Plutarch, De Pythiae oraculis, Frank Cole Babbitt (Translator), 2

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[2]

PHILINUS.

The guides were going through their prearranged programme, paying no heed to us who begged that they would cut short their harangues and their expounding of most of the inscriptions. The appearance and technique of the statues had only a moderate attraction for the foreign visitor, who, apparently, was a connoisseur in works of art. He did, however, admire the patina of the bronze, for it bore no resemblance to verdigris or rust, but the bronze was smooth and shining with a deep blue tinge, so that it gave an added touch to the sea-captains¹ (for he had begun his sight-seeing with them), as they stood there with the true complexion of the sea and its deepest depths.

Was there, then, said he, some process of alloying and treating used by the artizans of early times for bronze, something like what is called the tempering of swords, on the disappearance of which bronze carne to have a respite from employment in war? As a matter of fact, he continued, it was not by art, as they say, but by accident that the Corinthian bronze² acquired its beauty of colour; a fire consumed a house containing some gold and silver and a great store of copper, and when these were melted and fused together, the great mass of copper furnished a name because of its preponderance.

Theon, taking up the conversation, said, We have heard another more artful account, how a worker in bronze at Corinth, when he had come upon a hoard containing much gold, fearing detection, broke it off a little at a time and stealthily mixed it with his bronze, which thus acquired a wondrous composition. He sold it for a goodly price since it was very highly esteemed for its colour and beauty. However, both this story and that are fiction, but there was apparently some process of combination and preparation; for even now they alloy gold with silver³ and produce a peculiar and extraordinary, and, to my eyes, a sickly paleness and an unlovely perversion.

De Pythiae oraculis. Plutarch. Frank Cole Babbitt (Translator). Cambridge, MA. 1936.

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Current edition Perseus

The Oracle at Delphi no Longer Given in Verse (English) (Plutarch. Moralia, Vol. V. Babbitt, Frank Cole, translator. Cambridge, MA: Harvard University Press; London: William Heinemann Ltd., 1936 (printing).)

Editions (1)

Περὶ τοῦ μὴ χρᾶν ἔμμετρα νῦν τὴν Πυθίαν Perseus (Plutarch. Plutarchi Chaeronensis Moralia, Vol II. Vernardakēs, Grēgorios N., editor. Leipzig: Teubner, 1891.) — 2 focus

[2]

ΦΙΛ.

ἐπέραινον¹ οἱ περιηγηταὶ τὰ συντεταγμένα, μηδὲν ἡμῶν φροντίσαντες δεηθέντων ἐπιτεμεῖν τὰς ῥήσεις καὶ τὰ πολλὰ τῶν ἐπιγραμμάτων. 20 τὸν δὲ ξένον ἡ μὲν ἰδέα καὶ τὸ τεχνικὸν τῶν ἀνδριάντων 395b μετρίως προσήγετο, πολλῶν καὶ καλῶν ἔργων ὡς ἔοικε θεατὴν γεγενημένον ἐθαύμαζε² δὲ τοῦ χαλκοῦ τὸ ἀνθηρὸν ὡς οὐ πίνῳ προσεοικὸς οὐδʼ ἰῷ,³ βαφῇ δὲ κυάνου⁴ στίλβοντος, ὥστε καὶ 25 παῖξαί⁵ τι πρὸς; τοὺς ναυάρχους⁶ ʽἀπʼ ἐκείνων γὰρ ἦρκται τῆς θέασʼ οἷον ἀτεχνῶς θαλαττίους τῇ χρόᾳ καὶ βυθίους ἑστῶτας. ἆρʼ οὖν ἔφη κρᾶσίς τις ἦν καὶ φάρμαξις τῶν πάλαι τεχνιτῶν περὶ τὸν χαλκόν, ὥσπερ ἡ λεγομένη τῶν ξιφῶν στόμωσις ἧς ἐκλιπούσης⁷ 5 ἐκεχειρίαν ἔσχεν ἔργων πολεμικῶν ὁ χαλκός;ʼ τὸν μὲν γὰρ Κορίνθιον οὐ τέχνῃ ἀλλὰ συντυχίᾳ⁸ τῆς χρόας λαβεῖν τὸ κάλλος, ἐπινειμαμένου πυρὸς οἰκίαν ἔχουσάν τι χρυσοῦ καὶ ἀργύρου, πλεῖστον 395c δὲ χαλκὸν ἀποκείμενον· ὧν συγχυθέντων καὶ 10 συντακέντων, ὄνομα τοῦ χαλκοῦ τῷ μείζονι τὸ πλῆθος⁹ παρέσχεν. ὁ δὲ Θέων ὑπολαβών ἄλλον ἔφη λόγον ἡμεῖς ἀκηκόαμεν πανουργέστερον· ὡς ἀνὴρ ἐν Κορίνθῳ χαλκοτύπος, ἐπιτυχὼν θήκῃ χρυσίον ἐχούσῃ πολὺ καὶ δεδοικὼς φανερὸς γενέσθαι, κατὰ 15 μικρὸν ἀποκόπτων καὶ ὑπομιγνὺς ἀτρέμα τῷ χαλκῷ, θαυμαστὴν λαμβάνοντι κρᾶσιν, ἐπίπρασκε πολλοῦ διὰ τὴν χρόαν καὶ τὸ κάλλος ἀγαπώμενον. ἀλλὰ καὶ ταῦτα κἀκεῖνα μῦθόσἐστιν· ἦν δέ τις ὡς ἔοικε μῖξις καὶ ἄρτυσις, ὥς που καὶ νῦν ἀνακεραννύντες 20 395d ἀργύρῳ χρυσὸν ἰδίαν τινὰ καὶ περιττὴν ἐμοὶ δὲ φαινομένην νοσώδη χλωρότητα καὶ φθορὰν ἀκαλλῆ παρέχουσι.

