Libri XXXIII-XXXVII

Total Page:16

File Type:pdf, Size:1020Kb

Libri XXXIII-XXXVII PLINIUS SENIOR NATURALIS HISTORIA LIBER XXXIII 1 Metalla nunc ipsaeque opes et rerum pretia dicentur, tellurem intus exquirente cura multiplici modo, quippe alibi divitiis foditur quaerente vita aurum, argentum, electrum, aes, alibi deliciis gemmas et parietum lignorumque pigmenta, alibi temeritati ferrum, auro etiam gratius inter bella caedesque. persequimur omnes eius fibras vivimusque super excavatam, mirantes dehiscere aliquando aut intremescere illam, ceu vero non hoc indignatione sacrae parentis exprimi possit. 2 imus in viscera et in sede manium opes quaerimus, tamquam parum benigna fertilique qua calcatur. et inter haec minimum remediorum gratia scrutamur, quoto enim cuique fodiendi causa medicina est? quamquam et hoc summa sui parte tribuit ut fruges, larga facilisque in omnibus, quaecumque prosunt. 3 illa nos peremunt, illa nos ad inferos agunt, quae occultavit atque demersit, illa, quae non nascuntur repente, ut mens ad inane evolans reputet, quae deinde futura sit finis omnibus saeculis exhauriendi eam, quo usque penetratura avaritia. quam innocens, quam beata, immo vero etiam delicata esset vita, si nihil aliunde quam supra terras concupisceret, breviterque, nisi quod secum est! 4 Eruitur aurum et chrysocolla iuxta, ut pretiosior videatur, nomen ex auro custodiens. parum enim erat unam vitae invenisse pestem, nisi in pretio esset auri etiam sanies. quaerebat argentum avaritia; boni consuluit interim invenisse minium rubentisque terrae excogitavit usum. heu prodigia ingenia, quot modis auximus pretia rerum! accessit ars picturae, et aurum argentumque caelando carius fecimus. didicit homo naturam provocare. auxere et artem vitiorum inritamenta; in poculis libidines caelare iuvit ac per obscenitates bibere. 5 abiecta deinde sunt haec ac sordere coepere, ut auri argentique nimium fuit. murrina ex eadem tellure et crystallina effodimus, quibus pretium faceret ipsa fragilitas. hoc argumentum opum, haec vera luxuriae gloria existimata est, habere quod posset statim perire totum. nec hoc fuit satis. turba gemmarum potamus et zmaragdis teximus calices, ac temulentiae causa tenere Indiam iuvat. aurum iam accessio est, 6 utinamque posset e vita in totum abdicari [sacrum fame, ut celeberrimi auctores dixere] proscissum conviciis ab optimis quibusque et ad perniciem vitae repertum, quanto feliciore aevo, cum res ipsae permutabantur inter sese, sicut et Troianis temporibus factitatum Homero credi convenit! ita enim, ut opinor, commercia victus gratia invecta. 7 alios coriis boum, alios ferro captivisque res emptitasse tradit. quare, quamquam ipse iam mirator auri, pecore aestimationes rerum ita fecit, ut C boum arma aurea permutasse Glaucum diceret cum Diomedis armis VIIII boum. ex qua consuetudine multa legum antiquarum pecore constat etiam Romae. 8 Pessimum vitae scelus fecit qui primus induit digitis, nec hoc quis fecerit traditur. nam de Prometheo omnia fabulosa arbitror, quamquam illi quoque ferreum anulum dedit antiquitas vinculumque id, non gestamen, intellegi voluit. Midae quidem anulum, quo circumacto habentem nemo cerneret, quis non etiam fabulosiorem fateatur? 