Seneca the Younger
Seneca the Younger Lucius Annaeus Seneca and known as Seneca, was a Roman Stoic philosopher, dramatist, and—in one work—satirist of the Silver Age of Latin literature. Seneca was born in Córdoba in Hispania, raised in Rome, where he was trained in rhetoric and philosophy, his father was Seneca the Elder, his elder brother was Lucius Junius Gallio Annaeanus, his nephew was the poet Lucan. In AD 41, Seneca was exiled to the island of Corsica by the emperor Claudius, but was allowed to return in 49 to become a tutor to Nero; when Nero became emperor in 54, Seneca became his advisor and, together with the praetorian prefect Sextus Afranius Burrus, provided competent government for the first five years of Nero's reign. Seneca's influence over Nero declined with time, in 64 Seneca was forced to take his own life for alleged complicity in the Pisonian conspiracy to assassinate Nero, in which he was to have been innocent, his stoic and calm suicide has become the subject of numerous paintings. As a writer Seneca is known for his philosophical works, for his plays, which are all tragedies.
His prose works include a dozen essays and one hundred and twenty-four letters dealing with moral issues. These writings constitute one of the most important bodies of primary material for ancient Stoicism; as a tragedian, he is best known for plays such as his Medea and Phaedra. Seneca's influence on generations is immense—during the Renaissance he was "a sage admired and venerated as an oracle of moral of Christian, edification. Seneca was born at Córdoba in the Roman province of Baetica in Hispania, his father was Lucius Annaeus Seneca the elder, a Spanish-born Roman knight who had gained fame as a writer and teacher of rhetoric in Rome. Seneca's mother, was from a prominent Baetician family. Seneca was the second of three brothers. Miriam Griffin says in her biography of Seneca that "the evidence for Seneca's life before his exile in 41 is so slight, the potential interest of these years, for social history as well as for biography, is so great that few writers on Seneca have resisted the temptation to eke out knowledge with imagination."
Griffin infers from the ancient sources that Seneca was born in either 8, 4, or 1 BC. She thinks he was born between 4 and 1 BC and was resident in Rome by AD 5. Seneca tells us that he was taken to Rome in the "arms" of his aunt at a young age when he was about five years old, his father resided for much of his life in the city. Seneca was taught the usual subjects of literature and rhetoric, as part of the standard education of high-born Romans. While still young he received philosophical training from Attalus the Stoic, from Sotion and Papirius Fabianus, both of whom belonged to the short-lived School of the Sextii, which combined Stoicism with Pythagoreanism. Sotion persuaded Seneca when he was a young man to become a vegetarian, which he practised for around a year before his father urged him to desist because the practice was associated with "some foreign rites". Seneca had breathing difficulties throughout his life asthma, at some point in his mid-twenties he appears to have been struck down with tuberculosis.
He was sent to Egypt to live with his aunt, whose husband Gaius Galerius had become Prefect of Egypt. She nursed him through a period of ill-health. In 31 AD he returned to Rome with his uncle dying en route in a shipwreck, his aunt's influence helped Seneca be elected quaestor, which earned him the right to sit in the Roman Senate. Seneca's early career as a senator seems to have been successful and he was praised for his oratory. Cassius Dio relates a story that Caligula was so offended by Seneca's oratorical success in the Senate that he ordered him to commit suicide. Seneca only survived because he was ill and Caligula was told that he would soon die anyway. In his writings Seneca has nothing good to say about Caligula and depicts him as a monster. Seneca explains his own survival as down to his patience and his devotion to his friends: "I wanted to avoid the impression that all I could do for loyalty was die."In 41 AD, Claudius became emperor, Seneca was accused by the new empress Messalina of adultery with Julia Livilla, sister to Caligula and Agrippina.
