Trojan (alias Ilion) Historical facts vs. “Acces”, Pseudohistorians-“Scholars” etc..

H E R E: 

**** THIS CIVIlL WAR BETWEEN THE GREEKS IS ROMANTICIZED DUE TO THE ABDUCTION OF HELENA OF SPARTA

THIS CIVIlL WAR BETWEEN THE GREEKS IS ROMANTICIZED DUE TO THE ABDUCTION OF HELENA OF SPARTA

The ACHAEANS and DANAEANS, who lived, in WEST GREECE at that time, united and with their ships and army went to CONQUER TROY.
Thus began the Trojan War which lasted ten years. It was the greatest war of antiquity and led to the death of countless TROJANS and ACHAEANS(OR DANAEANS).
The occasion was a woman, the beautiful HELEN, the queen of SPARTA.
Many great LADS FOUGHT in this war. ACHILLES, the son of THETIS, HECTOR the leader of the TROJANS, the FEARLESS DIOMEDES,
the strong AEDAS, MENELAUS, the husband of HELEN, his brother AGAMEMNON, who was the LEADER of the ACHAEANS, the versatile Odysseus and many others. . We will meet
all of them in the following lessons. ALSO, we will meet ANDROMACHE, HEKTOR’S BEAUTIFUL WIFE, HIS RESPECTED PARENTS, HECABE and PRIAMOS, and MANY others!
What should ONE remember FIRST of all that happened. The myths that mention them are so charming, that it is worth reading them and remembering them forever.

. Paris prepared a fast boat and left for Sparta. He arrived at Menelaus’ palace bearing rich gifts. There everyone welcomed him and hosted him, as befits the king of Troy. However, Paris, with the help of Aphrodite, outwitted Helen and convinced her to follow him. And one day when Menelaus was away, they left for Troy.The abduction of Helen by Paris. Among them is the winged god Eros.
From an ancient Greek vas

1. The apple of ERIS
Many years ago , in ancient times, when the twelve gods lived in Olympus, Zeus decided to marry the king of Phthia, Peleus, to a sea fairy, Thetis, the daughter of Nereus. The wedding took place in Pelion and all the gods and goddesses were invited. Only Eris , the goddess of strife, was not invited, because wherever she went she sowed hatred and quarrels. She got very angry and went to the wedding unseen and left an all-gold apple on the table, on which she had written: “to the most beautiful”. Immediately Hera, Athena and Aphrodite began to argue about who was the most beautiful who would get the apple. They also asked Zeus, but he did not want to upset any of the three goddesses. That is why he told them to go to the mountain Ida, next to Troy, where Paris, the son of King Priam, was grazing his flock on a slope, so that he could choose the most beautiful goddess. So the three goddesses, together with Hermes, flew to Ida and stood in front of the startled king. Hermes told him the will of Zeus and gave him the golden apple of Eris. Then Hera ordered him to make him the greatest king, Athena the bravest and wisest warrior and Aphrodite to find him the most beautiful woman to marry. Paris, after thinking about it, gave the golden apple to Aphrodite. Hera and Athena left angry, while Aphrodite revealed to Paris that the beautiful Helen, the wife of Menelaus, the king of Sparta, was the most beautiful in the world and advised him to go and get her.

The Paris crisis. On the right is Paris, in the center the god Hermes, followed by the three goddesses:
Aphrodite, Athena, Hera. From an ancient Greek vase

A compass on a white background, c. 465–460 BC. with a height including the cover of 17.2 cm. Compasses were a kind of “toilet” and “jewellery box, clay and later ivory or metal vessels, usually round with a separate lid. They were used more by women to store cosmetics or jewelry. They got their name from the wooden Corinthian boxes that were made from the hard and durable wood of the boxwood, a durable evergreen shrub (box), which can reach up to 6 m. From this Greek word came the Latin buxus: box-box and the English box.

This compass is said to have been excavated circa 1906 at Kymi (Cumae, the first ancient Greek colony of Magna Graecia on mainland Italy founded by settlers from the Euboean city of the same name in the 8th century BC). It passed through several buyers until it was acquired by the MET, The Metropolitan Museum of Art NY, 07.286.36a .

In her performances, she has scenes from the crisis of Paris, on a white background.

By the middle of the 5th century BC, the white ground technique was commonly used for the beautiful white lekyths, (bottles for scented oil, perfumes, wine for funerary rites and then placed as offerings in tombs) and for fine vessels of other shapes . As classical painters sought to achieve increasingly complex dramatic depictions with the limited capabilities of the red-figure technique, the white background gave new emphasis to glaze lines and polychrome, making the representations resemble frescoes. Their white color is due to a thin layer of white clay (kaolin) which after firing gave this effect and on top of which they were decorated with additional colors.

The decoration of this compass, which has three elegant short legs as a base, reflects the ease with which an accomplished artist like the “Painter of Penthesilea” to whom it is attributed, depicted a traditional subject: the judgment of Paris. I know you all know the legend, but if you want to “refresh” it, it’s in the 1st comment.

The moment of crisis is represented in successive scenes: One scene shows Pari, a young virgin, sitting on a rock wearing a petasos, a hiker’s and shepherd’s hat. He converses with Hermes, easily recognizable by his caduceus and winged sandals. Behind him a grown man is perhaps Zeus or Priam. Turning the compass clockwise, Athena is depicted, holding a spear in one hand and her helmet in the other, talking to Hera. The latter holds a royal scepter, as the mother and breath of the gods. Then Aphrodite converses with her son, the winged love with the beautiful ethereal rendering of wings. Below EROS the inscription: “O PAIS KALOS” (The young man is handsome).

[The well-known charming myth of the crisis of Paris, which gave rise to your famous Trojan War, is well known. But you can “refresh” its occasions, as well as the faces that appear on the compass]: Zeus, the king of the gods, gave a banquet for the marriage of the sea nymph Thetis with the mortal Peleus (by whom she gave birth to Achilles). Eris, goddess of discord, was uninvited. Angered by this “blockage”, she caused trouble at the feast when she threw a golden apple (the Apple of Strife), on which was the inscription “the beauty” (for the most beautiful). Three goddesses claimed the apple: Hera, Athena and Aphrodite. They asked Zeus to judge which of them was more beautiful. Zeus, unwilling to favor any claim himself, decided that the mortal Paris, son of Priam, king of Troy, would judge. Led by Hermes, the three candidate goddesses appeared before Paris (by teleportation) on Mount Ida of the Troas. Each of them tried with their powers to bribe the handsome but carefree king, who had been removed from the city to graze flocks, because they had bad omens. Hera proposed to him to make him king of Europe and Asia, Athena would offer him wisdom and skill in war and Aphrodite offered the love of the most beautiful woman in the world, Helen of Sparta, wife of the Greek king Menelaus. Paris accepted Aphrodite’s gift and awarded her the apple, taking with Helen the enmity of the Achaeans. The mission of the Achaeans to Troy, to recapture Helen from Paris, is the mythological basis of the Trojan War. Later in the war, Paris will fatally wound Achilles in the heel with an arrow, as Achilles’ mother Thetis, who tried unsuccessfully to prevent him from going to war, had fearfully predicted…

The beautiful helen

. Paris prepared a fast boat and left for Sparta. He arrived at Menelaus’ palace bearing rich gifts. There everyone welcomed him and hosted him, as befits the king of Troy. However, Paris, with the help of Aphrodite, outwitted Helen and convinced her to follow him. And one day when Menelaus was away, they left for Troy.The abduction of Helen by Paris. Among them is the winged god Eros.
From an ancient Greek vase.

When Menelaus heard the news, that Paris took Helen from him, and he wanted to take revenge on him and bring her back, he left Crete and went straight to Mycenae to his brother Agamemnon. Then, together with the wise Nestor the king of Pylos, they decided to send an invitation to all the kings and heroes in every part of Greece, to take part in this campaign which was a matter of honor. The rapist had to be punished, or no one could henceforth be sure of his wife, when the sacred institutions of hospitality were thus violated. It was therefore necessary for everyone to consider the insult that Paris did to Menelaus as personal. However, the fates and the oracles of the oracles played their role here as well: those who knew their destiny, hardly decided to follow the campaign. Odysseus, the resourceful and brave son of Laertes and king of Ithaca, knew from then on that it would be twenty years before he would see his people again, so he pretended to be mad when Agamemnon and Palamedes went to call him. He was newly married and had just had a son, Telemachus. So, dressed funny and acting crazy they found him plowing his field. The cunning Palamedes revealed his pretense by placing the young Telemachus before the plough, Naturally, Odysseus did not step over the child’s body, but stopped ploughing. There went the old Nestor, the king of Pylos, Idomeneus from Crete, Aeandas from Salamis, the other Aeandas from Locris, Diomedes from Argos, Philoctetes, the friend of Herakles, from Magnesia, the Odysseus from Ithaca and Achilles, the son of Peleus and Thetis from Phthia with his friend Patroclus and the brave Myrmidons. They chose Agamemnon as their leader.

*******’*************T H E T R O J A N S = OI Τ Ρ Ω Ε Σ

The fortress of Troy was located on the Ida mountain, beyond the Hellespont.

IT WAS BUILT BY THE COURITES, FROM CREATAE 5000BC..
BUT THE LEGACY IS SAYING, THAT Poseidon and Apollo had built it for Laomedon. At the time when the events that will be mentioned next took place, Laomedon’s son Priam, who had Hekabe as his wife, reigned in Troy. Priam was originally called Podarkis (good-footed) and was the brother of Isione who had followed Telamon to Salamis, married him and gave birth to Teucros and Aedes who both took part in the Trojan War. Achaeans and Trojans seem to have been members NOT only of the SAME branch of Greeks race (same language, religion and customs) BUT ALSO THE SAME FAMILY In the fortress of Troy Priam raised a royal family with so many children that no other like it is mentioned. He gave birth to fifty sons, besides daughters. The first-born was Hector, followed by Paris, Diiphobus, Helen, Polydoros, Troilus, etc. Of the daughters, the most famous are Kreusa, Laodiki, Polyxeni and Cassandra who had fortune-telling abilities.

Troy, the hero who gave his name to the Trojan people, is the son of Erichthonius, the grandson of Dardanus, and his mother was Astyochus. He married Callirroi, daughter of Scamandros and had a daughter Cleopatra (the name Cleopatra is Greek) and three sons: Ilos who founded the citadel of Ilium, Assarakos and Ganymede whom Zeus loved.

.Priam had originally married Arisbe from whom he had fathered Aesacus. He then abandoned her and proceeded to marry Hekavi. Hekabi was extremely fertile. Although ancient writers do not agree on the number of children she bore, the family she raised with Priam was very large.Hector, King Priam and Queen Hecuba – Trojan War – Red Figure AmphoraPriam had originally married Arisbe from whom he had fathered Aesacus. He then abandoned her and proceeded to marry Hekavi. Hekabi was extremely fertile. Although ancient writers do not agree on the number of children she bore, the family she raised with Priam was very large.

Opposite page: Peleus assigns the Centaur Chiron to educate the young Achilles. (Black-figure lekythos around 500 BC, Athens, Archaeological Museum).

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Sitting on their throne, Priam and Hecabe accept with lively gestures the sad news of the murder of their son Troilus. (Clazomenian hydria shell, around 540 BC, Athens, Archaeological Museum)
Paris and Helen of Menelaus

Agamemnon, The king of Mycenae, had married Clytemnestra and Menelaus had married Helen. Menelaus reigned in Sparta and there he received Paris and his entourage when he visited, bringing with him rich gifts. When Paris saw Helen, he was dazzled by her beauty. Menelaus honored the foreign king according to the customs of hospitality, but on the tenth day he was forced to leave for Crete. Then Paris found the opportunity and approached Helen who could not resist the power of Aphrodite. So she accepted the treasures that Paris gave her and followed him at night. The couple left secretly and arrived in Troy where their wedding was celebrated. Then Iris, the messenger of the gods, brought the news to Menelaus who was in Crete.

Helen and Paris in a design by the French Nadar.

The Achaean campaign in Troy Helen, the most beautiful woman in the world at that time was desired by all the princes of Greece. Tyndareus, her father, had a hard time deciding. Then, according to Odysseus’ idea, Tyndareus decided to bind all prospective grooms with an oath, that they would accept the election of Helen herself and that they would rush to help if the honor of the husband happened to be threatened. This oath was invoked by the Atreides in requesting the participation of so many heroes in the campaign. On the subject of Helen the Fair, Euripides wrote in 412 BC. the tragedy “Helen”. The Italian neoclassical sculptor Antonio Canova created the “Helen of Troy” statue.

But also the brave Achilles, the greatest figure of this war, was sent by his mother to hide in the palace of the king of Skyros, Lycomedes, dressed as a woman, among his cousins. This was revealed by the trick of Odysseus, who went with women’s dresses and ornaments to the palace, gifts for the king’s daughters among whom were hidden a spear and a shield. As Odysseus showed the lyuses to the maidens, he caused the war trumpet to sound the sound of battle. Then Achilles, unrestrained, grabbed the weapons he had been wandering around before and prepared for an attack. This is how the expeditionary force was revealed and followed to Avlida. It took ten years for the flower of valor and martial art to be concentrated in the port of Avlida at that time. Among the heroes were the king of Pylos the wise Nestor, Diomedes the hero of Aetolia, Aedas the son of Telamon, Aedas the Locros, Idas, the king of Crete Idomeneas and others.

Achilles prepares for the great Trojan campaign: he wears his shins and Thetis holds his spear and shield. (Black-figure plaque, 560 BC, Athens, Archaeological Museum).

Hephaestus, who made Achilles’ weapons, gives them to Thetis.

A sign of the goddess’s favor, was sacrificed amid the cheers of the troops. Immediately the winds blew the sails of the ships and the Greek fleet set sail from Avlida bound for Troy to wash away Helen’s shame.

Menelaus against Paris. Paris, Louvre

Trojan War – Iliad

The Achaeans, faithful to their religion and traditions, made a sacrifice before the start of the Trojan war so that the gods would reveal signs about the future and its outcome. During the sacrifice, a snake was presented whose spine was red as blood. This snake came out of the altar and climbed the plane tree that was nearby. On the highest branch was a sparrow with her young. The snake swallowed the eight sparrows in turn and then their mother. Once he had swallowed all nine birds, he was turned into stone, by Zeus. The seer Calchus interpreted this unnatural event as follows: the siege of Troy would last nine years and in the tenth it would fall.

Troy or Ilion was the site of these deadly battles, protected by Apollo with the silver bow. The first dead of the war was Protesilaus, on the side of the Achaeans, to whom they erected a monument and honored him. The goddesses Athena and Hera helped the Achaean troops. In Homer’s epic, the Iliad, many of the events that took place in the Trojan War are mentioned. The most important of these have as their protagonist the brave Achilles whose fame of exploits has spread far and wide.

Protesilaos, the first casualty of the Trojan War, was a Thessalian and indeed one of Helen’s potential suitors. He took part in the war with a fleet of forty ships. While jumping off the ship, he was struck by Hector.

ACHILEUS and AJAX.-NEPHEW OF PRIAM) Two heroes with a lot in common, in morals, bravery and mental cultivation. The great Heracles once passed through the kingdom of Telamon and begged Zeus to make invulnerable the new-born AJAX he had wrapped with his lioness. AJAX indeed became invulnerable except for the shoulder, the ribs and the armpit, that is, the points corresponding to those covered by the quiver on the body of Hercules.

Zeus was warned of a prophecy that Thetis would have a son who would grow up to be greater than his father. Worried by this, Zeus arranged for Thetis to marry a mortal man so that her child couldn’t challenge his power. In another version of the story, Thetis rejects Zeus’s advances and a furious Zeus decrees that she will never marry a god. Either way, Thetis ends up married to the mortal Peleus and Achilles is born.
Standing figure of woman with man and lion either side pressing against her
Terracotta relief showing Peleus and Thetis, c. 490–470 BC. Thetis tries to resist marriage to Peleus by transforming her body into powerful elements such as fire and wild beasts, here a lion

Thetis attempts to make the baby Achilles immortal, by dipping him in the River Styx (the river that runs through the underworld), while holding him by his heel. The one part of his body left untouched by the waters becomes his only point of weakness, hence the phrase ‘Achilles heel.

The learned centaur Chiron instructs the boy Achilles in the playing of the lyre. He rests upon his equine haunch and wears an animal-skin cloak and wreath of laurel.

Achilles and Ajax Playing a Board Game
540-530 BCE.
Terracotta amphora. Height 2 feet
(Musei Vaticani, Rome). ARCHAIC BLACK-FIGURE POTTERY
Exekias
Achilles and Ajax Playing a Board Game
540-530 BCE.
Terracotta amphora. Height 2 feet
(Musei Vaticani, Rome)
An example of black-figure painting is Achilles and Ajax Playing a Board Game on an amphora signed by Exekias as both potter and painter (at left is written: Exekias epoiesen = ΕΞΕΚΊΑΣ ΕΠΟΊΗΣΕΝ =
“Exekias made [me or it].” At right is also written, less relevantly, O Netorides kalos = Ο ΝΕΤΟΡIΔHΣ ΚΑΛΟΣ =
“Onetorides is beautiful”).
The central image is a narrative scene, with geometric patterns subsumed into border devices. In the panel framed by a lustrous black “glaze,” Ajax (Aiantos = “of Ajax [Aias]”) and Achilles (Akhileos = “of Akhilleus”) are depicted playing a board game during a lull in the Trojan War. In a symmetrical and deceptively tranquil scene, the Homeric heroes bend over a table and call out the scores of the game (which are written before their lips – tesara = 4, for Achilles, tria = 3, for Ajax) 

Achilles prepares for the great Trojan campaign: he wears his shins and Thetis holds his spear and shield. (Black-figure plaque, 560 BC, Athens, Archaeological Museum).

Hephaestus, who made Achilles’ weapons, gives them to Thetis. a doe, a sign of the goddess’s favor, was sacrificed amid the cheers of the troops. Immediately the winds blew the sails of the ships and the Greek fleet set sail from Avlida bound for Troy to wash away Helen’s shame.

The father Peleus advises his son, Achilles,
as he leaves for war.

“Aien exceletuein…”, that is,
“always be first and surpass all in battle”.

Peleus, because Achilles was still very young, sent with him and his teacher, the Phoenix, to advise him:

“Be able in words and worthy in deeds” /Homer, Iliad

Achilles.From an ancient Greekvase.

And the gods looked on from Olympus. Poseidon, Hera, Athena were with the Achaeans. Ares,

Aphrodite, Apollo with the Trojans. And Zeus sometimes with the Achaeans and sometimes with the Trojans.
In the last year of the war, when food was scarce and the army was starving, Agamemnon sent a ship to bring the Oenotropics to Troy. They, however, leaving Delos, begged the god Dionysus to help them. And Dionysus turned them into doves and they flew away and returned to DELOS

 The father of the Oinotropes, Anios.
From an ancient Greek vase.

 The Achaeans reach Troy
Traveling to Troy, the Achaeans passed through Delos. There, in the temple of Apollo, Anios was a priest who had three daughters, the Oinotropes. The soil that Spermo touched became wheat. The soil touched by Oino became wine and the soil touched by Elaida became oil. Anius, who was also a soothsayer, told the Achaeans that in ten years they would take Troy and invited them to stay nine years in Delos and in the tenth year to go to Troy. However, they did not accept.
So the Achaeans left Delos and in a few days they reached Troy. There reigned Priam and Hecabe who had fifty sons and many daughters. One of their daughters was Cassandra who was a fortune teller. However, Apollo had punished her and no one believed her words.
The Trojans, seeing the countless ships of the Achaeans, took their weapons and ran to the shore to fight them. Their leader was Priam’s eldest son, Hector, the brother of Paris. None of the Achaeans dared to set foot on land. Thetis had told them that the first one to set foot on Troy’s soil would fall dead. Then Odysseus threw his shield on the land and with one leap stood on it. Fooled by his trick, Protesilaos jumped second and stepped on the ground. And immediately he fell dead from Hector’s pole. Then began a terrible battle. The Trojans were defeated and shut up in the city walls. The Achaeans pulled their ships ashore and made a camp which they closed with a wooden wall, because they understood that it would take a long time before they could conquer Troy. The anger of Achilles
For nine years the Achaeans fought in Troy, but Priam’s castle was unoccupied and the Trojans, led by Hector, defended it bravely. In the tenth year , however, Achilles and Agamemnon quarreled over two beautiful slaves, Chrysis and Briseis. This brought many calamities to the Achaeans. Chrysis was Agamemnon’s slave . Chrysis`s father, who was a priest of Apollo, came supplicating to the Achaean camp, bearing rich gifts, the golden rod and the god’s sacred wreaths. He fell at Agamemnon’s feet and begged him to give Chrysis back to him. Agamemnon did not respect the old man and angrily kicked him out. Chrysis then begged Apollo to punish the Achaeans severely. Apollo heard him from Olympus and immediately took his bow and went to the camp of the Achaeans . He sat aside and, unseen, he shot animals and people with his arrows. Then a terrible disease fell among them and the Achaeans died, one after the other.

. Apollo shoots his arrows. From an ancient Greek vase.

The evil lasted nine days . On the tenth day the kings asked the soothsayer Calchas to tell them why such calamity befell them. He said that Apollo was angry because Agamemnon did not respect Chrysis. To stop the evil, Agamemnon sent Chryseis back to her father. However,Chrysis, her father, who was a priest of Apollo, came supplicating to the Achaean camp, bearing rich gifts, the golden rod and the god’s sacred wreaths. He fell at Agamemnon’s feet and begged him to give Chryseis back to him. Agamemnon did not respect the old man and angrily kicked him out. Chrysis then begged Apollo to punish the Achaeans severely. Apollo heard him from Olympus and immediately took his bow and went to the camp of the Achaeans . He sat aside and, unseen, he shot animals and people with his arrows. Then a terrible disease fell among them and the Achaeans died, one after the other he ordered Achilles’ slave, Briseis, to be brought to his tent. Achilles became very angry, hatred and rage filled his soul. He wanted to kill Agamemnon for insulting him, but the goddess Athena ran and restrained him. However, embittered, he closed himself in his tent and swore never to fight again.

Chrysis leaves Achilles’ tent to surrender to Agamemnon.
The seated figure on the right is Achilles. From an ancient Greek vase.

The death of Patroclus Achilles was no longer fighting and the Trojans took courage. Fierce battles took place outside Troy’s walls and countless Achaeans fell dead. Desperate then, Agamemnon sent to Achilles the old Phoenicus, Achilles’ teacher, Aiades, the strongest warrior of the Achaeans, and the versatile Odysseus, to beg him to return to the battle and would give him back Brisida and countless gifts. But Achilles did not accept and said that he would fight only if the Trojans reached his ships. The fighting continued more fiercely. The Trojans chased the Achaeans to their camp. Hector smashed the wooden gate of the camp with a huge stone and the Trojans rushed in and set fire to a ship. The Achaeans were saved by Aedas, who wounded Hector and the battle stopped for a while. Seeing the suffering of the Achaeans, Patroclus went to his friend Achilles. “Achilles,” he said to him, “the Trojans are burning our ships. Since you do not fight, they fear no one. Give me your armour, your chariot with your immortal horses and your brave Myrmidons, that I may fight in your place.’ Achilles agreed and advised him to drive the Trojans out of the camp and turn back.

Patroclus rushed with the brave Myrmidons into battle. The Trojans, whethey saw him, thought it was Achilles and ran away towards Troy.  Achilles tends tthe wounded Patroclus.
From an ancient Greek vase.

Patroclus forgot Achilles’ advice and chased the Trojans to the walls of Troy. But Hector met him there, he went close and they started to fight.
Then Apollo struck Patroclus on the back. He fell down and Hector killed him and took Achilles’ divine weapons from him.
There was a fight around the dead body. The immortal horses of Achilles, Xanthus and Valios, which Poseidon had given him, as if they saw Patroklos dead, bowed their heads and wet the earth with their tears. The Achaeans took the dead Patroclus and brought him to the ships. Achilles, seeing his friend dead, burst into lamentation. His mother Thetis heard him and came out of the sea to comfort him. And she herself went to Olympus and brought him new armor, which Hephaestus had made for him.

The Lament of Achilles
The news of Patroclus’ death was brought to Achilles by Nestor’s son, Antilochus.”Patroklos has fallen, and his turn for the dead is beaten,naked, because Hector has taken his chariots!”.
On hearing this, Achilles’ pain bursts forth wildly: without hesitation the hero pours black ash on his head with both hands, and then, with his beautiful face strained, his divine robe soiled, he falls and lies on the ground, pulling and tearing out his hair. For fear, lest in his despair he draw his sword and be killed, Antilochus is forced to hold his hands. Achilles does not speak, only moans loudly. Homer, Iliad S 20-35

The shield of Achilles
Hephaestus puts all his art into making Achilles’ new armor. But mostly he worked on the round shield. In the picture we see him handing it over to Thetis. He puts first the earth, the sea and the sky with the sun, the moon and all the stars. And then he starts drawing two states side by side. In the first, people have peace. They marry their children with songs and joys and settle their differences with judges. In the other state they have a war. Inside the city the women, children and old men have stayed, while outside the walls two armies have fallen into battle. The wounded and the dead lie all around. So Hephaestus tells the story of the joys of peace and the miseries of war. Then he puts the farmers plowing their fields, the laborers harvesting with sickles, he puts vines laden with grapes and people who harvested them while singing, he puts shepherds tending their flocks , features dancing boys and girls with flowers in their hair. And all around he makes the vast Ocean sparkle. And when he is done, he stands to look at her. He knows that if people notice the beauty of the shield, they will no longer want to fight. They will want to dance and sing, plow their fields, harvest their vines and tend their flocks. They will want to live in peace. And this shield of Achilles is the first, the only weapon ever made that invites not war but peace.

Rage and despair together filled the heart of Achilles after the death of Patroclus and he wanted to take revenge on Hector, who killed his fraternal friend. The next day he put on his new armor, harnessed his immortal horses to his chariot, and with his Myrmidons went to war.
I

 Hector bids farewell to Andromache and Astyanaktas.
From an ancient Greek vase.

Inside the castle of Troy, Hector said goodbye to Andromache, his wife, took in his arms for the last time his little son, Astyanactus, and he too went out to fight. The Trojans were outside their walls ready for battle. However, seeing Achilles arriving, they were frightened. Half ran inside the walls to save themselves and the other half ran to the plain. Achilles chased them and a fierce battle ensued. The Trojans fell dead one after the other. Priam, who was watching the battle from the walls, ordered and the gates were opened for the army to enter to save itself. Only the brave Hector did not shut himself up in the walls, but remained to face the enemy. Priam and Hecabe, his mother, and the beautiful Andromachi high above the walls. At some point Achilles saw him and rushed at him like a beast. Hector lost it and started running. Three times he ran around the city and Achilles chased him. At last Hector stopped running and stood to face him. Achilles rushed at him and the fight began.
They fought hard, for both were brave lads. Finally, Achilles struck Hector in the neck with his pole and threw him to the ground. Troy’s bravest warrior was now dead. High from the walls the Trojans looked and mourned. But Priam and Hecabe, his mother, and the beautiful Andromache mourned more.

Achilles-Hector duel. From an ancient Greek vase

Immediately Achilles took the dead man’s weapons, tied his legs with leather straps from the chariot and let his head drag on the ground. Then he struck his horses and they galloped towards the ships, dragging the dead Hector with them.
The next day the Achaeans burned the dead Patroclus. Achilles cut his long hair and put it in Patroclus’ hands, to be burned with him. He washed his bones with wine and placed them in a golden vessel, which his mother Thetis had given him.
The dead Hector remained unburied for eleven days, until Priam went to Achilles, fell at his feet and begged him to give him the body of his child to bury. Achilles was moved. He ordered the dead body to be washed and adorned, and gave it to the old king, to be taken to Troy. And he ordered the war to cease for eleven days, so that the Trojans could mourn and burn the dead, as was their custom.

Priam comes bearing gifts to Achilles’ tent and begs him. From an ancient Achaean vase.

Parents’ dreams for their children
Hector, before clashing with Achilles, enters the castle of Troy and bids farewell to his family. There he meets his wife Andromache and his young son Astyanaktas.As soon as he opened his arms to his son, the little one was frightened by the weapons and helmet and pulled away. Then Hector and Andromache laughed. He took off the brilliant helmet and laid it on the ground.
He then took the son, kissed him, danced with him in his arms,
and so he prayed to Zeus and to the other gods:
“Father Zeus and you other gods, give this one,
my son, as I shine among the Trojans to become
a strong man, and to rule Troy with great power.
and one should say: “much better than this one’s parent,”
as if he were returning from the war with bloody spoils of
an enemy he had killed, and his mother would be deeply rejoicing.”/ Homer, Iliad G 474-481,

Games to honor Patroklos
Achilles, after the burial of Patroklos, organizes games to honor his dead friend. The competitions are many: chariot racing, boxing, wrestling, road, armed combat, discus, archery, javelin. All the Achaean lads took part in the games and won great prizes from the hands of Achilles. Spectators participate by shouting and placing bets. In the last race, Achilles gives Agamemnon the first prize without letting him compete, since everyone knew that he was the first among the Greeks both in strength and in chariots. Thus the two rivals reconcile, after the destruction caused by their conflict. Patroclus was honored like no other hero. Everyone will remember his power and want to be like him. This was also the purpose of the epitaph matches.// Homer, Iliad Ps 258-897 (adaptation).

Winners and losers cry together
And as both of them remembered their pain, Priam wept the manly Hector, huddled before Achilles’ feet, and Achilles wept with his father and Patroclus, and the lamentations echoed all around.

Homer, Iliad Ω 509-512 (free translation by G. Economides).

The end of Achilles
After Hector’s burial , the war outside Troy’s walls resumed. Achilles killed the Trojan warriors one after another. One day, however, when he was outside the Shadow Gates, the largest gate of the castle of Troy, Apollo saw him and advised Paris to shoot him with his arrows in his right heel. His
mother , Thetis, when he was young, had made him immortal by immersing him in the enchanted waters of Lake Styx. However, his right heel was not wet, because it was holding him back from there. So Paris marked Achilles and stuck a medicated arrow in his right heel. Groaning, the hero knelt on the ground. With pained cries he tried to pull the arrow from his heel. After a while he collapsed dead. A fierce battle took place around his dead body . The Trojans were fighting to take him. However, Odysseus and Aedas grabbed him and brought him to the ships. All the Achaeans mourned the loss of the hero. Suddenly there was a terrible roar from the sea and out of the waves came Thetis and the Nereids, her sisters. They all stood around the dead body. For seventeen days they cried and cursed him. Then they burned his body, put his bones in the same pot as those of Patroclus, and, to honor him, held games. After a few days Paris was also killed. He was killed by Philoctetes with one of the poisoned arrows that Herakles had given him.

 The death of Achilles.
Modern sculpture.

ACHILLES AT THE COURT OF KING LYCOMEDES (rear end panel of sarcophagus).
MARBLE. Ca 240 CE.
Inv. No. Ma 2120.
PARIS, LOUVRE MUSEUM .
PRIVATE COLLECTION, BORGHESE.
ORIGIN: BY ATHENIAN ATHENODOROS.
*** ROME./ FROM ATHENS WORKSHOP.
THE SARCOPHAGI HAD BEEN SAW ED UP TO FOUR PLATS WHICH WERE INSTALLED INTO THE FACADE OF VILLA BORGHESE. THE PLATES HAD BEEN MOVED TO THE LOUVRE, WHERE THE SARCOPHAGOS WAS RECONSTITUTED IN INTEGRITY .

