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A Dictionary of Greek and Roman biography and mythology (ed. William Smith) 16 16 Browse Search
Diodorus Siculus, Library 1 1 Browse Search
Lycurgus, Speeches 1 1 Browse Search
Pausanias, Description of Greece 1 1 Browse Search
Titus Livius (Livy), Ab Urbe Condita, books 3-4 (ed. Benjamin Oliver Foster, Ph.D.) 1 1 Browse Search
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Browsing named entities in A Dictionary of Greek and Roman biography and mythology (ed. William Smith). You can also browse the collection for 448 BC or search for 448 BC in all documents.

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Aquili'nus 2. LAR HERMINIUS AQUILINUS, T. F., Cos. B. C. 448. (Liv. 3.65; Dionys. A. R. 11.51.)
A. Ate'rnius or ATE'RIUS consul B. C. 454, with Sp. Tarpeius. (Liv. 3.31.) The consulship is memorable for the passing of the Lex Aternia Tarpeia. (Dict. of Ant. s. v.) Aternius was subsequently in B. C. 448, one of the patricians tribunes of the people, which was the only time that patricians were elected to that office. (Liv. 3.65.)
A Dictionary of Greek and Roman biography and mythology (ed. William Smith), Caeliomonta'nus (search)
Caeliomonta'nus 5. T. Virginius Tricostus Caeliomontanus, T. F., consul B. C. 448. (Liv. 3.65; Dionys. A. R. 11.51; Diod. 12.27.)
Calynthus (*Ka/lunqos), a statuary of uncertain country, contemporary with Onatas, B. C. 468-448. (Paus. 10.13.5.) [W.
n B. C. 451, and there are a few other fragments which evidently belong to an earlier period than the 85th Olympiad. Again, Crates the comic poet acted the plays of Cratinus before he began to write himself ; but Crates began to write in B. C. 449-448. We can therefore have no hesitation in preferring the date of Eusebius (Chron. s. a. Ol. 81. 3; Syncell. p. 339), although he is manifestly wrong in joining the name of Plato with that of Cratinus. According to this testimony, Cratinus began to e as, for example, the *Sa/turoi and *Xeimazo/menoi, which are mentioned only in the Didascalia of the Knights and Acharnians. Dateable Plays The following are the plays of Cratinus, the date of which is known with certainty :-- B. C. >About 448. *)Arxi/loxoi. In 425. *Xeimazo/menoi, 2nd prize. Aristophanes was first, with the Acharnians. 424. *Sa/turoi, 2nd prize. Aristophanes was first, with the Knights. 423. *Puti/nh, 1st prize. 2nd. Ameipsias, *Ko/nnos. 3rd. Aristoph. *Ne
A Dictionary of Greek and Roman biography and mythology (ed. William Smith), (search)
Hermi'nia Gens a very ancient patrician house at Rome, which appears in the first Etruscan war with the republic, B. C. 506, and vanishes from history in B. C. 448. The name Herminius occurs only twice in the Fasti, and has only one cognomen, AQUILINUS. [AQUILINUS.] Whether this gens were of Oscan, Sabellian, or Etruscan origin, is doubtful. An Herminius defends the sublician bridge against an Etruscan army, and probably represents in that combat one of the three tribes of Rome. Horatius Cocles, as a member of a lesser gens, the Horatian, is the symbol of the Luceres; and therefore Herminius is the symbol either of the Ramnes or the Titienses. Probably of the latter, since the Titienses were the Sabine tribe, and the syllable Her is of frequent occurrence in Sabellian names--Her-ennius, Her-ius, Her-nicus, Her-silia, &c. (Comp. Müller, Etrusc. vol. i. p. 423.) But, on the other hand, the nomen of one of the Herminii is Lar, Larius, or Larcius (Liv. 3.65; Dionys. A. R. 11.51; Diod. 12
LAR or LARS (*La/ras, Plut. Poplic. 16, *La/ros, Dionys. A. R. 5.21). was an Etruscan praenomen, borne for instance by Porsena and Tolumnius, and from the Etruscans passed over to the Romans; hence we read of Lar Herminius, who was consul B. C. 448. This word is supposed by many to have signified "Lord" in the Etruscan. (Val. Max. De Nomin. et Praenom. ; Liv. 2.9, 4.17, iii 65.)
Panaenus (*Pa/nainos), a distinguished Athenian painter, who flourished, according to Pliny, in the 83rd Olympiad, B. C. 448 (H. N. 35.8. s. 4). He was the nephew of Pheidias (a)delfidou=s, Strab. viii. p.354; a)/delfos, Paus. 5.11.2 ; frater, i. e. frater patruelis, Plin. l.e. and 36.23. s. 55), whom he assisted in decorating the temple of Zeus, at Olympia; and it is said to have been in answer to a question of his that Pheidias made his celebrated declaration that Homer's description of the nod of Zeus (Il. 1.528) gave him the idea of his statue of the god. With regard to the works of Panaenus in the temple at Olympia, Strabo (l.c.) tells us that he assisted Pheidias in the execution of his statue of Zeus, by ornamenting it with colours, and especially the drapery ; and that many admirable paintings of his were shown around the temple (peri\ to\ i(ero/n), by which, as Böttiger has pointed out (Arch. d. Malerei, p. 245), we must understand the paintings on the sides of the elevated
time of danger; but also, and this was the most important part of the scheme, about the means of securing freedom and safety of navigation in every direction, and of establishing a general peace between the different Hellenic states. To bear these proposals to the different states, twenty men were selected of above fifty years of age, who were sent in detachments of five in different directions. But through the jealousy and counter machinations of Sparta, the project came to nothing. In B. C. 448 the Phocians deprived the Delphians of the oversight of the temple and the guardianship of the treasures in it. In this they seem at least to have relied on the assistance of the Athenians, if the proceeding had not been suggested by them. A Lacedaemonian force proceeded to Phocis, and restored the temple to the Delphians, who granted to Sparta the right of precedence in consulting the oracle. But as soon as the Lacedaemonians had retired, Pericles appeared before the city with an Athenian
mple of Apollo at Delphi, but died while he was still engaged upon the work, which was completed by another Athenian artist, Androsthenes, the disciple of Eucadmus. (Paus. 10.19.3. s. 4.) The date of Praxias may be safely placed about Ol. 83, B. C. 448, and onwards. His master Calamis flourished about B. C. 467, and belonged to the last period of the archaic school, which immediately preceded Pheidias. [See PHEIDIAS, p. 245b.] Moreover, the indications which we have of the time when the temple at Delphi was decorated by a number of Athenian artists, point to the period between B. C. 448 and 430, and go to show that the works were executed at about the very time when the temples of Athena at Athens, and of Zeus at Olympia, were being adorned by Pheidias and his disciples. (Comp. PHEIDIAS, p. 248b.; POLYGNOTUS, p. 467b.; and Muller, Phid. pp. 28, 29.) The sculptures themselves are described by Pausanias (l.c.) very briefly as consisting of Artemis and Leto, and Apollo and the Muse
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