The affair has been doubted by some historians, since Messalina had clear political motives for getting rid of Julia Livilla and her supporters. The Senate pronounced a death sentence on Seneca, which Claudius commuted to exile, Seneca spent the next eight years on the island of Corsica. Two of Seneca's earliest surviving works date from the period of his exile—both consolations. In his Consolation to Helvia, his mother, Seneca comforts her as a bereaved mother for losing her son to exile. Seneca incidentally mentions the death of a few weeks before his exile. In life Seneca was married to a woman younger than himself, Pompeia Paulina, it has been thought that the infant son may have been from an earlier marriage, but the evidence is "tenuous". Seneca's other work of this period, his Consolation to Polybius, one of Claudius' freedmen, focused on consoling Polybius on the death of his brother, it is noted for its flattery of Claudius, Seneca expresses his hope that the emperor will recall him from exile.
In 49 AD Agrippina married her uncle Claudius, through her influence Seneca was recalled to Rome. Agrippina gained the praetorship for Seneca and ap
Plutarch
Plutarch named, upon becoming a Roman citizen, Lucius Mestrius Plutarchus, was a Greek biographer and essayist, known for his Parallel Lives and Moralia. He is classified as a Middle Platonist. Plutarch's surviving works were intended for both Greek and Roman readers. Plutarch was born to a prominent family in the small town of Chaeronea, about 80 kilometres east of Delphi, in the Greek region of Boeotia, his family was wealthy. The name of Plutarch's father has not been preserved, but based on the common Greek custom of repeating a name in alternate generations, it was Nikarchus; the name of Plutarch's grandfather was Lamprias, as he attested in Moralia and in his Life of Antony. His brothers and Lamprias, are mentioned in his essays and dialogues, which speak of Timon in particular in the most affectionate terms. Rualdus, in his 1624 work Life of Plutarchus, recovered the name of Plutarch's wife, from internal evidence afforded by his writings. A letter is still extant, addressed by Plutarch to his wife, bidding her not to grieve too much at the death of their two-year-old daughter, named Timoxena after her mother.
He hinted at a belief in reincarnation in that letter of consolation. The exact number of his sons is not certain, although two of them and the second Plutarch, are mentioned. Plutarch's treatise De animae procreatione in Timaeo is dedicated to them, the marriage of his son Autobulus is the occasion of one of the dinner parties recorded in the "Table Talk". Another person, Soklarus, is spoken of in terms which seem to imply that he was Plutarch's son, but this is nowhere stated, his treatise on marriage questions, addressed to Eurydice and Pollianus, seems to speak of the latter as having been an inmate of his house, but without any clear evidence on whether she was his daughter or not. Plutarch studied mathematics and philosophy at the Academy of Athens under Ammonius from 66 to 67. At some point, Plutarch received Roman citizenship; as evidenced by his new name, Lucius Mestrius Plutarchus, his sponsor for citizenship was Lucius Mestrius Florus, a Roman of consular status whom Plutarch used as a historical source for his Life of Otho.
He lived most of his life at Chaeronea, was initiated into the mysteries of the Greek god Apollo. For many years Plutarch served as one of the two priests at the temple of Apollo at Delphi, the site of the famous Delphic Oracle, twenty miles from his home. By his writings and lectures Plutarch became a celebrity in the Roman Empire, yet he continued to reside where he was born, participated in local affairs serving as mayor. At his country estate, guests from all over the empire congregated for serious conversation, presided over by Plutarch in his marble chair. Many of these dialogues were recorded and published, the 78 essays and other works which have survived are now known collectively as the Moralia. In addition to his duties as a priest of the Delphic temple, Plutarch was a magistrate at Chaeronea and he represented his home town on various missions to foreign countries during his early adult years. Plutarch held the office of archon in his native municipality only an annual one which he served more than once.
He undertook the humblest of duties. The Suda, a medieval Greek encyclopedia, states that Emperor Trajan made Plutarch procurator of Illyria. However, most historians consider this unlikely, since Illyria was not a procuratorial province, Plutarch did not speak Illyrian. According to the 8th/9th-century historian George Syncellus, late in Plutarch's life, Emperor Hadrian appointed him nominal procurator of Achaea – which entitled him to wear the vestments and ornaments of a consul. Plutarch spent the last thirty years of his life serving as a priest in Delphi, he thus connected part of his literary work with the sanctuary of Apollo, the processes of oracle-giving and the personalities who lived or traveled there. One of his most important works is the "Why Pythia does not give oracles in verse". More important is the dialogue "On the E in Delphi", which features Ammonius, a Platonic philosopher and teacher of Plutarch, Lambrias, Plutarch's brother. According to Ammonius, the letter E written on the temple of Apollo in Delphi originated from the following fact: the wise men of antiquity, whose maxims were written on the walls of the vestibule of the temple, were not seven but five: Chilon, Thales and Pittakos.