Data: museum annotation

Burial customs
They wash the dead body, anoint it with oil, wrap it in a white sheet and decorate it. He is laid on the funeral bed and mourned by relatives and friends. Close friends and relatives cut their hair to show their mourning. They raise a wooden structure from logs and dry branches. They place the deceased on top with many of his personal items (kterismas). After the fire is lit and burns people, slaughtered animals and objects, they put it out and carefully collect the bones of the deceased. They wash them, place them in a vase and finally raise a mound of earth and stones covering all the remains. In the end they all eat together. Homer, Iliad (adaptation

Achaeans despaired. They did not believe that they would succeed in conquering Troy. Then Odysseus, the resourceful, thought that Troy would not fall by arms but by cunning. So he advised the Achaeans to make a large wooden horse, hollow inside, the Trojan horse. So the Achaeans
made it and wrote on it: “Gift of the Achaeans to Athena”. And one dark night Odysseus, Menelaus, Diomedes, Neoptolemus, who was the son of Achilles, and some other brave Achaeans got into the horse. Agamemnon with the rest of the army, after burning the camp, got into the ships and went and hid behind Tenedos.
In the morning the Trojans, looking from the walls, could not believe their eyes. The Achaeans had left and left behind only a large wooden horse by the shore! So they came out of the walls, approached it and saw that it was a dedication to Athena. Many said that they had to raise it on the citadel of Troy, so that the goddess would protect them. Cassandra was unfair , shouting that Achaeans were hidden inside his belly. No one believed her. And a Trojan, Laocoondas, who was a priest of Apollo, said: ” “Fear the Achaeans even if they bring you gifts.“

Immediately two huge snakes sent by Poseidon came out of the sea and drowned Laocoon with his children.
Seeing this miracle, the Trojans were frightened and dragged the horse into the city. In order to enter, they also demolished a part of its walls. Then they ate, drank and feasted happily all day. At night they fell asleep tired from dancing and drinking.
At midnight the Achaeans emerged from the horse’s belly. They ran and lit fires high on the walls and opened the gates. Soon the army returned from Tenedo. All the Achaeans entered Troy, killed the warriors and took the children and women as slaves. Menelaus ran to Priam’s palace and took Helen back. Then they set fire and burned the city, not even respecting the temples of the gods.
In the morning they loaded their ships with booty and set off to return home.

 Laocoon and his two sons.
Ancient Greek sculpture.

NEOPTOLEMOS IS KILLING PRIAMOS

Neoptolemus was the son of the hero Achilles and the princess Deidamia .Achilles’ mother, the goddess Thetis, had foreseen that her son would die in a great war; afraid for him, she took him to the court of King Lycomedes at the island of Scyros, and disguised him as a woman. While there, Achilles had an affair with the princess Deidamia; from this union, Neoptolemus was born.

Helenus, a Trojan seer, was captured by the Achaeans and was forced to tell them that Troy would fall if the Achaeans acquired the arrows of Heracles and the Palladium, and if they also convinced Neoptolemus to join the war. After acquiring the two artifacts, the Achaeans sent Odysseus to get the young Neoptolemus, who eventually joined the war. During the Trojan War, Neoptolemus turned out to be a brutal person, who killed Priam, Eurypylus, Polites and Astyanax, among others; he also made Andromache his concubine. After the end of the war, Neoptolemus took Andromache and Helenus and went to Epirus, where he became the king. With Andromache, Neoptolemus had a son, Molossus.

When he attempted to take Hermione from Orestes; the latter killed him.

Scene from the tragedy Andromache by Euripides: Orestes kills Neoptolemus at the altar of Apollo in Delphi. Despairing Hermione, wife of Neoptolemus but previously promised to Orestes, kneels at the foot of the altar.Greek fresco in Pompeii

Upon returning to main land of West Greece, Orestes reclaimed the throne of his father, becoming the ruler of Mycenae. He died after being bitten by a snake in Arcadia.

AJAX(=ΑΙΑΣ) CARRYING THE BODY OF ACHILLES. Amphora Vase Ancient Greek Pottery by EXEKIAS

From an ancient Greek vase.

How did the news of the destruction of Troy reach MycenaeWhen Troy fell to the Achaeans, Agamemnon notified Clytemnestra overnight. His men lit a great fire on the top of Ida, in Troy, and many fires, one after the other, carried the message from mountain to mountain to Mycenae:Ida -> Lemnos -> Athos -> Evia -> Kithairon -> Mycenae.

Aeschylus, Agamemnon, verses 280 – 316 (arrangement)So we see that the people of that time had discovered a very fast means of communication, sending their messages with fire. In the hills and mountains near the cities, there were specific people who were responsible for lighting the fires, in order to communicate.

5. The sufferings of warThe Trojan War, which had lasted ten whole years, was over. However, he left behind dead people, destroyed houses, widows and orphans. Like any war. The ancient poet Euripides in his work “Troades” talks about the suffering and pain that war brings to people:Queen Hekave and the captive Trojan women mourn what they have lost and worry about the suffering they have to endure hereafter. Cassandra becomes Agamemnon’s slave. Andromache falls into the hands of Neoptolemus, son of Achilles. Her son, Astyanaktas, was thrown from the walls of Troy, so that he would not seek revenge later.The poet does not miss the opportunity to emphasize the miseries that await the victors on the return journey. Because whoever destroys states and does not respect the temples of the gods, it will not be long before disaster strikes.

Euripides, Troas (arrangement)

THE GOLDEN MASK OF AGAMEMNON, THE KING OF MYCENAE: THE MASK OF AGAMEMNON IS AN ARTIFACT DISCOVERED IN MYCENAE IN 1876 BY THE GERMAN ARCHAEOLOGISTS HEINRICH SCHLIEMANN.
THIS MASK IS MADE OF GOLD AND IS A FUNERAL MASK FOUND OVER THE FACE OF A DEAD BODY IN A BURIAL PLACE AT MYCENAE. SCHLIEMANN THOUGHT, THAT THE BODY AND THE MASK ARE OF THE LEGENDARY KING AGAMEMNON.
THIS MASK IS CRAFTED OUT OF PURE GOLD AND SUCH MASKS WERE PUT ON THE FACE OF DECEASED KINGS AND ROYAL PEOPLE. AGAMEMNON WAS THE SON OF KING ATREUS OF MYCENAE AND QUEEN AEROPE. HE WAS THE LEADER OF THE ACHAEANS-DANAOI OF WEST GREEKS DURING THE CIVIL WAR WITH TROES (TROJANS), AS MYCENAE WAS THE MOST POWERFUL WEST GREEK TOWN AT THAT TIME. HE WAS ALSO THE BROTHER OF MEN ELAUS AND THE HUSBAND OF CLYTEMNESTRA. AGAMEMNON HAD THREE DAUGHTERS AND ONE SON . – (ONE OF HIS DAUGHTERS, IPHIGENIA, WAS THE PROTAGONIST IN EURIPIDES PLAY-DRAMA). WHEN AGAMEMNON RETURNED TO HIS KINGDOM, AFTER THE END OF THE TROJAN WAR, HE WAS MURDERED BY HIS WIFE CLYTEMNESTRA AND HER LOVER AEGISTHUS.

THE AUTHENTICITY OVER THIS MASK REMAIN TILL TODAY. THIS GOLDEN EXHIBIT IS CURRENTLY ON DISPLAY AT THE NATIONAL ARCHAEOLOGICAL MUSEUM IN ATHENS. IN SPITE OF ALL THE DOUBTS, THIS DISTINGUISHED MASK OF GOLD, WHICH IS ABOUT 12 INCHES IN HEIGHT IS STILL KNOWN, AS THE MASK OF AGAMEMNON AND IS ONE OF THE MOST PRIZED DISCOVERIES FROM THE ANCIENT MYCENAEAN AGES

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Electra, daughter of King Agamemnon, wants to avenge her father’s death. After his return from the Trojan War, he was murdered by his wife Klytaimnestra and her lover Aigisthos. Elektra is waiting for one day to get her revenge and for her brother Orestes, sent away to be raised elsewhere, to come home and help her.

IN THE ROYAL PALACE IN MYCENE
Clytaimnestra’s handmaidens talk about Elektra. They think she behaves frighteningly and dangerously. The youngest of them defends Elektra and the others beat her. Elektra becomes lonely. She remembers her father, relives the murder and imagines the rites of dance and blood sacrifice when the father is once avenged.

Her younger sister Chrysothemis warns her about the mother who wants to have Elektra thrown in prison. Chrysothemis can’t stand the confined life in the palace anymore. She wants to be human and woman. Alarms from inside the house announce the arrival of Klytaimnestra. Elektra wants to talk to her.

Clytaimnestra is tormented by dreams. She asks Elektra for advice. Klytaimnestra’s confidants warn her about her daughter. Elektra, first introduces herself and speaks kindly to the mother. Finally, she loses control and declares that the only cure for the anxiety dreams is the death of Klytaimnestra. Then someone whispers a message to Klytaimnestra. Her death throes turn into triumph.

Chrysothemis returns and tells her that two strangers have come with the message that Orestes is dead. Elektra can’t believe it at first. A servant sets off to break the news to Aigisthos. Elektra realizes that she must complete the revenge herself and tries to convince her sister to kill Klytaimnestra and Aigisthos with her that same night. But she fails to break Chrysothemi’s resistance. Elektra has hidden away the ax with which her father was murdered. Now she picks it up.

Shortly thereafter, a stranger arrives. He tells of the death of Orestes – but it is Orestes himself. The siblings recognize each other; he has come to Mycenae to avenge his father’s death. Orestes’ companions remind that Klytaimnestra is waiting for them in the palace. Orestes enters. Elektra breathlessly follows the events from outside. Klytaimnestra’s death scream is heard.

Orestes was the son of Agamemnon and Clytemnestra , who was hunted by the Erinyes after he killed his mother.

The story of Orestes is the main topic of various ancient Greek plays. After the Trojan War, Orestes’ father, Agamemnon, returned to Mycenae (or Argos), along with his prize, the Trojan princess Cassandra. Cassandra had the gift of foretelling the future, but was also cursed not to be believed by anyone. Despite Cassandra’s warnings about what was about to happen, Agamemnon entered his palace, only to be murdered by his wife Clytemnestra and her lover Aegisthus, who was Agamemnon’s cousin. Orestes, a young boy at the time, was not present at the palace, but had run away with his sister Electra and found refuge at the court of Athens.

When Orestes became an adult, he was urged by his sister and the god Apollo to avenge their father’s death; Orestes, assisted by his friend Pylades, returned to the city, and murdered his mother and her lover. However, committing matricide was a horrible act that brought the fury of the Erinyes upon him. He was driven mad and was pursued by them.

Orestes sought refuge at the temple of Apollo, but even the god was powerless to stop the Erinyes. In the end, Athena accepted his pleas and organised a formal trial to be held before twelve judges. The Erinyes asked that the perpetrator be punished, while Orestes said that he followed Apollo’s orders. When the judges voted, the result was a tie; however, Athena’s vote, who was the chief justice, broke ties, leading to Orestes’ acquittal. Grateful, Orestes dedicated an altar to Athena, while the Erinyes were appeased by getting a new ritual, during which they were worshipped as the Venerable Ones.

According to a different source, while Orestes was still pursued by the Erinyes, Apollo told him to go to the land of Tauris and bring back a statue of Artemis, which had fallen from the sky. Orestes agreed and went to Tauris, accompanied by his friend Pylades. There, they were captured by the cult of Artemis, who was told to sacrifice all Greeks to the goddess. When the priestess of Artemis heard that two Greeks had been captured, she offered to help one of them escape if they would agree to carry a letter to her brother; Orestes demanded that Pylades should go, while Orestes would stay behind to be slain. Pylades reluctantly agreed, but when he received the letter, he realised who the priestess really was. All three of them eventually escaped, carrying with them the statue of Artemis. Aegisthus being murdered by Orestes and Pylades – The Louvre

Aigisthos arrives and meets Elektra outside the palace gate. Elektra’s terrifying supervision and unexpected kindness scares him. On his way in, he is murdered by Orestes.

Chrysothemis joyfully recounts the battle between Aigisthos’s friends and those who sided with Orestes. The brother has won. Elektra has achieved her goal in life. Vengeance has been exacted. She begins her ritual dance and sinks dead to the ground.

Alexander the Great laid the foundations for scientific mapping. A pioneer explorer, who laid the foundations of scientific mapping, was Alexander the Great. With his campaign in the East, he inspired his contemporaries and later cartographers to record in detail the areas through which he passed. The cartographic and exploratory work of the army of Alexander the Great and his descendants was studied by 15th century explorers, who sought to discover new worlds. Savvas Demertzis, a map collector and historian, spoke about its importance at an event at the Aristotle University of Thessaloniki. “Alexander the Great’s campaign not only had a military dimension, but also included an important task of searching for and recording new information. “The Macedonian king arrived in unknown countries at that time and played a very decisive role in their mapping,” Savvas Demertzis told “Demokratia” during the event. Teachings The contribution of Alexander the Great to cartography comes from Aristotle, who taught him to love knowledge. In his campaign he was accompanied by Eumenes, also a student of Aristotle, who was the first person to make real geographical measurements with the help of the body of “walkers”, which he recommended. “These were educated young people, who with a special technical regulation of breathing walked a lot of kilometers and so Eumenes calculated the distances” explains Mr. Demertzis. Eumenes mapped the areas where Alexander the Great arrived, while his work was continued by descendants of the Macedonian mercenary. The Seleucid and Egyptian contributions were important in the mapping, as they bordered areas that were unexplored. An additional important role in the development of cartography was played by the creation of large libraries in Alexandria, Antioch, Pergamon and Pella. “15th century explorers studied maps of the descendants of Alexander the Great, who had mapped areas beyond India and Africa. They helped them in their exploratory work and so they reached America “, adds Mr. Demertzis. No maps have survived from the time of Alexander the Great. They were destroyed when the library of Alexandria burned down. However, there are copies that give important information about the exploratory work of the great recruiter.

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The François Tomb of Vulci: from the graphic documentation of the Fondo des Vergers at the Gambalunga Library to the pictorial decorations at the library of the Villa des Vergers. The des Vergers Collection is rich in drawings, tracings, engravings of wall paintings, as well as vases, bronzes and jewellery, brought to light by the excavations carried out by the company founded by Adolphe Noël des Vergers and Alessandro François in 1850. In 1852 they were joined by des Vergers’ father-in-law, the editor Ambroise Firmin Didot. In April 1857, François discovered a tomb in Vulci, later named after him, the walls of which were decorated with an outstanding pictorial cycle. In the wake of this discovery des Vergers commissioned the drawings of the tomb’s frescoes and then published them in the Atlas of his monumental work L’Étrurie et les Étrusques ou dix ans de fouilles dans les Maremmes toscanes . In 1864 he purchased, on his father-in-law’s behalf, the full-scale tracings of François Tomb’s pictorial cycle, which were made in 1862 by Carlo Ruspi for the Museo Gregoriano Etrusco facsimile. Ruspi’s tracings turned out to be particularly important, both because they provided useful information that helped des Vergers with the description of the tables XXI-XXIX of the Atlas , but also because they were most likely used by the painter Augusto Aviano towards the end of the nineteenth century as a model for the ceiling decorations of the library of Villa des Vergers in San Lorenzo in Correggiano (Rimini).

Index terms

Keywords:

Adolphe Noël des Vergers , 

Alessandro François , 

Ambroise Firmin Didot , 

François-des Vergers-Firmin Didot excavation company , 

Vulci , 

François tomb , 

des Vergers Collection , 

Villa des Vergers , 

Rimini Gambalunga Library , 

Rimini Civic Museum

Keyword:

Adolphe Noël des Vergers , 

Alessandro François , 

Ambroise Firmin Didot , 

François-des Vergers-Firmin Didot excavation company , 

Vulci , 

François Tomb , 

Des Vergers Fund , 

Villa des Vergers , 

Gambalunga Library of Rimini , 

Municipal Museum of Rimini

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• 1 On des Vergers see Firmin Didot – Beulé [1867]; Scott de Martinville 1867; Albini 1930; Copies 1 (…)
• 2 On the versatile figure of Ambroise Firmin Didot see Werdet 1864, p. 32-45; Mollier 1988, p. 81-10 (…)
• 3 On the Villa des Vergers at the time of Adolphe see Mussoni 2011, p. 13-28.
• 4 On the Fondo des Vergers see Delbianco 1996; Delbianco 2014b, p. 22-45; Delbianco 2014c.
• 5 BGR AdV, b. VI, fasc. 11, s. fascicle 8, n. 3-4: Delbianco 2014c, p. 201 sq.
• 6 On François see Conestabile 1858; Pelagatti 1960; Bruni 2011, p. 50-51, notes 5-6.
• 7 Bruni 2011, p. 19-65; 97  sq. , notes 1-17.

1Adolphe Noël des Vergers (Paris 1804 – Nice 1867), an eclectic scholar with interests in orientalist studies, geography and archaeology 1 , son-in-law of the Parisian publisher Ambroise Firmin Didot (Paris 1790-1876), himself an antiquarian, bibliophile and collector 2 , in 1843 purchased the villa of San Lorenzo in Correggiano (Rimini, Papal State) 3 from the Belmontis , making it the Italian base for studies and government missions systematically documented by the materials of the Fondo des Vergers 4 , acquired by the Gambalunga Library of Rimini in 1934 upon the death of des Vergers’ daughter, the Marquise Hélène de Toulongeon (1843-1934). Des Vergers’ interests in Etruscan history date back to a very early period: in 1838, during a trip to Italy, he visited the excavations on Monte Falterona (1838-1839), which brought to light one of the richest votive offerings in the Etruscan world in the site later called the “Lago degli Idoli”. 5 In 1850 he set up an excavation company in the Tuscan Maremma with the already famous excavator Alessandro François (Florence 1796 – Livorno 1857), Royal Commissioner of War and Navy of the Grand Duchy of Tuscany at Livorno 6 , who, with the aim of opening a National Etruscan Museum in Florence with his own collection 7 , carried out excavation work during the leaves periodically granted by the Ministry. The company expanded in December 1852 with the entry of Didot and continued until 1857, the year of François’ death.

• 8 The correspondence exchanged between François and des Vergers, which will be cited with the acronym BGR AdV without the (…)
• 9 On Migliarini see Nieri 1929, 1930; On the Heyde 2003.
• 10 BGR AdV, Report , [1852 post Sept. 14]: Delbianco 2014c, p. 180, n. 40.
• 11 On the Giulietti family, and in particular on Vincenzo, see Barni – Paolucci 1985, p. 28.
• 12 Paolucci 2007, p. 29-38: Francesco Bonci Casuccini (1781-1857); p. 39-47: Ottavio (1819-1886), fig (…)
• 13 On François’ excavations in the grounds of the Mensa Vescovile in Chiusi see Paolucci 2014a, p. 27-35.
• 14 Barni – Paolucci 1985, p. 17; Tailors 2001, p. 29.
• 15 Franceschi, on whom see Marzi Costagli (1984), is also mentioned in BGR AdV, Note of the spe (…)
• 16 Augusto Volpini 1912; Comanducci [1945], II, p. 898.

2The extensive correspondence that François exchanged with his partner des Vergers 8 allows us to follow this second activity step by step before, during and after the excavations, when he took care of having the finds restored and drawn, of regularly sending the drawings and transparencies to his partner in Paris, of having the appraisal and inventories of the materials carried out by Arcangelo Michele Migliarini (1779-1865), curator of the Antiquities of the Uffizi Galleries since 1841 9 . In his letters he tends to gloss over the names of the estates (and their owners) in which he worked in the various Etruscan centres, with the exception of the Statement of expenses incurred by the François-des Vergers excavation company from 5 February 1850 to 24 September 1852 10 , where he mentions both the owners of the estates (Vincenzo Giulietti 11 , Francesco and above all Ottavio Casuccini 12 , Agostino Pacchiarotti, the bishop Giovanni Battista Ciofi 13 , Vittoria Pallottaj widow Rosati), as well as the restorers (Vincenzo Monni, 14 Gian Gualberto Franceschi 15 ) and the painters/designers (Leopoldo Gori, Augusto Volpini 16 ) employed from time to time.

• 17 BGR AdV, letter Livorno 10.10.1852. On the first season of excavations in Vulci see François 1857a.
• 18 For the excavation activity in Vulci by Luciano and Alexandrine Bonaparte see Buranelli 1995.

3From 1850 to 1854 François conducted excavation campaigns in Belora di Riparbella (Pisa), S. Vincenzino di Cecina and Fitto di Cecina (Livorno), Chiusi, Chianciano, Volterra, Orbetello, Vulci. He excavated in Vulci in 1853, a year after Princess Alexandrine de Bleschamp, widow of Lucien Bonaparte, had granted him permission to excavate “perfectly halfway” in the lands of the principality of Canino. “A somewhat onerous condition” – he would admit with des Vergers – but which he had accepted willingly because he hoped to have the fortune of opening the “immense sepulchre” of Cuccumella, 17 succeeding in the enterprise that Bonaparte had failed to do 18 .

• 19 On Torlonia see Felisini 2004 and 2014; Monsagrati 2006.
• 20 BGR AdV, letter Livorno 20.02.1856.
• 21 BGR AdV, letter Livorno 03.24.1856, 04.10.1856, 06.27.1856. See Paolucci 2014a, p. 58-62.
• 22 BGR AdV, letter Livorno 10 and 23.10.1856; 18.11.1856.
• 23 BGR AdV, letter Livorno 18.11.1856; 12.02.1857.
• 24 BGR AdV, letter Livorno 17.02.1857.
• 25 François was retired from service by decree dated 04.03.1857: see BGR AdV, letter Livor (…)
• 26 BGR AdV, Canino letter 16 and 24.03.1857.
• 27 BGR AdV, Canino letter 19.03.1857.
• 28 BGR AdV, Canino letter 03.31.1857.
• 29 BGR AdV, Canino letter 5.04.1857, where the opening is scheduled for the following day. In reality it had the (…)

4Upon the death of Princess Alexandrine (1855), the former fief of Canino and Musignano was purchased by Prince Alessandro Torlonia (1800-1886) 19 . Having entered into negotiations with François, the new owner in February 1856 authorised him to carry out the excavations of Cuccumella 20 , which took place with little success from 10 April to 11 May and were suspended at the end of the month’s leave granted to him by the Tuscan Government 21 . In October of the same year, the excavator signed a contract with Torlonia which allowed him to excavate in the prince’s properties in Canino and Cerveteri for the three-year period 1857-1859. 22 After having obtained assurances from his capitalist partners regarding the financing of the new archaeological research 23 , the research permit from the papal authorities 24 and his withdrawal from service by his Government 25 , on 16 March 1857 François began excavations in the necropolis of Ponte Rotto near the Fiora river with a team of fourteen workers and a corporal. In the meantime he began to think about organising the excavations in the necropolis of Cerveteri, which, at Torlonia’s request, would begin in November, at the end of the research at Cuccumella. 26 Already in the first few days he identified some hypogea, which rose to twenty after a week 27 , to forty at the end of the month 28 and to about sixty not even a week later. Their opening did not begin until 7 April, and was thus delayed because by contract a representative of Torlonia was to be present. François forewarns him in his letter to des Vergers two days earlier, where he renews his invitation to go to Vulci. 29 On 12 April he observes:

• 30 BGR AdV, Canino letter 12.04.1857.

I am absolutely certain that the hypogea I found were never visited by Prince Luciano or by other modern excavators, and those that I found to be such in my investigations I left behind; moreover there are two very new burial grounds discovered by me. 30

• 31 BGR AdV, letter Canino 19.04.1857, with transcription of the inscription of the cippus, published in Buranelli (…)
• 32 On the necropolis of Ponte Rotto see Moretti Sgubini 1987, 2004b. On the Tomb of the Saties see, from u (…)
• 33 BGR AdV, Canino letter 04.28.1857.

5On April 19 he informs des Vergers that the previous week he had found many objects but of little importance in the tombs of plebeian people and that on the other hand he had discovered an inscribed sepulchral cippus, placed at the beginning of the 150-palm dromos of “a large family hypogeum”, which “after the Cuccumella is the most grandiose ever found in these excavations, and must have several sarcophagi”. 31 François had discovered the Tomb of the Saties , which later took his name. 32 On April 28 he had already entered “the atrium in front of the vestibule, where the tombs are, and tomorrow – he assured – I will penetrate it”. 33 On May 1 he sent his partner a detailed and enthusiastic report:

I finally arrived at the first tomb of the necropolis that I announced to him I had discovered in the locality of Ponte Rotto near the Fiora, a river that laps the walls of ancient Vulci. It belonged to Warriors of that city: it is composed of five rooms, the first of which is painted with figures, and if the drawings were to be extracted there would be a lot to write about, but a lot since it is a very interesting subject, and many of the figures have Etruscan inscriptions. These tombs are empty, and in perfect conservation, and worthy of being seen, studied, and published. The necropolis itself is virgin, and I calculate that it has four other tombs at least.

6He continues with the list of the “superb objects” found and concludes by underlining that:

• 34 BGR AdV, letter Canino 1.05.1857, published in Buranelli 1987b, p. 35  sq. , card 2 (manual transcription (…)

Now the essential thing would be to have the drawings of the surviving paintings of the first room extracted, so as not to defraud science, assuring it that they are very interesting both for their beauty, as for their scientific importance, being in my opinion the most beautiful paintings I have ever seen in Etruscan tombs. The Archaeological Institute should send one of its members here with a designer, and then have them published in the Annals of the Institute. 34

• 35 On Rosa see Ferro 1892; Barnabei 1933; Tomei 1999; and, for the relations with des Vergers, von Hesberg (…)
• 36 The pencil drawing on tracing paper, complete with measurements, is preserved in BGR AdV, b. VI, fasc. (…)
• 37 On Henzen see Kolbe 1984; Blanck 2003; and, for his relationship with des Vergers, Blanck 1996 and 2009
• 38 On Nicola Ortis (1830-1896) see Servolini 1955, p. 585. On the agreements between Henzen and des (…)
• 39 The drawings no. I, IV, VII are present in the FdV, located respectively in BGR GDS inv. 5075, 507 (…)
• 40 The Ortis practice is preserved in BGR AdV, b. VI, fasc. 3: Delbianco 2014c, p. 196. On the affair of (…)
• 41 François 1857b, p. 104; Buranelli 1987b, p. 32; 38, card 4.

7Des Vergers visited the excavations at the beginning of May in the company of his friend Pietro Rosa (1810-1891), architect and topographer 35 , who drew the plan of the tomb (fig. 1). 36 Then, following a recommendation from Wilhelm Henzen (1816-1887), first secretary of the Institute of Archaeological Correspondence 37 , he had a copy of the wall paintings made by the young painter Nicola Ortis 38 , a pupil of Tommaso Minardi, who left for Vulci on 12 May and returned to Rome on 1 June with nine pencil drawings on a 1:10 scale. He had accompanied the drawings, three of which have come down to us 39 (fig. 2), with a Description of the paintings in the tomb discovered in the ancient city of Vulci in Etruria , where the figures represented in each panel are listed in order, distinguishing the nude from the clothed and indicating the type of clothing and the relative colour of the latter. He had completed the work with a pen drawing of the plan of the tomb, where the position of the paintings on the walls of the large central room in the shape of an inverted T is marked. 40 On the plan he had also taken care to indicate in hatching the “dry wall” of ancient construction that closed the right side of the vestibule, separating three lateral rooms from the other rooms, or “that rough wall” that François decided to knock down with blows of a hoe 41 .

Fig. 1 – Plan of the François Tomb drawn by Pietro Rosa on tracing paper in 1857 (des Vergers, L’Étrurie et les Étrusques , III, plate XXX ds.).

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© Gambalunga Library, Rimini.

Fig. 2 – 1:10 scale drawings of the pictorial cycle of the François Tomb made by Nicola Ortis in 1857, plate. VII: Sisyphus and Amphiaraus (des Vergers, L’Étrurie et les Étrusques , III, plate XXVI).

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© Gambalunga Library, Rimini.

• 42 On the role played by the Institute in the first publications of the paintings from the François Tomb see (…)
• 43 On Bartolomeo Bartoccini (1816-1882) see Servolini 1955, p. 55; on Bartoccini’s copies of the drawings (…)
• 44 The delicate affair is documented by Henzen’s letters to des Vergers, Rome 5 and 27.06.1857, 4.07 (…)

8Henzen immediately asked des Vergers for permission to publish in the Monumenti inediti the engravings of the pictorial cycle from the drawings of Ortis 42 , but to his repeated requests his friend replied that he reserved the publication for Paris, after which he would gladly make the engraved plates available to the Institute. He expressed his appreciation for the far-sighted initiative of Henzen, who had had a copy of the drawings of Ortis made by Bartolomeo Bartoccini 43 to use it, if authorised to publish them, or to keep it (with his approval) in the Archives of the Institute as a backup copy. 44

• 45 Des Vergers 1857a. The letter is published in full in Blanck 2009, p. 155  sq.
• 46 François 1857b.
• 47 Des Vergers 1857b.

9Henzen immediately published in the May-June Bulletin a good part of the letter that des Vergers had sent him from Civitavecchia on 7 May via Rosa with the first news of the exceptional discovery 45 , in the July Bulletin François’ excavation report 46 , in the August-September Bulletin des Vergers’ report dedicated to the pictorial cycle 47 .

10The discovery of the tomb had a strong echo in the press, not only nationally, as François reported to his partner in his letter of July 2:

The excavated tomb has aroused universal fanaticism […] The Gazzetta di Genova has a beautiful article in praise of you and Mr. Didot, reporting the article of the Gazzetta di Augusta. From the article of the Diary of Rome inserted by the Municipality, I believe, of Canino, it reports the description of the hypogeum, and lashes out at the Tuscans for their apathy towards archaeological studies; it speaks of our collection, and I believe from what I was written from Turin that it is the work of the Director of those Museums who knows our collection well, and all my works.

• 48 BGR AdV, letter Livorno 2.07.1857.

11In the same letter he informed him that Prince Torlonia had undertaken to cover half of the cost of the restoration, which from now on would be carried out “before my eyes on a daily basis by the very skilled restorer [Tocchelli di Canino] that Prince Luciano had”. 48 In another letter dated 29 July, therefore following the publication of the excavation report, he gave news of further discoveries:

• 49 BGR AdV, letter Livorno 29.07.1857. On the lion-shaped askos , preserved in the British Museum, you (…)

In the last two chambers of the great tomb several very beautiful complete vases were found, very singular for their remote antiquity, being truly Etruscan, and what is most interesting is a magnificent rhyton made in the shape of a lion of surprising beauty, equally intact. 49

• 50 On Henri-Adrien Prévost de Longpérier (1816-1882) see Vapereau 1870, p. 1156; Gran Aymerich 2001, (…)
• 51 Des Vergers 1857c, 1857d.