9 manus et prorsus sinistrae maximam auctoritatem conciliavere auro, non quidem Romanae, quarum in more ferrei erant ut virtutis bellicae insigne. de regibus Romanis non facile dixerim. nullum habet Romuli in Capitolio statua nec praeter Numae Serviique Tullii alia ac ne Lucii quidem Bruti. hoc in Tarquiniis maxime miror, quorum e Graecia fuit origo, unde hic anulorum usus venit, quamquam etiam nunc Lacedaemone ferreo utuntur. 10 sed a Prisco Tarquinio omnium primo filium, cum in praetextae annis occidisset hostem, bulla aurea donatum constat, unde mos bullae duravit, ut eorum, qui equo meruissent, filii insigne id haberent, ceteri lorum; et ideo miror Tarquinii eius statuam sine anulo esse. quamquam et de nomine ipso ambigi video. Graeci a digitis appellavere, apud nos prisci ungulum vocabant, postea et Graeci et nostri symbolum. 11 longo certe tempore ne senatum quidem Romanum habuisse aureos manifestum est, siquidem iis tantum, qui legati ad exteras gentes ituri essent, anuli publice dabantur, credo, quoniam ita exterorum honoratissimi intellegebantur. neque aliis uti mos fuit quam qui ex ea causa publice accepissent, volgoque sic triumphabant et, cum corona ex auro Etrusca sustineretur a tergo, anulus tamen in digito ferreus erat aeque triumphantis et servi prae se coronam sustinentis. 12 sic triumphavit de Iugurtha C. Marius aureumque non ante tertium consulatum sumpsisse traditur. ii quoque, qui ob legationem acceperant aureos, in publico tantum utebantur iis, intra domos vero ferreis, quo argumento etiam nunc sponsae muneris vice ferreus anulus mittitur, isque sine gemma. equidem nec Iliacis temporibus ullos fuisse anulos video. nusquam certe Homerus dicit, cum et codicillos missitatos epistularum gratia indicet et conditas arcis vestes ac vasa aurea argenteaque et eas colligatas nodi, non anuli, nota. sortiri quoque contra provocationes duces non anulis tradit, fabricae etiam deum fibulas et alia muliebris cultus, sicut inaures, in primordio factitasse, sine mentione anulorum. 13 et quisquis primus instituit, cunctanter id fecit: laevis manibus latentibusque induit, cum, si honos securus fuisset, dextra fuerit ostentandus. quodsi inpedimentum potuit in eo aliquod intellegi, etiam serioris usus argumentum esset: maius in laeva fuisset, qua scutum capitur. est quidem apud eundem Homerum virorum crinibus aurum inplexum; ideo nescio an prior usus feminis coeperit. 14 Romae ne fuit quidem aurum nisi admodum exiguum longo tempore. certe cum a Gallis capta urbe pax emeretur, non plus quam mille pondo effici potuere. nec ignoro MM pondo auri perisse Pompeii III consulatu e Capitolini Iovis solio a Camillo ibi condita, et ideo a plerisque existimari MM pondo collata. sed quod accessit, ex Gallorum praeda fuit detractumque ab iis in parte captae urbis delubris — 15 Gallos cum auro pugnare solitos Torquatus indicio est —; apparet ergo Gallorum templorumque tantundem nec amplius fuisse. quod quidem in augurio intellectum est, cum Capitolinus duplum reddidisset. illud quoque obiter indicari convenit — etiam de anulis sermonem repetivimus —, aedituum custodiae eius conprehensum fracta in ore anuli gemma statim expirasse et indicium ita extinctum. 