Plutarch, De gloria Atheniensium, Frank Cole Babbitt (Translator), 2

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[2] This city, as we all know, has been the mother and kindly nurse of many other arts, some of which she was the first to discover and reveal, while to others she gave added strength and honour and advancement; not least of all,painting was enhanced and embellished by her. For Apollodorus the painter, the first man to discover the art of mixing colours and chiaroscuro, was an Athenian. Upon his productions is inscribed:

It were easier that you blame than try to make the same.¹

Euphranor, Nicias, Asclepiodorus, and Panaenus, the brother of Pheidias, some of them painted conquering generals, others battles, and still others the heroes of old. As, for example, Euphranor compared his own Theseus with that of Parrhasius, saying that Parrhasius’s Theseus² had fed on roses, but his on beef; for in truth Parrhasius’s portrait has a certain delicacy and subtlety in its execution, and it does somewhat resemble Theseus; but someone, on seeing Euphranor’s Theseus, exclaimed, not inaptly,

Race of the great-hearted hero Erechtheus, whom once Athena

Nurtured, the daughter of Zeus.³

Euphranor has painted also, not without some animation, the cavalry battle against Epameinondas at Mantineia. The action came about in this way:⁴ Epameinondas the Theban, after the battle of Leuctra, was greatly elated, and conceived the desire to trample upon the prostrate Sparta, and grind her pride and self-esteem into the dust. And first he attacked with an army of seventy thousand, pillaged the Spartans’ territory, and persuaded the Perioeci to revolt from them. Then he challenged to battle the forces that were drawn up in the vicinity of Mantineia; but when they did not wish or even dare to risk an engagement, but continued to await reinforcements from Athens, he broke camp by night and, without being observed by anybody, descended into Lacedaemon and almost succeeded, by a sudden attack, in capturing and occupying the city, which was without defenders. But when the Spartan allies perceived this, and aid for the city quickly arrived, he retired as though he were again about totum to plundering and devastating the countryside. But when he had thus deceived his enemies and quieted their suspicions, he set forth by night from Laconia and, rapidly traversing the intervening territory, appeared to the Mantineans unexpectedly, while they also were engaged in discussing the right moment for sending aid to Sparta, and ordered the Thebans to arm straightway for the attack. Accordingly the Thebans, who took great pride in their skill at arms, advanced to the attack and encircled the city walls. There was consternation among the Mantineans, and shouting and running hither and thither, since they were unable to repulse this assembled force which was bursting upon them like a torrent, nor did any thought of possible succour occur to their minds. At this crucial and fateful moment the Athenians were descending from the heights to the plain of Mantineia, with no knowledge of this turn of fortune or of the keenness of the struggle, but were proceeding leisurely on their journey. However, when one of the Mantineans ran out with report of the danger, although the Athenians were few in comparison with the great numbers of their enemy, and although they were weary from their march, and none of their other allies was at hand, nevertheless they straightway took their places in battle-array with almost their whole number, while the cavalry donned their armour and rode ahead of the rest, and under the very gates and the wall of the eity engaged in a sharp cavalry encounter; the Athenians prevailed and rescued Mantineia from the clutches of Epameinondas.

This was the action which Euphranor depicted, and in his portrayal of the battle one may see the clash of conflict and the stout resistance abounding in boldness and courage and spirit. But I do not think you would award judgement to the painter in comparison with the general, nor would you bear with those who prefer the picture to the trophy of victory, or the imitation to the actuality.

De gloria Atheniensium. Plutarch. Frank Cole Babbitt (Translator). Cambridge, MA. 1936.

Sponsored by Perseus Project, Tufts University.

Funding provided by The National Endowment for the Humanities.

Current edition Perseus

Were the Athenians More Famous in War or in Wisdom? (English) (Plutarch. Moralia, Vol. IV. Babbitt, Frank Cole, translator. Cambridge, MA: Harvard University Press; London: William Heinemann Ltd., 1936 (printing).)