12François died suddenly in Livorno on 9 October, while he was making preparations for the resumption of excavations in November. The excavation campaign having ended so abruptly, all the grave goods were taken to the castle of Musignano and reunited with the objects found in the Vulci excavations of the previous two years. Between May and August des Vergers had presented to the Académie des inscriptions et belles-lettres three reports on the excavations and discoveries of Vulci, two read by his friend Adrien de Longpérier 50 and one communicated in person showing the drawings of Ortis 51 , and he was already thinking about writing a volume on the Vulci paintings which would be published by and at the expense of Didot.

• 52 Letter from des Vergers to Henzen, Paris 9.07.1857: Blanck 2009, p. 172.
• 53 Letter from des Vergers to Henzen, dated 24.04.1858: Blanck 2009, p. 184.
• 54 Letter from des Vergers to Henzen, Rimini 23.07.1858: Blanck 2009, p. 188  sq.

13In reality, the plan of the work, as emerges from the correspondence with Henzen, became more precise over time. Des Vergers started from the idea of ​​making it a publication «very restricted and limited only to the number of examples necessary to give to my friends», which is why he offered to pass on the copper plates after its publication to the Institute for Unpublished monuments . 52 He later presented it as «the first shipment of the elite of our Etruscan monuments, the first shipment that will contain the paintings of Vulci», the description of which would have been preceded by «an introduction to Etruria considered under the archaeological and historical perspective ». 53 Finally he decided that he would constitute «the first edition of our work» divided into three parts: «1. The Maremmes – 2. The Etruscans – 3. Description of the monuments (12 plans of tomb paintings and 30 plans of vase paintings. The text is in-8°; the atlas in-f°». 54 – 1:10 scale drawings of the pictorial cycle of the François Tomb made by Nicola Ortis in 1857, plate. VII: Sisyphus and Amphiaraus (des Vergers, L’Étrurie et les Étrusques , III, plate XXVI).13In reality, the plan of the work, as emerges from the correspondence with Henzen, became more precise over time. Des Vergers started from the idea of ​​making it a publication «very restricted and limited only to the number of examples necessary to give to my friends», which is why he offered to pass on the copper plates after its publication to the Institute for Unpublished monuments . 52 He later presented it as «the first shipment of the elite of our Etruscan monuments, the first shipment that will contain the paintings of Vulci», the description of which would have been preceded by «an introduction to Etruria considered under the archaeological and historical perspective ». 53 Finally he decided that he would constitute «the first edition of our work» divided into three parts: «1. The Maremmes – 2. The Etruscans – 3. Description of the monuments (12 plans of tomb paintings and 30 plans of vase paintings. The text is in-8°; the atlas in-f°». 54

• 55 On Brunn see Flasch 1902; Amelung 1910; Lullies 1988; Gran-Aymerich 2001, p. 117  sq. ; White 2009 (…)
• 56 Letter from des Vergers to Henzen, San Lorenzo 25.11.1858 [but 25.10.1858: cf. tp]: Blanck 2009, p (…)

14Then, since the publication times were taking longer than expected due to the decision to reduce the number of vase plates and to publish the Atlas in a single volume instead of three, des Vergers asked and obtained from Henzen that the plates of the Vulci paintings engraved by Bartoccini from his copies of Ortis’ drawings should appear in the Monumenti inediti not in 1858, as planned, but in 1859, and that the related essay on Etruscan painting by Heinrich Brunn (1822-1894), second secretary of the Instituto 55 since 1856 , should appear in the Annals of the same year. 56 The further delay was of little use, because des Vergers’ monumental work with the significant title L’Étrurie et les Étrusques ou dix ans de fouilles dans les Maremmes toscanes was published only in 1862-1864.

• 57 Letter from des Vergers to Henzen, San Lorenzo 5.10.1858, 28.11.1858: Blanck 2009, p. 190, 194.
• 58 On the brothers Alessandro (1823-1883) and Augusto Castellani (1829-1914) see Moretti Sgubini 2000; Sa (…)
• 59 Letter from Brunn to des Vergers, dated 8.5.1860: Blanck 2009, p. 313  sq.
• 60 The corrected plates XXXI-XXXII are preserved in BGR AdV, b. VI, fasc. 7: Delbianco 2014c, p. 198 sq
• 61 Letter from des Vergers to Brunn, Paris 15.05.1860; from Brunn to des Vergers, Rome 26.05.1860: Blanck (…)
• 62 Letter from des Vergers to Brunn, Paris 1.01.1861; from Brunn to des Vergers, Rome 19.01.1861: Blanck (…)

15Brunn, having to deal in his essay also with the cycle of frescoes of the François Tomb, between October and November 1858, equipped with a letter of introduction from des Vergers, made his first trip to Vulci, which was completely fruitless because he was not allowed to see either the grave goods or the paintings of the tomb. 57 He returned in 1860, when at the request of the François heirs it was decided to proceed with the division of the Vulci objects. He made the trip in the company of Prince Torlonia, who had “invited him almost suddenly”, of the Castellani brothers, collectors of ancient art and jewelers 58 , of Fortunato Lanci, secretary of the prince, and of other people. Together they checked the materials stored in the Musignano castle and established that Torlonia should immediately take the gold and the lion-shaped vase with him to Rome, while the vases would be quickly transferred to Rome to the Instituto to be restored under the direct supervision of Brunn. The latter took the opportunity to visit the François Tomb, where he verified the accuracy of the Ortis/Bartoccini drawings, finding them substantially faithful but lacking “in terms of character and style”; furthermore, by removing a piece of the filler wall, he discovered the painting of the group of Marce Camitlnas and Cneve Tarchunies Rumach . 59 Back in Rome, at the request of des Vergers who had not yet printed the plates of the Vulci paintings and therefore could have corrected them, he sent to Paris the plates XXXI-XXXII of the unpublished Monuments of 1859 with some corrections in pencil in the inscriptions and in the details of the figures. 60 He also sent him, in the accompanying letter, a sketch of the newly discovered painting and the transcription of the relative inscriptions. 61 However, he was unable to satisfy the Frenchman who, wishing to have the plates of the Vulci paintings coloured in some copies of his publication, asked him for a more detailed description of the colours than the one Ortis had attached to the drawings. He had not had the time, but above all «it would have been necessary to indicate the various shades not with words, but with real colours». 62

• 63 The documentation relating to the practice of the division des Vergers-François-Torlonia, including (…)

16On 11 June 1861, the division of the objects found in the excavations of Vulci was finally carried out between Torlonia and des Vergers, who also acted as attorney general of the François heirs. Brunn, in charge of the division, had drawn up two lists based on the estimate of the antique dealer Luigi Depoletti: A went to des Vergers, B to Torlonia. The frescoes of the François Tomb were recognized as the property of Prince Torlonia as the owner of the land, but he wanted to reserve “a memory and benefit” of them for the François heirs and des Vergers, assigning them a fifth of the price of the paintings or a tempera copy of them if he managed to sell them within two years of the contract. 63

• 64 Letter from des Vergers to Brunn, [Paris] 2.04.1862: Blanck 2009, p. 332 sq .

17On 2 April 1862, just before the opening of the Musée Napoléon III in Paris, where a place of honour was reserved for the archaeological and artistic testimonies of Etruscan civilisation, des Vergers announced to Brunn the publication of the first part of L’Étrurie et les Étrusques , consisting of an Atlas of 29 folio plates and a volume with half the text. He anticipated that the second part would consist of a plate of jewels, plates of objects for which he had been commissioned to have the drawings made, a map of the Maremma and the final part of the text. 64

• 65 Brunn 1862. Cf. Blanck 1987, p. 174.

18At the end of 1862 Brunn published in the Bulletin an extract from an article by Otto Jahn that had just appeared in the Archäologische Zeitung (1862, col. 307-309), where the German scholar intervened on the pictorial cycle of the François Tomb, correcting the interpretation of the great battle scene contrasted with the sacrifice of the Trojan prisoners proposed by des Vergers and reiterated by Brunn, according to whom it would have been a human sacrifice in honour of the dead. On the basis of the inscriptions and with the support of a speech by the emperor Claudius to the Senate, he instead saw in it the episode of the liberation of Celio Vibenna by Mastarna, the future king of Rome Servius Tullius, in a sudden assault together with three other men who killed their opponents. 65

• 66 On Carlo Ruspi (1798-1863) see Colonna 1984; Weber-Lehmann 1986; Buranelli 1986; Colonna 1999; Lu (…)
• 67 Blanck 1987, p. 174 sq .; Buranelli 1987d. For the detachment of the frescoes carried out under the direction (…)
• 68 Letter from Henzen to des Vergers, Rome 30.01.1864: Blanck 2009, p. 249. Henzen gave notice of the a (…)
• 69 See below and fig. 7-8. The pencil drawing lacks the inscriptions, evidently omitted due to (…)
• 70 Letter from des Vergers to Henzen, Paris 2.04.1864: Blanck 2009, p. 265; of Vergers 1862-1864, III (…)
• 71 The third volume of L’Étrurie et les Étrusques owned by des Vergers bears the mark in Gambalunga (…)

19At the end of February 1864, des Vergers purchased from the heirs on behalf of his father-in-law the life-size tracings of the wall paintings of the François Tomb that Carlo Ruspi, the «artist-archaeologist» pioneer of the drawing/copying from life of Etruscan painted tombs 66 , had executed for the facsimile of the Gregorian Etruscan Museum in 1862, before the frescoes were detached (1863) and transferred to the Torlonia Museum at Lungara (now in Villa Albani in Rome) 67 . The sale took place thanks to the mediation of Henzen, who, after having written about it without success to the Berlin Museum, wanted to secure the tracings by proposing them to the person most directly interested, convinced as he was that after the losses suffered by the frescoes during the detachment and the necessary forthcoming restorations, they would constitute «les restes les plus authenticques de votre belle découverte». 68 The transparencies, where Ruspi had noted the colours, coloured the outlines of the parts and even coloured some parts, proved very useful to des Vergers, because they allowed him to correct several details in the branches taken from Ortis’ drawings and probably to have the drawing of the group of Marce Camitlnas and Cneve Tarchunies Rumach (BGR GDS inv. 5074) done for plate XXX left, as the comparison with the Ruspi transparencies, fig. 4 69 seems to suggest ; furthermore, they provided him with precious information for the explanation of the plates XXI-XXIX that he was completing. 70 Plates XXX-XL and the explanation of all 40 plates were in fact included in the second part of L’Étrurie et les Étrusques , published in 1864. At the same time, the publishing house Firmin Didot put on the market the complete edition of the work in three volumes dated 1862-1864, where the Atlas is covered with a general frontispiece that presents it as the third volume, but retains the old frontispiece with the subtitle Atlas and the date 1862 placed between the preliminary epigraphic appendix and the following explanation of the plates. It is probable that on the initiative of des Vergers, three of the plates dedicated to the frescoes of the tomb of Vulci (XXI, XXII, XXIV) were water-coloured, based on the chromatic indications provided by Ruspi’s tracings, which were then added and bound in the volume owned by him and sent to Gambalunga (fig. 3). 71

Fig. 3 – Des Vergers, L’Étrurie et les Étrusques , III, plate XXI: François Tomb, sacrifice of the Trojan prisoners, from the drawing by Nicola Ortis. One of three water-coloured copper engravings added and bound in the volume owned by des Vergers.

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© Gambalunga Library, Rimini.

• 72 On Julius Zielke (1826-1907), whose drawings are not preserved in BGR FdV, see Thieme – Becker 1 (…)
• 73 On the Marquis Giovanni Pietro Campana and his collection see, most recently, Gaultier – Haumesser (…)

20It is now worth dwelling on the Atlas, whose composition substantially reflects the history of the excavation company, in its successes and its setbacks. In 1862 – as we have seen – the first 29 plates were published, which we will review in their far from casual succession. The chromolithographic plates I-III, taken from the drawings of Julius Zielke 72 , reproduce the Tomb of the Reliefs of Cerveteri (third quarter of the 4th century BC), discovered in the winter of 1846-1847 by the Marquis Giovanni Pietro Campana (1808-1880) 73 in the Banditaccia necropolis, showing a general view, the back wall and the entrance wall, a lateral portion and some pillars (fig. 4).

Fig. 4 – Des Vergers, L’Étrurie et les Etrusques , III, plate. I: Tomb of the Reliefs of Cerveteri, general view. Chromolithograph from the lost drawing by Julius Zielke.

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© Gambalunga Library, Rimini.

• 74 BGR AdV, b. VI, fasc. 11, s. fasc. 9: Delbianco 2014c, p. 202, 389 under the year 1855.
• 75 Des Vergers 1857d, p. 231  sq.
• 76 Des Vergers 1862, p. 409  sq.
• 77 Des Vergers 1862-1864, I, p. 93-95.
• 78 Des Vergers 1862, p. 409-411; letter from des Vergers to Henzen, Paris 15.12.1863: Blanck 2009, p.  (…)

21In truth, the Tomb of the Reliefs had already aroused des Vergers’ interest years before: in August 1855 he was supposed to illustrate it at the Institut de France , accompanying the report with an exhibition of drawings specially commissioned by Zielke. But on that occasion, due to lack of time, he managed to read two of the three scheduled reports and this one was left behind. 74 He presented it in 1857 to the Académie des inscriptions et belles-lettres with the support of Zielke’s drawings, after having spoken about the discoveries in the necropolis of Vulci. 75 He later published the adapted text in the article dedicated to the Musée Napoléon III 76 and in the first volume of L’Étrurie et les Étrusques. 77 In 1862, Zielke’s drawings were used to create the facsimile of the burial chamber of the Tomb of the Reliefs in one of the rooms of the Musée Napoléon III. 78

 Des Vergers, L’Étrurie et les Étrusques , III, plate XXI: François Tomb, sacrifice of the Trojan prisoners, from the drawing by Nicola Ortis. One of three water-coloured copper engravings added and bound in the volume owned by des Vergers.

• 79 For the place and circumstances of the excavation, the description and attribution of the vases published in the A (…)
• 80 Volpini’s suggestive watercolour drawings were transmitted by François to his partner together with oth (…)
• 81 Des Vergers 1862-1864, III, p. 14  sq.
• 82 Des Vergers 1857b, p. 130  sq.

22Plates IV-XIX reproduce vases found in the first four years of the company: in Chiusi in 1850 and 1853, in Chianciano in 1851, in Vulci in 1853. 79 The chromolithographic plate XX is dedicated to the Cuccumella, the monumental and impenetrable supposed tomb of the Lucumoni which François was preparing to continue the excavation of before he died. It was engraved from the copy, made in 1853 by the painter Volpini 80 , of a drawing preserved in the castle of Musignano and commissioned by Luciano Bonaparte after the first excavations of the tomb (1828-1829) (fig. 5). 81 The chalcographic plates XXI-XXIX, engraved from Ortis’ drawings, reproduce the pictorial cycle of the François Tomb, created by Etruscan workers between 340 and 310 BC (des Vergers had also dated it to the Hellenistic age before the Roman conquest of Vulci) 82 and characterised by superb figurative scenes arranged on the walls of the atrium and the tablinum and punctuated by the eight doors that overlook the vestibule and seven burial chambers. Des Vergers, respecting the peculiar contrast of the frescoes, first presents the episodes taken from Greek myth (Trojan cycle, Theban cycle), then those linked to local traditions and historical events, starting in both cases with the large scenes on the side walls of the tablinum. Plate XXI depicts the sacrifice of the young Trojan prisoners to honour Patroclus (left wall of the tablinum); XXII Ajax Oileus insulting Cassandra (entrance wall, left); XXIII Nestor and Phoenix (left wall of the atrium); XXIV the duel between Eteocles and Polynices (half-wall to the left of the entrance to the tablinum); XXV the liberation of the Vulcentian Caelius Vibenna by Mastarna (the future king of Rome Servius Tullius) and the triple massacre of Etruscan warriors at the hands of his companions on the expedition, one of whom was Aulus Vibenna, brother of Caelius (right wall of the tablinum); XXVI Amphiaraus and Sisyphus (entrance wall, right); XXVII Vel Saties , the founder of the tomb, with his little son Arnza (right wall of the atrium); XXVIII the back wall of the tablinum with the Trojan prisoner (part of the scene on plate XXI) and Caelius Vibenna (part of the scene on plate XXV); the XXIX is the semi-wall to the right of the access to the tablinum with a door surmounted by decorative and animalistic friezes.

Fig. 5 – Des Vergers, L’Étrurie et les Etrusques , III, plate. XX: Tomb of the Cuccumella of Vulci. Chromolithograph from drawings by Augusto Volpini.

Fig. 4 – Des Vergers, L’Étrurie et les Etrusques , III, plate. I: Tomb of the Reliefs of Cerveteri, general view. Chromolithograph from the lost drawing by Julius Zielke.

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© Gambalunga Library, Rimini.

• 83 On Augustin François Lemaître (1797-1870), who collaborated on several illustrated publications of the Fi (…)
• 84 It should be noted that some readings and identifications proposed by des Vergers for the pictorial cycle n (…)
• 85 For the goldsmith’s works, sold by des Vergers and Torlonia to the Musée Napoléon III and then passed to the Louvre (…)
• 86 Des Vergers 1862-1864, III, p. 33-58.

23Plates XXX-XL, published with the second part of the work in 1864, are still dedicated to the François Tomb, with the exception of the last one. Plate XXX, engraved by Augustin François Lemaître 83 , closes the representations of the pictorial cycle: they depict, side by side, the group of Marce Camitlnas and Cneve Tarchunies Rumach ( Gnaeus Tarquinius of Rome defeated by Marce Camitlnas ), absent in plate XXIX already engraved at the time of its discovery (1860), and the plan drawn by Rosa in 1857. 84 Plates XXXI-XXXIX refer to the tomb furnishings: plate XXXI, drawn and engraved by Lemaître, presents the very refined goldsmith work found in the tomb, which he associates with the precious earrings found in Belora in 1850 85 ; the others portray four Attic red-figure vases, among which the large amphora by the Syleus Painter stands out in five plates (XXXII-XXXVI). Finally, plate XL presents the synoptic table of the Etruscan, Phoenician and ancient Greek alphabets, complementary to the long essay De la langue et de l’alphabet étrusques . 86

Fig. 5 – Des Vergers, L’Étrurie et les Etrusques , III, plate. XX: Tomb of the Cuccumella of Vulci. Chromolithograph from drawings by Augusto Volpini.

• 87 See above and note 39.
• 88 BGR GDS, inv. 5070-5072.
• 89 An attempt to re-establish the connection between the drawings of antiquity and the François correspondence in (…)
• 90 For the current location of the unpublished objects and their collection history see Bu (…)

24In the Des Vergers Fund of the Gambalunga Library are preserved drawings I, IV, VII by Ortis 87 , the large group of transparencies and drawings (often watercolour) of vases and bronzes transmitted to Des Vergers by François and later by Brunn, the three drawings of the goldsmiths’ works of Vulci and Belora by Lemaître 88 , the proofs of the chalcographic, lithographic and chromolithographic engravings for the plates of the Atlas. With regard to the group of drawings and transparencies commissioned by François, it should be noted that the majority remained unpublished and that Des Vergers did not take care to maintain the relations between the graphic documentation and the letters of transmission, causing the loss, if not noted on the pieces, of the information on the circumstances of their discovery. 89 This explains why he himself incurred some uncertainty/inaccuracy in the localisation of the published pieces. 90

Fig. 6 – 1:1 scale transparencies of the pictorial cycle of the François Tomb made by Carlo Ruspi in 1862, fig. 3: Vel Saties and her little son Arnza (des Vergers, L’Étrurie et les Étrusques , III, plate XXVII, left half without the frieze). SAERBo AF, neg. no. 1750.

• 91 The stamp is accompanied, as in all photos of the same provenance, by a brief description (…)
• 92 The negatives are marked with no. 1749-1753: no. 1749 reproduces the Ruspi transparency fig. 4 (des (…)

25The collection also included 17 transparencies by Carlo Ruspi, recorded in the old inventory of Gambalunga drawings and prints at nos. 3179-3195, now untraceable. Traces of them are also preserved in two photographs from the Gambalunga photographic archive bearing the stamp «Soprintendenza alle Antichità dell’Emilia e della Romagna in Bologna. Gabinetto fotografico» 91 on the back , and also in five negatives preserved in the photographic archive of the former Archaeological Superintendence of Emilia Romagna in Bologna, two of which coincide with the Gambalunga photographs. The five negatives, dated 5 October 1934, provide documentation of seven transparencies: four are copies of details of the decoration, three of scenes from the figurative cycle 92 (fig. 6-9). Unfortunately, at the current stage of research, there is a lack of elements to clarify the mystery of their disappearance.

Fig. 7 – 1:1 scale transparencies of the pictorial cycle of the François Tomb executed by Carlo Ruspi in 1862, fig. 4: Cneve Tarchunies Rumach won by Marce Camitlnas (des Vergers, L’Étrurie et les Étrusques , III, plate XXX sn.). SAERBo AF, neg. no. 1749.

Fig. 6 – 1:1 scale transparencies of the pictorial cycle of the François Tomb made by Carlo Ruspi in 1862, fig. 3: Vel Saties and her little son Arnza (des Vergers, L’Étrurie et les Étrusques , III, plate XXVII, left half without the frieze). SAERBo AF, neg. no. 1750. Fig. 8 – Cneve Tarchunies Rumach won by Marce Camitlnas . Preparatory drawing, without inscriptions, of plate XXX left, probably taken from the Ruspi tracing, fig. 4, immediately after its purchase (February 1864).

Zoom Original (jpeg, 338k)

© MiBAC. Superintendence of archaeology, fine arts and landscape for the metropolitan city of Bologna and the provinces of Modena, Reggio Emilia and Ferrara, formerly the Archaeological Superintendence of Emilia-Romagna.

Fig. 7 – 1:1 scale transparencies of the pictorial cycle of the François Tomb executed by Carlo Ruspi in 1862, fig. 4: Cneve Tarchunies Rumach won by Marce Camitlnas (des Vergers, L’Étrurie et les Étrusques , III, plate XXX sn.). SAERBo AF, neg. no. 1749.scale transparencies of the pictorial cycle of the François Tomb executed by Carlo Ruspi in 1862: decorative friezes with a female head inserted into a scaly bull and motifs of ovoli, small arches and a perspective meander. SAERBo AF, neg. no. 1752.

Zoom Original (jpeg, 305k)

© MiBAC. Superintendence of archaeology, fine arts and landscape for the metropolitan city of Bologna and the provinces of Modena, Reggio Emilia and Ferrara, formerly the Archaeological Superintendence of Emilia-Romagna.

Fig. 8 – Cneve Tarchunies Rumach won by Marce Camitlnas . Preparatory drawing, without inscriptions, of plate XXX left, probably taken from the Ruspi tracing, fig. 4, immediately after its purchase (February 1864).

Zoom Original (jpeg, 275k)

© Gambalunga Library, Rimini.

Fig. 9 – 1:1 scale transparencies of the pictorial cycle of the François Tomb executed by Carlo Ruspi in 1862: decorative friezes with a female head inserted into a scaly bull and motifs of ovoli, small arches and a perspective meander. SAERBo AF, neg. no. 1752.

Zoom Original (jpeg, 417k)

© MiBAC. Superintendence of archaeology, fine arts and landscape for the metropolitan city of Bologna and the provinces of Modena, Reggio Emilia and Ferrara, formerly the Archaeological Superintendence of Emilia-Romagna.

• 93 Longperier 1867.

26Des Vergers died suddenly (a fate shared with François) in Nice on 2 January 1867. At the end of April his extraordinary collection of antiquities, consisting of painted vases, bronzes and paintings, was sold at auction, the sales catalogue of which was compiled by Adrien de Longpérier. 93

• 94 For the restoration work on the villa carried out by the des Vergers see Mussoni 2011, p. 28-99.
• 95 On Augusto Aviano (Udine 1860 – Rimini 1913) see Artist from Udine 1913; Mussoni 2011, p. 60-66.
• 96 AFS FR, b. GX, fasc.  des Vergers Noël Gaston , letter from Gaston to Gino Rocchi, [San Lorenzo] 22.0 (…)

27In 1880 Emma Firmin Didot (1819-1902), widow of des Vergers, began the restoration of the villa of San Lorenzo in Correggiano based on a project by her friend Arthur-Stanislas Diet, one of the most important architects then active in Paris, who managed to complete the restoration of the exterior of the villa. Upon his death (1890) the architect Georges Paul Chédanne, a famous exponent of Art Nouveau, took over and seems to have taken care of the interiors (furnishings, ceilings, fireplaces, balustrades, doors and windows). 94 The works, which lasted until 1902, were directed by Gaston des Vergers (1840-1913), son of Emma, ​​who entrusted the Friulian painter Augusto Aviano 95 with the execution of the frescoes on the ceilings and walls, the pictorial cycle of the chapel and other artistic works. As documented by a photograph taken by Gaston and contained in the photo album of the restored villa that he donated in January 1907 to Tito Azzolini, director of the Emilia Regional Technical Office for the conservation of monuments 96 , Aviano sumptuously decorated the ceiling of the library, among other things reproducing in the upper band of the walls the animalistic frieze and some figurative scenes from the tomb of Vulci (fig. 10). It is more than probable that the artist took Ruspi’s tracings as a model and it is not excluded that the three coloured plates of the Vulci paintings bound in the des Vergers copy of the third volume of Gambalunga’s L’Étrurie et les Étrusques are rather to be understood as preparatory studies by Aviano for the decorations of the library, now unfortunately lost.

 The library of Villa des Vergers, with the upper band of the walls decorated by Augusto Aviano with reproductions of the animalistic frieze and some figurative scenes from the François Tomb. Photograph taken by Gaston des Vergers in 1906 ca. ABABo GDS (Studio Pym, Giuseppe Nicoletti).

Fig. 10 – The library of Villa des Vergers, with the upper band of the walls decorated by Augusto Aviano with reproductions of the animalistic frieze and some figurative scenes from the François Tomb. Photograph taken by Gaston des Vergers in 1906 ca. ABABo GDS (Studio Pym, Giuseppe Nicoletti).

Zoom Original (jpeg, 568k)

© Academy of Fine Arts, Bologna.

• 97 Delbianco 1996; Delbianco 2014b, p. 22-38.

28In 1934, upon the death of the Marquise Hélène de Toulongeon, her cousins ​​and heirs Marie Laure and Marie Yvonne Firmin Didot, daughters of Alfred, Emma’s brother, and the executor of her will, Count Jean de Montbron, respecting the wishes of their relative, donated to the Gambalunga Library the study papers and the Rimini library of des Vergers, two globes (celestial and terrestrial), the painting The Adoration of the Shepherds attributed to the Master of the Annunciation of the Shepherds, a certain number of Latin inscriptions, Roman sculpture fragments, Rimini ceramics from the Roman period, Roman coins, the fragments of four Attic vases shattered in the 1916 earthquake, a nineteenth-century copy of a hydria in heavy bucchero Chiusi and two terracotta cinerary urns. At the same time, they began the procedures for the export to France of furniture, paintings, vases and other ancient and modern art objects from the inheritance, an export that was certainly facilitated by careful management of the donation. 97

• 98 On this part see, most recently, Paolucci 2014c, p. 354-356.

29Of the objects pertaining to des Vergers’ Etruscan excavations that remained in the villa of San Lorenzo in Correggiano until 1934, some entered the Gambalunga Library and later passed to the Museum of Rimini, where they are still preserved 98 , the other took the route to France.

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Bibliography

Archives

ABABo GDS = Academy of Fine Arts of Bologna, Cabinet of Drawings and Prints

AFS FR = Academy of Filopatridi of Savignano, Francesco and Gino Rocchi Fund

BGR AdV = Gambalunga Library of Rimini, Des Vergers Archives

BGR FdV = Gambalunga Library of Rimini, Des Vergers Collection

SAERBo AF = Archaeological Superintendency of Emilia-Romagna in Bologna, Photographic Archive

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Thieme – Becker 1947 = U. Thieme, F. Becker, General Lexicon of Fine Artists from Antiquity to the Present , XXXVI, Leipzig, 1947.

Tomei 1999 = MA Tomei, French Excavations on the Palatine. The Investigations of Pietro Rosa for Napoleon III (1861-1870) , Rome, 1999.

Vapereau 1870 = G. Vapereau, Universal Dictionary of Contemporary People Containing All Notable Persons from France and Foreign Countries , Paris-London-Leipzig, 1870 (1st ^ed  . 1858).

des Vergers 1857a = A. Noël des Vergers, Excavations of Vulci. From a letter to G. Henzen , in BullInst , 1857, p. 71-73.

des Vergers 1857b = A. Noël des Vergers, Paintings of Vulci. Letter addressed to M. G. Henzen , in BullInst , 1857, p. 113-131.

des Vergers 1857c = A. Noël des Vergers, Letters [communicated by M. de Longpérier] relating to the fouilles de Vulci , in CRAI , 1, 1857, p. 110-112.

des Vergers 1857d = A. Noël des Vergers, Report of his discoveries in the ruins of Vulci , in CRAI , 1, 1857, p. 229-232.

des Vergers 1862 = A. Noël des Vergers, Napoleon III Museum. First part: jewels and leather goods , in Revue contemporaine , 11-27, 1862, p. 388-412.

des Vergers 1862-1864 = A. Noël des Vergers, L’Étrurie and the Etruscans, or Seven Years of Fouls in the Tuscan Maremma , Paris, 1862-1864.

Weber-Lehmann 1986 = C. Weber-Lehmann, The transparencies of Carlo Ruspi , in Etruscan Painting 1986, p. 13-20.

Werdet 1864 = E. Werdet, Bibliographical studies on the Didots family: printers, booksellers, engravers, type founders, paper manufacturers, etc. (1713-1864) , Paris, 1864, excerpt from The History of the Book in France .

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Notes

1 On des Vergers see Firmin Didot – Beulé [1867]; Scott de Martinville 1867; Albini 1930; Copioli 1993, 1996b; Bernardi 1998; Blanck 2009; Delbianco 2014b, p. 14-22.

2 On the versatile figure of Ambroise Firmin Didot see Werdet 1864, p. 32-45; Mollier 1988, p. 81-101, 485-488; Jammes 1996.

3 On the Villa des Vergers at the time of Adolphe see Mussoni 2011, p. 13-28.

4 On the Fondo des Vergers see Delbianco 1996; Delbianco 2014b, p. 22-45; Delbianco 2014c.

5 BGR AdV, b. VI, fasc. 11, s. fascicle 8, n. 3-4: Delbianco 2014c, p. 201 sq.

6 On François see Conestabile 1858; Pelagatti 1960; Bruni 2011, p. 50-51, notes 5-6.

7 Bruni 2011, p. 19-65; 97  sq. , notes 1-17.

8 The correspondence exchanged between François and des Vergers, which will be cited with the abbreviation BGR AdV without the position within the archive, is almost entirely preserved in BGR AdV, b. VI, fasc. 1. It constituted the main source for reconstructing the history of the excavation company in Buranelli 1996; Paolucci 2014a, 2014b.

9 On Migliarini see Nieri 1929, 1930; On the Heyde 2003.

10 BGR AdV, Report , [1852 post Sept. 14]: Delbianco 2014c, p. 180, n. 40.

11 On the Giulietti family, and in particular on Vincenzo, see Barni – Paolucci 1985, p. 28.

12 Paolucci 2007, p. 29-38: Francesco Bonci Casuccini (1781-1857); p. 39-47: Ottavio (1819-1886), son of Francesco; p. 48-57: relations of the Bonci Casuccini with François.

