Συζήτηση:Παυσίας

Ο Πασίας είναι ο Pausias που αναφέρει ο Πλίνιος (35: 123-7, 137); Σε αυτή την περίπτωση είναι λάθος οι παραπομπές στη Φυσική Ιστορία. Στο 35.45 δεν βλέπω σχετική αναφορά στον Πασία. --Dada^* 14:20, 17 Φεβρουαρίου 2008 (UTC)

Παυσίας είναι--ΗΠΣΤΓ 14:30, 17 Φεβρουαρίου 2008 (UTC)

Και στις δύο πηγές αναφέρεται ως Πασίας και όχι Παυσίας.--Templar52 14:45, 17 Φεβρουαρίου 2008 (UTC)

Παυσία τον ξέρω κι εγώ ,και μια αναζήτηση στον γούγλη το ίδιο συμπέρασμα βγάζει . --✻tony esopi ^λέγε 14:47, 17 Φεβρουαρίου 2008 (UTC)

Και στα Κορινθιακά του Παυσανία αναφέρεται ως Παυσίας. --Dada^* 15:05, 17 Φεβρουαρίου 2008 (UTC)

Το κείμενο του Πλινίου του Πρεσβύτερου

Παραθέτω το κείμενο του Πλίνιου του Πρεσβύτερου στο πρωτότυπο (στα λατινικά) και στα Αγγλικά για όσους θα ήθελαν να μεταφέρουν πληροφορίες από αυτό το κείμενο στο άρθρο. --Focal ^Point 15:54, 17 Φεβρουαρίου 2008 (UTC)

Στα λατινικά

(πηγή http://penelope.uchicago.edu/Thayer/L/Roman/Texts/Pliny_the_Elder/35*.html )

123
Pamphilus quoque, Apellis praeceptor, non pinxisse solu encausta, sed etiam docuisse traditur Pausian Socyonium, primum in hoc genere nobilem. Bryetis filius hic fuit eiusdemque primo discipulus. pinxit et ipse penicillo parietes Thespiis, cum reficerentur quondam a Polygnoto picti, multumque comparatione superatus existimabatur, quoniam non suo genere certasset.

124
idem et lacunaria primus pingere instituit, nec camaras ante eum taliter adornari mos fuit; parvas pingebat tabellas maximeque pueros. hoc aemuli interpretabantur facere eum, quoniam tarda picturae ratio esset illa. quam ob rem daturus ei celeritatis famam absolvit uno die tabellam, quae vocata est hemeresios, puero picto.

125
amavit in iuventa Glyceram unicipem suam, inventricem coronarum, certandoque imitatione eius ad numerosissimam florum varietatem perduxit artem illam. postremo pinxit et ipsam sedentem cum corona, quae e nobilissimis tabula est, appellata stephanoplocos, ab aliis stephanopolis, quoniam Glycera venditando coronas sustentaverat paupertatem. huius tabulae exemplar, quod apographon vocant, L. Luculus duobus talentis emit . . . . Dionysius Athenis.

126
Pausias autem fecit et grandes tabulas, sicut spectatam in Pompei porticu boum immolationem. eam primus invenit picturam, quam postea imitati sunt multi, aequavit nemo. ante omnia, cum longitudinem bovis ostendi vellet, adversum eum pinxit, non traversum, et abunde intellegitur amplitudo.

127
dein, cum omnes, quae volunt eminentia videri, candicanti faciant colore, quae condunt, nigro, hic totum bovem atri coloris fecit umbraeque corpus ex ipsa dedit, magna prorsus arte in aequo extantia ostendente et in confracto solida omnia. Sicyone et hic vitam egit, diuque illa fuit patria picturae. tabulas inde e publico omnes propter aes alienum civitatis addictas Scauri aedilitas Romam transtulit.

...