Editions (2)

Πότερον Ἀθηναῖοι κατὰ πόλεμον ἢ κατὰ σοφίαν ἐνδοξότεροι Perseus (Plutarch. Moralia, Vol. IV. Babbitt, Frank Cole, editor. Cambridge, MA: Harvard University Press; London: William Heinemann Ltd., 1936 (printing).) — 2 focus

[2] πολλῶν μὲν δὴ καὶ ἄλλων ἡ πόλις ἥδε μήτηρ καὶ τροφὸς εὐμενὴς τεχνῶν γέγονε τὰς μὲν εὑραμένη καὶ ἀναφήνασα πρώτη, ταῖς δὲ δύναμιν προσθεῖσα καὶ τιμὴν καὶ αὔξησιν οὐχ ἥκιστα δʼ ὑπʼ 346a αὐτῆς ζωγραφία προῆκται καὶ κεκόσμηται. καὶ γὰρ Ἀπολλόδωρος ὁ ζωγράφος, ἀνθρώπων πρῶτος ἐξευρὼν φθορὰν καὶ ἀπόχρωσιν σκιᾶς, Ἀθηναῖος ἦν· οὗ τοῖς ἔργοις ἐπιγέγραπται μωμήσεταί τις μᾶλλον ἢ μιμήσεται. καὶ Εὐφράνωρ καὶ Νικίας καὶ Ἀσκληπιόδωρος καὶ Πάναινος¹ ὁ Φειδίου ἀδελφός, οἱ μὲν στρατηγοὺς ἔγραψαν νικῶντας, οἱ δὲ μάχας, οἱ δʼ ἥρωας ὥσπερ Εὐφράνωρ τὸν Θησέα τὸν ἑαυτοῦ τῷ Παρρασίου παρέβαλε, λέγων τὸν μὲν ἐκείνου ῥόδα βεβρωκέναι, τὸν δʼ ἑαυτοῦ κρέα βόεια. τῷ γὰρ ὄντι γλαφυρῶς ὁ Παρρασίου γέγραπται καὶ πεποίκιλται καί τι² προσέοικε· τὸν δʼ Εὐφράνορος ἰδών τις εἶπεν οὐκ ἀφυῶς ³ 346b

δῆμον Ἐρεχθῆος μεγαλήτορος, ὅν ποτʼ Ἀθήνη

θρέψε Διὸς θυγάτηρ.