13 On François’ excavations in the grounds of the Mensa Vescovile in Chiusi see Paolucci 2014a, p. 27-35.

14 Barni – Paolucci 1985, p. 17; Tailors 2001, p. 29.

15 Franceschi, on whom see Marzi Costagli (1984), is also mentioned in BGR AdV, Note of the expenses incurred for the excavations of the year 1856 in partnership with Mr. Desvergers, and Ci, and of the sums collected , [Livorno 1857 Jan. 6]: Delbianco 2014c, p. 184  sq. , n. 109.

16 Augusto Volpini 1912; Comanducci [1945], II, p. 898.

17 BGR AdV, letter Livorno 10.10.1852. On the first season of excavations in Vulci see François 1857a.

18 For the excavation activity in Vulci by Luciano and Alexandrine Bonaparte see Buranelli 1995.

19 On Torlonia see Felisini 2004 and 2014; Monsagrati 2006.

20 BGR AdV, letter Livorno 20.02.1856.

21 BGR AdV, letter Livorno 03.24.1856, 04.10.1856, 06.27.1856. See Paolucci 2014a, p. 58-62.

22 BGR AdV, letter Livorno 10 and 23.10.1856; 18.11.1856.

23 BGR AdV, letter Livorno 18.11.1856; 12.02.1857.

24 BGR AdV, letter Livorno 17.02.1857.

25 François was retired from service by decree dated 04.03.1857: see BGR AdV, letter from Livorno of the same date.

26 BGR AdV, Canino letter 16 and 24.03.1857.

27 BGR AdV, Canino letter 19.03.1857.

28 BGR AdV, Canino letter 03.31.1857.

29 BGR AdV, Canino letter 04.05.1857, where the opening is scheduled for the following day. In reality it began on the 7th: Canino letter 04.10.1857.

30 BGR AdV, Canino letter 12.04.1857.

31 BGR AdV, letter Canino 19.04.1857, with transcription of the inscription on the boundary stone, published in Buranelli 1987b, p. 34, sheet 1.

32 On the necropolis of Ponte Rotto see Moretti Sgubini 1987, 2004b. On the Tomb of the Saties see, most recently, Buranelli – Le Pera Buranelli 1987.

33 BGR AdV, Canino letter 04.28.1857.

34 BGR AdV, letter Canino 1.05.1857, published in Buranelli 1987b, p. 35  sq. , card 2 (missing transcription of the text on the last page).

35 On Rosa see Ferro 1892; Barnabei 1933; Tomei 1999; and, for the relations with des Vergers, von Hesberg 2014.

36 The pencil drawing on tracing paper, complete with measurements, is preserved in BGR AdV, b. VI, fasc. 15: Delbianco 2014c, p. 209. Des Vergers himself indicates the circumstances in which Rosa carried out the relief: des Vergers 1862-1864, III, p. 17  sq.

37 On Henzen see Kolbe 1984; Blanck 2003; and, for his relationship with des Vergers, Blanck 1996 and 2009.

38 On Nicola Ortis (1830-1896) see Servolini 1955, p. 585. On the agreements between Henzen and des Vergers regarding the choice of the designer, see the letters of des Vergers to Henzen, Civitavecchia 7.05.1857, and of Henzen to des Vergers, Rome 22.05.1857: Blanck 2009, p. 155-157, 159.

39 The drawings no. I, IV, VII are present in the FdV, placed respectively in BGR GDS inv. 5075, 5076, 5077, and published in des Vergers 1862-1864, III, plates XXI, XXII, XXVI.

40 The Ortis practice is preserved in BGR AdV, b. VI, fasc. 3: Delbianco 2014c, p. 196. On the story of the first drawings of the François Tomb see Blanck 1986, p. 26-27, 53; 1987, p. 171-172.

41 François 1857b, p. 104; Buranelli 1987b, p. 32; 38, card 4.

42 On the role played by the Instituto in the first publications of the paintings from the François Tomb see Blanck 1987; 2009, p. 53-63.

43 On Bartolomeo Bartoccini (1816-1882) see Servolini 1955, p. 55; on Bartoccini’s copies of Ortis’ drawings, Blanck 1987, p. 176  sq ., card 65.

44 The delicate affair is documented by the letters of Henzen to des Vergers, Rome 5 and 27.06.1857, 4.07.1857; of des Vergers to Henzen, Paris 22.06.1857, 9.07.1857, 6.02.1858: Blanck 2009, respectively p. 160, 165, 167, 162, 172, 182. See also Blanck 1987, p. 172 sq.

45 Des Vergers 1857a. The letter is published in full in Blanck 2009, p. 155  sq.

46 François 1857b.

47 Des Vergers 1857b.

48 BGR AdV, letter Livorno 2.07.1857.

49 BGR AdV, letter Livorno 29.07.1857. On the lion-shaped askos , preserved in the British Museum, see Buranelli 1987c, p. 140 sq. , card 45.

50 On Henri-Adrien Prévost de Longpérier (1816-1882) see Vapereau 1870, p. 1156; Gran-Aymerich 2001, p. 422 sq. Longpérier was among the founding members, together with Didot, des Vergers, Vivien de Saint-Martin, Félix de Saulcy and Édouard Delessert, of the magazine L’Athenaeum français , as can be seen from the papers relating to the foundation and management of the magazine, dated from 1852. to 1866, which are preserved in BGR AdV, b. X: Delbianco 2014b, p. 45; 2014c, p. 311-324.

51 Des Vergers 1857c, 1857d.

52 Letter from des Vergers to Henzen, Paris 9.07.1857: Blanck 2009, p. 172.

53 Letter from des Vergers to Henzen, dated 24.04.1858: Blanck 2009, p. 184.

54 Letter from des Vergers to Henzen, Rimini 23.07.1858: Blanck 2009, p. 188  sq.

55 On Brunn see Flasch 1902; Amelung 1910; Lullies 1988; Gran-Aymerich 2001, p. 117  sq. ; Blanck 2009, p. 13-15; and, for his exhaustive bibliography, Brunn – Bulle 1906, p. 336-343.

56 Letter from des Vergers to Henzen, San Lorenzo 25.11.1858 [but 25.10.1858: cf. tp]: Blanck 2009, p. 192. Cf. Brunn 1859, who deals with the paintings of the François Tomb on pp. 353-367, pl. XXXI-XXXII.

57 Letter from des Vergers to Henzen, San Lorenzo 5.10.1858, 28.11.1858: Blanck 2009, p. 190, 194.

58 On the brothers Alessandro (1823-1883) and Augusto Castellani (1829-1914) see Moretti Sgubini 2000; Santagati 2004, p. 56-79, 135-156; The Castellani 2005; Pirzio Biroli Stefanelli 2005, p. 84-101, 153-167; Donati 2005, p. 102-107, 153-167.

59 Letter from Brunn to des Vergers, dated 8.5.1860: Blanck 2009, p. 313  sq.

60 The corrected plates XXXI-XXXII are preserved in BGR AdV, b. VI, fasc. 7: Delbianco 2014c, p. 198 sq.

61 Letter from des Vergers to Brunn, Paris 15.05.1860; from Brunn to des Vergers, Rome 05.26.1860: Blanck 2009, p. 315-320.

62 Letter from des Vergers to Brunn, Paris 1.01.1861; from Brunn to des Vergers, Rome 19.01.1861: Blanck 2009, p. 321-324.

63 The documentation relating to the practice of the des Vergers-François-Torlonia division, including a private document, the Depoletti estimate and the AB lists of the Vulci finds, is preserved in BGR AdV, b. VI, fasc. 1: Delbianco 2014c, p. 191, n. 150-152. It is published in Buranelli 1987b, p. 40-44, cards 7-9.

64 Letter from des Vergers to Brunn, [Paris] 2.04.1862: Blanck 2009, p. 332 sq .

65 Brunn 1862. Cf. Blanck 1987, p. 174.

66 On Carlo Ruspi (1798-1863) see Colonna 1984; Weber-Lehmann 1986; Buranelli 1986; Colonna 1999; Lubtchansky 2017.

67 Blanck 1987, p. 174 sq .; Buranelli 1987d. For the detachment of the frescoes carried out under the direction of Father Garrucci by Pellegrino Succi, «extractor of paintings of the Sacred Apostolic Palaces», see Buranelli 1987e.

68 Letter from Henzen to des Vergers, Rome 01.30.1864: Blanck 2009, p. 249. Henzen reported the purchase at the meeting of the Institute on March 4: see Meetings of the Institute 1864, p. 38  sq . Scott de Martinville (1867, p. 18 note C) also mentioned it in his obituary of des Vergers.

69 See below and fig. 7-8. The pencil drawing lacks the inscriptions, evidently omitted due to the inaccuracies of Ruspi’s transcription. Plate XXX left presents the inscriptions in Brunn’s transcription. It should be noted that the drawing bears the note in the lower left margin: «2 épreuves sur papier collé».

70 Letter from des Vergers to Henzen, Paris 2.04.1864: Blanck 2009, p. 265; des Vergers 1862-1864, III, p. 17 note 3. Among other things, des Vergers, ibid. , p. 24, highlights some differences in the reading of the inscriptions between Ruspi’s tracings and the copperplates from Ortis’ drawings. Ruspi’s reading errors are reported by Buranelli 1987d, p. 179.

71 The third volume of L’Étrurie et les Étrusques owned by des Vergers bears the shelfmark 14.B.II.1 in Gambalunga.

72 On Julius Zielke (1826-1907), whose drawings are not preserved in BGR FdV, see Thieme – Becker 1947, p. 492.

73 On the Marquis Giovanni Pietro Campana and his collection see, most recently, Gaultier – Haumesser – Trofimova 2018.

74 BGR AdV, b. VI, fasc. 11, s. fasc. 9: Delbianco 2014c, p. 202, 389 under the year 1855.

75 Des Vergers 1857d, p. 231  sq.

76 Des Vergers 1862, p. 409  sq.

77 Des Vergers 1862-1864, I, p. 93-95.

78 Des Vergers 1862, p. 409-411; letter from des Vergers to Henzen, Paris 15.12.1863: Blanck 2009, p. 247. See Nadalini 2006, p. 402 and fig. VI, 1.3.

79 For the place and circumstances of the excavation, the description and attribution of the vases published in the Atlas see Paolucci 2014c, p. 337-354.

80 Volpini’s evocative watercolour drawings were sent by François to his partner together with twelve other drawings: see BGR AdV, letter Livorno 20.08.1853. They are preserved in the FdV and placed in BGR GDS, inv. no. 6333, 6334.

81 Des Vergers 1862-1864, III, p. 14  sq.

82 Des Vergers 1857b, p. 130  sq.

83 On Augustin François Lemaître (1797-1870), who collaborated on several illustrated publications of Firmin Didot, see Bénézit 1961, p. 499; Lethève – Gardey – Adhémar 1965, p. 449-453.

84 It should be noted that some of the readings and identifications proposed by des Vergers for the pictorial cycle are not accepted today. For an updated reading and interpretation of the pictorial cycle see Coarelli 1983; Maggiani 1983; Pallottino 1987; Roncalli 1987; Andreae 2004a; Maggiani 2004; Musti 2005; Domenici 2008; Laurendi 2010. For its dating, see Cristofani 1967 (340-310 BC); Andreae 2004a, p. 12, 35 (last third of the 4th century BC; 330-310 BC); Andreae 2004b, p. 56  sq . (320-310 BC).

85 For the goldsmith’s works, sold by des Vergers and Torlonia to the Musée Napoléon III and then passed to the Louvre, see, most recently, Gaultier 2005, p. 79, 148-152.

86 Des Vergers 1862-1864, III, p. 33-58.

87 See above and note 39.

88 BGR GDS, inv. 5070-5072.

89 An attempt to re-establish the connection between the drawings of antiquity and the François correspondence in Paolucci 2014c, p. 356-359.

90 For the current location of the unpublished objects and their collection history see Buranelli 1987c; Paolucci 2010, 2014a, 2014b, 2014c.

91 The stamp is accompanied, as in all photographs of the same provenance, by a brief description (conserving institution, provenance, object depicted) and the negative numbers 1750 and 1751, in pencil. There are also old Gambalungian sequence numbers in pen, respectively 1423 and 1182.

92 The negatives are marked with nos. 1749-1753: no. 1749 reproduces the Ruspi transparency fig. 4 (des Vergers 1862-1864, III, plate XXX, left half); no. 1750 the Ruspi transparency fig. 3 ( ibid. , plate XXVII, left half excluding the frieze); no. 1751 the Ruspi transparency fig. 1 ( ibid. , plate XXII); nos. 1752-1753 each reproduce two transparencies depicting decorative friezes.

93 Longperier 1867.

94 For the restoration work on the villa carried out by the des Vergers see Mussoni 2011, p. 28-99.

95 On Augusto Aviano (Udine 1860 – Rimini 1913) see Artist from Udine 1913; Mussoni 2011, p. 60-66.

96 AFS FR, b. GX, fasc.  des Vergers Noël Gaston , letter from Gaston to Gino Rocchi, [San Lorenzo] 22.01.1907, from which we learn that two albums were prepared: the second was intended for Ottavio Germano, collaborator and successor of Azzolini. The album donated to the latter is preserved in the Cabinet of Drawings and Prints of the Academy of Fine Arts in Bologna, while all traces of the other have been lost. The double gift probably forms part of the start of the process to subject Villa des Vergers to a restriction for important interest, a restriction that was granted on 11.01.1913. On Gaston, a passionate and gifted amateur photographer, see Mussoni 2011, p. 48-50 and note 54. The photographs in the Azzolini album are published in Mussoni 2011, passim .

97 Delbianco 1996; Delbianco 2014b, p. 22-38.

98 On this part see, most recently, Paolucci 2014c, p. 354-356.Top of page

List of illustrations

		Title	Fig. 10 – The library of Villa des Vergers, with the upper band of the walls decorated by Augusto Aviano with reproductions of the animalistic frieze and some figurative scenes from the François Tomb. Photograph taken by Gaston des Vergers in 1906 ca. ABABo GDS (Studio Pym, Giuseppe Nicoletti).
		Credits	© Academy of Fine Arts, Bologna.
		URL	http://journals.openedition.org/mefra/docannexe/image/8586/img-10.jpg
		File	image/jpeg, 568k

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References

Electronic reference

Paola Delbianco , “The François Tomb of Vulci” ,  Mélanges de l’École française de Rome – Antiquity [Online], 131-2 | 2019, Online since 22 April 2020 , connection on 14 July 2024 . URL : http://journals.openedition.org/mefra/8586; DOI : https://doi.org/10.4000/mefra.8586Top of page

About the author

Paola Delbianco

formerly Gambalunga Civic Library of Rimini – paoladelbianco@alice.itTop of page

Copyright

https://www.google.com/search?sca_esv=1408e98ab1991b60&sxsrf=ADLYWIJI9E3MyWJzl7-G6VKKgwa1VsB69g:1715248655007&q=pompeii+frescoes+ancient+greek+fresco+painters+ad+in+italy&udm=2&uds=ADvngMgdL8BcAQ_9RiOWqU9OSDC-pw6BU1UeanOPyo9iHgAGn0PtGxR04Bs6u4EO3kSKtWqSVJmw4WP6IJ1KDHEE7qjGjagT7PibleWDbO51tVkOJN9JVYLa5emiq8kchv8ZzNpi_tIDz1RT_zbtp9Q1sXBjJoQDjQsMUeKuJz-fx8D36hxGObJWkGlSzaSR6QYZBP29Txmn&sa=X&ved=2ahUKEwjgwaGWp4CGAxXdBhAIHZbPCEoQgIoDKAB6BAgREA0&biw=1024&bih=447&dpr=1.88

MAGNA GRAECIA

Two set-piece frescos dominate.

In one, the god Apollo is seen trying to seduce the priestess Cassandra. Her rejection of him, according to legend, resulted in her prophecies being ignored.

The tragic consequence is told in the second painting, in which Prince Paris meets the beautiful Helen – a union Cassandra knows will doom them all in the resulting Trojan War.

MAGNA GRAECIA /ribbed NESTORIS, a GREEK CEREMONIAL VESSEL, with a use analogous to that of the AMPHORA, from APULIA in SOUTHERN ITALY, of the Gnathia technique. 300 BC GETTY Museum Collection. No. 78.AE.320.

Beginning in the 5th century BC, pottery flourished in Southern Italy. APULIA, a region characterized by its incredible artistic richness and dynamism, became an important center of production. During the fourth century, Apulian potters created pottery in a new style known as GNATHIA ware, named after the eastern Apulian town of Egnazia, where the first examples of this technique were first discovered in the 19th century, which appeared around 370/360 BC.

Gnathia vessels were traded throughout the Eastern Mediterranean and quickly gained influence throughout the region. Although they may have originated there, they were soon manufactured in many centers in southern Italy and SICILY. The technique was based on the application of additional color, mainly white, yellow and red, to enliven the surface of a black-glazed vessel. The black varnish is often decorated with painted floral motifs in red, white or yellow. Later, after 330 BC the white color dominated more.

Decorative subjects that once included love affairs, scenes from women’s lives, theatrical scenes and Dionysian motifs are now limited to tendrils of vine, ivy or laurel fruits, theatrical masks and, small human heads hares, doves and swans. While the lower half of the vessels was now often decorated with ridges.

The production and quality of Greek colonist potters working in Southern Italy increased greatly after the Peloponnesian War, when Attica’s exports fell sharply, and it was probably concentrated around Taranto, with workshops in Egnatia, Canossa and Sicily. The Greek craftsmanship of the settlers of Lower Italy in the 4th century BC. created a fusion of the Ionic (Attic) styles and the corresponding Doric (western Greek colonies), combining them with a remarkable native Italian aesthetic. The five dominant regional schools of pottery in Southern Italy were: Apulia, Sicily, Lucania or Laucania, Campania and Poseidonia (Paestum).

In the photo, the vase, which I mentioned at the beginning, with the characteristic shape produced in Southern Italy, called nestoris. From Apulia, of the Gnathia technique, 300 BC. With dimensions: 50.9 × 26.3 cm (including handles). The type of this nestorid is A, (according to the evolution of the shape of the body and the handles, there are 3 types). Neckless with flared lip and two horizontal and two upright high handles. The upright grips are decorated with tablets, here decorated by eight-pointed stars, surrounded by a dotted circle in additional white. On the shoulder there is a decoration of ivy tendrils with leaves and fruits rendered with white dots. The larger part of the lower part, about 3/4, is decorated with vertical ridges.

All reactions:

5You, Gill Larsén, Ronny Nilant and 2 others

Akragas. Anfora attica a figure nere del Pittore Taleides: Teseo uccide il Minotauro; intorno si trovano due coppie, con uomini nudi e armati di lancia e donne interamente vestite. Scoperto ad Agrigento e infine pervenuto al MET Museum di New York, il vaso presenta la firma di Taleides e la scritta “Klitarchos kalos” (Klitarchos bello). 540-530 a.C.

MAGNA GRAECIA 320-280. before our era of PUGLIA

Golden fibula Gold, length: 8,8 cm,

Boston Museum of Fine Arts

By: Олег Марголін: A RARE GREEK GOLD TWELFTH STATER OF TARENTUM**OR TARANTO = ΤΑΡΑΣ (GENETIVUS FORM: ΤΑΡΑΝΤΟΣ) 

(CALABRIA). FROM THE TIMES OF ALEXANDER THE MOLOSSIAN 333 BC. AV TWELFTH STATER – HEMILITRA (6.5mm, 0.43 g, 7h). RADIATE HEAD OF HELIOS FACING SLIGHTLY RIGHT/ THUNDERBOLT; TARAN ABOVE,AΠOΛ BELOW . Fischer-Bossert G3b (V3/R3) = Vlasto 14 (this coin); HN Italy 906; SNG ANS 977; SNG BN 1775-6; SNG

**THE ORIGIN OF THE CITY OF TARANTO DATES FROM THE 8th CENTURY BC, WHEN IT WAS FOUNDED, AS a GREEK COLONY, KNOWN AS TARAS . TARAS GRADUALLY INCREASED ITS INFLUENCE, BECOMING A COMMERCIAL POWER AND A CITY-STATE OF MAGNA GRAECIA AND RULING OVER MANY OF THE GREEK COLONIES FOUNDED BY SPARTA IN THE 8th CENTURY BCE, AS PART OF THE EVEN OF THE OTHER GREEK

COLONIES, AS THE CORINTHIAN ONES (SYRACUSE, ETC….) 

 Copenhagen 833; SNG Lloyd 188; Jameson 145; McClean 596 (all from the same dies). Good VF, underlying luster, slight die wear on reverse. VERY RARE.

Dedicated to God Apollo

HARP = AΡΠΑ: symphonic stringed musical instrument. It comes from the ancient Greek verb άρπω/arpo and
ΑΡΠΑΖΩ/ARPAZO(=SNATCH)
and in
ἍΡΠΗ/ARPE = a kind of bird of prey, as it was considered that the instrument is played with the use of all the fingers imitating a bird of prey.
The oldest Greek musical instruments are avloi (lyre), which is dating back to the Neolithic Age. The three civilizations of the Aegean, which are the Cycladic, the Minoan and the Mycenaean, provide evidence of the importance of music in their cultures such as Cycladic marble figures representing lyre players.

The harp has legendary origins: in Greek mythology, it was invented by the god Apollo. Charmed by the sound of Artemi’s bow, he gave her strings to attach to the weapon, creating a new instrument. The harp, played by angels and by kings, amazes us with its delicate and crystalline sound.

Orpheus, the son of Apollo, whose “rich clear words and the silvery notes from his harp were so enchanting that they … had a magical effect on everything around him. His songs could charm even rocks and rivers as well as humans and animals.

Hermes is said to have created the lyre. As the story goes, Hermes used the instrument to steal 50 of Apollo’s prize cattle, offering up the lyre to the latter when Apollo became angry. Thus, the lyre is now a historic attribute to the god of music and prophecy, symbolizing wisdom and moderation.

The Aeolian harp has a long history of being associated with the numinous, perhaps for its vibrant timbres that produce an ethereal sound. Homer relates that Hermes invented the lyre from dried sinews stretched over a tortoise shell. It was able to be played by the wind.
In Later centuries came The psalterion (Greek ψαλτήριον) is a stringed, plucked instrument, an ancient Greek harp. Psalterion was a general word for harps in the latter j part of the 4th century B.C. It meant “plucking instrument”.

An early ancestor to the harp appeared Greece, and later in spread in India , China and Burma. During the Middle Ages, it was played all over Europe and became very popular in the Celtic nations. The harp was the instrument of the troubadours, and accompanied their narratives throughout their journeys.

Monarchs have also played the harp, from Sapho, Queen Marie Antoinette, as well as innumerable poets. Often richly decorated, it can be as much a statement of wealth as a musical instrument. But the palette of sounds that the harp produces gives it true status. Refined, sparkling, and subtle, the sound of the harp is dreamy and enchanting.

Ancient Greek warrior playing the Salpygum (Salpyx) , late 6th–early 5th century BC, Melanomorph vase at Lykythos.

In the 6th century e.g. music becomes the object of a systematic theoretical approach by philosophers, although at first their interest is indirect. The first mentioned is Pythagoras from Samos and his students, who lived in Magna Graecia Croton in Lower Italy. Believing that the world is made of whole numbers, the Pythagoreans described the harmonious sound of a melody and its effect on the human soul as a result of numerical proportions. They even reduced musical harmony to a theoretical model of the general harmony of the universe and performed acoustic experiments. [20] Their texts, however, like the texts of Lasso from Hermione , who taught music in Athens and is said to have written the first treatise on music, have not survived. Their views are fragmentarily known from vague information that reached later writers. Music must have had a similarly important place in the philosophical work of Philolaus from Croton , Damon from the municipality of Oa in Attica and Democritus from Abdira , but their relevant works have not survived. Finally, the presence of music in the extant work of PLATO and ARISTOTLE is prominent , although neither of the two great philosophers wrote a treatise exclusively dedicated to music.
The ancient Greek term music (inv. art ) appeared to initially declare instrumental music ( κροῦσις ), song ( ᾠδὴ ), speech (λεξις) and rhythmic movement ( ὄρχησις ) as an inseparable performance unity, but also in general education, spiritual cultivation and eloquence, which were under the protection of the Muses . Musician as an adjective meant “cultivated”. Already in the Homeric Epics , the practice of music symbolizes the peaceful life and culture of an organized society in contrast to the brutality of wa.

How can we understand the present if we don’t look at the past? says a proverb. And very wisely he says, because we must always look back, to our roots, so that we can excel in the future and never make the same mistakes as our ancestors in the present, creating an eternal chain of repetition. So with music. We should look back to see the musical history of our people as well as the world musical history, to perceive on the one hand the beginning of music and its evolution but also on the other to be able to have the knowledge to spread the musical feats of our ancestors.

Regarding the etymology of the word music : the word, according to the writings of the ancient Greek poets and philosophers, is derived from the word muse . The word muse, again, is derived from maousha = muse. ” ma ” is the root of the verb mao-mo which means to devise or search or ask mentally . (In the Doric dialect, the word ” muse ” is ” moses “).

Lyres appear in Greek mythology as an instrument played by the gods Hermes and Apollo, and by the Greek hero Orpheus. All three were famous as superb lyre players.

Orpheus played the lyre, a harplike instrument that had been given to him by the god Apollo. Most legends relate that Orpheus’ mother was one of the Muses; most often she is said to be Calliope, the patron of epic poetry

The nine muses. Originally these deities were mountain and water nymphs. Hesiod in Theogony recounts: ” Memory slept in Pieria with the son of Cronus and gave birth to these virgins . “

An important point in world music history is the flourishing period of ancient Greek music. When geometry and mathematics contributed to the study of music but also to the construction of the first musical instruments, instrumental music began to develop in ancient Greece, since until the 6th century we have mainly vocal music as a means of expression. This shift towards instrumental music is confirmed by the work ” Pythic Law “, which is the most important court law of the music of ancient Greece and described the fight between Apollo and the dragon Python . It was Sakada ‘s invention , and perhaps the first example of purely programmatic (descriptive) music.

The amount of information that has survived to this day about ancient Greek music allows us a systematic classification of the sources, which applies not only to Greek antiquity but to the history of music in general. The first and basic category of sources are written sources and they are divided into two separate categories, practical and theoretical . Practical sources are called surviving fragments of music in musical notation. From these sources mainly hymns have survived in fragments and have been transcribed into today’s musical writing (two Delphic hymns of Apollo , the Epitaph of Sicily, etc.). These passages about ancient Greek music are few (about 50 in total) and above all short and often with gaps and deficiencies in the notation. Texts about music are called theoretical sources. Theoretical sources include, in addition to special treatises on music theory, the numerous references to music and musical life contained in literary, philosophical and historical works. Theoretical sources of this category are often called here philological sources . The theoretical, as opposed to the practical, are numerous and contain valuable and often extensive information on many issues, yet there are gaps and difficulties in understanding them. The main works are those of Aristoxenus , Euclid , Nicomachus and Alypius , who gives us detailed tables of ancient Greek musical writing.

The lyre represents the peace of Elysium, the paradise where heroes were sent after they were appointed immortality by the gods. As for Orpheus, he acquired the lyre from his father, Apollo, who taught Orpheus how to play

In addition to written sources, another very important category of sources is pictorial testimonies or pictorial sources (depictions of scenes of musical life on vases), as well as the remains of musical instruments found in excavations . The number of pictorial testimonies is great and this fact in itself is testimony to the importance of music in the daily life of the ancient Greeks.
Lyra: the most widespread stringed instrument of ancient Greece, a musical instrument particularly popular since it was not necessarily an instrument of professionals. A symbol of Apollo, the lyre was not used in public events, while it was the instrument par excellence for training the young. It can be characterized as the national organ of the ancient Greeks. 

A typical example is the Harpist in the National Archaeological Museum of Athens, a marble statue of Proto-Cycladic art (2800 – 2300 BC) that represents a seated harpist playing a type of harp.

Lyres are found in the palace of Pylos and in Crete (1400 BC). The lyre was identified with Apollo. According to mythology, Hermes invented it: When Apollo (Fig.) discovered that Hermes had stolen his oxen, he chased him. Running to hide, he accidentally stepped on a turtle shell. Noticing that the raven made the sound louder, he made the first lyre and gave it to Apollo, appeasing his anger.
The flute, the diaulos, the askalos, the syrigus of Pan, the salpyx, the drum and the rattle, the cymbals, the rattles, the seistro, the croupezio, the whisper and the chalkeophone are some of the wind and percussion instruments.

Lyra: the most widespread stringed instrument of ancient Greece, a musical instrument particularly popular since it was not necessarily an instrument of professionals. A symbol of Apollo, the lyre was not used in public events, while it was the instrument par excellence for training the young. It can be characterized as the national organ of the ancient Greeks. The lyre was the civilised instrument of the cultured Apollo, while the pipe or flute was used by the wilder, nature-dwelling deities. On one occasion the god Pan, boasting of his mastery of the pipes, was foolish enough to challenge Apollo to a contest.

“Apollo the Guitarist” seated on a rock, holding his lyre and key. (Detail from the sides).
Roman copy of a Greek original of the 4th BC. h. The work can be dated to the late Hadrian-Antonine period (mid 2nd century AD). It is possible that it was placed in a temple as a gift from the emperor, the only one who could dispose of such a precious material in large quantities as porphyry or porphyry.
Purchased by the Farnese from the Sassi family, it was located in the Palazzo in Campo dei Fiori. The earliest Farnese catalogs specify the “metal or bronze” construction of the head, arms and legs. These parts were removed and replaced by what is visible today in white marble, the work of Carlo Albacini (1734-1813), on the occasion of the sculpture’s transfer to Naples in 1805. Napoli Museo Nazionale – Piano Terra – Collezione Farnese – sala I .
The god, clothed in a long tunic of purple porphyry, held by a belt below the breast, sits on a rock holding the lyre in the left hand and the key in the right (in white marble, inserted by Albacini). His costume, which resembles a woman’s, is the festive costume of the Pythians, worn by the performers taking part in the music competition.
From 1850 BC at Minoan Knossos large column bases of some variety of porphyry are found. And the ancient Egyptians used varieties of this stone in their constructions. It is a volcanic rock that forms when magma cools slowly below the earth’s surface. It has a unique texture and “luxurious” color, which was especially valued during the Roman period to satisfy the love of luxury of the Roman elite. It was red-brown to red-purple in color, like the color dyed with the material from the rare sea snails with the ancient Greek name “porphyres”, hence its name. The purple porphyry was also called “imperial” and had been discovered in an isolated location in Egypt in 18 AD by a Roman legionnaire, according to Pliny the Elder (Gaius Plinius Secundus, 23-79), in his “Natural History” (Naturalis Historia) . Like the purple cloth, it was characteristic of the emperors (e.g. their “tongas” were made from it in their busts). But also later, it was used by the emperors of the Eastern Roman state, called Byzantium by the historians, in their sarcophagi and in Byzantine imperial monuments.This stone is also valued for its versatility.It can be cut and carved into various shapes and sizes , making it ideal for a range of applications.Its use continues later, in the constructions of Western European emperors and kings.

The harp has legendary origins: in Greek mythology, it was invented by the god Apollo. Charmed by the sound of Artemi’s bow, he gave her strings to attach to the weapon, creating a new instrument. The harp, played by angels and by kings, amazes us with its delicate and crystalline sound.

