did Myron's desire for perfection lead him to suppress the thrower's emotions? Roman versions of the Discobolus adorned numerous villas as a symbol of the cultured taste and status of the owner. One of the most famous is the Palombara Discobolus from Rome, now on display in the National Museum of Rome. This statue was notoriously sold to Adolf Hitler in 1938 as a trophy of the Aryan race, but returned to Italy in 1948.
    [Show full text]
  • Heather Jackson, Greek Sculpture of the Early Classical, Classical And
    Greek Sculpture of the Early Classical, Classical and Late Classical Periods: A Survey of Prescribed Works for VCE Classical Studies 20141 3 HEATHER JACKSON our tastes….’ The Athenian male, as preparation for his civic participation in the democracy, was he twelve prescribed works are all free-standing trained in both athletics and music. The importance sculptures from the early fifth century to the of athletic success was not limited to Athens but late fourth, covering what has become known relevant to the whole of Greece, including the Greek T colonies in Sicily. Victors at the games at Olympia as the Early Classical, High Classical and Late Classical periods. This is a challenging choice to and elsewhere were heaped with honours and often teach, as it excludes any architectural sculpture, all celebrated their success with a votive statue, to of which is original (and narrative), whereas several please and thank the gods. Pindar’s Odes in praise of the free-standers are copies of long-lost bronze of athletes may seem over-the-top to us, but reflect originals. The issue of copies needs to be addressed the general feeling of awe for elite athletic prowess: early so that students may appreciate that the Pindar Olympian 1 original may be ‘lost in translation’ when converted (For Hieron of Syracuse Single Horse Race 476 BC) from bronze to marble by a completely different A victor throughout the rest of his life enjoys honeyed calm, so sculptor, perhaps Roman rather than Greek, with a far as contests can bestow it. But at any given time the glory of the present day is the highest one that comes to every mortal different agenda altogether.
    [Show full text]
  • 10 a Nation of Statues: Museums and Identity in Eighteenth-Century Rome
    10 A Nation of Statues: Museums and Identity in Eighteenth-Century Rome Jeffrey Collins The abbé Jean-Jacques Barthélemy had been in Rome for three months by 10 February 1756, when he wrote to his friend the comte de Caylus about his activities in the retinue of the French ambassador. As keeper of the royal cabinet des médailles Barthélemy was older and wiser than most Grand Tourists, although he was just as impressed by Rome’s world-famous palaces, villas, and private galleries. But when he mounted the ramp to Michelangelo’s Campidoglio and turned left into the new ‘palazzo delle statue,’ his reaction was of an entirely different order: The first time I entered I felt a jolt of electricity. I could not describe the impression made on me by seeing so many riches assembled in one place. This is no longer a cabinet; it’s the dwelling of the gods of ancient Rome, it’s the Lyceum of the philosophers [Fig. 10.1], it’s a senate composed of the kings of the Orient. What can I tell you? A nation of statues inhabits the Capitol; it is the great book of the antiquarians.1 Barthélemy’s rapture encapsulates the growing importance of the museum as a site of cultural, intellectual, and even political exchange in eighteenth- century Europe. Italy was its epicenter, and the experiments that took place there would help establish enduring ideas about art collecting and display. But the visceral nature of his encounter emphasizes that museums were, above all, spaces – rooms, halls, galleries, courtyards – experienced by real people in real time, often in an intended sequence and with profound psychological impacts.
    [Show full text]
  • Late Classical Greece, Pp
    Early, High, and Late Classical Greece, pp. 65-77 The recipe of beauty: classical sculpture Architectural sculpture Counterbalance and idealization Greek bronzes and marble copies The canon of Polykleitos Myron and the representation of movement Building the perfect national monument: the Acropolis Iktinos Phidias Late Classical sculpture: Praxiteles Lysippos In the Archaic period, architectural sculpture played a pivotal role in challenging Greek sculptors: to find new solutions of body representation The main part of the temple devoted to sculptural decoration was the pediment The triangular shape of the pediment West pediment of the Temple created a great challenge to sculptors who of Aphaia, Aegina, Greece, needed to fill it with figures ca. 500-490, Munich The decoration of the pediment of the Temple of Aphaia at Aegina, is a turning point between Archaic and Classical sculpture: Figures are almost freestanding sculptures attached to the architecture We have noticed the persistence of “Archaic smile” in their faces This and other signs of archaism (geometric rendering of curly hair) are shared by these works with more archaic representations such as the Calf Bearer However, the author now feels the need to fit his figures in the pediment area in the most natural way, having them acting and posing differently according to their position in the triangle: In stead of representing the human body according to traditional rules, repeated generation after generation, the artist now studied the actual human anatomy and represented it as it appears to the eye rather than as it is understood as a concept This shift to the observation and representation of the real world is a major passage in what Gombrich has called the Greek revolution West pediment of the Temple of Aphaia, Aegina, Greece, ca.