γέγραφε δὲ καὶ τὴν ἐν Μαντινείᾳ πρὸς Ἐπαμεινώνδαν ἱππομαχίαν οὐκ ἀνενθουσιάστως Εὐφράνωρ. τὸ δʼ ἔργον ἔσχεν οὕτως· Ἐπαμεινώνδας Θηβαῖος ἀπὸ⁴ τῆς ἐν Λεύκτροις μάχης ἀρθεὶς μέγας ἐπεμβῆναι τῇ Σπάρτῃ πεσούσῃ καὶ πατῆσαι τὸ φρόνημα καὶ τὸ ἀξίωμα τῆς πόλεως ἠθέλησε. καὶ πρῶτα μὲν ἐμβαλὼν ἑπτὰ μυριάσι στρατοῦ διεπόρθησε τὴν χώραν καὶ τοὺς περιοίκους ἀπέστησεν αὐτῶν· ἔπειτα περὶ Μαντίνειαν ἀντιτεταγμένους εἰς μάχην 346c προυκαλεῖτο· μὴ βουλομένων δὲ μηδὲ τολμώντων, ἀλλὰ τὴν Ἀθήνηθεν ἐπικουρίαν ἐκδεχομένων, νυκτὸς ἄρας καὶ λαθὼν ἅπαντας εἰς τὴν Λακωνικὴν κατέβη, καὶ μικροῦ ἔφθη τὴν πόλιν ἔρημον ἐξ ἐφόδου λαβεῖν καὶ κατασχεῖν. αἰσθομένων δὲ τῶν συμμάχων καὶ βοηθείας ταχείας⁵ πρὸς τὴν πόλιν γενομένης, ὕπειξε ⁶ μὲν ὡς αὖθις ἐπὶ λεηλασίαν καὶ φθορὰν τῆς χώρας τρεψόμενος· ἐξαπατήσας δὲ καὶ κατακοιμίσας οὕτω τοὺς πολεμίους ἀνέζευξε νυκτὸς ἐκ τῆς Λακωνικῆς· καὶ διαδραμὼν τὴν⁷ μεταξὺ χώραν ἐπεφαίνετο τοῖς Μαντινεῦσιν ἀπροσδόκητος διαβουλευομένοις καὶ ⁸ αὐτοῖς ἀκμὴν τοῦ 346d πέμπειν τὴν εἰς Λακεδαίμονα βοήθειαν καὶ ⁹ εὐθέως ὁπλίζεσθαι προσέταξε τοῖς Θηβαίοις. οἱ μὲν οὖν Θηβαῖοι μέγα φρονοῦντες ἐν τοῖς ὅπλοις ἐπεφέροντο καὶ περιελάμβανον κύκλῳ τὰ τείχη], τῶν δὲ Μαντινέων ἔκπληξις ἦν καὶ ἀλαλαγμὸς καὶ διαδρομή, ὡς ῥεῦμα τὴν δύναμιν ἀθρόαν ἐμπίπτουσαν ὤσασθαι μὴ δυναμένων μηδʼ ἐπινοούντων βοήθειαν. ἐν τούτῳ δὲ καιροῦ καὶ τύχης Ἀθηναῖοι κατέβαινον ἀπὸ τῶν ἄκρων εἰς τὴν Μαντινικὴν οὐκ εἰδότες τὴν ῥοπὴν οὐδὲ τὴν ὀξύτητα τοῦ ἀγῶνος, ἀλλʼ ὁδῷ πορευόμενοι καθʼ ἡσυχίαν ὡς δέ τις 346e ἀστῶν ¹⁰ ἐκδραμὼν ἀπήγγειλε τὸν κίνδυνον, ὀλίγοι μὲν ὄντες ὡς πρὸς τὸ πλῆθος τῶν πολεμίων, ἐξ ὁδοῦ δὲ κεκμηκότες, οὐδενὸς δὲ τῶν ἄλλων συμμάχων παρόντος, ὅμως εὐθὺς εἰς τάξιν καθίσταντο τοῖς πλείστοις ¹¹ · οἱ δʼ ἱππεῖς διασκευασάμενοι καὶ προεξελάσαντες, ¹² ὑπὸ τὰς πύλας αὐτὰς καὶ τὸ τεῖχος ἔθεντο καρτερὰν ἱππομαχίαν· καὶ κρατήσαντες ἐκ τῶν χειρῶν τοῦ Ἐπαμεινώνδα ἀφείλοντο τὴν Μαντίνειαν.

τοῦτο τὸ ἔργον Εὐφράνωρ ἔγραψε, καὶ πάρεστιν ὁρᾶν ἐν εἰκόνι τῆς μάχης τὸ σύρρηγμα ¹³ καὶ τὴν ἀντέρεισιν ἀλκῆς καὶ θυμοῦ καὶ πνεύματος γέμουσαν 346f . ἀλλʼ οὐκ ἂν οἶμαι τῷ ζωγράφῳ ¹⁴ κρίσιν προθείητε ¹⁵ πρὸς τὸν στρατηγὸν οὐδʼ ἀνάσχοισθε τῶν προτιμώντων τὸν πίνακα τοῦ τροπαίου καὶ τὸ μίμημα τῆς ἀληθείας.