FRENCH INNOVATIONS
The first pedals were the invention of the Bavarian luthier Hochbrücker at the beginning of the 18th century. Several instrument makers in France developed new innovations and patents, including one by the writer, watchmaker, diplomat and businessman Pierre Beaumarchais. The famous piano maker Sebastien Érard gave the harp seven pedals in the 19th century, one per note of the scale.

In the 20th century, the innovations continued. At the beginning of the century, the Pleyel House patented a harp without pedals, called the chromatic harp, at the request of several musicians. This harp was used in a composition by Claude Debussy, the Sacred Dance and Secular Dance. Although it was not a commercial success, the piece is very interesting for the history of music and is a masterpiece of chamber music.

Ravel
Maurice Ravel with the harpist Lily Laskine at a performance of Ravel’s Introduction et allegro in 1935.
French involvement in the development of this instrument is still strong today! The French harpist Anja Linder, who was paralyzed following an accident, invented the “Anjamatic”, an electro-pneumatic harp without pedals. Anja teaches the “Anjamatic” at the Strasbourg Conservatory. She was named a Knight of the National Order of Merit in 2016.

The history and development of the harp is bursting with as many notes, high and low, as the instrument itself is capable of. The most exciting part of the harp’s history is what’s still to come for this ancient instrument.

The word music, according to the writings of the ancient Greek poets and philosophers, is derived from “Musa”. Musa again, is produced from maousa = Musa. “ma” is the root of the verb mao-mo = to devise or search or ask mentally. (In the Doric dialect the word “Muse” is “Moses”).

The word music The word music, in today’s time, means the art of sounds, unlike the ancient Greeks who gave the word music a different meaning, they meant the indissoluble unity of sound and speech, something that does not exist nowadays.

With sport the body is exercised, while with music the spirit.

Music, the gift of the Muses, in ancient Greece, defined and characterized the man who acts, thinks and feels. Thus, as a means of spiritual maturation, the word that would characterize ancient Greek music is not the word “art” but the words education and power. This can also be seen from the fact that the one who played the flute e.g. he was called a piper and not a musician, i.e. he was considered a simple performer. But after the separation of music from speech, language, which happened shortly after Plato, we see the use of the concept musician. This change was to be the birth of an autonomous art which, as mentioned above, was embedded within discourse.

Ancient Greek Music

Ancient Greek music holds a special place among the musical cultures of Antiquity. The main reason for this is certainly the fact that the historical evidence and sources for the study of ancient Greek musical culture are more than for any other musical culture of antiquity. However, apart from this, and perhaps thanks to this, the ancient Greek musical culture exerted a great influence on later musical cultures in Europe and also in the Middle East, mainly on the Arab musical culture. This effect concerns, at least in the case of European music, the aesthetics of music, music creation, music education and more generally the place of music in education, music theory and other fields, which are today, as well as the former subject of musicology.

The influence of ancient Greek music on later musical cultures is not only due to any historical testimonies and sources regarding it. It is due, and in fact to a large extent, to the overall effect of the ancient Greek and Roman civilization on modern Europe, especially during the Renaissance years, but not only then. Ancient Greek music became for the humanists, but often also for the musicians of the Renaissance, the ideal model of music. Thus, as often happens in similar cases, a myth was created around ancient Greek music, based more on the musical reality of later times and on historical fallacies, than on the positive knowledge of the sources that survived. This myth was certainly productive for the development of modern music, as it shows e.g. the genesis of opera. However, for the knowledge of ancient Greek music itself, it had several negative consequences, which musicological research began to overcome from the middle of the 19th century. and so on. From this time, a systematic research of ancient Greek music, freed from the distorting lenses of later periods, began.

SOURSES

The abundance of surviving information on ancient Greek music allows a systematic classification of sources, which is not only valid for Greek antiquity, but for the history of music in general and is used to classify sources at least until the end of the Middle Ages.

The first and basic category of sources are written sources. Written sources are divided into two separate categories, practical and theoretical sources.

Practical sources are called surviving fragments of music in musical notation. From the practical sources mainly hymns survived in fragments and have been transcribed into today’s musical writing (two Delphic hymns of Apollo, the epitaph of Sicily, etc.). These passages about ancient Greek music are few (about 50 in total) and above all short and often with gaps and deficiencies in the notation.

Texts about music are called theoretical sources. Theoretical sources include, in addition to special treatises on music theory, the numerous references to music and musical life contained in literary, philosophical and historical works. Theoretical sources of this category are often called here philological sources. The theoretical as opposed to the practical are many and contain valuable and often extensive information on many issues, yet there are gaps and difficulties in understanding them. The main works are by Aristoxenus, Euclid, Nicomachus and Alypius (who gives us detailed tables of ancient Greek musical writing).

In addition to written sources, another very important category of sources is pictorial evidence or pictorial sources (depictions of scenes of musical life on vases), as well as the remains of musical instruments found in excavations. The number of pictorial testimonies is great and this fact in itself is testimony to the importance of music in the daily life of the ancient Greeks.

Historical Overview

It is difficult for anyone to determine the temporal and geographical boundaries of the musical culture of ancient Greece. A key difficulty is the dissociation between the temporal origins of different kinds of sources. Thus, the surviving theoretical sources, as well as the surviving nuggets of practical sources, date almost exclusively to the first post-Christian centuries. On the contrary, the philological and pictorial sources are abundant already from the period of greatest flowering of this culture – that is, from the 7th to the 4th BC. century or so. therefore, following a demarcation that is more or less generally accepted and corresponds in general terms to the geographical and temporal demarcation of the period of birth and heyday of the ancient Greek culture, we can say that ancient Greek music covers a period of time that begins in the last centuries of 2nd millennium BC and ends at the end of the 4th century BC. (i.e. at the beginning of the Hellenistic Period), and developed mainly in the main part of Greece and in the Greek cities of Asia Minor and Lower Italy. The period of more than a thousand years determined by the above time limits corresponds to various periods of ancient Greek history. Thus the history of ancient Greek music can be subdivided into two major periods:

Aphrodite is , as well associated with the harp. Though she wasn’t an actual goddess, Calliope is often depicted with one. The character of Orpheus, again not regarded as a god, was a harpist (or probably more accurately, the lyre)

Orpheus, ancient Greek from Thraca legendary hero endowed with superhuman musical skills. He became the patron of a religious movement based on sacred writings said to be his own. Traditionally, Orpheus was the son of a Muse (probably Calliope, the patron of epic poetry) and Oeagrus, a king of Thrace (other versions give Apollo). Apollo, as the god of music, gave Orpheus a golden lyre and taught him to play it. Orpheus’s mother taught him to make verses for singing. (Orpheus name derives fro the verb root *h₃erbʰ- ‘to change allegiance, status, ownership’. Cognates could include Greek: ὄρφνη (órphnē; ‘darkness’) and ὀρφανός (orphanós; ‘fatherless, orphan’) from which comes English ‘orphan’ through Latin.

The story of Orpheus has resonated through the millennia and has been a popular subject of art, music and literature for more than 2,500 years. The Greek legend was flourishing by the mid-sixth century B.C., and variations of his story appear in the ancient writings of Aristophanes, Plato, Aristotle, Apollodorus, Virgil and Ovid. According to one version of the myth, Orpheus was the son of the muse Calliope. Given a lyre (a form of ancient harp) by the god Apollo and instructed in its use by the Muses, he became so skilled at creating music with it that he was able to charm and placate elements of both the natural and supernatural world. Animals, trees, rocks and even some of the gods themselves were moved by the music from his golden harp, and ancient images of him often depict scenes in which Orpheus is surrounded by a variety of tranquil creatures, both real and mythical.

Abode
Symbol	LYRE
Personal information
Born	PIMPEIA, PIERIA
Died	Pangaion Hills, Odomantice
Parents	Oeagrus and Calliope
Spouse	EURYDIKE
Children	MUSAEUS

The power of Orpheus’s music led Jason and his fellow Argonauts to seek his aid on their quest for the Golden Fleece, but the primary story associated with Orpheus concerns his wife, a nymph named Eurydice. According to legend, she was killed after being bitten by a poisonous snake. Devastated by her death and determined to recover his lost love, Orpheus descends into the underworld, where he uses the power of his music to charm Charon, the ferryman who brings the dead across the River Styx, in order to gain passage to the underworld. As he continues, he also enchants the monstrous guardian of the gates to the underworld, the three-headed dog Cerberus.

Glancing back however is often a symbol of a reluctance to look forward, to be distracted, dwell on the past and remain static. To the ancient Greeks, Orpheus was a legendary prophet, poet and musician. Because the moral behind both stories is “Don’t look back.” Orpheus wanted to bring his wife, Eurydice, back to life and was told not to look back or he would lose everything. Lot was told by God that he must not look back or he would turn to ashes. Of course his wife didn’t listen and she became a pile of ash/salt

His music and grief so moves Queen Persephone that she pleads with her grim consort, Hades, to release Eurydice and allow Orpheus to bring his wife out of the underworld. The god of the underworld grants this request, but only on the condition that Orpheus trust that Eurydice is following him; he must not look back at her until they pass beyond the realm of Hades’ domain and into the world of the living. Their escape is depicted in Sir Edward John Poynter’s dramatic 1862 oil-on-canvas Orpheus and Eurydice. At the last moment, Orpheus is unable to resist looking back at his love, and thus he is forced to watch as she is once again transported back to the world of the dead..

*******A R I O N

Arion was a lyric poet from Mithymna (Molyvos) in Lesvos. We do not even know the year of his birth and death. The information about him and his life comes mainly from the historian Herodotus. He left Lesbos early and lived near the tyrant of Corinth Periandros (625 – 585 BC).

He was the best guitar player of his time and contributed to the development of the dithyramb, the hymn of Dionysian worship, which was the forerunner of tragedy. Arion was the first to compose a dithyramb, gave it a lyrical form and narrative content and presented it at the court of the art-loving tyrant Periander, in Corinth. Arion presented the dancers disguised as Satyrs, i.e. with characteristics of goats, which is why he was called the “inventor of the tragic way”. As a poet and composer, he wrote chants (hymns) and preludes (guitar rules), of which not a single verse has survived. According to Herodotus Arion had won a musical competition in Sicily.

Arion, playing his kithara and riding dolphins. Sculpture by Jean Raon (Grove of the Domes [fr], Gardens of Versailles)

There is a story about his life, which is more like a fairy tale, and it was bequeathed to us by Herodotus. Once, Arion decided to travel to Sicily for a living. There, after having collected a lot of money and wealth through his art, he started the return journey in a Corinthian ship. During the voyage the sailors decided to rob him and throw him overboard. Arion offered to give them money to save his life, but in vain. Then, he begged them to do him one last favor. To let him sing before his death. The sailors accepted. Arion, having put on his good clothes, took the guitar in his hands, stood on the prow of the ship and sang the “standing law”, a hymn to Standing Artemis and others a hymn to Apollo the god of music. His song attracted dolphins around the ship. At the end of the song he threw himself into the sea. A dolphin enchanted by his song took him on its back and took him out to Cape Tainaro. From there, Arion went on foot to Corinth, where he reported everything to Periander, the tyrant of Corinth. He ordered the sailors, who had meanwhile returned to Corinth, to be arrested and put to death.

Arion, riding a dolphin; from the statue by Ernest-Eugene Hiolle. Illustration for The Chefs-D’Oeuvre d’Art of the International Exhibition, 1878, edited by Edward Straham (Gebbie & Barrie, c 1878).

Greek mythology is intended to serve as an education for the people of Ancient Greece, and with the Myth of Orpheus and Eurydice, they are taught two things. First, you need to stay true to your word. And, second, always be respectful to the gods.

He was the best guitar player of his time and contributed to the development of the dithyramb, the hymn of Dionysian worship, which was the forerunner of tragedy. Arion was the first to compose a dithyramb, gave it a lyrical form and narrative content and presented it at the court of the art-loving tyrant Periander, in Corinth. Arion presented the dancers disguised as Satyrs, i.e. with characteristics of goats, which is why he was called the “inventor of the tragic way”. As a poet and composer, he wrote chants (hymns) and preludes (guitar rules), of which not a single verse has survived. According to Herodotus Arion had won a musical competition in Sicily.

There is a story about his life, which is more like a fairy tale, and it was bequeathed to us by Herodotus. Once, Arion decided to travel to Sicily for a living. There, after having collected a lot of money and wealth through his art, he started the return journey in a Corinthian ship. During the voyage the sailors decided to rob him and throw him overboard. Arion offered to give them money to save his life, but in vain. Then, he begged them to do him one last favor. To let him sing before his death. The sailors accepted. Arion, having put on his good clothes, took the guitar in his hands, stood on the prow of the ship and sang the “standing law”, a hymn to Standing Artemis and others a hymn to Apollo the god of music. His song attracted dolphins around the ship. At the end of the song he threw himself into the sea. A dolphin enchanted by his song took him on its back and took him out to Cape Tainaro. From there, Arion went on foot to Corinth, where he reported everything to Periander, the tyrant of Corinth. He ordered the sailors, who had meanwhile returned to Corinth, to be arrested and put to death.

One of the oldest binding documents in history, the Oath written by Hippocrates is still held sacred by physicians: to treat the ill to the best of one’s ability, to preserve a patient’s privacy, to teach the secrets of medicine to the next generation, and so on.There are many versions of the Hippocratic Oath. We here present two versions. First, the “classic” version (or more precisely, one translation of the original oath). And then, following it, is presented one of the fine “modern” versions of the Hippocratic Oath.

 Ο Όρκος του Ιπποκράτη (The Oath of Hippocrates)

ὌΜΝΥΜΙ ἈΠΌΛΛΩΝΑ ἸΗΤΡΌΝ ΚΑΊ ἈΣΚΛΗΠΙΌΝ ΚΑΊ ὙΓΕΊΑΝ ΚΑΙ ΠΑΝΆΚΕΙΑΝ ΚΑΊ ΘΕΟΎΣ ΠΆΝΤΑΣ ΤΕ ΚΑΙ ΠΆΣΑΣ, ἽΣΤΟΡΑΣ ΠΟΙΕΎΜΕΝΟΣ, ἘΠΙΤΕΛΈΑ ΠΟΙΉΣΕΙΝ ΚΑΤΆ ΔΎΝΑΜΙΝ ΚΑΊ ΚΡΊΣΙΝ ἘΜΉΝ ὍΡΚΟΝ ΤΌΝΔΕ ΚΑΊ ΞΥΓΓΡΑΦΉΝ ΤΉΝΔΕ.ἩΓΉΣΕΣΘΑΙ ΜΈΝ ΤΌΝ ΔΙΔΆΞΑΝΤΆ ΜΕ ΤΗΝ ΤΈΧΝΗΝ ΤΑΎΤΗΝ ἼΣΑ ΓΕΝΈΤΗΙΣΙΝ ἘΜΟΙ͂ΣΙ, ΚΑΊ ΒΊΟΥ ΚΟΙΝΏΣΕΣΘΑΙ, ΚΑΊ ΧΡΕΩ͂Ν ΧΡΗΊΖΟΝΤΙ ΜΕΤΆΔΟΣΙΝ ΠΟΙΉΣΕΣΘΑΙ, ΚΑΊ ΓΈΝΟΣ ΤΌ ἘΞ ΑΥ̓ΤΟΥ͂ ἈΔΕΛΦΕΟΙ͂Σ ἼΣΟΝ ἘΠΙΚΡΙΝΈΕΙΝ ἌΡΡΕΣΙ, ΚΑΊ ΔΙΔΆΞΕΙΝ ΤΉΝ ΤΈΧΝΗΝ ΤΑΎΤΗΝ, ἭΝ ΧΡΗΊΖΩΣΙ ΜΑΝΘΆΝΕΙΝ, ἌΝΕΥ ΜΙΣΘΟΥ͂ ΚΑΊ ΞΥΓΓΡΑΦΗ͂Σ, ΠΑΡΑΓΓΕΛΊΗΣ ΤΕ ΚΑΊ ἈΚΡΟΉΣΙΟΣ ΚΑΊ ΤΗ͂Σ ΛΟΙΠΗ͂Σ ἉΠΆΣΗΣ ΜΑΘΉΣΙΟΣ ΜΕΤΆΔΟΣΙΝ ΠΟΙΉΣΑΣΘΑΙ ΥἹΟΙ͂ΣΙ ΚΑΊ ΤΟΙ͂ΣΙ ΤΟΥ͂ ἘΜΈ ΔΙΔΆΞΑΝΤΟΣ ΚΑΊ ΜΑΘΗΤΑΙ͂ΣΙ ΣΥΓΓΕΓΡΑΜΜΈΝΟΙΣ ΤΕ ΚΑΊ ὩΡΚΙΣΜΈΝΟΙΣ ΝΌΜΩΙ ἸΗΤΡΙΚΏ, ἌΛΛΩΙ ΔΈ ΟΥ̓ΔΕΝΊ.ΔΙΑΙΤΉΜΑΣΊ ΤΕ ΧΡΉΣΟΜΑΙ ἘΠ᾿ ὨΦΕΛΕΊΗΙ ΚΑΜΝΌΝΤΩΝ ΚΑΤΆ ΔΎΝΑΜΙΝ ΚΑΊ ΚΡΊΣΙΝ ἘΜΉΝ, ἘΠΊ ΔΗΛΉΣΕΙ ΔΈ ΚΑΊ ἈΔΙΚΊΗΙ ΕἼΡΞΕΙΝ.ΟΥ̓ ΔΏΣΩ ΔΈ ΟΥ̓ΔΈ ΦΆΡΜΑΚΟΝ ΟΥ̓ΔΕΝΊ ΑἸΤΗΘΕΊΣ ΘΑΝΆΣΙΜΟΝ, ΟΥ̓ΔΈ ὙΦΗΓΉΣΟΜΑΙ ΞΥΜΒΟΥΛΊΗΝ ΤΟΙΉΝΔΕ˙ ὉΜΟΊΩΣ ΔΈ ΟΥ̓ΔΈ ΓΥΝΑΙΚΊ ΠΕΣΣΌΝ ΦΘΌΡΙΟΝ ΔΏΣΩ.ἉΓΝΩ͂Σ ΔΕ ΚΑΊ ὉΣΊΩΣ ΔΙΑΤΗΡΉΣΩ ΒΊΟΝ ΤΌΝ ἘΜΌΝ ΚΑΊ ΤΈΧΝΗΝ ΤΉΝ ΕΜΉΝ.ΟΥ̓ ΤΕΜΈΩ ΔΕ ΟΥ̓ΔΈΝ ΜΗΝ ΛΙΘΙΩ͂ΝΤΑΣ, ἘΚΧΩΡΉΣΩ ΔΕ ἘΡΓΆΤΗΙΣΙΝ ἈΝΔΡΆΣΙΝ ΠΡΉΞΙΟΣ ΤΗ͂ΣΔΕ.ἘΣ ΟἸΚΊΑΣ ΔΕ ὉΚΌΣΑΣ ἌΝ ἘΣΊΩ, ἘΣΕΛΕΎΣΟΜΑΙ ἘΠ᾿ ὨΦΕΛΕΊΗΙ ΚΑΜΝΌΝΤΩΝ, ἘΚΤΌΣ ἘΏΝ ΠΆΣΗΣ ἈΔΙΚΊΗΣ ἙΚΟΥΣΊΗΣ ΚΑΊ ΦΘΟΡΊΗΣ ΤΗ͂Σ ΤΕ ἌΛΛΗΣ ΚΑΊ ἈΦΡΟΔΙΣΊΩΝ ἜΡΓΩΝ ἘΠΊ ΤΕ ΓΥΝΑΙΚΕΊΩΝ ΣΩΜΆΤΩΝ ΚΑΊ ἈΝΔΡΕΊΩΝ, ἘΛΕΥΘΈΡΩΝ ΤΕ ΚΑΊ ΔΟΎΛΩΝ.Ἅ Δ᾿ ἌΝ ἘΝ ΘΕΡΑΠΕΊΗΙ Ἤ ΊΔΩ Ἤ ΑΚΟΎΣΩ, Ἤ ΚΑΊ ἌΝΕΥ ΘΕΡΑΠΕΊΗΣ ΚΑΤΆ ΒΊΟΝ ἈΝΘΡΏΠΩΝ, Ἅ ΜΉ ΧΡΉ ΠΟΤΕ ἘΚΛΑΛΈΕΣΘΑΙ ἜΞΩ, ΣΙΓΉΣΟΜΑΙ, ἌΡΡΗΤΑ ἩΓΕΎΜΕΝΟΣ ΕἾΝΑΙ ΤΆ ΤΟΙΑΥ͂ΤΑ.

Ὅρκον μέν οὖν μοι τόνδε ἐπιτελέα ποιέοντι καί μή ξυγχέοντι εἴη ἐπαύρασθαι καί βίου καί τέχνης, δοξαζομένῳ παρά πᾶσιν ἀνθρώποις ἐς τόν αἰεί χρόνον˙ παραβαίνοντι δέ καί ἐπιορκέοντι, τἀναντία τουτέων.

TRANSLATION form ancient Greek:

Hippocratic Oath: 

I swear by Apollo Physician and Asclepius and Hygieia and Panaceia and all the gods and goddesses, making them my witnesses, that I will fulfil according to my ability and judgment this oath and this covenant:

To hold him who has taught me this art as equal to my parents and to live my life in partnership with him, and if he is in need of money to give him a share of mine, and to regard his offspring as equal to my brothers in male lineage and to teach them this art – if they desire to learn it – without fee and covenant; to give a share of precepts and oral instruction and all the other learning to my sons and to the sons of him who has instructed me and to pupils who have signed the covenant and have taken an oath according to the medical law, but no one else.

I will apply dietetic measures for the benefit of the sick according to my ability and judgment; I will keep them from harm and injustice.

I will neither give a deadly drug to anybody who asked for it, nor will I make a suggestion to this effect. Similarly I will not give to a woman an abortive remedy. In purity and holiness I will guard my life and my art.

I will not use the knife, not even on sufferers from stone, but will withdraw in favor of such men as are engaged in this work.

Whatever houses I may visit, I will come for the benefit of the sick, remaining free of all intentional injustice, of all mischief and in particular of sexual relations with both female and male persons, be they free or slaves.

What I may see or hear in the course of the treatment or even outside of the treatment in regard to the life of men, which on no account one must spread abroad, I will keep to myself, holding such things shameful to be spoken about.

If I fulfil this oath and do not violate it, may it be granted to me to enjoy life and art, being honored with fame among all men for all time to come; if I transgress it and swear falsely, may the opposite of all this be my lot.

 

Hippocrates: “What keeps health is equitable distribution and precise mixing within body forces (= egalitarianism) of dry, liquid, cold, sweet, bitter, sour and salty. The disease causes the predominance of one (= monarchy). Treatment is accomplished by restoring the disturbed balance, the method of the opposite of excess power. “

These concepts we find intact to Hippocrates. The exact mix, equality before the law, symmetry, harmony, are the basis of the doctrines of the Pythagoreans and Ippokrati.Grafei features Hippocrates: “In man there is the bitter and salty, sweet, sour, astringent and the the bland … and these components when mixed and combined together, neither shown nor affect humans. But when some of all separated and left alone it seems to cause harm “.

If we eat a lot of sweets and hydrocarbons and has become our body chocolate and patisserie, there has been an imbalance. The prevalence of fresh weight of bitter will pay dearly indeed. The volumes are full of zachari.Afto demonstrated the Warburg. In 2001 a medical conference in Karlsruhe, Germany, confirmed the adage: “that is bitter in the mouth, it is good for the stomach.” It was stressed that the bitter substances, contributing decisively to the overall process of digestion.

The movements of the stomach and intestine are intensifying and promoting food accelerating. Stimulate the secretion of bile and pancreatic, improve digestion albums, proteins and lipon.Meionetai sense of blowing and prevented fermentation and decay processes occurring in the intestines. Through B12 absorption improvement, bitter substances supporting blood production, promote the absorption of fat soluble components, like iron. The bitter substances support and creating bases (alkaline high pH) in the body. And act m “thereby against peroxidation

The Law of Hippocrates

1. Medicine is of all the arts the most noble; but, owing to the ignorance of those who practice it, and of those who, inconsiderately, form a judgment of them, it is at present far behind all the other arts. Their mistake appears to me to arise principally from this, that in the cities there is no punishment connected with the practice of medicine (and with it alone) except disgrace, and that does not hurt those who are familiar with it. Such persons are the figures which are introduced in tragedies, for as they have the shape, and dress, and personal appearance of an actor, but are not actors, so also physicians are many in title but very few in reality.

2. Whoever is to acquire a competent knowledge of medicine, ought to be possessed of the following advantages: a natural disposition; instruction; a favorable position for the study; early tuition; love of labor; leisure. First of all, a natural talent is required; for, when Nature leads the way to what is most excellent, instruction in the art takes place, which the student must try to appropriate to himself by reflection, becoming an early pupil in a place well adapted for instruction. He must also bring to the task a love of labor and perseverance, so that the instruction taking root may bring forth proper and abundant fruits.

3. Instruction in medicine is like the culture of the productions of the earth. For our natural disposition, is, as it were, the soil; the tenets of our teacher are, as it were, the seed; instruction in youth is like the planting of the seed in the ground at the proper season; the place where the instruction is communicated is like the food imparted to vegetables by the atmosphere; diligent study is like the cultivation of the fields; and it is time which imparts strength to all things and brings them to maturity.

4. Having brought all these requisites to the study of medicine, and having acquired a true knowledge of it, we shall thus, in traveling through the cities, be esteemed physicians not only in name but in reality. But inexperience is a bad treasure, and a bad fund to those who possess it, whether in opinion or reality, being devoid of self-reliance and contentedness, and the nurse both of timidity and audacity. For timidity betrays a want of powers, and audacity a lack of skill. They are, indeed, two things, knowledge and opinion, of which the one makes its possessor really to know, the other to be ignorant.

5. Those things which are sacred, are to be imparted only to sacred persons; and it is not lawful to impart them to the profane until they have been initiated into the mysteries of the science.

And we will adopt the tactics of the University Hippocrates who told us that we are what we eat … But what happens there nowadays this spate of cancer? Let us know the Hippocratic anticancer defense, which is based on a balance of four basic tastes. The almond oil is obtained from the fruit of the kernel. Rich in vitamins A, E, B1, B2, B6, B17, and trace elements. Vitamin B17 is vitamin. It is the old name of amygdalin, as we read in an article news portal.

Amygdalin is the bitter component of almonds and a potential toxin as it can release cyanide in the body. The amygdalin is considered to have anticancer properties, but this has not been proven scientifically.

It has been argued that the exclusion of bitter substances – only delight and pleasure in our throat is our motto – we excluded one of the four primary tastes: salty, sour, bitter, sweet. Many have rejected and sour and have chosen the salty and sweet. So balance (isorropia). Hippocrates emphasized the balance, influenced by the father of Greek medicine doctor Alkmaion.

He is considered the peak of Greek medicine because he first dealt with the anatomy and physiology and formulated as follows perceptions of health and illness, adopted by

Hippocrates:“What kee ps health is equitable distribution and precise mixing within body forces (= egalitarianism) of: dry, liquid, cold, sweet, bitter, sour and salty. The disease causes the predominance of one (= monarchy). Treatment is accomplished by restoring the disturbed balance, the method of the opposite of excess power. “

These concepts we find intact to Hippocrates. The exact mix, equality before the law, symmetry, harmony, are the basis of the doctrines of the Pythagoreans and Ippokrati.Grafei features Hippocrates: “In man there is the bitter and salty, sweet, sour, astringent and the the bland … and these components when mixed and combined together, neither shown nor affect humans. But when some of all separated and left alone it seems to cause harm “.

If we eat a lot of sweets and hydrocarbons and has become our body chocolate and patisserie, there has been an imbalance. The prevalence of fresh weight of bitter will pay dearly indeed. The volumes are full of zachari.Afto demonstrated the Warburg. In 2001 a medical conference in Karlsruhe, Germany, confirmed the adage: “that is bitter in the mouth, it is good for the stomach.” It was stressed that the bitter substances, contributing decisively to the overall process of digestion.

The movements of the stomach and intestine are intensifying and promoting food accelerating. Stimulate the secretion of bile and pancreatic, improve digestion albums, proteins and lipon.Meionetai sense of blowing and prevented fermentation and decay processes occurring in the intestines. Through B12 absorption improvement, bitter substances supporting blood production, promote the absorption of fat soluble components, like iron. The bitter substances support and creating bases (alkaline high pH) in the body. And act m “thereby against peroxidation

Hippocrates was the first who took into account the environment, working conditions and weather. A special place in medicine Hippocrates had nature. When the father of modern medicine, is inherent in man an animal power, which determines the balance of the body and is none other than nature. Therefore, investigating the natural environment of the patient. Residence, the atmosphere in which he lived, and the weather changes its place. Proper nutrition and diet were also key requirements for good human health.

The Hippocratic Oath (Ορκος) is perhaps the most widely known of Greek medical texts. It requires a new physician to swear upon a number of healing gods that he will uphold a number of professional ethical standards. It also strongly binds the student to his teacher and the greater community of physicians with responsibilities similar to that of a family member. In fact, the creation of the Oath may have marked the early stages of medical training to those outside the first families of Hippocratic medicine, the Asclepiads of Kos, by requiring strict loyalty.

Over the centuries, it has been rewritten often in order to suit the values of different cultures influenced by Greek medicine. Contrary to popular belief, the Hippocratic Oath is not required by most modern medical schools, although some have adopted modern versions that suit many in the profession in the 21^st century. It also does not explicitly contain the phrase, “First, do no harm,” which is commonly attributed to it.

BELOW:

ASKLIPIOS SCHOOL (Est.1200years B.C.) at the island of KOS

The Aphorisms of Hippocrates – Most Important

BEFORE SOMEONE IS BELIEVING THAT (HE OR SHE) KNOWS ABOUT HIPPOCRATES ….

AT FIRST HAS TO STUDY About  ASCLEPIOS , HIPPOCRATES & THIS Aphorisms, his philosophy, the four elementsetc etc!..(Just read more about in this site)

START NOW!!

THE APHORISMS ARE THE MOST IMPORTANT WORKS OF THE HIPPOCRATIC CORPUS. IT WAS THE SUBJECT OF ADMIRATION OF DOCTORS OF ALL TIME AND DISTRIBUTEDO WIDELY OVER THE CENTURIES, WAS COPIED MORE THAN ALL THE OTHER WORKS OF ANCIENT GREEK MEDICAL LITERATURE. IT IS ELEMENTARY EPITOME SEMIOTICS, DIETARY, THERAPEUTIC AND PROGNOSTIC OF KOAN MEDICAL SCHOOL.

 

THE DESIGNER READILY UNDERSTANDS THAT THESE THOUGHTS WISE AND EXPERIENCED PHYSICIAN AND TEACHER, BUT NOT RECORDED BY THE SAME, THEREBY CONTAIN REPETITIONS AND BE UNCLASSIFIED.