Translations (1)

Wherefore the Pythian Priestess now Ceases to Deliver her Oracles in Verse Perseus (Plutarch. Plutarch's Morals, Vol. III. Goodwin, William W., editor; Philips, John, translator. Boston: Little, Brown, and Company; Cambridge: Press of John Wilson and Son, 1874.) — 2 focus

[2]

PHILINUS.

The interpreters of the sacred mysteries acted without any regard to us, who desired them to contract their relation into as few words as might be, and to pass by the most part of the inscriptions. But the stranger was but indifferently taken with the form and workmanship of the statues, being one, as it appeared, who had already been a spectator of many rare pieces of curiosity. He admired the beautiful color of the brass, not foul and rusty, but shining with a tincture of blue. What, said he, was it any certain mixture and composition of the ancient artists in brass, like the famous art of giving a keen edge to swords, without which brass could not be used in war? For Corinthian brass received its lustre not from art, but by chance, when a fire had devoured some house wherein there was both gold and silver, but of brass the greater plenty; which, being intermixed and melted into one mass, derives its name from the brass, of which there was the greater quantity. Then Theo interposing said: But we have heard another more remarkable reason than this; how an artist in brass at Corinth, happening upon a chest full of gold, and fearing to have it divulged, cut the gold into small pieces, and mixed it by degrees with the brass, till he found the more noble metal gave a more than usual lustre to the baser, and so transformed it that he sold at a great rate the unknown mixture, that was highly admired for its beauty and color. But I believe both the one and the other to be fabulous; for by all likelihood this Corinthian brass was a certain mixture and temperature of metals, prepared by art; just as at this day artisans temper gold and silver together, and make a peculiar and wonderful pale yellow metal; howbeit, in my eye it is of a sickly color and a corrupt hue, without any beauty in the world.

Notes on the current edition

The Oracle at Delphie no Longer Given in Verse

1. Presumably the thirty-seven statues of Lysander and his officers (erected after the battle of Aegospotami), which stood near the entrance inside the sacred precinct. Cf. Life of Lysander, chap. xviii. (443 a).

2. Tempering in the water of Peirene was held to be one important factor in the production of Corinthian bronze. Cf. e.g. Pausanias, ii. 3. 3. On the whole subject of Corinthian bronze, it is worth while to consult an article by T. Leslie Shear, A Hoard of Coins found in Corinth in 1930, in the American Journal of Archaeology, xxv. (1931) pp. 139-151, which records the results of chemical analyses of samples of the bronze.

3. Making the ancient electrum, which was often used for coinage, plate, and similar purposes.

Plutarch De Pythiae oraculis 2

Frank Cole Babbitt (Translator)

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PHILINUS.

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ΦΙΛ.

PHILINUS.

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