Πότερον Ἀθηναῖοι κατὰ πόλεμον ἢ κατὰ σοφίαν ἐνδοξότεροι Perseus (Plutarch. Plutarchi Chaeronensis Moralia, Vol II. Vernardakēs, Grēgorios N., editor. Leipzig. Teubner, 1889.) — 2 focus

[2] πολλῶν μὲν δὴ καὶ ἄλλων ἡ πόλις ἥδε μήτηρ καὶ τροφὸς εὐμενὴς τεχνῶν γέγονε, τὰς μὲν εὑραμένη καὶ ἀναφήνασα πρώτη, ταῖς δὲ δύναμιν προσθεῖσα καὶ τιμὴν καὶ αὔξησιν· οὐχ ἥκιστα δʼ ὑπʼ 20 346a αὐτῆς ζωγραφία προῆκται καὶ κεκόσμηται. καὶ γὰρ Ἀπολλόδωρος ὁ ζωγράφος, ἀνθρώπων πρῶτος ἐξευρὼν φθορὰν καὶ ἀπόχρωσιν σκιᾶς, Ἀθηναῖος ἦν· οὗ τοῖς ἔργοις ἐπιγέγραπται μωμήσεταί τις μᾶλλον ἢ μιμήσεται. καὶ Εὐφράνωρ καὶ Νικίας καὶ Ἀσκληπιόδωρος 25 καὶ Πλεισταίνετος ¹ ὁ Φειδίου ἀδελφός, οἱ μὲν στρατηγοὺς ἔγραψαν νικῶντας, οἱ δὲ μάχας, οἱ δʼ ἥρωας· ὥσπερ Εὐφράνωρ τὸν Θησέα τὸν ἑαυτοῦ τῷ Παρρασίου παρέβαλε, λέγων τὸν μὲν ἐκείνου ῥόδα βεβρωκέναι, τὸν δʼ ἑαυτοῦ κρέα βόεια. τῷ γὰρ ὄντι 5 γλαφυρῶς ὁ Παρρασίου γέγραπται καὶ πεποίηται καί 346b τι ² προσέοικε· τὸν δʼ Εὐφράνορος ἰδών τις εἶπεν οὐκ ἀφυῶς ³