 

IT IS LIKELY TO BE A PATTERN USED BY HIPPOCRATES FOR TEACHING. LATER STUDENTS FOUND IT AND INCLUDED IT IN HIS WORKS. SO THIS IS THE AUTHENTIC FATHER OF MEDICINE PROJECT:

 

 

IN THE FIRST PART, CONTAINED IN A SUMMARY MATTERS REGARDING GENERAL MEDICAL AND DIETARY-THERAPEUTIC AND GENERAL ON AUTOMATIC AND EVOKED STOOLS AND NUTRITION. “THE LIFE IS SHORT AND THE ART LONG, AND THE WEATHER SHARP, AND THE EXPERIENCE ERRONEOUS AND THE JUDGMENT TOUGH”. FAMOUS APHORISM THAT HAS BEEN FOREFRONT IN MEDICAL SCHOOLS, MEDICAL EMBLEM ON MANY PROJECTS AND HAS BEEN THE SUBJECT OF COMMENTS LARGE SAGES OF ANTIQUITY, SUCH AS GALEN, LUCIAN, SENECA AND YOUNGER PHYSICIANS AND PHILOSOPHERS SUCH AS GOETHE, ETC.

 

IN THE SECOND SECTION, INCLUDED APHORISMS RELEVANT TO PROGNOSIS OF DISEASE IN GENERAL. FIRST MENTIONED PREDICTIVE SYMPTOMS FOR SLEEP, WORTHY GREAT CLINICIAN, FOR EXAMPLE HIGH RISK OF DISEASES AGGRAVATED BY SLEEP. WISE ALSO OBSERVATION IS THAT BOTH EXCESSIVE INSOMNIA AND EXCESSIVE SLEEPINESS ARE UNPLEASANT SYMPTOMS. ALSO SUDDEN FATIGUE HERALDS IASTHENEIA, OBESE ARE MORE AT RISK OF SUDDEN DEATH FROM THE WEAK, THOSE WHO OFTEN FEEL TOO TIRED FOR NO REASON, DYING. THESE ARE ALL WISE PHYSICIAN EXPERIENCED OBSERVATIONS.

 

THE THIRD SECTION REFERS TO THE INFLUENCE THAT THE APPEARANCE AND CHARACTER OF THE DISEASE THE NATURAL ENVIRONMENT AND AGE.

 

IN THE FOURTH SECTION, ON TREATMENT WITH EMETICS AND LAXATIVES AND DIAGNOSTIC INFORMATION PARTICULARLY FEBRILE ILLNESSES, INCLUDING BANS RELEVANT TO THE PURGES, INTENTIONAL OR NOT, IN CONNECTION WITH PREGNANCY, SEASONS, THE MAKEUP OF THE INDIVIDUAL, AND NATURE OF THE DISEASE. VERY INTERESTING ARE THE APHORISMS MENTIONED IN FEVERS: SIXTHS, LABORIOUS, FEVERS TWIST NECK, INTERMITTENT, NON-INTERMITTENT, WITH SHIVERING, KAFSODEIS ETC.

 

IN THE FIFTH SECTION INCLUDES APHORISMS ON THE EFFECTS OF HEAT AND COLD ESPECIALLY IN SURGICAL DISEASES AND GYNECOLOGICAL DISEASES. SOME REFER AND CONVULSIONS, THE TETANIC CONVULSIONS AND EPILEPSY, OTHERS TO BREAST DISEASES. OTHERS RELATE MILK STERILIZATION, DISEASE OF THE UTERUS, MENSTRUATION. IN THIS SECTION ARE THE FAMOUS APHORISMS, UNDER WHICH THE OCCURRENCE OF SEIZURES IN TRAUMA IS FATAL PROGNOSIS, THE TABES AFFECTS PEOPLE AGED 18-35 YEARS, HEMOPTYSIS BLOOD FOAMED FROM LUNG, DIARRHEA IS DEADLY SYMPTOM IN CONSUMPTIVE, SUDDEN SLIMMING BREAST PREGNANT HERALDS SHEDDING ETC.

 

SECTION SIX REFER APHORISMS RELATED TO THE SYMPTOMS OF SURGICAL DISEASES. PRECIOUS ARE THOSE WHO SAID THE DISEASES OF THE KIDNEYS AND BLADDER IN THE ELDERLY DIFFICULT TO TREAT, THAT THE INJURIES TO THE BRAIN, BLADDER, INTESTINES, HEART, DIAPHRAGM, ABDOMEN AND LIVER ARE FATAL.

 

FINALLY IN THE SEVENTH SECTION ARE MANY REPETITIONS APHORISMS FROM PREVIOUS PARTS. AMONG THE MOST IMPORTANT IS THE ONE THAT STATES THAT THE ENDS OF FREEZING IS DEADLY PROGNOSTIC IN SEVERE FEBRILE ILLNESSES, AS WELL AS DEADLY PREDICTOR IS THE APPEARANCE OF VOMITING, HICCUP, SPASM OR DELIRIUM IN THE ILEUM.

 

FINALLY, THE FOLLOWING APHORISM IS USUALLY MOUNTED IN OPERATING ROOMS:

  « ‘ὈΚΌΣΑ ΦΆΡΜΑΚΑ ΟΥ̓Κ ἸΗΤΑΙ, ΣΊΔΗΡΟΣ ἼΗΤΑΙ, ὍΣΑ ΣΊΔΗΡΟΣ ΟΥ̓Κ ἸΗΤΑΙ, ΠΥ͂Ρ ἼΗΤΑΙ ὍΣΑ ΔΈ ΠΥ͂Ρ ΟΥ̓Κ ἼΗΤΑΙ, ΤΑΥ͂ΤΑ ΧΡΉ ΝΟΜΊΖΕΙΝ ἈΝΊΑΤΑ». – 

 

 

 

APHORISMS SECTION FIRST

 

 1. LIFE IS SHORT BUT THE MEDICAL LONG, OPPORTUNITY FLEETING, EXPERIENCE FALLACIOUS, CORRECT DIFFICULT CRISIS. THE PHYSICIAN MUST THEREFORE NOT ONLY TO OFFER THE SICK THAN APPROPRIATE, BUT HAS ITS OWN HELP, THE HELP OF PEOPLE AROUND HIM AND APPROPRIATE FOR THE OCCASION CONDITIONS.

 

2. DIGESTIVE DISORDERS AND VOMITING THAT OCCUR ON THEIR OWN IF THE PATIENT EXPELS WHAT SHOULD BE EXPELLED, THE STOOLS AND VOMITING ARE USEFUL AND EASILY TOLERATED “DIFFERENT IS THE OPPOSITE. THE SAME APPLIES TO ARTIFICIAL STOOLS VASCULAR AND ORGAN [BLEEDING, INDUCED VOMITING, LAXATIVES ACTIVE]. IF DONE THE RIGHT WAY, THEY ARE USEFUL AND EASILY TOLERATED “DIFFERENT IS THE OPPOSITE. SO TO JUDGE WHETHER THESE STOOLS ARE BENEFICIAL OR HARMFUL, WE MUST BE KEPT IN MIND THE PLACE, TIME, AGE AND TYPES OF DISEASES.

 

3. EXCESSIVE WELFARE OF ATHLETES IS DANGEROUS IF EVEN REACHES THE UTMOST LIMITS “STAY IN THE SAME PLACE IS IMPOSSIBLE” SO, SINCE NO ONE STANDING STILL AND NOR IS THERE ROOM FOR IMPROVEMENT, THE ONLY QUESTION LEFT IS EPIDEINOISI ‘FOR THESE REASONS ,

 

4. THE AUSTERE AND STRICT DIET IS ALWAYS RISKY AND LENGTHY ILLNESSES AND HEAVY, WHICH IS NOT ACCEPTED. MOREOVER, THE DIET THAT LEADS THE UTMOST SLIMMING LIMITS IS HARMFUL, BECAUSE THE DAMAGE IS CORRECTED WHEN IT HAS REACHED ROCK BOTTOM, IS VERY DIFFICULT.

 

5. WHEN FOLLOWING A STRICT DIET, PATIENTS MAKE MISTAKES AND THEREFORE SUFFER MORE “EVERY MISTAKE, WHATEVER IT IS, BECOMES EVEN MORE SERIOUS THAN WHAT IF IT WERE IN A LESS STRICT DIET. FOR THIS REASON, AND EVEN HEALTHY PEOPLE, THE VERY AUSTERE AND STRICT DIETS THAT ARE GOVERNED BY RULES ARE DOUBTFUL RESULT, BECAUSE EVERY DEVIATION FROM THEM BECOMES MORE DIFFICULT TOLERATED BY THE PATIENT. SO THE SIMPLE AND STRICT DIETS ARE MORE HARMFUL THAN THE LESS STRINGENT.

 

6. IN SEVERE DISEASE, THE ABSOLUTE PRECISION AND REFINEMENT IN THE TREATMENT IS THE BEST METHOD.

 

7. WHEN THE DISEASE IS TOO HEAVY, MANIFESTED IMMEDIATELY MORBID SYMPTOMS IN THE PEAK AND THE NEED TO IMMEDIATELY IMPLEMENT THE MOST STRICT DIET “IF IT DOES NOT, PERMITTED A LESS STRICT” SEVERITY RELAXES, AS THE DISEASE IS MILDER.

 

 

8. WHEN THE DISEASE IS THE MOST CRITICAL POINT, THEN IT MUST BE APPLIED VERY STRICT DIET.

 

9. WE MUST EXAMINE THE PATIENT AND DETERMINE WHETHER IT IS ABLE TO TOLERATE THE DIET UNTIL THE MOST CRITICAL POINT OF THE DISEASE AND WHICH OF THE TWO POSSIBILITIES WILL HAPPEN: IT WILL RUN OUT FIRST AND THE PATIENT WILL NOT BE ABLE TO TOLERATE OR FIRST SUBSIDES DISEASE AND WILL DIMINISH.

 

10. SO WHEN THE ILLNESS REACHES FROM THE START IN THE MOST CRITICAL POINT, WE RECOMMEND AMESOIS UNASSUMING MANNER NUTRITIONAL IF THIS COME LATER, SHOULD THE CRISIS PERIOD OR SHORTLY BEFORE THAT TO REMOVE SOME OF THE FOOD ‘THE PREVIOUS PERIOD BUT HAVE THE DIET SHOULD BE ABUNDANT, TO ENABLE THE PATIENT TO EFFECTIVELY DEAL WITH THE ILLNESS.

 

11. DURING EXACERBATIONS OF THE DISEASE, SHOULD BE REDUCED FOOD, BECAUSE THE INCREASE OF THE SUPPLY OF FOOD HARMS GENERALLY DURING EXACERBATIONS OF ALL DISEASES WHICH PERIODICALLY RECUR, SHOULD CUT THE FOOD.

 

12. EXACERBATIONS AND REMISSIONS DEPEND ON THE TYPE OF DISEASE, THE SEASON OF THE YEAR, THE RELATIONSHIPS OF THE VARIOUS PERIODS BETWEEN THEM, WHETHER THEY OCCUR EVERY DAY OR EVERY OTHER DAY OR OVER A LONGER DISTANCE, AS WELL AS FROM SUCH SYMPTOMS, IF THE PLEURAL ELIMINATION OF SPUTUM BEGIN IMMEDIATELY, SHORTENING THE DURATION OF ILLNESS “IF IT STARTS LATER, THE ILLNESS ALSO PARATEINETAI-, URINE, FAECES AND SWEATS ARE, DEPENDING ON THE WAY THEY ARE PRESENTED, AN INDICATION OF WHETHER A DISEASE IT WILL GO HARD OR EASY, THOUGH IT WILL LAST MORE OR LESS.

 

13. THE ELDERLY, MORE EASILY TOLERATE FASTING, HARDEST MATURE MEN, AND FEW YOUNG CHILDREN TOLERATE WITH DIFFICULTY, ESPECIALLY VIVID.

 

14. ORGANIZATIONS THAT HAVE DEPLOYED INHERENTLY MORE HEAT AND THEREFORE NEED MORE FOOD “OTHERWISE THEIR BODIES WITHER” OLDER PEOPLE NEED SMALL AMOUNT OF FUEL, BECAUSE THEY HAVE LESS HEAT: HIGHER AMOUNT WILL EXTINGUISH. FOR THE SAME REASON FEVERS ARE NOT AS HIGH IN THE ELDERLY BECAUSE THEIR BODIES ARE COLD.

 

15. IN WINTER AND SPRING THE BELLY IS BY NATURE VERY WARM AND SLEEP TAKES TOO LONG “AND SHOULD THEREFORE FOOD IS MORE ABUNDANT, BECAUSE IF WE CONSIDER THAT THE INNATE HEAT IS TOO GREAT, NEEDS MORE FOOD. PROOF YOUNG PEOPLE AND ATHLETES.

 

16. THE LIQUID DIET BENEFITS THOSE WHO DEVELOP FEVER, ESPECIALLY CHILDREN, AND THOSE ACCUSTOMED TO SIMILAR DIETS.

 

17. WE MUST ALSO BE CAREFUL WHEN TO ARE FED ONCE A DAY AND WHEN BOTH, WHEN MORE AND WHEN LESS, OR IN SMALL DOSEIS- ALL THIS MUST BE ADJUSTED ACCORDING TO THE HABITS OF THE PATIENT, TIME, PLACE AND AGE.

 

18. IN THE SUMMER AND AUTUMN, THE FOOD IS HARDLY TOLERABLE “VERY EASILY DONE IN WINTER AND SECONDLY IN THE SPRING.

 

19. DURING EXACERBATIONS PRESENTED AT CERTAIN TIMES SHOULD NOT GIVE ANYTHING UTENA RECOMMEND ANYTHING, BUT IS REMOVABLE PORTION OF THE FOOD THAT WE GAVE BEFORE THE CRISES.

 

20. DISEASES MARCHING SMOOTHLY TO THE CRISIS OR HAVE CONCLUSIVELY DETERMINED NOT TO BE HINDERED IN THEIR COURSE OF INNOVATIVE METHODS NOR WITH LAXATIVES OR OTHER IRRITANTS IN, BUT N ‘LEFT IN THEIR NATURAL DEVELOPMENT.

 

21. THE LIQUID TO BE CLEAN, THERE SHOULD DRIVE THEM WHERE MAINLY INCLINED BY APPROPRIATE ROADS.

 

22. CLEAN AND PUT IN MOTION THE MATURE LIQUID, NOT THE IMMATURE, NOR THE BEGINNING OF THE DISEASE, UNLESS THERE IS IRRITATION, WHICH FOR THE MOST PART DOES NOT EXIST.

 

23. THE DISCHARGED LIQUID SHOULD NOT BE JUDGED BY QUANTITY, BUT BY THE NATURAL OR UNNATURAL MANNER DISCHARGED, AS WELL AS FROM THE EASE WITH WHICH TOLERATED “AND WHEN THE NEED ARISES TO PROMOTE ABORTION TO FAINT, YOU SHOULD NOT HESITATE, WHERE THE PATIENT MAY BE TOLERATED IN THIS TEST.

 

24. IN SEVERE DISEASE ADMINISTER LAXATIVES LITTLE AT THE BEGINNING, AND THIS ONLY AFTER CAREFUL CONSIDERATION.

 

25. IF THE VACANCY IS AS IT SHOULD BE, THEN IT IS BENEFICIAL AND THE PATIENT ACCEPTS WITH RELIEF “OTHERWISE, IS IN PREDICAMENT.

 

 

 

APHORISMS SECOND PART

 

1. IF THE DISEASE CAUSES DISCOMFORT SLEEP, THE DISEASE IS FATAL. IF SLEEP RELIEVES, NOT FATAL.

 

2. IT’S A GOOD SIGN, WHEN SLEEP STOPS DELIRIUM.

 

3. WHEN SLEEP OR INSOMNIA EXCEED MODERATE SYMPTOMS ARE BAD.

 

4. NEITHER HYPERALIMENTATION NEITHER STARVATION NOR ANYTHING ELSE IS FINE IF EXCEED THE NORMAL RANGE.

 

5. FATIGUE MANIFESTED SUDDENLY HERALDS DISEASE.

 

6. THOSE WHO ACHE SOMEWHERE IN THE BODY, BUT DO NOT FEEL PAIN, SUFFER PSYCHOLOGICALLY.

 

7. THE STRENGTHENING OF THE BODY IS WEAKENED IN A LONG TIME SHOULD BE DONE SLOWLY “IN CONTRAST, FAST SHOULD BE THE STIMULATION OF BODIES WEAKEN IN THE SHORT TERM.

 

8. IF A PERSON EATS DURING RECOVERY, BUT STRONGER, IT MEANS THAT THE BODY NEEDS MORE FOOD • IF NOT STRONGER BECAUSE IT HAS NO APPETITE TO EAT, THEN WE MUST HAVE IN MIND THAT YOU NEED A LAXATIVE.

 

9. WHEN WE WANT TO CLEAN THE BODY, WE MUST FACILITATE THE ELIMINATION OF URINE AND STOOL.

 

10. THE MORE WE FEED THE BODY WITHOUT PARALLEL CLEARANCE, THE MORE HARM.

 

11. IT IS EASIER TO STIMULATE THE BODY IN LIQUID RATHER THAN SOLID FOOD.

 

12. WHEN AFTER THE CRISIS REMAIN MORBIDLY DATA, THE DISEASE RECURS.

 

13. THE CRISIS IS CAUSING DISTRESS THE NIGHT BEFORE THE FINAL FRENZY IF THE CRISIS OCCURRED THE NEXT DAY, THE SITUATION IS USUALLY MORE BEARABLE.

 

14. ON DIARRHEA VARIATIONS OF STOOLS OFE AMUSEMENT, THOUGH OF COURSE THESE CHANGES DO NOT GET MALIGNANT FORM.

 

15. WHEN THE NECK HURTS OR RASHES OCCUR IN THE BODY, WE MUST EXAMINE THE STOOLS • IF CHOLODEIS, THE WHOLE BODY IS SICK • IF NORMAL, THEN WE CAN GRANT FEARLESSLY FOOD.

 

16. WHEN FOOD IS LITTLE, WORK SHOULD NOT BE PAINFUL.

 

17. IF YOU EAT MORE THAN YOU ALLOW THE AGENCY WILL GET SICK • IT WILL LOOK AND FROM TREATMENT.

 

18. THOSE WHO EAT VERY QUICKLY AND HAVE FASTER BOWEL MOVEMENTS.

 

19. IT IS NOT POSSIBLE TO PREDICT DEATH OR SALVATION OF A PERSON SUFFERING FROM SERIOUS ILLNESS, WITHOUT THE RISK OF MAKING A MISTAKE.

 

20. THOSE EFFECTED EASILY WHEN THEY ARE YOUNG, THEY BECOME CONSTIPATED AS THEIR AGE PROCEEDS • CONVERSELY, THOSE WHO ARE CONSTIPATED YOUNG, ARE EFKOILIOI, AS THE YEARS PASS.

 

21. DRINKING CUTTING HUNGER.

 

22. DISEASES CAUSED BY GASTRIC EMPTYING LOAD TREATED BY THE INTESTINAL TRACT, THOSE CAUSED BY INADEQUATE DIET OVERFED ‘IN GENERAL THE TREATMENT IS TO THE OPPOSITE OF THE ROOT CAUSES OF DISEASE.

 

23. SEVERE ILLNESSES APPEAR WITHIN FOURTEEN DAYS.

 

24. OF THE FIRST SEVEN DAYS OF ILLNESS INDICATIVE OF THE COURSE OF THE FOURTH DAY. INDICATOR IS ALSO THE EIGHTH, THAT THE PRINCIPLE OF THE SECOND WEEK. DURING THE SECOND WEEK, YOU SHOULD BEWARE OF THE ELEVENTH DAY, IT IS THE FOURTH OF THE SECOND WEEK; WE SHOULD ALSO CONSIDER IF THE DISEASE CONTINUES ITS SEVENTEENTH DAY, IT IS THE FOURTH OF THE THIRD AND SEVENTH WEEK AFTER THE ELEVENTH DAY.

 

25. TETARTAIOI FEVERS ARE USUALLY SHORT SUMMER, AUTUMN TETARTAIOI ARE LONG-TERM, ESPECIALLY THOSE THAT OCCUR IN THE WINTER.

 

26. FEVER AFTER SEIZURES ARE BETTER THAN SPASMS AFTER FEVER.

 

27. WE SHOULD NOT TRUST IMPROVE NOT PROGRESSING WELL OR TOO AFRAID ABNORMAL DETERIORATION BECAUSE USUALLY THESE MORBID CONDITIONS ARE UNCERTAIN AND HAVE NO STABILITY AND DURABILITY.

 

28. IN THE NOT TOO SLIGHT FEBRILE UGLY STAYS BODY IN THE SAME STATE WITHOUT LOSS OR EXCESSIVE WEAR • THE FORMER CASE IS INDICATIVE OF THE DURATION OF THE DISEASE AND THE SECOND ATTENUATION OF THE PATIENT.

 

29. IF AT THE BEGINNING OF THE DISEASE IT IS APPROPRIATE TO CHALLENGE MOVEMENT OF JUICE, WE CAN DO IT • BUT WHEN THE DISEASE IS AT ITS PEAK, IT IS PREFERABLE TO LEAVE THE SICK IN PEACE.

 

30. THE MORBID SYMPTOMS ARE ASTHENESTATA AT THE BEGINNING AND END • ALL ARE POWERFUL ACNE DISEASE.

 

31. IF THE PATIENT EATS DURING CONVALESCENCE AND HIS BODY STRONGER, IS UNPLEASANT SYMPTOM.

 

32. AS ALWAYS, ALL THE PATIENTS, WHEN EATING THE TOP OF APPETITE AND DO NOT STRENGTHEN ALL EVENTUALLY LOSE THEIR APPETITE. BUT THOSE WHO IN PRINCIPLE MAKE STRONG DIET AND THEN START AND EAT, HEAL BETTER.

33. IN ANY DISEASE, MENTAL CLARITY AND RETENTION OF APPETITE IS A GOOD SIGN “THE OPPOSITE IS BAD.

 

34. ON VARIOUS DISEASES, THOSE WHO EXPRESS CONDITION THAT SUITS THE NATURE, HABITS, AGE AND SEASON OF THE YEAR, ARE AT LOWER RISK THAN THOSE WHO DO NOT SHOW THIS SIMILARITY.

35. IN ALL DISEASES ARE USEABLE AREA OF ​​THE NAVEL AND THE LOWER ABDOMEN TO MAINTAIN THEIR THICKNESS, AND IS UNCOMFORTABLE THESE REGIONS TOO SLIMMER AND DRY • THIS ALSO IS NOT CONDUCIVE AT ALL AND ADMINISTERING LAXATIVES.

 

36. HEALTHY PEOPLE TAKING LAXATIVES EFFECTED QUICKLY AND FADE DURING THE PERIOD OF STOOLS, AS WELL AS PEOPLE-EATING HARMFUL FOODS.

 

37. THOSE WHO HAVE HEALTHY BODY, HARDLY TOLERATE LAXATIVES.

 

38. PREFERENCE SHOULD BE GIVEN FOOD OR DRINKS WHICH, ALTHOUGH NOT AS GOOD QUALITY, BUT IT IS PLEASANT TO THE TASTE OF DRINKS OR FOOD OF BETTER QUALITY BUT WITH NOT SO PLEASANT TASTE.

 

39. THE ELDERLY USUALLY DO NOT GET SICK AS MUCH AS THE YOUNG, BUT CHRONIC DISEASES THAT OCCUR IN THIS AGE, ARE USUALLY FOLLOWED UNTIL THEIR DEATH.

 

40. BRONCHIAL CATARRH AND CORYZA ARE NOT CURED IN VERY ELDERLY.

 

41. THOSE WHO SUFFER FREQUENT AND SEVERE FAINTING WITHOUT APPARENT CAUSE, SUDDENLY DIE.

 

42. IT IS IMPOSSIBLE TO CURE SEVERE STROKE DIFFICULT BUT CURED AND LIGHTLY.

 

43. IF APANCHONISMENOS WHO DOWNLOAD FROM THE GALLOWS HAS NOT YET DIED, NOT SAVED FROM DEATH IF FOAMING AROUND THE MOUTH.

 

MEDICAL APHORISMS OF HIPPOCRATES ~ (MEDICAL ADVICE) SECTION 3 & 4

 

 

THE APHORISMS ARE THE MOST IMPORTANT WORKS OF THE HIPPOCRATIC CORPUS. IT WAS THE SUBJECT OF ADMIRATION OF DOCTORS OF ALL TIME AND KYKLOFOROUMENO WIDELY OVER THE CENTURIES, WAS COPIED MORE THAN ALL THE OTHER WORKS OF ANCIENT GREEK MEDICAL LITERATURE. IT IS ELEMENTARY EPITOME SEMIOTICS, DIETARY, THERAPEUTIC AND PROGNOSTIC OF KOAN MEDICAL SCHOOL.

 

THE DESIGNER READILY UNDERSTANDS THAT THESE THOUGHTS WISE AND EXPERIENCED PHYSICIAN AND TEACHER, BUT NOT RECORDED BY THE SAME, THEREBY CONTAIN REPETITIONS AND BE UNCLASSIFIED.

 

IT IS LIKELY TO BE A PATTERN USED BY HIPPOCRATES FOR TEACHING. LATER STUDENTS FOUND IT AND INCLUDED IT IN HIS WORKS. SO THIS IS THE AUTHENTIC WORK OF THE FATHER OF MEDICINE:

 

 

IN THE FIRST PART, CONTAINED IN A SUMMARY MATTERS REGARDING GENERAL MEDICAL AND DIETARY-THERAPEUTIC AND GENERAL ON AUTOMATIC AND EVOKED STOOLS AND NUTRITION. “THE LIFE IS SHORT AND THE ART MAKRI, AND THE WEATHER SHARP, AND THE EXPERIENCE ERRONEOUS AND THE JUDGMENT: ALEPPO”. FAMOUS APHORISM THAT HAS BEEN FOREFRONT IN MEDICAL SCHOOLS, MEDICAL EMBLEM ON MANY PROJECTS AND HAS BEEN THE SUBJECT OF COMMENTS LARGE SAGES OF ANTIQUITY, SUCH AS GALEN, LUCIAN, SENECA AND YOUNGER PHYSICIANS AND PHILOSOPHERS SUCH AS GOETHE, ETC.

 

IN THE SECOND SECTION, INCLUDED APHORISMS RELEVANT TO PROGNOSIS OF DISEASE IN GENERAL. FIRST MENTIONED PREDICTIVE SYMPTOMS FOR SLEEP, WORTHY GREAT CLINICIAN, FOR EXAMPLE HIGH RISK OF DISEASES AGGRAVATED BY SLEEP. WISE ALSO OBSERVATION IS THAT BOTH EXCESSIVE INSOMNIA AND EXCESSIVE SLEEPINESS ARE UNPLEASANT SYMPTOMS. ALSO SUDDEN FATIGUE HERALDS IASTHENEIA, OBESE ARE MORE AT RISK OF SUDDEN DEATH FROM THE WEAK, THOSE WHO OFTEN FEEL TOO TIRED FOR NO REASON, DYING. THESE ARE ALL WISE PHYSICIAN EXPERIENCED OBSERVATIONS.

 

THE THIRD SECTION REFERS TO THE INFLUENCE THAT THE APPEARANCE AND CHARACTER OF THE DISEASE THE NATURAL ENVIRONMENT AND AGE.

 

IN THE FOURTH SECTION, ON TREATMENT WITH EMETICS AND LAXATIVES AND DIAGNOSTIC INFORMATION PARTICULARLY FEBRILE ILLNESSES, INCLUDING BANS RELEVANT TO THE PURGES, INTENTIONAL OR NOT, IN CONNECTION WITH PREGNANCY, SEASONS, THE MAKEUP OF THE INDIVIDUAL, AND NATURE OF THE DISEASE. VERY INTERESTING ARE THE APHORISMS MENTIONED IN FEVERS: SIXTHS, LABORIOUS, FEVERS TWIST NECK, INTERMITTENT, NON-INTERMITTENT, WITH SHIVERING, KAFSODEIS ETC.

 

IN THE FIFTH SECTION INCLUDES APHORISMS ON THE EFFECTS OF HEAT AND COLD ESPECIALLY IN SURGICAL DISEASES AND GYNECOLOGICAL DISEASES. SOME REFER AND CONVULSIONS, THE TETANIC CONVULSIONS AND EPILEPSY, OTHERS TO BREAST DISEASES. OTHERS RELATE MILK STERILIZATION, DISEASE OF THE UTERUS, MENSTRUATION. IN THIS SECTION ARE THE FAMOUS APHORISMS, UNDER WHICH THE OCCURRENCE OF SEIZURES IN TRAUMA IS FATAL PROGNOSIS, THE TABES AFFECTS PEOPLE AGED 18-35 YEARS, HEMOPTYSIS BLOOD FOAMED FROM LUNG, DIARRHEA IS DEADLY SYMPTOM IN CONSUMPTIVE, SUDDEN SLIMMING BREAST PREGNANT HERALDS SHEDDING ETC.

 

SECTION SIX REFER APHORISMS RELATED TO THE SYMPTOMS OF SURGICAL DISEASES. PRECIOUS ARE THOSE WHO SAID THE DISEASES OF THE KIDNEYS AND BLADDER IN THE ELDERLY DIFFICULT TO TREAT, THAT THE INJURIES TO THE BRAIN, BLADDER, INTESTINES, HEART, DIAPHRAGM, ABDOMEN AND LIVER ARE FATAL.

 

FINALLY IN THE SEVENTH SECTION ARE MANY REPETITIONS APHORISMS FROM PREVIOUS PARTS. AMONG THE MOST IMPORTANT IS THE ONE THAT STATES THAT THE ENDS OF FREEZING IS DEADLY PROGNOSTIC IN SEVERE FEBRILE ILLNESSES, AS WELL AS DEADLY PREDICTOR IS THE APPEARANCE OF VOMITING, HICCUP, SPASM OR DELIRIUM IN THE ILEUM.

 

THE FOLLOWING APHORISM IS USUALLY MOUNTED IN OPERATING ROOMS:

 

” OKOSA DRUGS CDR IITAI, IRON IITAI, WHAT IRON CDR IITAI PY IITAI FIND NOT FIRE CDR IITAI, NO MONEY NOMIZEIN BOREDOM. “

 

 

 

 

APHORISMS THIRD SECTION

 

1. THE DISEASES MAINLY CAUSED BY THE CHANGES OF THE SEASONS AND THE SEASONS, THANKS TO EXTREMES OF COLD AND HEAT. IN OTHER CASES ALSO CAUSED SIMILARLY.

 

2. THE TEMPERAMENTS OF PEOPLE ARE BY NATURE SOMETIMES GOOD, SOMETIMES IN POOR CONDITION IN THE SUMMER, WITH STILL OTHER HAPPENS IN THE WINTER THE SAME.

 

3. SOME DISEASES AND SOME GROUPS IS INHERENTLY GOOD OR BAD SITUATION ONE WAY OR THE OTHER TIME, IN ONE OR ANOTHER PLACE, ACCORDING TO ONE OR THE OTHER LIFESTYLE.

 

4. WHEN THE VARIOUS SEASONS OF THE YEAR WE HAVE THE SAME DAY WHEN HOT, WHEN COLD, MUST WAIT ILLNESSES FALL.

 

5. SOUTHERLY WINDS CAUSE HEARING LOSS, BLACKOUTS, WEIGHT IN THE HEAD, DROWSINESS AND EXHAUSTION OF THE BODY. SUCH MORBID PHENOMENA OCCUR WHEN THESE WINDS PREVAIL. OIVORIADES CAUSE COUGH, SORE THROAT, CONSTIPATION, DYSURIA WITH CHILLS, PAIN IN THE SIDE AND CHEST • PREVAIL THESE WINDS SHOULD EXPECT SUCH MORBID PHENOMENA.