However, the tyrants Cleobulos and Periandros used their political power in order to be incorporated in the list. Thus, the E, which corresponds to number 5, constituted an acknowledgment that the Delphic maxims originated from the five real wise men; the portrait of a philosopher exhibited at the exit of the Archaeological Museum of Delphi, dating to the 2nd century AD, had been in the past identified with Plutarch. The man, although bearded, is depicted at a young age, his hair and beard are rendered in thin incisions. The gaze is due to the heavy eyelids and the incised pupils; the portrait is no longer thought to represent Plutarch. But a fragmentary hermaic stele next to the portrait did once bear a portrait of Plutarch, since it is inscribed, "The Delphians along with the Chaeroneans dedicated this to Plutarch, following the precepts of the Amphictyony". Plutarc
Santi di Tito
Santi di Tito was one of the most influential and leading Italian painters of the proto-Baroque style – what is sometimes referred to as "Counter-Maniera" or Counter-Mannerism. He was born in Tuscany. There is little documentation to support the alleged training under Baccio Bandinelli. From 1558 to 1564, he worked in Rome on frescoes in Palazzo Salviati and the Sala Grande of the Belvedere alongside Giovanni de' Vecchi and Niccolò Circignani, he acquired a classical trait, described as Raphaelesque by S. J. Freedburg; this style contrasted with the reigning ornate Roman painterliness of Federico and Taddeo Zuccari or their Florentine equivalents: Vasari, Alessandro Allori, Bronzino. After returning to Florence in 1564, he joined the Accademia del Disegno, he contributed two conventionally Mannerist paintings for the Duke's study and laboratory, the Studiolo of Francesco I in the Palazzo Vecchio. This artistic project was overseen by Giorgio Vasari; these paintings – the Sisters of Fetonte and Hercules and Iole – like many of those in the studiolo, are stylized and overcrowded.
Baldinucci recounts that Santi rejected the maniera of Bronzino, embraced a classical Reformist and naturalistic style. Santi went on to contribute a Sacra Conversazione for the Ognissanti and painted two altarpieces for Santa Croce in Florence: a crowded but monumental Resurrection, a creatively inspired and decorous Supper at Emmaus. Santi painted a Resurrection of Lazarus for Volterra Cathedral. Santi died in Florence on July 23, 1603. Santi's mature style is reflected in his masterpiece of the Vision of Saint Thomas Aquinas known as Saint Thomas Dedicating His Works to Christ located in the church of San Marco in Florence, it expresses a simple, pious gesture that appeared to have been lost from the courtly sensibility of Italian painting since the days of Raphael, while maintaining the brittle, demarcated color, classic of Tuscan works. The work has an earnest fervor lacking in his earlier mannerist works, which sometimes appear like a collection of posed statues overpainted with skin hues.
This new contra-maniera style finds some echoes in the rising Bolognese Baroque style of the Carracci. Among his pupils were Ludovico Cigoli, the leading painter of art Reform in late sixteenth and early seventeenth century Florence. Another pupil named Francesco Mochi became a prominent sculptor in the Baroque style and created, among other pieces, the colossal Saint Veronica, in the crossing of St. Peter's Basilica in Rome." PaintingsResurrection of Lazarus - Santa Maria Novella, Florence Sacred Conversation Annunciation - Santa Maria Novella, Florence Sisters of Phaeton - Studiolo of Francesco I, Palazzo Vecchio, Florence Hercules and Iole - Studiolo of Francesco I, Palazzo Vecchio, Florence Pietà with Saints and Military Officer - Galleria degli Uffizi, Florence Holy Family with St. Elizabeth and John the Baptist Tobie and the Angel - Saint-Eustache, Paris Doubting Thomas - Duomo, Borgo San Sepolcro Crucifixion - Santa Croce, Florence Marriage at Cana - Villa I Collazzi, near Scandicci Supper at Emmaus - Sant Croce Annunciation - Santa Maria Novella Four ages of Woman and the Written Law - Musee Fesch, Ajaccio Christ - Mykolas Zilinskas Art Museum, Lithuania Rebecca and Eliezer at the Well - Blanton Art Museum, TexasArchitectureSan Tommaso d'Aquino oratory, in Florence Saint Micheal Rotunda, in Petrognano Palazzo Nonfinito staircase, in Florence Palazzo Dardinelli-Fenzi, in Florence Palazzo Zanchini-Corbinelli, in Florence Palazzo di Santi di Tito, in Florence San Michele Convent, near Fiesole Villa di Motrone, in Peretola Villa dei Collazzi, in Giogoli Villa Le Corti, in San Casciano Freedberg, Sydney J..