    [Show full text]
  • Natural History
    CM CMO in z:?,2i ^i5 THE LOEB CLASSICAL LIBRARY FOUKDED BY JAMES LOEB, LL.D. EDITED BY fT. E. PAGE, C.H., LITT.D. tE. CAPPS, PH.D., LL.D. tW. H. D. ROUSE, litt.d. L. A. POST, l.h.d. E. H. WARMIXGTON. m.a., f.r.hist.soc. PLINY NATURAL HISTORY IX LIBRI XXXIIl-XXXV PLINY NATURAL HISTORY WITH AN ENGLISH TRANSLATION IN TEN VOLUMES VOLUME IX LlBRi XXXIII-XXXV BY H. RACKHAM, M.A. FELLOW OF CHR1ST'S COLLEGE, CAMBKIDQE CAMBRIDGE, MASSACHUSETTS HAllVARD UNIVERSITY PRESS LONDON WILLIAM HEINEMANN LTD First print..-d 1952 Rpprintcd 1961 Printed in Great Britain CONTENTS PAQE INTKODUCTION vii nOOK XXXIII 1 BOOK XXX IV 125 BOOK XXXV 259 INDEX OF ARTISTS 413 MUSEOGRArUlC INDEX 417 INt>EX OF MINERALS ^IJ INTRODUCTION BooKS XXXIII, XXXIV, and XXXV of Pliny's Natural History contain interesting accounts of minerals and mining and of the history of art. Mr. H. Rackham left when he died a translation in typescript vvith a few footnotes. The Latin text has been prepared by Prof. E. H. Warmington, who has also added the critical notes on this text, many footnotes on the translation, and marginal helps, Some parts of the translation were completely re-written by him. The sections on Greek art were read and criticised by Prof. T. B. L. Webster, to whom thanks are now duly rendered. The codices cited in the critical notes on the Latin text are as follows : B = Bambergensis ; cd. Leid. Voss. = V ; cd. Leid. Lips. = F ; cd. Chiffl{eiianus) = f ; cd.
    [Show full text]
  • The Elder Pliny's Chapters on the History of Art;
    CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE Cornell University Library N5610 .P72 1896 3 1924 031 053 550 olin The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924031053550 THE ELDER PLINY^S CHAPTERS ON THE HISTORY OF ART , Tnerrtoiuiioaaur-' 'poW aim tnutprauefemtferarrc cUtuf* fi crontM-f bAg«VA- ixer difciTJuLuf «liA<lu»TJc- fe- cjuA- amnef feaxnii-m Xfaa. molltter' lutte qiitf<)' ttiiieAfferrc- VjAecefi /nuTn fectt cerTtwrTrtalcrrnfT-'o ' .polvcltii 'pr-o^trrzx:ai)ex-pUt nern' ttlrtetzurn • J^UUtr -ttirTUl. clefAtJt: C^itMT tAem ^jJot-v pViorum utraltter'puerit ffecttr- tfiquet77ca.TJo»iA^ metitf- ,pW*-diif• praaitter tii aem ol/f^miim cfuemnerrto A.-r-rtfTcefuocATTt .l-iTira- XernvJuttUT' ftctce^cii^or^ •mcrrta. 3kT-nf ejcco ^etcn xetnue-mvnertiAm Jcotentf- -cef ueL ira ^ilfig^ quAdam •fblitfc|«eliominuTn ecr" -oBTTJjpfXm feciffcr itr-nf nem fu^r^vsaan tninetrtiX opere- tudica^ur- fecnr ^st -tATTi cjcf»T»iaL^pu.U;l>rtiii«lt iefVingentem fe- dinu mf-ucfcrTriACr cdcrjowen dum-caLs tncrfferixeTTj • ^uxeper-w fiecwdicliHucuTn • duofbitte-- -pucrortcftm ^Zilijun mtnertUiTn quam nudof- xiUfVtuientefqui vUocdjTtwT' a.f^ra.«LUx0>i a.clAe«Jemfi>ytunae-V»tfju'rce' tn «-tt itt: « > f tcf ^fjtnr _^ ftei dtcAutc- ttftn duo fiy X*rioAuo.Vioc*ipercTiuV la. c^uA«caWLufine3u]em Utrn a-pfbUrttuf ptertq' |vtede- ^*ll*A*ak- diaVusT-uwi CO ttidiiuMtr- TremTnfrrcurl Vlp ffVxoTi-nu<lt»Ti.y»nTnttfq» tttn- quifUttlf-fimxcliajsae.
    [Show full text]