 

6. WHEN SUMMER IS THE SAME AS IN THE SPRING, WE SHOULD EXPECT COPIOUS SWEATS IN FEBRILE ILLNESSES.

 

7. DROUGHT SEASONS MANIFESTED HIGH FEVER • IF THE DROUGHT COVERING MUCH OF THE YEAR, THESE WILL BE THE EFFECTS ON THE HUMAN BODY AND SUCH DISEASES MOSTLY HAVE TO WAIT.

 

8. WHEN THE SEASONS ROTATE SMOOTHLY AND STEADILY MANIFESTED MINOR ILLNESSES AND THEIR TREATMENT IS EASY “BUT WHEN THE SWITCH BECOMES ABNORMALLY, DISEASES CAUSED UNEVEN AND REFRACTORY.

 

9. AUTUMN DISEASES MANIFESTED BY ACUTE AND USUALLY FATAL FORM • SPRING IS VERY HEALTHY AGE AND MORTALITY DURING VERY LIMITED.

 

10. AUTUMN IS BAD SEASON FOR CONSUMPTIVE.

 

11. ABOUT SEASONS, ALTHOUGH IN WINTER IT DOES NOT RAIN AND THE WINDS ARE NORTHERLY, WHILE SPRING IS RAINY AND SOUTHERLY WINDS, THE SUMMER WILL OCCUR NECESSARILY HIGH FEVERS, OPHTHALMIA AND DYSENTERY, ESPECIALLY AMONG WOMEN AND MEN WITH LIQUID MAKEUP.

 

12. IF THE WINTER HAS SOUTHERLY WINDS AND RAINY AND MILD, AND COME NEXT SPRING WITHOUT RAIN AND NORTHERLY WINDS, WOMEN TO GIVE BIRTH IN THE SPRING, ELIMINATE THE SLIGHTEST REASON • AS MANY AGAIN LAY NORMALLY GIVE BIRTH TO WEAK AND SICKLY CHILDREN , DYING IMMEDIATELY OR LIVE STUNTED AND WITH WEAK CONSTITUTION • THE REST OF THE POPULATION AFFECTED BY DYSENTERY AND DRY EYES AND ELDERLY FROM CATARRHAL DISEASES RESULTING IN DEATH WITHIN A SHORT TIME.

 

13. IF THE SUMMER DROUGHT TO NORTH WINDS PREVAIL, AND AUTUMN RAINS TO SOUTH, WINTER OCCURRING HEADACHES, COUGH, HOARSE AND CORYZA, AND SOME PEOPLE ARE INFECTED WITH TUBERCULOSIS.

 

14. BUT IF THE AUTUMN WINDS BLOW AND THERE RAIN, BENEFITING LIQUID DIATHESES AND WOMEN S OTHER PEOPLE WILL BE INFECTED WITH DRY EYE, HIGH FEVERS, CORYZA AND SOMETIMES EVEN BY PAROXYSMS OF MELANCHOLY.

 

15. SINCE THE WEATHER YEAR GENERALLY DRY WEATHER HEALTHIER BY LIQUID AND MORTALITY UNDER THESE CONDITIONS ARE MORE LIMITED.

 

16. THE DISEASES MANIFEST THEMSELVES IN RAINY WEATHER ARE FOR THE VERY LONG-TERM FEVERS, GASTRIC CATARRH, SEPSIS, SEIZURES, STROKES, AND DISEASES OF THE THROAT • DROUGHT CAUSES TUBERCULAR CONDITIONS, EYE, ARTHRITIS, STRANGURIA AND DYSENTERY.

 

17. FROM DAILY WEATHER CONDITIONS, WINDS MAKE THE BODY TAUT, GIVE STRENGTH, AGILITY, GOOD COLOR, IMPROVE HEARING, DRY BELLY, IRRITATE EYES AND, IF EXISTED A CHEST PAIN IS BECOMING FIERCER • THE SOUTHERN WET AND DISSOLVE THE BODY, WEAKENS THE HEARING, CAUSE BURDEN ON THE HEAD AND DIZZINESS, DIFFICULT EYE MOVEMENTS AND BODY AND CAUSE CONSTIPATION.

 

18. ABOUT THE SEASONS, SPRING AND EARLY SUMMER, CHILDREN AND PEOPLE WHO ARE CLOSER TO CHILDHOOD, FEEL WONDERFUL AND HAVE GREAT HEALTH ‘SUMMER AND PART OF AUTUMN, SO FEEL THE ELDERLY • REST OF AUTUMN AND WINTER FEEL GOOD MIDDLE AGED.

 

19. ALL DISEASES OCCUR ALL BUT -SOME SEASONS MANIFEST THEMSELVES AND REACH THEIR PAROXYSM IN SOME SEASONS.

 

20. IN THE SPRING PREVAILING MANIA SITUATIONS, MELANCHOLY AND EPILEPSY • BLEEDING, SORE THROAT, RUNNY NOSE, HOARSENESS, COUGH, LEPROSY, LICHENS, ALFOI, MANY RASHES WOUNDS, SWELLING AND ARTHRITIC DISEASES.

 

21. THE PREVAILING SUMMER SOME OF THE PREVIOUS CONDITIONS, PERSISTENT FEVERS, BURNING, MANY TRITAIA FEVERS, VOMITING, DIARRHEA, EYE, PAIN IN THE EARS, MOUTH SORES, ROTTING GENITALS AND SWEAT.

 

22. AUTUMN PREVAILING SUMMER MANY DISEASES TETARTAIOI FEVERS, INTERMITTENT FEVERS, SWOLLEN SPLEEN, GOUTS, TABES, STRANGURIA, LEIENTERIES, DYSENTERY, SCIATICA, ANGINA, ASTHMA, ILEUS, EPILEPSY, MANIA AND MELANCHOLY SITUATIONS.

 

23. IN WINTER PREVAILING PLEURISY, PNEUMONIA, CORYZA, HOARSE COUGHS, CHEST PAINS, RIBS AND WAIST, HEADACHES, DIZZINESS, SEIZURES.

 

24. DEPENDING ON THE AGE, THE FOLLOWING SYMPTOMS APPEAR: CHILDREN, YOUNG AND INFANTS, THRUSH, VOMITING, COUGH, INSOMNIA, TREMORS, INFLAMMATION NAVEL, SUPPURATION IN THE EARS.

 

25. WHEN APPROACHING THE TIME OF TEETHING, THE GUMS APPEAR IRRITATIONS, FEVERS, CONVULSIONS, DIARRHEA, ESPECIALLY WHEN CANINES GROW, ESPECIALLY IN VERY OBESE CHILDREN AND IN CONSTIPATED.

 

26. IN SOMEWHAT MORE ADVANCED AGE APPEAR TONSILLITIS, DISPLACEMENT FORWARD OF THE CERVICAL VERTEBRA, ASTHMAS, STONES, ROUND INTESTINAL PARASITES, ROUNDWORMS, MOLES, BUMPS NEAR THE EARS, SWELLING OF THE GLANDS OF THE NECK AND OTHER SWELLINGS, BUT MOSTLY EVERYTHING EXPLAINED PREVIOUSLY.

 

27. IN THE MORE ADVANCED AGE, AND THE APPROACHING PUBERTY, APPEAR MANY PREVIOUS ILLNESSES, AND EVEN MAINLY LONG-TERM FEVERS AND EPISTAXIS.

 

28. MOST CHILDHOOD DISEASES ARE CONSIDERED OTHER FORTY DAYS, OTHERS IN SEVEN MONTHS, OTHERS IN SEVEN YEARS AND THE OTHER AS APPROACHING PUBERTY • BUT MANY INSIST AND DO NOT DISAPPEAR IN BOYS DURING PUBERTY IN GIRLS AND AGE OF ONSET OF MENSTRUATION, USUALLY BECOME CHRONIC.

 

29. YOUNG PEOPLE APPEAR HEMOPTYSIS, PHTHISIS, HIGH FEVERS, SEIZURES AND OTHER DISEASES, BUT MOSTLY PAST.

 

30. IN PEOPLE WHO HAVE PASSED THIS AGE, MANIFESTED ASTHMA, PLEURISY, PNEUMONIA, LETHARGY, FRENZY, HEARTBURN, CHRONIC DIARRHEA, CHOLODEIS DIARRHEA, DYSENTERY, LEIENTERIES, HEMORRHOIDS.

 

31. IN OLDER PEOPLE MANIFESTED DYSPNEA, COUGH WITH CATARRH, STRANGURIA, DYSURIA, PAIN IN JOINTS, NEPHRITIS, DIZZINESS, SEIZURES, DEPRESSION, ITCHING ALL OVER THE BODY, INSOMNIA, WETNESS ABDOMEN, EYES AND NOSE, AMBLYOPIA, WATERFALLS, AIDS.

  

  

 

APHORISMS FOURTH CHAMBER

  

1. IF THERE IS ORGASM, PREGNANT WOMEN CAN TAKE MEDICATION [EMETICS AND LAXATIVES] FROM THE FOURTH UNTIL THE SEVENTH MONTH, BUT LESS THIS LATTER • IN INFANTS AND CHILDREN SHOULD BE CAREFUL ABOUT GIVING MEDICINES.

 

2. GRANTING OF LAXATIVES SHOULD BE DISCARDED MATERIALS THAT ARE USEFUL AND WHEN DISCHARGED FROM THEM; ALONE MUST STOP MANY HAVE DIAFORETIKOCHARAKTIRA.

 

3. IF THE STOOLS BECOME SO NORMAL, THE PATIENT FEELS BETTER AND EASILY TOLERATES • OTHERWISE FEEL BAD.

 

4. SUMMER ADMINISTERED EMETICS AND LAXATIVES WINTER.

 

5. AT THE TIME OF KINOS BEFORE, LAXATIVES IMPACT DIFFICULT.

 

6. IN LEAN PEOPLE DO VOMIT EASILY BE ADMINISTERED EMETICS • BUT THE CLEARANCE SHOULD BE DONE WITH CAUTION IN WINTER.

 

7. THE MORE OBESE PEOPLE WHO MAKE DIFFICULT VOMITING SHOULD NOT TAKE LAXATIVES AND CLEARANCE MUST BE DONE WITH CAUTION IN SUMMER.

 

8. INDIVIDUALS PREDISPOSED TO TUBERCULOSIS SHOULD USE VERY CAREFULLY EMETIC DRUGS.

 

9. THOSE WHO SUFFER FROM MELANCHOLY SHOULD BE GRANTED EFFECTIVE LAXATIVES FOR THE LOWER PART OF THE INTESTINE AND IN THE SAME PARAGRAPH TO FOLLOW A DIFFERENT PATH FOR THE OPPOSITE CASES.

 

10. IN VERY SEVERE ILLNESSES CLEARANCE MUST BE ON THE SAME DAY, IF THERE IS ORGASM, BECAUSE IT IS VERY DANGEROUS TO PROCRASTINATE IN THESE CASES.

 

11. COLIC, PAIN AROUND THE NAVEL AND LUMBAGO THAT DOES NOT GO WITH EITHER LAXATIVE OR OTHERWISE, ALL OF THEM END UP IN DRY DROPSY (OBVIOUSLY MEANT SWELLING VISCERA, BUT THERE PERITONEAL FLUID).

 

12. IN WINTER THE ADMINISTRATION EMETIC DRUGS HARMS INDIVIDUALS SUFFERING FROM LEIENTERIKES BLUETONGUE.

 

13. WHEN ADMINISTERING THE ELLEVOROU ​​(PLANT USED AS A PURGATIVE, CAUSING VOMITING) MUST, BEFORE GRANTING THE MEDICINE TO WET THE BODY OF PEOPLE WHO FIND IT DIFFICULT TO CLEAN THE MOUTH, SUGGESTING ABUNDANT FOOD AND REST.

 

14. WE RECOMMEND TO THOSE WHO HAVE DRUNK ELLEVORO MOVE MORE, SLEEP AND N ‘RESTED LESS • THE BOAT TRIP THAT REVEALS THE MOVEMENT AGITATES THE VARIOUS ORGANS OF THE BODY.

 

15. WHEN WE WANT TO ACT MORE THE ELLEVOROS RECOMMEND THE PATIENT TO MOVE • WHEN WE WANT TO HALT ITS ACTIVITIES, RECOMMEND SLEEP AND REST.

 

16. ELLEVOROS IS DANGEROUS FOR THOSE WHO HAVE STRONG OWN BRAND, BECAUSE IT CAUSES SPASMS.

 

17. W PERSON IS AFEBRILE, ANOREXIA, HEARTBURN, THE BLACKOUTS, THE BITTERNESS IN THE MOUTH INDICATE THAT ADMINISTRATION EMETIC NECESSARY.

 

18. PAINS ABOVE THE DIAPHRAGM INDICATE THE NEED CLEANSING THE BODY WITH EMETIC • PAINS WHILE BELOW IT, THE NEED FOR CLEANSING WITH A LAXATIVE.

 

19. THOSE WHO DO NOT FEEL THIRST AFTER ADMINISTRATION LAXATIVE SHOULD CONTINUE THE STOOLS UNTIL THIRST.

 

20. IF THERE IS NO FEVER, THE COLIC, WEIGHT KNEE AND BACK PAIN SHOW THAT SHOULD BE GIVEN A LAXATIVE FOR THE LOWER PART OF THE INTESTINE.

 

21. STOOLS DARK AS BLOOD, SHOWN WITHOUT CAUSES DISEASE WITH OR WITHOUT FEVER, IS VERY UNPLEASANT AND • AN INDICATION AS MUCH WORSE ARE THE COLORS, THE MORE UNCOMFORTABLE THE SYMPTOM IS “IF IT OCCURS AFTER TAKING CATHARTIC, THEN SITUATION IS BETTER AND COLOURFULNESS IN THIS CASE DOES NOT INDICATE BAD.

 

22. THE ELIMINATION OF BLACK BILE FROM ABOVE OR BELOW THE TOP OF THE DISEASE IS FATAL INDICATION.

 

23. IF THE PERSON EXHAUSTED FROM A SERIOUS OR CHRONIC ILLNESS, TRAUMA OR ANY OTHER REASON, ELIMINATE BLACK BILE OR BLACK BILE AS BLOOD, DYING THE NEXT DAY.

 

24. DYSENTERY STARTING WITH BLACK BILE, IS LETHAL PROGNOSIS.

 

25. THE EXPULSION OF BLOOD FROM THE MOUTH, FROM OPOIADI EVER REASON, IS UNPLEASANT SIGN • ELIMINATION FROM BELOW, IT’S GOOD, LIKE BLACK STOOLS.

 

26. THE EXPULSION OF FECES, LIKE FLESH FROM SICK SUFFERING FROM DYSENTERY IS DEADLY SYMPTOM.

 

27. WHEN SITUATIONS OCCUR IN FEBRILE COPIOUS BLEEDING FROM ANYWHERE, DURING CONVALESCENCE PATIENTS AFFECTED BY GASTRIC CATARRH.

 

28. CHOLODEIS STOOLS STOP IF MANIFEST DEAFNESS, AND DEAFNESS SUBSIDE, IF THEY OCCUR CHOLODEIS STOOLS.

 

29. IF A FEBRILE ILLNESS OCCUR CHILLS THE SIXTH DAY, THE CRITICAL PHASE OF THE DISEASE WILL BE. BAD.

 

30. ON ILLNESSES MANIFESTING CONVULSIONS, IF THE FRENZY STOPS A CERTAIN TIME AND COME BACK THE NEXT DAY AT THE SAME TIME, THE CRISIS IS DIFFICULT.

 

31. WHEN IN FEBRILE CONDITIONS THERE FEELING TIRED, ABSCESSES ARE FORMED MAINLY IN JOINTS AND NEAR THE JAW.

 

32. IF THE PATIENT STARTS RECOVERING AND FEEL PAIN AT SOME POINT OF THE BODY AT THAT POINT WILL BE FORMED AN ABSCESS.

 

33. HOWEVER, IF SOME POINT ACHED BEFORE THE DISEASE, THERE IS THE FOCUS OF EVIL.

 

34. IF DURING FEVER OCCURS SUDDENLY CHOKING THROAT WITHOUT SWELLING, THE SYMPTOM ARE DEADLY.

 

35. IF DURING FEVER OCCURS SUDDENLY TWIST IN THE NECK, WITHOUT SWELLING AND THE PATIENT FINDS IT DIFFICULT TO SWALLOW, THE SYMPTOM ARE DEADLY.

 

36. ON FEVERISH SITUATIONS SWEATS BENEFIT THE THIRD DAY, FIFTH, SEVENTH, NINTH, ELEVENTH, FOURTEENTH, SEVENTEENTH, TWENTY-FIRST, THE TWENTY-SEVENTH, THE THIRTY-FIRST, THIRTY-FOURTH “OF THE SWEATS THOSE JUDGED DISEASES • BUT SWEATS, NOT APPEARING THESE DAYS, HERALD PAIN, PROLONGED SUFFERING AND RELAPSES.

 

37. THE COLD SWEAT WITH A HIGH FEVER HERALDS DEATH • DURING MILDER DISEASE, THE PROLONGED SUFFERING.

 

38. IN POINT OF THE BODY THAT IS MANIFESTED PERSPIRATION, IS ALSO THE GOAL OF DISEASE.

 

39. THE DISEASE IS IN THE BODY THAT IS HOT OR COLD.

 

40. IF CHANGES OCCUR THROUGHOUT THE BODY, THAT IS IF IT FREEZES AND THEN THAWS, OR CHANGES COLOR, IT MEANS THAT WILL EXTEND THE DURATION OF THE DISEASE.

 

41. IF AFTER SLEEPING DISPLAYED ABUNDANT SWEAT WITHOUT APPARENT CAUSE, IT MEANS THAT THE BODY CONSUMES MORE FOOD [THAN WHAT] • IF THIS HAPPENS TO A PERSON WHO DOES NOT EAT, IT MEANS THAT NEEDS EMPTYING.

 

42. THE ABUNDANT SWEATING, COLD OR HOT, FLOWING INCESSANTLY MEAN HEAVIER OR LIGHTER DISEASE RESPECTIVELY “

 

43. THE CONTINUOUS FEVERS EXHIBIT SEIZURES EVERY THIRD DAY ARE DANGEROUS • FADING OF FEVER, IN WHATEVER FORM, SUGGESTING THAT THE FEVERS SUCH IS HARMLESS.

 

44. THOSE WHO SUFFER FROM LONG-TERM FEVERS, EXHIBIT SWELLING OR PAIN IN THE JOINTS.

 

45. IF THE PERSON AFTER FEVER EDEMA OR JOINT PAINS, RECEIVES EXCESSIVE AMOUNT OF FOOD.

 

46. ​​IF RIGORS OCCUR IN A PATIENT ALREADY EXHAUSTED BY FEVER, NOT MAGAZINE, THIS SYMPTOM IS DEADLY.

 

47. EXPECTORATIONS NON PERIODIC FEVERS, AS TAN, BLOODY, AND SMELLY CHOLODEIS, BAD SIMADI- HOWEVER, IF SPUTUM DISCHARGED SMOOTHLY, INDICATIONS ARE FAVORABLE AS VENTRICULAR STOOLS AND URINE • IF NOT ELIMINATED BUT SOMETHING TO BE EXPELLED FROM THESE POINTS, THIS IS BAD.

 

48. IF THE CONSTANT FEVERS EXTERNAL PARTS OF THE BODY IS COLD AND THE INTERNAL BURNING, YET THE PATIENT IS THIRSTY, SYMPTOM ARE DEADLY.

 

49. IF A NON-PERIODIC FEVER BENT LIP OR EYEBROW, THE EYE OR THE NOSE, OR IF DISTURBED VISION OR HEARING, WHILE THE PATIENT IS EXHAUSTED, DEATH IS NEAR, WHICHEVER IT MAY BE THE SYMPTOM WILL MANIFEST.

 

50. WHEN A NON-PERIODIC FEVER MANIFESTED WHEEZING AND DELUSION, THIS IS DEADLY SIGN.

 

51. FEBRILE ABSCESSES ARE NOT DISSOLVED IN THE FIRST JUDGMENT, INDICATING EXTENSION OF THE DISEASE.

 

52. IT IS WORRYING IF SOMEONE HAS FEVER OR OTHER ILLNESS, WEEPING INTENTIONALLY • BUT MORE WORRYING IF WEEPING UNINTENTIONALLY.

 

53. WHEN THE TEETH FEVERISH CONDITIONS BECOME GREASY, FEVER RISES FURTHER.

 

54. THOSE WHO HAVE FEVERS CAUSTIC AND PERSISTENT HAWK, CAUSING SHORT IRRITATION, NOT TOO HUNGRY.

 

55. FEVERS MANIFESTED BY SWELLING IN THE GROINS ARE ALL BAD, UNLESS LAST ONE DAY.

 

56. WHEN IN FEBRILE DISEASES MANIFESTED SWEATING WITHOUT CONCOMITANT DECLINE OF FEVER, THE SYMPTOM IS UNPLEASANT ILLNESS • PROLONGED AND THIS IS A SIGN OF EXCESSIVE MOISTURE.

 

57. FEVER OCCURS IN SICK AFFLICTED WITH CONVULSIONS OR TETANIC CONTRACTIONS, CURES THE DISEASE.

 

58. IF PATIENT IS SUFFERING FROM HEARTBURN EXPERIENCED CHILLS, CURED.

 

59. THE SMOOTH TERTIAN IS THE MOST IN SEVEN YEARS.

 

60. IF DURING FEBRILE ILLNESS WEAKEN THE HEARING AND PRESENTED EPISTAXIS OR DIARRHEA, ILLNESS CURED.

 

61. IF THE FEVER DOES NOT LEAVE THE SICK IN AN ODD NUMBER OF DAYS, USUALLY RECURS.

 

62. JAUNDICE OCCURRING IN FEVERS BEFORE THE SEVENTH DAY IS A BAD SIGN, UNLESS A MISCARRIAGE FLUID FROM THE ABDOMEN.

 

63. WHO DEVELOP FEVERS CHILLS EVERY DAY ALSO FALL EVERY DAY.

 

64. JAUNDICE OCCURRING IN FEVERS SEVENTH, NINTH, ELEVENTH OR FOURTEENTH DAY IS A GOOD SIGN, AS LONG AS THE RIGHT HYPOCHONDRIAC NOT BE DIFFERENT HARDNESS, IS NOT GOOD.

 

65. UNPLEASANT SYMPTOMS OF THE DISEASE IS THE EXCESSIVE HEAT AROUND THE ABDOMEN AND HEARTBURN.

 

66. SEIZURES AND STRONG PAINS IN THE BOWELS ARE BAD SYMPTOMS IN HIGH FEVERS.

 

67. IN FEVERS UNPLEASANT SYMPTOMS ARE TREMORS OR CONVULSIONS AFTER SLEEPING.

 

68. THE DASHED BREATHING DURING FEVERS ARE BAD SIGN BECAUSE IT HERALDS SPASMS.

 

69. WHEN THE PATIENT EXPELS URINE THICK WITH CLOTS AND SCARCE, WITHOUT FEVER, ALTHOUGH FOLLOW LARGE AMOUNT OF DILUTE URINE, RELIEVED • THIS IS ESPECIALLY TRUE FOR THOSE WHO HAVE THE AUTHORITY, OR SHORTLY SEDIMENT IN URINE.

 

70. THOSE FEVERS TO ELIMINATE CLOUDY URINE, SIMILAR TO THE PACK-ANIMALS, OR WILL DEVELOP HEADACHES.

 

71. IN MANY PEOPLE THE DISEASE IS TO BE JUDGED TINEVDOMI DAY, HAVE THE FOURTH URINE CLOUD, RED AND OTHER SIMILAR SYMPTOMS.

 

72. THE TRANSPARENT, COLORLESS URINE IS BAD • MAINLY OCCUR IN CASES OF FRENZY.

 

73. WHEN A HYPOCHONDRIAC SWELL, APPEAR COOING AND FOLLOW PAIN, OCCURS EFKOILIATITA UNLESS OBSERVED GASES ABUNDANT URINARY EXCRETION OF THESE SYMPTOMS OCCUR IN FEBRILE STATES.

 

74. THOSE EXHIBITING THE LIKELIHOOD OF ABSCESS FORMATION IN THE JOINTS, ARE EXEMPT FROM THE ABSCESS AFTER EXPELLING ABUNDANT AND VERY DENSE AND WHITE URINE AS STARTING FEATURE IN SOME CASES PAINFUL TETARTAION FEVERS IF FURTHER BLOOD RUN FROM THE NOSE, THE ABSCESS SUBSIDES QUICKLY.

 

75. THE EXPULSION OF BLOOD OR PUS IN THE URINE MEANS SORE KIDNEY OR BLADDER.

 

76. WHEN ALONG WITH THICK URINE EXCRETED FINELY FLESH PIECES LIKE HAIR, ELIMINATION FROM THE KIDNEYS.

 

77. WHEN URINE TOGETHER WITH DENSE SEDIMENT DISCHARGED LIKE BRAN, THE CYST IS INFECTED WITH SCABIES.

 

78. SUDDEN BLOOD URINATION INDICATES RUPTURE SMALL VEIN IN THE KIDNEY.

 

79. IF THE URINE SEDIMENT EXHIBIT OF SAND, SUFFERING FROM BLADDER STONES.

 

80. IF THE PERSON URINATES BLOOD CLOTS, HAS STRANGURIA AND FEELS PAIN IN ABDOMEN AND PERINEUM, THERE IS DISEASE IN THE BLADDER AREA.

 

81. WHEN THE URINE IS MIXED WITH BLOOD, PUS, SCALES AND SMELL BAD, SUGGEST THAT THERE IS WOUND IN THE BLADDER.

 

82. IN THOSE MANIFESTED BUMPS URETHRA IF FORMED PUS AND OPEN, THE DISEASE IS CURED.

 

83. THE ABUNDANT NOCTURIA HERALDS FEW ABDOMINAL STOOLS.

 

APHORISMS FIFTH SECTION

 

1. IF THE DOWNLOAD ELLEVOROU ​​(= LAXATIVE HERB) CAUSE CONVULSIONS, THE SYMPTOM IS DEADLY.

 

2. THE APPEARANCE OF CONVULSIONS AFTER INJURY MEANS DEATH.

 

3. THE APPEARANCE OF CONVULSIONS OR HICCUP AFTER PROFUSE BLEEDING, BAD SIGN.

 

4. IF SIMULTANEOUSLY WITH EXCESSIVE DIARRHEA OCCUR SPASMS OR HICCUPS, THE PROGNOSIS IS POOR.

 

5. IF A DRUNK SUDDENLY LOST HIS VOICE, DIES IN CONVULSIONS, UNLESS FOLLOW FEVER OR IF THE TIME USUALLY LEAVES DRUNKENNESS REGAIN HIS VOICE.

 

6. THOSE INFECTED WITH TETANUS DIE IN FOUR DAYS • IF YOU EXCEED THE TIME LIMIT, TREATED.

 

7. EPILEPSY MANIFESTED BEFORE TEENS CAN BE CURED • HOWEVER, THIS OCCURS IN THE AGE OF TWENTY FIVE YEARS USUALLY ACCOMPANIES THE SICK UNTIL HIS DEATH.

 

8. IF THE PLEURAL CHEST NOT CLEAN WITH EXPECTORATION WITHIN FOURTEEN DAYS, FORMED EMPYEMA.

 

9. TABES OCCURS MAINLY FROM THE EIGHTEENTH TO THE THIRTY-FIFTH BIRTHDAY.

 

10. THOSE WHO TREAT THE ANGINA AND THE DISEASE TURNS TO THE LUNG, THEY DIE WITHIN SEVEN DAYS • IF YOU PASS THIS TIME, MANIFESTED EMPYEMA.

 

11. IF WE TAKE THE SPUTUM, ELIMINATING ANYONE WHO SUFFERS FROM TUBERCULOSIS, OVER COALS AND FOUND TO HAVE A HEAVY ODOR, WHILE FALL AND HIS HAIR, THE PROGNOSIS IS FATAL.

 

12. CONSUMPTIVE POSING AFFECTED BY HAIR LOSS AND DIARRHEA, THEY DIE.

 

13. THE ELIMINATION OF BLOOD FOAMED ORALLY MEANS THAT THE CAUSE IS THE LUNG.

 

14. IF PRESENT TUBERCULAR DIARRHEA, IS A SIGN OF DEATH.

 

15. THOSE AFTER PLEURISY SHOW EMPYEMA, TREATED IF THEIR BREASTS CLEAN FORTY DAYS AFTER THE RUPTURE OF EMPYEMA • OR, ILLNESS VARIES IN TUBERCULOSIS.

 

16. FREQUENT USE OF HEAT CAUSES THE FOLLOWING DAMAGE: RELAXATION OF THE FLESH, WEAKENING OF NERVE, CLOUDING THE MIND, BLEEDING, FAINTING • ALL LETHAL.

 

17. THE COLD CAUSES SPASMS, TETANIC CONTRACTIONS, BRUISING, FEVER, CHILLS.

 

18. THE COLD IS HOSTILE TO BONES, TEETH, NERVES, BRAIN, SPINAL CORD • CONTRARY HEAT IS BENEFICIAL.

 

19. WE MUST BE HEAT FROSTED PARTS, EXCEPT THOSE WHO ARE BLEEDING OR WILL BLEED.

 

20. IN TRAUMA COLD CAUSES PAIN LIKE BITES, SKIN HARDENS AROUND, BRINGS PAINS THAT DO NOT CAUSE SUPPURATION, BRUISING THE FLESH AND CAUSES FEVER CHILLS, CONVULSIONS, AND TETANIC CONTRACTIONS.

 

21. BURLY NEO TETANIC CONTRACTIONS OCCUR WITHOUT TRAUMA DURING THE SUMMER, SO ABUNDANT COLD SHOWER • RESETS THE TEMPERATURE AND HEAT CURE SUCH DISEASES.

 

22. THE HEAT CAUSES SUPPURATION, BUT NOT ALL WOUNDS • WHEN THIS HAPPENS, IT SEEMS A MAJOR TREATMENT INDICATION • SOFTENS THE SKIN WEAKENS, RELIEVES PAIN, SOOTHES CHILLS, CONVULSIONS, AND TETANIC CONTRACTIONS • THE SAME EFFECT HAS AND HEAD AND ELIMINATES THE WEIGHT OF “IS EXTREMELY USEFUL IN BONE FRACTURES, PARTICULARLY IN THE STRIPPED AND ESPECIALLY TO WOUNDS OF THE HEAD • BENEFIT TO EVERYTHING THAT CAUSES DEATH OR ULCERS OF THE COLD, THE EXPANSIVE HERPES, ANUS, GERM ORGANS, UTERUS, BLADDER “ALL THAT FAVORS THE HEAT AND CONTRIBUTES TO THE CRISIS AND ILLNESS, WHILE COLD IS HOSTILE AND DEADLY.