"Painting in Italy, 1500-1600". Pelican History of Art. Penguin Books Ltd. pp. 620–625. Media related to Santi di Tito at Wikimedia Commons
Eurytus of Oechalia
In Greek mythology King Eurytus of Oechalia, was a skillful archer who said to have instructed Heracles in his art of using the bow. Eurytus was the son of Melaneus either by Stratonice, daughter of King Porthaon of Calydon and Laothoe or by the eponymous heroine Oechalia, he married Antiope, daughter of Pylon and had these children: Iphitus, Toxeus, Molion, Hippasus and a beautiful daughter, Iole. A late legend attributes Eurytus as the father of Dryope, by his first wife. Hesiod calls his wife Antioche and they had four sons but Creophylus says only two. Eurytus' grandfather was Apollo, the archer-god, was a famed archer. Eurytus has been noted by some as the one. According to Homer, Eurytus became so proud of his archery skills; the god killed Eurytus for his presumption, Eurytus' bow was passed to Iphitus, who gave the bow to his friend Odysseus. It was this bow that Odysseus used to kill the suitors who had wanted to take Penelope. A more familiar version of Eurytus' death involves a feud with Heracles.
Eurytus promised the hand of his daughter Iole as a prize to whoever who could defeat him and his sons in an archery contest. Heracles won the archery contest, but Eurytus and his sons reneged on the promise and refused to give up lole, fearing that Heracles would go mad and kill any children he had with Iole, just as he has slew the children he had with Megara. Heracles left in anger, soon after twelve of Eurytus' mares were stolen; some have written that Heracles stole the mares himself, while others have said Autolycus stole the mares and sold them to Heracles. In the search for the mares, convinced of Heracles' innocence, invited Heracles to help and stayed as Heracles' guest at Tiryns. Heracles invited Iphitus to the top of the palace walls and, in a fit of anger, threw Iphitus to his death. For this crime, Heracles was forced to serve the Lydian queen Omphale as a slave for either one or three years. After Heracles had married Deianeira, he returned to Oechalia with an army. Revenge-driven, Heracles sacked the city and killed Eurytus and his sons took Iole as his concubine.
According to a tradition in Athenaeus, the hero put them to death because they had demanded a tribute from the Euboeans. The remains of the body of Eurytus were believed to be preserved in the Carnasian grove. Athenaeus of Naucratis, The Deipnosophists or Banquet of the Learned. London. Henry G. Bohn, York Street, Covent Garden. 1854. Online version at the Perseus Digital Library. Athenaeus of Naucratis, Deipnosophistae. Kaibel. In Aedibus B. G. Teubneri. Lipsiae. 1887. Greek text available at the Perseus Digital Library. Homer, The Odyssey with an English Translation by A. T. Murray, PH. D. in two volumes. Cambridge, MA. Harvard University Press. Online version at the Perseus Digital Library. Greek text available from the same website. March, J. Cassell's Dictionary Of Classical Mythology, London, 1999. ISBN 0-304-35161-X Pausanias, Description of Greece with an English Translation by W. H. S. Jones, Litt. D. and H. A. Ormerod, M. A. in 4 Volumes. Cambridge, MA, Harvard University Press. Online version at the Perseus Digital Library Pausanias, Graeciae Descriptio.