16 ergo ut maxime MM tantum pondo, cum capta est Roma, anno CCCLXIIII fuere, cum iam capitum liberorum censa essent CLII DLXXIII. in eadem post annos CCCVII, quod ex Capitolinae aedis incendio ceterisque omnibus delubris C. Marius filius Praeneste detulerat, XIIII pondo, quae sub eo titulo in triumpho transtulit Sulla et argenti VI. idem ex reliqua omni victoria pridie transtulerat auri pondo XV, argenti p. CXV. 17 Frequentior autem usus anulorum non ante Cn. Flavium Anni filium deprehenditur. hic namque publicatis diebus fastis, quos populus a paucis principum cotidie petebat, tantam gratiam plebei adeptus est — libertino patre alioqui genitus et ipse scriba Appi Caeci, cuius hortatu exceperat eos dies consultando adsidue sagaci ingenio promulgaratque —, ut aedilis curulis crearetur cum Q. Anicio Praenestino, qui paucis ante annis hostis fuisset, praeteritis C. Poetilio et Domitio, quorum patres consules fuerant. 18 additum Flavio, ut simul et tribunus plebei esset, quo fato tanta indignatio exarsit, ut anulos abiectos in antiquissimis reperiatur annalibus. fallit plerosque quod tum et equestrem ordinem id fecisse arbitrantur; etenim adiectum hoc quoque sed et phaleras positas propterque nomen equitum adiectum est, anulosque depositos a nobilitate in annales relatum est, non a senatu universo. hoc actum P. Sempronio L. Sulpicio cos. 19 Flavius vovit aedem Concordiae, si populo reconciliasset ordines, et, cum ad id pecunia publice non decerneretur, ex multaticia faeneratoribus condemnatis aediculam aerea fecit in Graecostasi, quae tunc supra comitium erat, inciditque in tabella aerea factam eam aedem CCIIII annis post Capitolinam dedicatam. 20 id a. CCCCXXXXVIIII a condita urbe gestum est et primum anulorum vestigium extat; promiscuit autem usus alterum secundo Punico bello, neque enim aliter potuisset trimodia anulorum illa Carthaginem ab Hannibale mitti. inter Caepionem quoque et Drusum ex anulo in auctione venali inimicitiae coepere, unde origo socialis belli et exitia rerum. 21 ne tunc quidem omnes senatores habuere, utpote cum memoria avorum multi praetura quoque functi in ferreo consenuerint — sicut Calpurnium et Manilium, qui legatus C. Marii fuerit Iugruthino bello, Fenestella tradit, et multi L. Fufidium illum, ad quem Scaurus de vita sua scripsit —, in Quintiorum vero familia aurum ne feminas quidem habere mos fuerit, nullosque omnino maior pars gentium hominumque, etiam qui sub imperio nostro degunt, hodieque habeat. non signat oriens aut Aegyptus etiam nunc litteris contenta solis. 22 Multis hoc modis, ut cetera omnia, luxuria variavit gemmas addendo exquisiti fulgoris censuque opimo digitos onerando, sicut dicemus in gemmarum volumine, mox et effigies varias caelando, ut alibi ars, alibi materia esset in pretio. alias dein gemmas violari nefas putavit ac, ne quis signandi causam in anulis esse intellegeret, solidas induit. 23 quasdam vero neque ab ea parte, qua digito occultantur, auro clusit aurumque millis lapillorum vilius fecit. contra vero multi nullas admittunt gemmas auroque ipso signant. id Claudii Caesaris principatu repertum. nec non et servitia iam ferrum auro cingunt — alia per sese mero auro decorant —, cuius licentiae origo nomine ipso in Samothrace id institutum declarat. 24 Singulis primo
Recommended publications
  • Vitruvius on Architecture
