Brill New Pauly supplements

Supplements to Brill’s New Pauly now available online

Cambridge has long enjoyed access to the New Pauly, “the unrivalled modern reference work for the ancient world” published by Brill, but readers have only been able to consult its supplements in print.  Now both the work and its supplements are available online.

Taking a variety of approaches, each volume provides quick access to indepth knowledge on subjects from chronological lists of rulers of the ancient world, a biographical dictionary of classists who have made their mark on scholarship, to an historical atlas and encyclopedia-type works on the reception of myth and classical literature

To search a single supplement, select the title from the dropdown on the Brill New Pauly site: Chronologies of the ancient world; Dictionary of Greek and Latin authors and texts; Historical atlas of the ancient world; The reception of myth and mythology; The reception of Classical literature; History of Classical scholarship.

Alternatively browse supplement content via the Related publications link.

Hermes (excerpt from The reception of myth and mythology supplement)

The many important depictions of H. by Claude Lorrain, meanwhile, were far removed from such pragmatic political and economic concerns. His series of paintings and drawings adapted Ovidian myth in the tradition of pastoral landscape painting to portray M.’s cattle theft, his deception of his brother Apollo and the treacherous old man Battus observing him as he makes his escape (fig.: [38 figs. 172; 217; 226; 232; 250; 261; 274; 275; 312]). One of the most affecting examples, worthy of mention here, is the Landscape with Apollo and M. (1645, Rome, Galeria Doria-Pamphilii; fig.: [38.fig. 172]). This oil painting in portrait format (55 x 45 cm) shows an Apollo lost in his violin playing, looking leftward out of the frame, while a H. we recognize by his attributes (winged hat, caduceus and winged ankles) carefully and systematically drives off all his brother’s cattle into the background to the right, into the Classicist landscape scenery, in the role of ‘crafty thief’ he had made his own since the Homeric Hymn. This unequal pair of divine brothers also suggests a contrast between the artistic, ‘Apollonian’ vita contemplativa and the alert and wily vita activa of that H. whom the ancients had without difficulty equated with the Roman god of profit. Admittedly, this contrast is smoothed out again in the spirit of the Homeric Hymn in the last picture in the series, from 1678/79 (Landscape with Apollo and M., drawing on blue paper, London, British Museum), in which the brothers already come to their accommodation and present their reciprocal gifts of lyre (to Apollo) and staff (to M.) (fig.: [38. fig. 312]).

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