3 vols. Leipzig, Teubner. 1903. Greek text available at the Perseus Digital Library. Pseudo-Apollodorus, The Library with an English Translation by Sir James George Frazer, F. B. A. F. R. S. in 2 Volumes, Cambridge, MA, Harvard University Press. Online version at the Perseus Digital Library. Greek text available from the same website. Publius Ovidius Naso, Metamorphoses translated by Brookes More. Boston, Cornhill Publishing Co. 1922. Online version at the Perseus Digital Library. Publius Ovidius Naso, Metamorphoses. Hugo Magnus. Gotha. Friedr. Andr. Perthes. 1892. Latin text available at the Perseus Digital Library. Theocritus, Idylls from The Greek Bucolic Poets translated by Edmonds, J M. Loeb Classical Library Volume 28. Cambridge, MA. Harvard Univserity Press. 1912. Online version at theoi.com Theocritus, Idylls edited by R. J. Cholmeley, M. A. London. George Bell & Sons. 1901. Greek text available at the Perseus Digital Library
Chiton (costume)
A chiton was a form of clothing. There are two forms of chiton, the Doric chiton and the Ionic chiton; the Doric chiton is a single rectangle of linen fabric. It can be worn plain or with an overfold called an apoptygma, more common to women, it can be fastened at the shoulder by pins or sewing, or by buttons. The Ionic chiton could be made from linen or wool and was draped without the fold and held in place from neck to wrist by several small pins. A large belt called a zoster could be worn over the chiton under the breast or around the waist or a narrower "zone" or girdle could be used; the chiton's length was greater than the height of the wearer, so excessive fabric was pulled above the belt, like a blouse. A double-girdled style existed; the chiton was worn in combination with the heavier himation over it, which had the role of a cloak. When used alone, the chiton was called a monochiton. A long chiton which reached the heels was called a chiton poderes, while a longer one which dragged the ground was called a chiton syrtos or an elkekhitōnes.
A woman's chiton would always be worn at ankle length. Men wore the long chiton during the Archaic period, but wore it at knee length, except for certain occupations such as priests and charioteers, the elderly. A sleeved form was worn by actors; the colour or pattern would indicate status, but varied over time. The chiton was the outfit of Aphrodite because it was considered feminine, although men wore it. Dionysus is depicted wearing it; the chiton was worn by the Romans after the 3rd century BCE. However, they referred to it as a tunica. An example of the chiton can be seen, worn by the caryatids, in the porch of the Erechtheion in Athens. A charioteer's chiton can be seen on the Charioteer of Delphi. Spartan women's clothing was notoriously short, they wore the Dorian peplos, with slit skirts. The Dorian peplos was made of a heavier woolen material than was common in Ionia, was fastened at the shoulder by pins called fibulae; when running races, Spartan girls wore a distinctive single-shouldered knee-length chiton.
Clothing in the ancient world Exomis Himation Peplos Tunic Zoster Pomeroy, Sarah B. Goddesses, Whores and Slaves: Women in Classical Antiquity, London: Pimlico, ISBN 978-0-712-66054-9 Pomeroy, Spartan Women, Oxford: Oxford University Press, ISBN 0-195-13067-7 "Chiton" Encyclopædia Britannica Greek Dress Greek clothes
Ancient Greek
The Ancient Greek language includes the forms of Greek used in Ancient Greece and the ancient world from around the 9th century BCE to the 6th century CE. It is roughly divided into the Archaic period, Classical period, Hellenistic period, it is succeeded by medieval Greek. Koine is regarded as a separate historical stage of its own, although in its earliest form it resembled Attic Greek and in its latest form it approaches Medieval Greek. Prior to the Koine period, Greek of the classic and earlier periods included several regional dialects. Ancient Greek was the language of Homer and of fifth-century Athenian historians and philosophers, it has contributed many words to English vocabulary and has been a standard subject of study in educational institutions of the Western world since the Renaissance. This article contains information about the Epic and Classical periods of the language. Ancient Greek was a pluricentric language, divided into many dialects; the main dialect groups are Attic and Ionic, Aeolic and Doric, many of them with several subdivisions.