    107390 THE LOEB CLASSICAL LIBRARY FOUNDED BY JAMES LOEB, LL.D. EDITED BY fT. E. PAGE, C.H., LITT.D. LL.D. H. D. LITT.D. j-E. CAPPS, PH.D., fW. KOUSE, L. A. POST, M.A. E. H. WARMINGTON, M.A.. F.E.HIST.SOC. VITRUVIUS ON ARCHITECTURE I uzaJt yiTKUVIUS ON ARCHITECTURE EDITED FROM THE HARLEIAN MANUSCRIPT 2767 AI TRANSLATED INTO ENGLISH BY FRANK GRANGER, D.Lrr., AJLLB.A. PROFESSOR IN UNIVERSITY COLLEGE, NOTTINGHAM IN TWO VOLUMES I CAMBRIDGE, MASSACHUSETTS HARVARD UNIVERSITY PRESS LONDON WILLIAM HEINEMANN LTD MCMLV First printed 1931 Reprinted 1944,1955 To JESSB LORD TRBXT Printed in Great Britain CONTENTS PAQK PREFACE vii INTRODUCTION : VITRUVIUS AND THE ARCHITECTURE OF THE WEST ...... ix HISTORY OF THE MSS. OF VITRUVIUS . X\'i THE EARLIEST EDITIONS OF VITRUVIUS . XXi THE SCHOLIA OF THE MSS. XXV - THE ILLUSTRATIONS OF THE MSS. XXVli THE LANGUAGE OF VITRUVIUS . XXViii BIBLIOGRAPHY: THE MSS. XXXli EDITIONS ...... xxxiii TRANSLATIONS XXXiii THE CHIEF CONTRIBUTIONS TO THE STUDY OF VITRUVIUS ..... xxxiv BOOKS OF GENERAL REFERENCE . XXXVi TEXT AND ENGLISH TRANSLATION: BOOK I. ARCHITECTURAL PRINCIPLES . 1 BOOK II. EVOLUTION OF BUILDING : USE OF MATERIALS . 71 BOOK III. IONIC TEMPLES . 151 BOOK IV. DORIC AND CORINTHIAN TEMPLES 199 BOOK V. PUBLIC BUILDINGS I THEATRES (AND MUSIC), BATHS, HARBOURS . 249 INDEX OF ARCHITECTURAL TERMS 319 CONTENTS ILLUSTRATIONS: THE CAPITOL DOUGGA . (Frontispiece) PLATE A. WINDS AND DIRECTION OF STREETS (at end) PLATE B. PLANS OF TEMPLES . PLATE C. IONIC ORDER . PLATE 0. CORINTHIAN ORDER (see Frontispiece) PLATE E. DORIC ORDER . (at end] PLATE F. MUSICAL SCALES . , . , PLATE O. THEATRE .
    [Show full text]
  • 1S. PLINIUS DER ÄLTERE, NATURALIS HISTORIAE Band 35 (Supplement Zu „Sieben Tage Eifersucht“) 5BS
    K. Wyborny Comédie Artistique herausgegeben von Thomas Friedrich (Mannheim) Ergänzungsband I-S ________________________________________________________________________ EDITIONSPLAN UND INHALT DER GESAMTSERIE: ZUM GELEIT GRUNDZÜGE EINER TOPOLOGIE DES NARRATIVEN 1. SIEBEN TAGE EIFERSUCHT 2. VEREINIGT 3. AUS DER KNABENZEIT 4. SULLA 5A. EINE EPISODE AUS DEM HUNDERTJÄHRIGEN KRIEG 5B. EIS 5C. UNSTERBLICHE GESCHICHTE 6. ELEMENTARE SCHNITT-THEORIE DES SPIELFILMS 7. DIE DAME IN BLAU 8. HOLLIS 9. LAGO mit bislang fünf Ergänzungsbänden: 1S. PLINIUS DER ÄLTERE, NATURALIS HISTORIAE Band 35 (Supplement zu „Sieben Tage Eifersucht“) 5BS. VÖLKERWANDERUNG (Supplement zu „Eis“) 6S. SCHRIFTEN ZUM FILM (Supplement zu „Elementare Schnitt-Theorie des Spielfilms“) 9S. AUSNAHMEZUSTAND (Supplement zu „Lago“) sowie 9SM. MATERIALIEN ZUM AUSNAHMEZUSTAND ________________________________________________________________________ K. Wyborny ____________________________________________ COMÉDIE ARTISTIQUE (AUS EINEM KÜNSTLERLEBEN) Ergänzungsband I-S Plinius der Ältere, Naturalis Historiae Buch 35 VON DEN FARBEN, DER MALEREI UND DER PLASTIK Nach dem Latein der Teubner-Ausgabe von Karl Mayhoff in der deutschen Übersetzung von K.Wyborny -- Ein Supplement zu „Sieben Tage Eifersucht“ -- Herausgegeben und mit einem Vorwort von Thomas Friedrich -- Fassung vom 19. 9. 2015 -- 5 © 2015 Klaus Wyborny Über den Autor: Klaus Wyborny, geb. 1945 bei Magdeburg. Studium der theoretischen Physik an der Uni- versität Hamburg und der Yeshiva University New York. Seit 1968 eigene Filme, die auf der Documenta 5 und 6, sowie auf zahlreichen internationalen Filmfestivals liefen - u. a. Dämo­ nische Leinwand (1969), Die Geburt der Nation (1973), Bilder vom verlorenen Wort (1975), Das szenische Opfer (Preis der deutschen Filmkritik 1980), Das offene Universum (1991), Sulla (Großer Preis des Filmfestivals Split 2002), Studien zum Untergang des Abendlands (2010), Syrakus (in Zusammenarbeit mit Durs Grünbein, 2012).