δῆμον Ἐρεχθῆος μεγαλήτορος, ὃν ποτʼ Ἀθήνη

⁴

θρέψε Διὸς θυγάτηρ. 10

γέγραφε δὲ καὶ τὴν ἐν Μαντινείᾳ πρὸς Ἐπαμεινώνδαν ἱππομαχίαν οὐκ ἀνενθουσιάστως Εὐφράνωρ. τὸ δʼ ἔργον ἔσχεν οὕτως· Ἐπαμεινώνδας Θηβαῖος ἀπὸ ⁵ τῆς ἐν Λεύκτροις μάχης ἀρθεὶς μέγας, ἐπεμβῆναι τῇ Σπάρτῃ πεσούσῃ καὶ πατῆσαι τὸ φρόνημα καὶ τὸ 15 ἀξίωμα τῆς πόλεως ἠθέλησε. καὶ πρῶτα μὲν ἐμβαλὼν ἑπτὰ μυριάσι στρατοῦ διεπόρθησε τὴν χώραν καὶ τοὺς περιοίκους ἀπέστησεν αὐτῶν· ἔπειτα περὶ 346c Μαντίνειαν ἀντιτεταγμένους εἰς μάχην προυκαλεῖτο. μὴ βουλομένων δὲ μηδὲ τολμώντων, ἀλλὰ τὴν Ἀθήνηθεν 20 ἐπικουρίαν ἐκδεχομένων, νυκτὸς ἄρας καὶ λαθὼν ἅπαντας εἰς τὴν Λακωνικὴν κατέβη, καὶ μικρὸν ⁶ ἔφθη τὴν πόλιν ἔρημον ἐξ ἐφόδου λαβεῖν καὶ κατασχεῖν. αἰσθομένων δὲ τῶν συμμάχων καὶ βοηθείας κατὰ ⁷ τάχος πρὸς τὴν πόλιν γενομένης, 25 ὑπέδειξε μὲν ὡς αὖθις ἐπὶ λεηλασίαν καὶ φθορὰν τῆς χώρας τρεψόμενος· ἐξαπατήσας δὲ καὶ κατακοιμίσας οὕτω τοὺς πολεμίους ἀνέζευξε νυκτὸς ἐκ τῆς Λακωνικῆς· καὶ διαδραμὼν τὴν ⁸ μεταξὺ χώραν 346d ἐπεφαίνετο τοῖς Μαντινεῦσιν ἀπροσδόκητος, καὶ διαβουλευομένοις αὐτοῖς ἀκμὴν τοῦ ⁹ πέμπειν τὴν εἰς 5 Λακεδαίμονα βοήθειαν, εὐθέως ὁπλίζεσθαι προσέταξε τοῖς Θηβαίοις. οἱ μὲν οὖν Θηβαῖοι μέγα φρονοῦντες ἐν τοῖς ὅπλοις ἐπεφέροντο καὶ περιελάμβανον κύκλῳ τὰ τείχη. τῶν δὲ Μαντινέων ἔκπληξις ἦν καὶ ἀλαλαγμὸς καὶ διαδρομή, ὡς ῥεῦμα τὴν δύναμιν 10 ἀθρόαν ἐμπίπτουσαν ὤσασθαι μὴ δυναμένων μηδʼ ἐπινοούντων βοήθειαν. ἐν τούτῳ δὲ καιροῦ καὶ τύχης Ἀθηναῖοι κατέβαινον ἀπὸ τῶν ἄκρων εἰς τὴν 346e Μαντινικήν, οὐκ εἰδότες τὴν ῥοπὴν οὐδὲ τὴν ὀξύτητα τοῦ ἀγῶνος, ἀλλʼ ὁδῷ πορευόμενοι καθʼ ἡσυχίαν· 15 ὡς δέ τις αὐτῶν ἐκδραμὼν ἀπήγγειλε τὸν κίνδυνον, ὀλίγοι μὲν ὄντες ὡς πρὸς τὸ πλῆθος τῶν πολεμίων, ἐξ ὁδοῦ δὲ κεκμηκότες, οὐδενὸς δὲ τῶν ἄλλων συμμάχων παρόντος, ὅμως εὐθὺς εἰς τάξιν καθίσταντο τοῖς πλείστοις. ¹⁰ οἱ δʼ ἱππεῖς διασκευασάμενοι 20 καὶ προεξελάσαντες, ὑπὸ τὰς πύλας αὐτὰς καὶ τὸ τεῖχος ἔθεντο καρτερὰν ἱππομαχίαν· καὶ κρατήσαντες ἐκ τῶν χειρῶν τοῦ Ἐπαμεινώνδα ἀφείλοντο τὴν ¹¹ Μαντίνειαν. τοῦτο τὸ ἔργον Εὐφράνωρ ἔγραψε, καὶ πάρεστιν ὁρᾶν ἐν εἰκόνι τῆς μάχης τὸ 25 346f σύρρηγμα ¹² καὶ τὴν ἀντέρεισιν ἀλκῆς καὶ θυμοῦ καὶ πνεύματος γέμουσαν. ἀλλʼ οὐκ ἂν οἶμαι τῷ ζωγράφῳ ¹³ κρίσιν προθείητε ¹⁴ πρὸς τὸν στρατηγὸν οὐδʼ ἀνάσχοισθε τῶν προτιμώντων τὸν πίνακα τοῦ τροπαίου καὶ τὸ μίμημα τῆς ἀληθείας.