Some dialects are found in standardized literary forms used in literature, while others are attested only in inscriptions. There are several historical forms. Homeric Greek is a literary form of Archaic Greek used in the epic poems, the "Iliad" and "Odyssey", in poems by other authors. Homeric Greek had significant differences in grammar and pronunciation from Classical Attic and other Classical-era dialects; the origins, early form and development of the Hellenic language family are not well understood because of a lack of contemporaneous evidence. Several theories exist about what Hellenic dialect groups may have existed between the divergence of early Greek-like speech from the common Proto-Indo-European language and the Classical period, they differ in some of the detail. The only attested dialect from this period is Mycenaean Greek, but its relationship to the historical dialects and the historical circumstances of the times imply that the overall groups existed in some form. Scholars assume that major Ancient Greek period dialect groups developed not than 1120 BCE, at the time of the Dorian invasion—and that their first appearances as precise alphabetic writing began in the 8th century BCE.
The invasion would not be "Dorian" unless the invaders had some cultural relationship to the historical Dorians. The invasion is known to have displaced population to the Attic-Ionic regions, who regarded themselves as descendants of the population displaced by or contending with the Dorians; the Greeks of this period believed there were three major divisions of all Greek people—Dorians and Ionians, each with their own defining and distinctive dialects. Allowing for their oversight of Arcadian, an obscure mountain dialect, Cypriot, far from the center of Greek scholarship, this division of people and language is quite similar to the results of modern archaeological-linguistic investigation. One standard formulation for the dialects is: West vs. non-west Greek is the strongest marked and earliest division, with non-west in subsets of Ionic-Attic and Aeolic vs. Arcadocypriot, or Aeolic and Arcado-Cypriot vs. Ionic-Attic. Non-west is called East Greek. Arcadocypriot descended more from the Mycenaean Greek of the Bronze Age.
Boeotian had come under a strong Northwest Greek influence, can in some respects be considered a transitional dialect. Thessalian had come under Northwest Greek influence, though to a lesser degree. Pamphylian Greek, spoken in a small area on the southwestern coast of Anatolia and little preserved in inscriptions, may be either a fifth major dialect group, or it is Mycenaean Greek overlaid by Doric, with a non-Greek native influence. Most of the dialect sub-groups listed above had further subdivisions equivalent to a city-state and its surrounding territory, or to an island. Doric notably had several intermediate divisions as well, into Island Doric, Southern Peloponnesus Doric, Northern Peloponnesus Doric; the Lesbian dialect was Aeolic Greek. All the groups were represented by colonies beyond Greece proper as well, these colonies developed local characteristics under the influence of settlers or neighbors speaking different Greek dialects; the dialects outside the Ionic group are known from inscriptions, notable exceptions being: fragments of the works of the poet Sappho from the island of Lesbos, in Aeolian, the poems of the Boeotian poet Pindar and other lyric poets in Doric.
After the conquests of Alexander the Great in the late 4th century BCE, a new international dialect known as Koine or Common Greek developed based on Attic Greek, but with influence from other dialects. This dialect replaced most of the older dialects, although Doric dialect has survived in the Tsakonian language, spoken in the region of modern Sparta. Doric has passed down its aorist terminations into most verbs of Demotic Greek. By about the 6th century CE, the Koine had metamorphosized into Medieval Greek. Ancient Macedonian was an Indo-European language at least related to Greek, but its exact relationship is unclear because of insufficient data: a dialect of Greek; the Macedonian dialect (or l
Diodorus Siculus
Diodorus Siculus or Diodorus of Sicily was a Greek historian. He is known for writing the monumental universal history Bibliotheca historica, much of which survives, between 60 and 30 BC, it is arranged in three parts. The first covers mythic history up to the destruction of Troy, arranged geographically, describing regions around the world from Egypt and Arabia to Greece and Europe; the second covers the Trojan War to the death of Alexander the Great. The third covers the period to about 60 BC. Bibliotheca, meaning ` library', acknowledges. According to his own work, he was born at Agyrium in Sicily. With one exception, antiquity affords no further information about his life and doings beyond in his work. Only Jerome, in his Chronicon under the "year of Abraham 1968", writes, "Diodorus of Sicily, a writer of Greek history, became illustrious". However, his English translator, Charles Henry Oldfather, remarks on the "striking coincidence" that one of only two known Greek inscriptions from Agyrium is the tombstone of one "Diodorus, the son of Apollonius".