    [Show full text]
  • Downloaded from Brill.Com09/26/2021 12:20:17AM Via Free Access Appendix 2 Disquisition on the Art of the Ancients
    Appendix 2 Uytbreyding over de schilderkonst der ouden Original Text Vroegste ontwikkelingen1 31 Indien wy de geheele Historie der Schilderkunst wilden ophaalen, dienden wy op te klimmen tot aan Adam, en al geduuriglijk neerwaards te loopen zoeken door de gan- sche Oudheyt: doch by gebrek van Wegwyzers zal men de Reys van een bekender plaats 32 voortzetten, en die plaats oordeelen wy Griekenlant te zijn, | of schoon er veel schijn is om te vermoeden dat de Egyptenaaren die Konst, gelijk als meer andere Konsten en Wetenschappen, vroeger hebben bezêten als de Grieken. Het is ons ongeraaden dat landverschil te beslissen door een beslechtent vonnis, te meer daar dat verschil maar is gesticht op ses duyzent jaaren, die Egypten voorgeeft ouder te zijn in de vinding der Schilderkonst; een getal maklijk te noemen, doch moeijelijk te bewyzen. Het is zeker dat de Nyldrinkers de aldereerste uytvinders zijn geweest van de Starrenkunde, in dien niet van de Schilderkonst, ook was hun Koning Belus den verzinner van het stokken- gevecht, een Krygsoefening waar in de Britten uytmunten, en eenige andere Natien, gelijk als zy noch dagelijks met bebloede koppen komen te bewijzen. De meeste groo- te Grieksche Wysgeeren trokken wel na Egypten, doch zo het ons voorkomt, min om te schilderen, dan om te studeeren, gelyk als wy konnen bewaarheyden met Thales, Pythagoras, Demokritus, Plato, en meer andere Filosoofen; of er nu eenige Schilders of Konstenaaren onder dien troep zich bevonden, konnen wy niet beëedigen. Altoos wy weeten, of ten minsten wy gelooven, dat de Schilderkonst zich eerst heeft neergezet te Korinthen, of te Sicyone, op wiens puynhoopen de Turken een steedje hebben gesticht genaamt Vasilica.
    [Show full text]
  • The Stromata, Or Miscellanies Book 1
    584 THE STROMATA, OR MISCELLANIES BOOK 1 CHAPTER 1 PREFACE THE AUTHOR’S OBJECT THE UTILITY OF WRITTEN COMPOSITIONS [Wants the beginning ]..........that you may read them under your hand, and may be able to preserve them. Whether written compositions are not to be left behind at all; or if they are, by whom? And if the former, what need there is for written compositions? and if the latter, is the composition of them to be assigned to earnest men, or the opposite? It were certainly ridiculous for one to disapprove of the writing of earnest men, and approve of those, who are not such, engaging in the work of composition. Theopompus and Timaeus, who composed fables and slanders, and Epicurus the leader of atheism, and Hipponax and Archilochus, are to be allowed to write in their own shameful manner. But he who proclaims the truth is to be prevented from leaving behind him what is to benefit posterity. It is a good thing, I reckon, to leave to posterity good children. This is the case with children of our bodies. But words are the progeny of the soul. Hence we call those who have instructed us, fathers. Wisdom is a communicative and philanthropic thing. Accordingly, Solomon says, “My son, if thou receive the saying of my commandment, and hide it with thee, thine ear shall hear wisdom.” He points out that the word that is sown is hidden in the soul of the learner, as in the earth, and this is spiritual planting. Wherefore also he adds, “And thou shalt apply thine heart to understanding, and apply it for the admonition of thy son.” For soul, me thinks, joined with soul, and spirit with spirit, in the sowing of the word, will make that which is sown grow and germinate.