137
Pausiae filius et discipulus Aristolaus e severissimis pictoribus fuit, cuius sunt Epaminondas, Pericles, Media, Virtus, Theseus, imago Atticae plebis, boum immolatio. — Sunt quibus et Nicophanes, eiusdem Pausiae discipulus, placeat diligentia, quam intellegant soli artifices, alias durus in coloribus et sile multus. nam Socrates iure omnibus placet; tales sunt eius cum Aesculapio filiae Hygia, Aegle, Panacea, Iaso et piger, qui appellatur Ocnos, spartum torquens, quod asellus adrodit.

Στα Αγγλικά

Πηγή: http://www.perseus.tufts.edu/cgi-bin/ptext?doc=Perseus%3Atext%3A1999.02.0137&layout=&loc=35.40

It is said, too, that Pamphilus, the instructor of Apelles, not only painted in encaustic, but also instructed Pausias of Sicyon in the art, the first who rendered himself distinguished in this branch. Pausias was the son of Bryetes, by whom he was originally instructed in the art of painting. He retouched also with the pencil some walls at Thespiæ, then undergoing repair, which had formerly been painted by Polygnotus. Upon instituting a comparison, however, it was considered that he was greatly inferior, this kind of painting not being in his line. It was he, too, who first thought of painting ceilings; nor had it been the practice before his day to use this kind of decoration for arched roofs. He painted many small pictures also, miniatures of children more particularly; a thing which, according to the interpretation put upon it by his rivals, was owing to the peculiarly slow process of encaustic painting. The consequence was, that being determined to give a memorable proof of his celerity of execution, he completed a picture in the space of a single day, which was thence called the "Hemeresios," representing the portrait of a child.

In his youth, he was enamoured of Glycera, his fellow-townswoman, the first inventor of chaplets; and in his rivalry of the skill shown by her, he achieved so much success in the encaustic art, as to reproduce the almost numberless tints displayed by flowers. At a later period, he painted her, seated, with a chaplet on, and thus produced one of the very finest of his pictures; known as the "Stephaneplocos" by some, and as the "Stephanopolis" by others; from the circumstance that Glycera had supported herself in her poverty by selling these chaplets. A copy of this picture, usually known as an "apographon," was purchased by L. Lucullus at Athens, during the festival of the Dionysia, at the price of two talents.

Pausias also painted some large pictures, a Sacrifice of Oxen, for instance, which used to be seen in the Portico of Pompeius. In this painting he invented several improvements, which many artists have since imitated, but none with the same success. Although in the picture it was particularly his desire to give an impression of the length of the ox, he painted it with a front view and not sideways, and still has caused the large dimensions of the animal to be fully understood. And then too, whereas all other painters colour in white such parts as they wish to have the appearance of being prominent, and in black such portions as are intended to remain in the back-ground, he has painted the whole of the ox of a black colour, and has shown the dimensions of the body which throws the shadow by the medium of the shadow itself; thus evincing a wonderful degree of skill in showing relief upon a coat painted with a single colour, and conveying an impression of uniform solidity upon a broken ground. It was at Sicyon also that Pausias passed his life, a city which for a long time continued to be the native place of painting. Ultimately, all the paintings belonging to that place were sold by public auction for the discharge of the debts owing by the city, and were transferred to Rome in the ædileship of Scaurus.

...

Aristolaüs, the son and pupil of Pausias, was one of the painters in a more severe style: there are by him an Epaminondas, a Pericles, a Medea, a Theseus, an emblematical picture of the Athenian People, and a Sacrifice of Oxen. Some persons, too, are pleased with the careful style of Nicophanes, who was also a pupil of Pausias; a carefulness, however, which only artists can appreciate, as in other respects he was harsh in his colours, and too lavish of sil; as in his picture, for example, of Æsculapius with his daughters, Hygia, Ægle, and Panacea, his Jason, and his Sluggard, known as the "Ocnos," a man twisting a rope at one end as an ass gnaws it at the other. As to Socrates, his pictures are, with good reason, universally esteemed.