Diodorus' universal history, which he named Bibliotheca historica, was immense and consisted of 40 books, of which 1–5 and 11–20 survive: fragments of the lost books are preserved in Photius and the excerpts of Constantine Porphyrogenitus. It was divided into three sections; the first six books treated the mythic history of the non-Hellenic and Hellenic tribes to the destruction of Troy and are geographical in theme, describe the history and culture of Ancient Egypt, of Mesopotamia, India and Arabia, of North Africa, of Greece and Europe. In the next section, he recounts the history of the world from the Trojan War down to the death of Alexander the Great; the last section concerns the historical events from the successors of Alexander down to either 60 BC or the beginning of Julius Caesar's Gallic Wars. He selected the name "Bibliotheca" in acknowledgment that he was assembling a composite work from many sources. Identified authors on whose works he drew include Hecataeus of Abdera, Ctesias of Cnidus, Theopompus, Hieronymus of Cardia, Duris of Samos, Philistus, Timaeus and Posidonius.
His account of gold mining in Nubia in eastern Egypt is one of the earliest extant texts on the topic, describes in vivid detail the use of slave labour in terrible working conditions. He gave an account of the Gauls: "The Gauls are terrifying in aspect and their voices are deep and altogether harsh, they are boasters and threateners and are fond of pompous language, yet they have sharp wits and are not without cleverness at learning." Pliny the Elder Strabo Acadine Ambaglio, Franca Landucci Gattinoni and Luigi Bravi. Diodoro Siculo: Biblioteca storica: commento storico: introduzione generale. Storia. Ricerche. Milano: V&P, 2008. X, 145 p. Buckley, Terry. Aspects of Greek History 750-323 BC: A Source-based Approach. London: Routledge. ISBN 0-415-09958-7. Lloyd, Alan B.. Herodotus, Book II. Leiden: Brill. Pp. Introduction. ISBN 90-04-04179-6. Siculus, Diodorus. H.. Library of History: Loeb Classical Library. Cambridge, MA.: Harvard University Press. Siculus, Diodorus. Rhodomannus; the Historical Library of Diodorus the Sicilian in Fifteen Books to which are added the Fragments of Diodorus.
London: J. Davis. Downloadable via Google Books. Siculi, Diodori. Bibliothecae Historicae Libri Qui Supersunt: Nova Editio. Argentorati: Societas Bipontina. CS1 maint: Extra text: authors list Downloadable via Google Books. Clarke, Katherine. 1999. "Universal perspectives in Historiography." In The Limits of Historiography: Genre and Narrative in Ancient Historical Texts. Edited by Christina Shuttleworth Kraus, 249–279. Mnemosyne. Supplementum 191. Leiden, The Netherlands: Brill. Hammond, Nicholas G. L. 1998. "Portents and Dreams in Diodorus’ Books 14–17." Greek and Byzantine Studies 39.4: 407–428. McQueen, Earl I. 1995. Diodorus Siculus; the Reign of Philip II: The Greek and Macedonian Narrative from Book XVI. A Companion. London: Bristol Classical Press. Muntz, Charles E. 2017. Diodorus Siculus and the World of the Late Roman Republic. New York: Oxford Univ. Press. Pfuntner, Laura. 2015. "Reading Diodorus through Photius: The Case of the Sicilian Slave Revolts." Greek and Byzantine Studies 55.1: 256–272. Rubincam, Catherine.
1987. "The Organization and Composition of Diodorus’ Bibliotheke." Échos du monde classique 31:313–328. Sacks, Kenneth S. 1990. Diodorus Siculus and the First Century. Princeton, NJ: Princeton Univ. Press. Sinclair, Robert K. 1963. "Diodorus Siculus and the Writing of History." Proceedings of the African Classical Association 6:36–45. Stronk, Jan P. 2017. Semiramis’ Legacy; the History of Persia According to Diodorus of Sicily. Edinburgh: Edinburgh Univ. Press. Sulimani, Iris. 2008. "Diodorus’ Source-Citations: A Turn in the Attitu
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