    [Show full text]
  • Plutarch's Moralia
    THE LOEB CLASSICAL LIBRARyT .jr^ FOUNDED BY JAMES LOEB, LL.D. X^ ^ EDITED BY tT. E. PAGE, C.H., LITT.D. E. t CAPPS, PH.D., LL.D. t W. H. D. ROUSE, lttt.d. L. A. POST, L.H.D. E. H. WARMINGTON, m.a., f.r.hist.soc. PLUTARCH'S MORALIA VI PLUTARCH'S MOKALIA IN FIFTEEN VOLUMES VOLUME VI 439a— 523b WITH AN ENGLISH TRANSLATION BY VV. C. HELM BOLD TRINITir COLLBGK, UABTTOKD, COKX. CAMBRIDGE, MASSACHUSETTS HARVARD UNIVERSITY PRESS LOKDON WILLIAM HEINEMANN LTD MCMLXU First primeaprinted 1939iaj» ^^ . Reprinted 1957, 1962 W jX ?>RA DECl c; 11536 Printed in Great Britain — CONTENTS OF VOLUME VI PAOK Preface vii The Traditional Order of the Books of the MORALIA ix Can Virtue be Taught ? Introduction 2 Text and Translation 4 On Moral Virtue— Introduction 16 Text and Translation 18 Ox the Control of Anger— Introduction 90 Text and Translation 92 On Tranquillity of Mind— Introduction 163 Text and Translation 166 On Brotherly Love— Introduction 245 Text and Translation 246 V CONTENTS OF VOLUME VI PAGE On Affection for Offspring— Introduction 328 Text and Translation 330 Whether Vice be sufficient to cause Unhappiness— Introduction 361 Text and Translation 362 Whether the Affections of the Soul are WORSE than Those of the Body— Introduction 378 Text and Translation 380 Concerning Talkativeness— Introduction 395 Text and Translation 396 On being a Busybody— Introduction 471 Text and Translation 472 Index • 519 PREFACE In proceeding with this edition of the Moralia a few changes have been made from the standard created and maintained by Professor Babbitt.
    [Show full text]
  • Ancient Art and Its Remains: Or a Manual of the Archaeology Of
    2. - ANCIENT ART AND ITS REMAINS; MANUAL OF THE ARCHEOLOGY OF ART. BY C. 0. M"LLER, Author of " The Histovy and Antiquitiesof the Doric Race." " A Scientific S\-stem of Mvthologv,"'"Src iW EDITION -WITH Nl'MEROUS ADDITIONS BY F. (I.WELCKER. TRANSLATED FROM THE GERMAN BY JOHN LEITCH. LONDON: A. FULLARTON AND CO., NEWGATE STREET. 185U. kdinburgh: FCLLVRTOX AX,. MACNAB, PRIXTERS, LEITH WALK. DEDICATED THE RIGHT HOJiOURABLE SIR ROBERT PEEL, BART., M.P., SINCERE ADMIRATION HIS VIRTUES AND TALENTS, THE TRANSLATOR. 8530"6 TRANSLATOR'S PREFACE I have entleavoure"! to much In tlii" Translation avoid, as as pos-sible, the introduction of new words; but, in the original, various with technical terms occur, which, notwithstanding their novelty to the English reader, I could not dispense; because their rejection in sacrifice of would occasion, some measure, a sense, or a disturb-ance the of the system pursued by author, " as in Tectonics and A)'chitectonics for example. I may also mention the word scalpture. in in It is not, 1 believe, use our language, but as scalptiiradesignates branch of ancient I did hesitate a particular art, not to Anglicise it. It be also to that the may proper explain, throughout work a dis-tinction and is kept up between column jyillctr,the fonuer denoting the circular supporting member of the diflerent orders of architec-ture, the latter the square pier. The words formative and 2}iastic, convertible likewise, are employed as epithets, except in a few in-stances where the latter is used in its original and more restricted its sense; in these, however, meaning may be discovered from the context.