Translations (1)

Whether the Athenians Were More Renowned For Their Warlike Achievements or For Their Learning Perseus (Plutarch. Plutarch's Morals, Vol. V. Goodwin, William W., editor; Smith, R, translator. Boston. Little, Brown, and Company, 1874.) — 2 focus

[2] But this city was the mother and charitable nurse of many other arts and sciences; some of which she first invented and illustrated, to others she gave both efficacy, honor, and increase. More especially to her is painting beholden for its first invention, and the perfection to which it has attained. For Apollodorus the painter, who first invented the mixing of colors and the softening of shadows, was an Athenian. Over whose works there is this inscription:

’Tis no hard thing to reprehend me;

But let the men that blame me mend me.

Then for Euphranor, Nicias, Asclepiodorus, and Plistaenetus the brother of Phidias, some of them painted the victories, others the battles of great generals, and some of them heroes themselves. Thus Euphranor, comparing his own Theseus with another drawn by Parrhasius, said, that Parrhasius’s Theseus ate roses, but his fed upon beef. For Parrhasius’s piece was daintily painted, and perhaps it might be something like the original. But he that beheld Euphranor’s Theseus might well exclaim,

Race of Erechtheus bold and stout,

Whom Pallas bred.

Euphranor also painted with great spirit the battle of Mantinea, fought by the cavalry between the Athenians and Epaminondas. The story was thus. The Theban Epaminondas, puffed up with his victory at Leuctra, and designing to insult and trample over fallen Sparta and the glory of that city, with an army of seventy thousand men invaded and laid waste the Lacedaemonian territory, stirred up the subject people to revolt, and not far from Mantinea provoked the Spartans to battle; but they neither being willing nor indeed daring to encounter him, being in expectation of a reinforcement from Athens, Epaminondas dislodged in the night-time, and with all the secrecy imaginable fell into the Lacedaemonian territory; and missed but little of taking Sparta itself, being destitute of men to defend it. But the allies of the Lacedaemonians made haste to its relief; whereupon Epaminondas made a show as if he would again return to spoiling and laying waste the country; and by this means deceiving and amusing his enemies, he retreats out of Laconia by night, and with swift marches coming upon the Mantineans unexpectedly, at what time they were deliberating to send relief to Sparta, presently commanded the Thebans to prepare to storm the town. Immediately the Thebans, who had a great conceit of their warlike courage, took their several posts, and began to surround the city. This put the Mantineans into a dismal consternation, and filled the whole city with dreadful outcries and hurly-burly, as being neither able to withstand such a torrent of armed men ready to rush in upon them, nor having any hopes of succor.

But at the same time, and by good fortune, the Athenians came down from the hills into the plains of Mantinea, not knowing any thing of the critical moment that required more speedy haste, but marching leisurely along. However, so soon as they were informed of the danger of their allies, by one that scouted out from the rest, though but few in respect of the number of their enemies, single of themselves, and tired with their march, yet they presently drew up into order of battle; and the cavalry charging up to the very gates of Mantinea, there happened a terrible battle betweeen the horse on both sides; wherein the Athenians got the better, and so saved Mantinea out of Epaminondas’s hands. This conflict was painted by Euphranor, and you see in the picture with what strength, what fury and vigor they fought. And yet I do not believe that any one will compare the skill of the painter with that of the general; or would endure that any one should prefer the picture before the trophy, or the imitation before the truth itself.

Notes on the current edition

Were the Athenians More Famous in War or in Wisdom?

1. Cf. Pliny, Natural History, xxxv. 9. 62, where the verse is ascribed to Zeuxis; for other references see Edmonds, Elegy and Iambus (in the L.C.L.), ii. p. 24.

2. Cf. Pliny, Natural History, xxxv. 9. 69.

3. Homer, Il. ii. 547.

4. Cf. Life of Agesilaüs, chaps. xxxiv.-xxxv. (615 c-616 a); Xenophon, Hellenica, vii. 5; Diodorus, xv. 82-84.

Plutarch De gloria Atheniensium 2

Frank Cole Babbitt (Translator)

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