    [Show full text]
  • The Morals, Vol. 3 [1878]
    The Online Library of Liberty A Project Of Liberty Fund, Inc. Plutarch, The Morals, vol. 3 [1878] The Online Library Of Liberty This E-Book (PDF format) is published by Liberty Fund, Inc., a private, non-profit, educational foundation established in 1960 to encourage study of the ideal of a society of free and responsible individuals. 2010 was the 50th anniversary year of the founding of Liberty Fund. It is part of the Online Library of Liberty web site http://oll.libertyfund.org, which was established in 2004 in order to further the educational goals of Liberty Fund, Inc. To find out more about the author or title, to use the site's powerful search engine, to see other titles in other formats (HTML, facsimile PDF), or to make use of the hundreds of essays, educational aids, and study guides, please visit the OLL web site. This title is also part of the Portable Library of Liberty DVD which contains over 1,000 books and quotes about liberty and power, and is available free of charge upon request. The cuneiform inscription that appears in the logo and serves as a design element in all Liberty Fund books and web sites is the earliest-known written appearance of the word “freedom” (amagi), or “liberty.” It is taken from a clay document written about 2300 B.C. in the Sumerian city-state of Lagash, in present day Iraq. To find out more about Liberty Fund, Inc., or the Online Library of Liberty Project, please contact the Director at [email protected]. LIBERTY FUND, INC.
    [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]
  • Dictionnaire Historique Des Peintres De Toutes Les Écoles
    1 DICTIO.NNA1RE HISTORIQUE 'ES PEINTRES DE TOUTES LES ÉCOLES DEPUIS LES TEMPS LES PLUS RECULÉS JUSQU'A NPSJOURS , Ouvrage rédigé sur uu plan entièrement neid; a PRÉCÉDÉ D ' UN AnRECE DE L ' HISTOIRE DE LA PEINTURE, SUIVI DÉ LA NOMENCLATURE DES PEINTRES MODERNES, ET D ' UNE COLLECTION COMPLÈTE DE MONOCRAMMES. teAR ADOLPHE .SIRET. BRUXELLES.- LUIRAI RI E ENCYCLOPÉDIQUE DE P ÉR IC H ON. 1848 © ( Ù) Les Passerelles du Temps ¨ 2007 [email protected] …Ø INTRODUCTION. ABRÉGÉ DE L'HISTOIRE DE .LA PEINTURE. L'origine de la peinture est inconnue : c'est là un point non éternelles; nous nous contenterons maintenant d'indiquer d'une douteux qui porte en lui-même son explication et en quelque sorte manière succincte les caractères principaux de la peinture et les sa justification. En effet, l'instinct qui conduit l'homme à imiter influences tontes naturelles qu'elle a exercées sur les popula- les produits de la création a dû exister de tout temps et chez tous tions. les peuples. On peut donc trouver l'origine de la peinture dans le Trois caractères, puisant tous les trois leur origine dans le sen- . berceau du genre humain, et ne considérer que comme une ingé- timent des croyances religieuses, distinguent la peinture. Ce sont nieuse allégorie l'histoire de la jeune fille de Corinthe traçant sur comme autant de sources d'où vont découler des mondes nou- un pan de mur la silhouette dé son fiancé. veaux, soit que l'art frappe les yeux, soit qu'il parle au coeur. C'est Lorsque l'on est à la piste des premières apparitions de l'art en Égypte que nous trouverons le premier caractère dont se revêtit chez les peuples primitifs, on remarque que là peinture a suivi la peinture.
    [Show full text]
  • Uytbreyding Over De Schilderkonst Der Ouden
    Appendix 2 Uytbreyding over de schilderkonst der ouden Original Text Vroegste ontwikkelingen1 31 Indien wy de geheele Historie der Schilderkunst wilden ophaalen, dienden wy op te klimmen tot aan Adam, en al geduuriglijk neerwaards te loopen zoeken door de gan- sche Oudheyt: doch by gebrek van Wegwyzers zal men de Reys van een bekender plaats 32 voortzetten, en die plaats oordeelen wy Griekenlant te zijn, | of schoon er veel schijn is om te vermoeden dat de Egyptenaaren die Konst, gelijk als meer andere Konsten en Wetenschappen, vroeger hebben bezêten als de Grieken. Het is ons ongeraaden dat landverschil te beslissen door een beslechtent vonnis, te meer daar dat verschil maar is gesticht op ses duyzent jaaren, die Egypten voorgeeft ouder te zijn in de vinding der Schilderkonst; een getal maklijk te noemen, doch moeijelijk te bewyzen. Het is zeker dat de Nyldrinkers de aldereerste uytvinders zijn geweest van de Starrenkunde, in dien niet van de Schilderkonst, ook was hun Koning Belus den verzinner van het stokken- gevecht, een Krygsoefening waar in de Britten uytmunten, en eenige andere Natien, gelijk als zy noch dagelijks met bebloede koppen komen te bewijzen. De meeste groo- te Grieksche Wysgeeren trokken wel na Egypten, doch zo het ons voorkomt, min om te schilderen, dan om te studeeren, gelyk als wy konnen bewaarheyden met Thales, Pythagoras, Demokritus, Plato, en meer andere Filosoofen; of er nu eenige Schilders of Konstenaaren onder dien troep zich bevonden, konnen wy niet beëedigen. Altoos wy weeten, of ten minsten wy gelooven, dat de Schilderkonst zich eerst heeft neergezet te Korinthen, of te Sicyone, op wiens puynhoopen de Turken een steedje hebben gesticht genaamt Vasilica.
    [Show full text]
  • Parrhasius and the Art of Display, the Illusionistic Curtain In
    9789004295582_print_content_text_2015 23-10-15 10:11 Pagina 144 9789004295582_print_content_text_2015 23-10-15 10:11 Pagina 145 145 Parrhasius and the art of display The illusionistic curtain in seventeenth-century Dutch painting Robert Fucci Beginning in the 1640s, a new motif appeared in Dutch painting that would persist in a variety of ways for the rest of the century: the addition of an illusionistically painted curtain over the nominal painted surface of the image.1 These painted curtains almost always mimic the scale, construction, and appearance of actual curtains that were used to cover paintings at the time. By appropriating a contemporary component of display for artistic practice, artists charged (and blurred) the distinction between the object and its site of display in ways that are highly valuable for exploring the shifting dialogue between illusion and reality in Dutch painting. Rembrandt’s Holy Family in Kassel, signed and dated 1646, is the earliest dated Dutch painting to bear the motif (fig. 1).2 It depicts Mary sitting by a fire with the infant Jesus while Joseph chops wood in the shadows to the right – a domestic scene without direct scriptural correspondence, but one showing them taking shelter in a ramshackle structure, perhaps on the flight into Egypt. Unfortunately, the panel has been cut down, though a drawn copy on vellum attributed to Nicolaes Maes probably gives a reliable sense of its original appearance (fig. 2).3 Only in the copy do we see how elaborate and conspicuous the painted gilt frame stands in relation to the curtain and rod attached to it, and the degree to which this display paraphernalia as a whole somewhat detracts our attention away from the subject matter.
    [Show full text]