 

23. THE COLD SHOULD BE TREATED IN THE FOLLOWING CASES: WHERE THERE IS OR WILL BE MANIFESTED BLEEDING, NOT ON THE SAME POINTS BUT ROUND SPOTS, FROM WHERE THERE IS OVERLAPPING • IN ALL INFLAMMATIONS AND SURFACE INFLAMMATION THAT TEND TO AND ALMOST BLOODY RED COLOR DUE TO RECENT STILL BLOOD, BECAUSE THE COLD BRUISING OF OLD INFECTIONS • TO ANEMOPYROMA WITHOUT TRAUMA BECAUSE THE COLD CERTAINLY HURT THE ANEMOPYROMA TRAUMA.

 

24. GENERALLY COLD, AS SNOW AND ICE, DAMAGING THE CHEST AND CAUSE COUGHING, RUNNY NOSE AND BLEEDING.

 

25. THE SWELLING AND JOINT PAIN WITHOUT TRAUMA, AND GOUT. THE STRAINS OF MUSCLES, USUALLY RELIEVED BY COPIOUS CHILLING, WHICH REDUCE SWELLING AND ALLEVIATE PAIN • MODERATE SEDATION IS ABLE TO TURN AWAY THE PAIN.

 

26. THE WATER HEATS AND COOLS QUICKLY, IS VERY SLIGHT.

 

27. IF THOSE WHO ARE THIRSTY TOO DURING THE NIGHT FEEL THE NEED TO DRINK, AND THEN RETURN TO SLEEP, IS GOOD.

 

28. AROMATIC FUMIGATIONS ARE EMMENAGOGUE AND WOULD BE VERY USEFUL IN OTHER DISEASES, ALTHOUGH NOT CAUSING HEADACHE.

 

29. IF THERE IS ORGASM, PREGNANT WOMEN SHOULD TAKE EMETICS AND LAXATIVES FROM THE FOURTH UNTIL THE SEVENTH MONTH, BUT LESS IN THE LAST • INFANTS AND CHILDREN SHOULD BE CAREFUL ABOUT GIVING MEDICINES.

 

30. IF A PREGNANT WOMAN SUFFERING FROM A SERIOUS ILLNESS, THE CONDITION IS FATAL.

 

31. IF IT BLEED A PREGNANT, THE WOMAN EXPELS • THE CHANCES OF MISCARRIAGE IS MORE, THE LARGER THE FETUS.

 

32. A WOMAN DOING HEMOPTYSIS BLOOD STOPS WHEN THE PERIOD DISPLAY.

 

33. IN A WOMAN WHO HAS NO MENSES, THE EMERGENCE OF NOSE BLEEDING ARE GOOD INDICATION.

 

34. IF A PREGNANT WOMAN SUFFERED INTENSE DIARRHEA, COULD BE ELIMINATED.

 

35. IF SNEEZING OCCURS IN WOMAN SUFFERING FROM DISEASES OF THE UTERUS OR DYSTOCIA, A GOOD SIGN.

 

36. MENSTRUAL FLOW INDETERMINATE COLOR, WHICH DOES NOT ALWAYS OCCUR AT REGULAR INTERVALS, INDICATING THAT THE WOMAN IN NEED OF LAXATIVE.

 

37. IF, UDDERS PREGNANT WEAKEN SHARPLY, THE WOMAN EXPELS.

 

38. IF A PREGNANT WITH TWINS WEAKEN EACH BREAST, WILL ELIMINATE ONE OF THE TWO EMBRYOS • THOUGH WEAKENED THE RIGHT BREAST, THE MALE EXPELS • IF THE LEFT, THE FEMALE.

 

39. IF A WOMAN WHO IS EITHER PREGNANT OR HAS GIVEN BIRTH HAS MILK, MEANS THAT MENSTRUATION HAS STOPPED.

 

40. IN WOMEN, BLOOD CONGESTION MASTOUSPROANANGELLEI INSANITY.

 

41. IF YOU WANT TO DETERMINE IF A WOMAN IS PREGNANT, THE TIME YOU GO TO SLEEP WITHOUT DINING, GIVE HER TO DRINK NEROMELO • IF YOU FEEL PAIN IN THE ABDOMEN, ARE PREGNANT, IF NOT, NOT.

 

42. IF A PREGNANT WOMAN IS PREGNANT WITH A BOY, HAS GOOD COLOR • COLOR IS UGLY, IF A PREGNANT GIRL.

 

43. IF A PREGNANT ANEMOPYROMA PRESENT IN THE UTERUS, THE PROGNOSIS IS FATAL.

 

44. IN CASE OF PREGNANCY VERY THIN WOMEN EXPEL IF NOT FATTEN.

 

45. THOSE WOMEN WITH NORMAL PHYSIQUE EXCRETE THE SECOND OR THIRD MONTH WITHOUT APPARENT CAUSE, THE COTYLEDONS ARE FILLED MUCUS, THEY CAN NOT HOLD THE WEIGHT OF THE FETUS AND BREAK.

 

46. ​​IN OBESE WOMEN WHO ARE UNABLE TO CONCEIVE, OMENTUM PRESSES THE ORIFICE OF THE DIE AND DO NOT POSE ONLY WHERE WEAKEN.

 

47. IF THE MATRIX, BASED ON HIP, DIAPYITHEI, WE MUST USE GAUZE.

 

48. THE MALE FETUSES ARE PROBABLY RIGHT WHILE FEMALES LEFT THE DIE.

 

49. FOR THE EXPULSION OF THE PLACENTA ADMINISTER MEDICATION SNEEZING AND PRESSING SHUT THE NOSTRILS AND MOUTH OF MATERNITY.

 

50. IF WE ARE TO STOP A WOMAN’S PERIOD, PLACE THE BREASTS OF A MAXIMUM POSSIBLE SUCTION CUP.

 

51. DURING PREGNANCY THE ORIFICE OF THE DIE IS CLOSED.

 

52. IF THE BREASTS PREGNANT RUN MILK IN BULK, THIS MEANS THAT THE EMBRYO IS WEAK • IF THE BREASTS ARE TOUGH, MEAN THAT THE FETUS IS IN GOOD CONDITION.

 

53. THE BREASTS OF WOMEN, WHICH ARE TO ELIMINATE, SOFTEN BUT IF XANASKLIRYNOUN, WILL MANIFEST PAIN IN THE BREASTS OR HIPS, EYES OR KNEES, AND THEN IT WILL NOT ELIMINATE.

 

54. WOMEN WHO HAVE HARD ORIFICE DIE NECESSARILY DISABLE THIS ORIFICE.

 

55. IN PREGNANT WOMEN WHO DEVELOP FEVERS AND SLIMMER TOO WITHOUT APPARENT CAUSE, CHILDBIRTH IS DIFFICULT AND DANGEROUS EPIKINDYNOS- ALSO AND EJECTIONS.

 

56. IF DURING THE MENSTRUAL FLOW OCCUR CONVULSIONS AND BLACKOUTS, THIS IS A BAD SIGN.

 

57. IF THE MENSTRUAL FLOW BECOME ABUNDANT, OCCURRING ILLNESSES • IF THERE IS NO MENSTRUATION, THEN WOMEN’S DISEASES FROM MATRIX.

 

58. WHEN INFLAMMATION OF THE COLON AND UTERUS STRANGURIA OCCURS, AS IN THE PERFUSION OF THE KIDNEYS TO LIVER INFLAMMATION MANIFESTED HICCUP.

 

59. IF A WOMAN CONCEIVES AND WE WANT TO SEE IF YOU CAN CAPTURE, THE WRAP WITH BLANKETS AND BURN BENEATH FRAGRANCES • IF ODOR GIVES THE IMPRESSION THAT PENETRATES THE BODY AND REACHES THE NOSE AND MOUTH, WE KNOW THAT IS NOT STERILE BY OWN FAULT.

 

60. IF A PREGNANT DISPLAY PERIOD, IT IS IMPOSSIBLE THAT THE EMBRYO IS HEALTHY.

 

61. IF A WOMAN STOPPED PERIOD WITHOUT SUFFER CHILLS OR FEVER, THOUGH IT ALSO HAS NAUSEA, THEN KEEP IN MIND THAT SHE IS PREGNANT.

 

62. WOMEN WITH COLD AND TIGHT MATRIX DO NOT CAPTURE THE SAME HAPPENS TO WOMEN WHO HAVE A LOT OF FLUID IN THE WOMB BECAUSE THE SPERM IS LOST THERE • NOR CAPTURE THOSE WITH MATRIX RATHER DRY AND VERY WARM, BECAUSE THEN THE SEED IS DESTROYED FROM LACK OF • FERTILE FOOD ARE THOSE THAT HAVE BALANCED CONSTITUTION BETWEEN THE TWO SITUATIONS.

 

63. SIMILAR APPLIES TO MEN OR • DUE TO LOOSENESS OF THE BODY THE AIR EXITS TO THE OUTSIDE AND DOES NOT DIRECT THE SPERM TO THE DESTINATION OR THE BODY IS TIGHT AND SEMINAL FLUID CAN BE PUSHED OUT OR THE BODY IS COLD AND SEMEN IS NOT HEATED ENOUGH TO CONCENTRATE ON THE APPROPRIATE PLACE • THE SAME HAPPENS IF THE BODY IS WARM.

 

64. MILK HURTING THOSE SUFFERING FROM HEADACHE “ALSO HURTS THOSE WHO HAVE FEVER, SWOLLEN AND FULL OF HYPOCHONDRIAC COOING, AND THOSE WHO FEEL THIRST • HURTS EVEN PATIENTS WITH HIGH FEVER EXHIBITING CHOLODI FECES AND THOSE WHO EARN A LOT OF BLOOD UNDERNEATH • MILK BENEFITS THE TUBERCULOUS NOT HAVE HIGH FEVER “IS ALSO USED IN PATIENTS WITH SLIGHT FEVERS AND LONG TERM WHEN THERE IS NONE OF THE ABOVE SYMPTOMS, BUT ALSO WHEN THEY ARE OVERLY EXHAUSTED.

 

65. THE WOUNDS ACCOMPANIED BY EDEMA, DO NOT EXPOSE THE PATIENT TO THE RISK OF CONVULSIONS OR DELIRIUM • BUT WHEN THESE FALL SHARPLY, IF THAT WERE IN THE BACK PARTS OF THE BODY, MANIFESTED CONVULSIONS AND TETANIC CONTRACTIONS • IF YOU WERE IN FRONT, MANIFESTED DELUSIONS, STRONG FLANK PAIN, SUPPURATION OR DYSENTERY, ALTHOUGH SWELLING WAS RATHER KOKKINOCHROMA.

 

66. IF AFTER STRONG AND SERIOUS INJURY NOT APPEAR EDEMA, IS A VERY BAD SIGN.

 

67. THE SOFT LESIONS ARE BENIGN, MALIGNANT HARD.

 

68. THE PAIN IN THE BACK OF THE HEAD IS RELIEVED BY OPENING THE FRONT VERTICAL VEIN.

 

69. IN FEMALES CHILLS STARTING WAIST RATHER ARRIVE AT THE HEAD FROM THE BACK • IN MEN, RATHER THAN THE REAR THAN THE FRONT PARTS OF THE BODY, AS WELL AS FROM THE FOREARMS AND MIROUS- SKIN OF MEN IS LOOSE, AS SEEN FROM THE BRISTLES.

 

70. THOSE AFFECTED BY TETARTAIOUS FEVERS, USUALLY THERE ARE OVERCOME BY CONVULSIONS • IF PREVIOUSLY INFECTED, EXEMPT IF THEY OCCUR LATER QUARTAN.

 

71. PATIENTS WITH SKIN TAUT, DRY AND HARD, DIE WITHOUT SWEAT IF THE SKIN IS SOFT AND LOOSE, DIE WITH PERSPIRATION.

 

72. JAUNDICED NOT USUALLY SUFFER FROM GAS.

 

  

 

APHORISMS PART SIXTH

  

1. WHEN CHRONIC LEIENTERIES MANIFESTED SOUR NOT EXISTED, THE SYMPTOM IS FAVORABLE.

 

2. PERSONS WHO ARE BY NATURE WET NOSE AND DILUTE SEMEN DOES NOT HAVE AS GOOD HEALTH • OTHERWISE, THE WINE IS HEALTHIER.

 

3. LONG DYSENTERY ANOREXIA SYMPTOM IS UNPLEASANT AND EVEN WORSE, WHEN THERE IS FEVER.

 

4. THE WOUNDS AROUND WHICH HAIRS FALL, ARE MALIGNANT.

 

5. WHEN MANIFEST PAIN IN THE RIBS, CHEST, AND ELSEWHERE, WE MUST ASCERTAIN WHETHER THE PATIENTS SHOW LARGE SHIFTS [IN HOURS].

 

6. THE DISEASES OF THE KIDNEYS AND THE BLADDER DIFFICULT TO TREAT THE ELDERLY.

 

7. SUPERFICIAL PAINS BELLY IS LIGHTER, MORE SERIOUS INTERNAL.

 

8. WOUNDS ARE PRESENTED IN THE BODY OF THOSE WHO SUFFER FROM DROPSY, DIFFICULT TO TREAT.

 

9. WIDE RASHES DO NOT CAUSE A LOT OF ITCHING.

 

10. EVEN THE STRONGEST HEADACHES SUBSIDE, IF RUN PUS, WATER OR BLOOD FROM NOSE, MOUTH OR EARS.

 

11. MELANCHOLIC SITUATIONS OR KIDNEY DISEASES, THE OCCURRENCE OF HEMORRHOIDS HAS FAVORABLE IMPLICATIONS.

 

12. IF SOMEONE HEAL FROM CHRONIC HEMORRHOIDS AND THE DOCTOR DID NOT LEAVE A THERE IS A RISK TO MANIFEST DROPSY OR PHTHISIS.

 

13. HICCUP DISAPPEARS WITH SNEEZING.

 

14. DROPSY CURED IF RUN FLUID FROM THE VEINS INTO THE INTESTINES.

 

15. VOMITING THAT SUDDENLY APPEARS IN A PATIENT WITH PROLONGED DIARRHEA CURE THE DISEASE.

 

16. IF A PATIENT WITH PLEURISY OR PNEUMONIA DIARRHEA PRESENT, THE PROGNOSIS IS POOR.

 

17. IN A PATIENT SUFFERING FROM AN EYE, THE OCCURRENCE OF DIARRHEA HAS FAVORABLE RESULTS.

 

18. THE WOUNDS OF THE BLADDER, BRAIN, HEART, DIAPHRAGM, ONE OF THE SMALL INTESTINE, STOMACH OR LIVER IS FATAL.

 

19. IF CUT BONE, CARTILAGE, NERVE, THIN SECTION OF THE JAW OR THE FORESKIN, OR REGENERATION IS NOT ANNEAL.

 

20. IF THE INTESTINES SPILLED UNEXPECTEDLY BLOOD, WILL NECESSARILY CAUSE SUPPURATION.

 

21. THE APPEARANCE OF VARICOSE VEINS OR HEMORRHOIDS CURE THOSE SUFFERING FROM INSANITY.

 

22. BACKACHES TRANSPORTED ELBOWS, TREATED WITH PHLEBOTOMY.

 

23. IF THE FEELINGS OF FEAR OR SADNESS EXTENDED FOR A LONG TIME, THEN TREAT MELANCHOLY.

 

24. IF CUT A PORTION OF THE SMALL INTESTINE, NO LONGER JOINED.

 

25. IF ANEMOPYROMA THAT HAS SPREAD OUTSIDE, TURNED INWARDS, THE PROGNOSIS IS POOR • IF TURNED INSIDE OUT, THE PROGNOSIS IS GOOD.

 

26. DELIRIUM STOPS THE TREMORS MANIFESTED IN SENSATION.

 

27. EMPYIMATIKOI OR DROPSY WHICH OPERATED ON OR CAUTERIZE CERTAINLY DIE IF THE PUS OR FLUID EXPELLED ALL TOGETHER.

 

28. THE EUNUCHS ARE NOT AFFECTED BY GOUT OR ARE BALD.

 

29. THE WOMAN IS NOT AFFECTED BY GOUT, UNLESS MENSTRUATION TO CEASE.

 

30. THE CHILD SUFFERS GOUT BEFORE COPULATE.

 

31. PAIN IN THE EYE TREATED WITH UNBRIDLED WINE BATH, STEAM ROOM, PHLEBOTOMY OR TAKING LAXATIVE.

 

32. STUTTERER OFTEN AFFECTED BY LONG-TERM DIARRHEA.

 

33. PEOPLE WHO HAVE SOUR, NOT USUALLY ATTACKED BY PLEURISY.

 

34. THE BALD DOES NOT USUALLY FORM LARGE VARICES • IF THIS HAPPENS, BEING RE SHAGGY.

 

35. IF THOSE SUFFERING FROM DROPSY DEVELOP COUGH, THE SYMPTOM IS BAD.

 

36. THE BLEED CURE DYSURIA • SHOULD HOWEVER BE OPENED VEINS TO THE INNER SURFACE OF THE ARM.

 

37. IF ANYONE WHO SUFFERS FROM ANGINA, FORM EXTERNAL SWELLINGS IN THE NECK, THE CONSEQUENCES ARE FAVORABLE.

 

38. IT IS PREFERABLE NOT TO APPLY ANY TREATMENT TO PEOPLE SUFFERING FROM HIDDEN CANCERS • YOU UNDERGO TREATMENT, THEY WILL DIE QUICKLY • IF LEFT UNTREATED, THEIR LIVES EXTENDED.

 

39. SEIZURES CAUSED OR OVERLOAD THE STOMACH OR EMPTINESS • ITSELF AND HICCUPS.

 

40. WHEN THE AREA OF ​​SUBCHONDRAL HURTS WITHOUT INFLAMMATION, PAIN PASSES IF FEVER OCCURRED.

 

41. IF AT ANY POINT OF THE BODY IS NOT DISCLOSED PUS., THIS IS DUE TO THE THICKNESS OF THE SIGN.

 

42. THE HARDENING OF THE LIVER IN PATIENTS WITH JAUNDICE IS A BAD SIGN.

 

43. IF SUFFERING FROM SWELLING OF THE SPLEEN EXPRESS DYSENTERY, AND WHEN EXTENDED, SHOWN DROPSY OR LEIENTERIA AND PATIENTS DIE.

 

44. PATIENTS AFTER STRANGURIA SUSCEPTIBLE ILEUM DIE WITHIN SEVEN DAYS UNLESS MANIFEST FEVER AND FOLLOW ABUNDANT DIURESIS.

 

45. WHEN THE WOUNDS LAST A YEAR OR LONGER NECESSARILY THE BONE CUT AND SCARS SAG.

 

46. ​​IF SOMEONE SUFFERED KYPHOSIS BEFORE ADOLESCENCE AFTER ASTHMA OR COUGH, DYING.

 

47. INDIVIDUALS WHO BENEFIT FROM PHLEBOTOMY OR LAXATIVE MUST. APPLY THESE TREATMENTS SPRING,

 

48. THE DISPLAY DYSENTERY FAVORS THOSE WHO SUFFER FROM SWELLING OF THE SPLEEN.

 

49. IN PATIENTS WITH GOUTY DISORDERS INFLAMMATION SUBSIDES WITHIN FORTY DAYS AND TREATED.

 

50. THE WOUNDS OF THE BRAIN NECESSARILY ACCOMPANIED BY FEVER AND VOMITING CHOLODI.

 

51. IF HEALTHY PERSON SUDDENLY FEEL HEADACHE, SUDDENLY LOST HIS VOICE AND DROPPED TO RATTLE, DIED WITHIN A WEEK, UNLESS MANIFESTED FEVER.

   

52. IT SHOULD ALSO EXAMINE THE STATUS OF THE EYES AT THE TIME OF YPNOU- IF, AS THE EYELIDS ARE LOWERED, IT SEEMS, AMONG THEM A SHARE OF THE WHITES OF THE EYE, AND THERE EXISTED DIARRHEA OR HAS BEEN CATHARTIC, THE PROGNOSIS IS DEVASTATING AND DEADLY.

 

53. INSANITIES ACCOMPANIED BY LAUGHTER IS NOT AS DANGEROUS AS THOSE THAT OCCUR WITH GLOOM.

 

54. IN SEVERE FEBRILE DISEASE INTERMITTENT BREATHING IS A BAD SIGN.

55. GOUTY DISEASES USUALLY OCCUR IN SPRING AND AUTUMN.

 

56- ON MELANCHOLIC SITUATIONS MOVEMENTS JUICE HAZARD FOR STROKE EVENT OR CONVULSIONS OR INSANITY OR BLINDNESS.

 

57. STROKE OCCURS MAINLY AT THE AGE OF FORTY TO SIXTY.

 

58. IF UNSTUCK OMENTUM NECESSARILY WILL ROT.

 

59. PEOPLE WHO SUFFER FROM SCIATICA, THEY SHIFT THE HIP AND GO BACK INTO POSITION LATER FORMED SLIME.

 

60. THE SHIFTING OF THE HIP IN HUMANS WITH CHRONIC SCIATICA, CAUSES ATROPHY OF LIMB, THEREBY START LIMP UNLESS BE CAUTERIZED.

61. IF A WOMAN STOPPED PERIOD WITHOUT SUFFER CHILLS OR FEVER, THOUGH IT ALSO HAS NAUSEA, THEN KEEP IN MIND THAT SHE IS PREGNANT.

 

62. WOMEN WITH COLD AND TIGHT MATRIX DO NOT CAPTURE THE SAME HAPPENS TO WOMEN WHO HAVE A LOT OF FLUID IN THE WOMB BECAUSE THE SPERM IS LOST THERE • NOR CAPTURE THOSE WITH MATRIX RATHER DRY AND VERY WARM, BECAUSE THEN THE SEED IS DESTROYED FROM LACK OF • FERTILE FOOD ARE THOSE THAT HAVE BALANCED CONSTITUTION BETWEEN THE TWO SITUATIONS.

 

63. SIMILAR APPLIES TO MEN OR • DUE TO LOOSENESS OF THE BODY THE AIR EXITS TO THE OUTSIDE AND DOES NOT DIRECT THE SPERM TO THE DESTINATION OR THE BODY IS TIGHT AND SEMINAL FLUID CAN BE PUSHED OUT OR THE BODY IS COLD AND SEMEN IS NOT HEATED ENOUGH TO CONCENTRATE ON THE APPROPRIATE PLACE • THE SAME HAPPENS IF THE BODY IS WARM.

 

64. MILK HURTING THOSE SUFFERING FROM HEADACHE “ALSO HURTS THOSE WHO HAVE FEVER, SWOLLEN AND FULL OF HYPOCHONDRIAC COOING, AND THOSE WHO FEEL THIRST • HURTS EVEN PATIENTS WITH HIGH FEVER EXHIBITING CHOLODI FECES AND THOSE WHO EARN A LOT OF BLOOD UNDERNEATH • MILK BENEFITS THE TUBERCULOUS NOT HAVE HIGH FEVER “IS ALSO USED IN PATIENTS WITH SLIGHT FEVERS AND LONG TERM WHEN THERE IS NONE OF THE ABOVE SYMPTOMS, BUT ALSO WHEN THEY ARE OVERLY EXHAUSTED.

 

65. THE WOUNDS ACCOMPANIED BY EDEMA, DO NOT EXPOSE THE PATIENT TO THE RISK OF CONVULSIONS OR DELIRIUM • BUT WHEN THESE FALL SHARPLY, IF THAT WERE IN THE BACK PARTS OF THE BODY, MANIFESTED CONVULSIONS AND TETANIC CONTRACTIONS • IF YOU WERE IN FRONT, MANIFESTED DELUSIONS, STRONG FLANK PAIN, SUPPURATION OR DYSENTERY, ALTHOUGH SWELLING WAS RATHER KOKKINOCHROMA.

 

66. IF AFTER STRONG AND SERIOUS INJURY NOT APPEAR EDEMA, IS A VERY BAD SIGN.

 

67. THE SOFT LESIONS ARE BENIGN, MALIGNANT HARD.

 

68. THE PAIN IN THE BACK OF THE HEAD IS RELIEVED BY OPENING THE FRONT VERTICAL VEIN.

 

69. IN FEMALES CHILLS STARTING WAIST RATHER ARRIVE AT THE HEAD FROM THE BACK • IN MEN, RATHER THAN THE REAR THAN THE FRONT PARTS OF THE BODY, AS WELL AS FROM THE FOREARMS AND MIROUS- SKIN OF MEN IS LOOSE, AS SEEN FROM THE BRISTLES.

 

70. THOSE AFFECTED BY TETARTAIOUS FEVERS, USUALLY THERE ARE OVERCOME BY CONVULSIONS • IF PREVIOUSLY INFECTED, EXEMPT IF THEY OCCUR LATER QUARTAN.

 

71. PATIENTS WITH SKIN TAUT, DRY AND HARD, DIE WITHOUT SWEAT IF THE SKIN IS SOFT AND LOOSE, DIE WITH PERSPIRATION.

 

72. JAUNDICED NOT USUALLY SUFFER FROM GAS.

 

  

 

APHORISMS PART SIXTH

  

1. WHEN CHRONIC LEIENTERIES MANIFESTED SOUR NOT EXISTED, THE SYMPTOM IS FAVORABLE.

 

2. PERSONS WHO ARE BY NATURE WET NOSE AND DILUTE SEMEN DOES NOT HAVE AS GOOD HEALTH • OTHERWISE, THE WINE IS HEALTHIER.

 

3. LONG DYSENTERY ANOREXIA SYMPTOM IS UNPLEASANT AND EVEN WORSE, WHEN THERE IS FEVER.

 

4. THE WOUNDS AROUND WHICH HAIRS FALL, ARE MALIGNANT.

 

5. WHEN MANIFEST PAIN IN THE RIBS, CHEST, AND ELSEWHERE, WE MUST ASCERTAIN WHETHER THE PATIENTS SHOW LARGE SHIFTS [IN HOURS].

 

6. THE DISEASES OF THE KIDNEYS AND THE BLADDER DIFFICULT TO TREAT THE ELDERLY.

 

7. SUPERFICIAL PAINS BELLY IS LIGHTER, MORE SERIOUS INTERNAL.

 

8. WOUNDS ARE PRESENTED IN THE BODY OF THOSE WHO SUFFER FROM DROPSY, DIFFICULT TO TREAT.

 

9. WIDE RASHES DO NOT CAUSE A LOT OF ITCHING.

 

10. EVEN THE STRONGEST HEADACHES SUBSIDE, IF RUN PUS, WATER OR BLOOD FROM NOSE, MOUTH OR EARS.

 

11. MELANCHOLIC SITUATIONS OR KIDNEY DISEASES, THE OCCURRENCE OF HEMORRHOIDS HAS FAVORABLE IMPLICATIONS.

 

12. IF SOMEONE HEAL FROM CHRONIC HEMORRHOIDS AND THE DOCTOR DID NOT LEAVE A THERE IS A RISK TO MANIFEST DROPSY OR PHTHISIS.

 

13. HICCUP DISAPPEARS WITH SNEEZING.

 

14. DROPSY CURED IF RUN FLUID FROM THE VEINS INTO THE INTESTINES.

 

15. VOMITING THAT SUDDENLY APPEARS IN A PATIENT WITH PROLONGED DIARRHEA CURE THE DISEASE.

 

16. IF A PATIENT WITH PLEURISY OR PNEUMONIA DIARRHEA PRESENT, THE PROGNOSIS IS POOR.

 

17. IN A PATIENT SUFFERING FROM AN EYE, THE OCCURRENCE OF DIARRHEA HAS FAVORABLE RESULTS.

 

18. THE WOUNDS OF THE BLADDER, BRAIN, HEART, DIAPHRAGM, ONE OF THE SMALL INTESTINE, STOMACH OR LIVER IS FATAL.

 

19. IF CUT BONE, CARTILAGE, NERVE, THIN SECTION OF THE JAW OR THE FORESKIN, OR REGENERATION IS NOT ANNEAL.

 

20. IF THE INTESTINES SPILLED UNEXPECTEDLY BLOOD, WILL NECESSARILY CAUSE SUPPURATION.

 

21. THE APPEARANCE OF VARICOSE VEINS OR HEMORRHOIDS CURE THOSE SUFFERING FROM INSANITY.

 

22. BACKACHES TRANSPORTED ELBOWS, TREATED WITH PHLEBOTOMY.

 

23. IF THE FEELINGS OF FEAR OR SADNESS EXTENDED FOR A LONG TIME, THEN TREAT MELANCHOLY.

 

24. IF CUT A PORTION OF THE SMALL INTESTINE, NO LONGER JOINED.

 

25. IF ANEMOPYROMA THAT HAS SPREAD OUTSIDE, TURNED INWARDS, THE PROGNOSIS IS POOR • IF TURNED INSIDE OUT, THE PROGNOSIS IS GOOD.

 

26. DELIRIUM STOPS THE TREMORS MANIFESTED IN SENSATION.

 

27. EMPYIMATIKOI OR DROPSY WHICH OPERATED ON OR CAUTERIZE CERTAINLY DIE IF THE PUS OR FLUID EXPELLED ALL TOGETHER.

 

28. THE EUNUCHS ARE NOT AFFECTED BY GOUT OR ARE BALD.

 

29. THE WOMAN IS NOT AFFECTED BY GOUT, UNLESS MENSTRUATION TO CEASE.

 

30. THE CHILD SUFFERS GOUT BEFORE COPULATE.

 

31. PAIN IN THE EYE TREATED WITH UNBRIDLED WINE BATH, STEAM ROOM, PHLEBOTOMY OR TAKING LAXATIVE.

 

32. STUTTERER OFTEN AFFECTED BY LONG-TERM DIARRHEA.

 

33. PEOPLE WHO HAVE SOUR, NOT USUALLY ATTACKED BY PLEURISY.

 

34. THE BALD DOES NOT USUALLY FORM LARGE VARICES • IF THIS HAPPENS, BEING RE SHAGGY.

 

35. IF THOSE SUFFERING FROM DROPSY DEVELOP COUGH, THE SYMPTOM IS BAD.

 

36. THE BLEED CURE DYSURIA • SHOULD HOWEVER BE OPENED VEINS TO THE INNER SURFACE OF THE ARM.

 

37. IF ANYONE WHO SUFFERS FROM ANGINA, FORM EXTERNAL SWELLINGS IN THE NECK, THE CONSEQUENCES ARE FAVORABLE.

 

38. IT IS PREFERABLE NOT TO APPLY ANY TREATMENT TO PEOPLE SUFFERING FROM HIDDEN CANCERS • YOU UNDERGO TREATMENT, THEY WILL DIE QUICKLY • IF LEFT UNTREATED, THEIR LIVES EXTENDED.

 

39. SEIZURES CAUSED OR OVERLOAD THE STOMACH OR EMPTINESS • ITSELF AND HICCUPS.

 

40. WHEN THE AREA OF ​​SUBCHONDRAL HURTS WITHOUT INFLAMMATION, PAIN PASSES IF FEVER OCCURRED.

 

41. IF AT ANY POINT OF THE BODY IS NOT DISCLOSED PUS., THIS IS DUE TO THE THICKNESS OF THE SIGN.

 

42. THE HARDENING OF THE LIVER IN PATIENTS WITH JAUNDICE IS A BAD SIGN.

 

43. IF SUFFERING FROM SWELLING OF THE SPLEEN EXPRESS DYSENTERY, AND WHEN EXTENDED, SHOWN DROPSY OR LEIENTERIA AND PATIENTS DIE.

 

44. PATIENTS AFTER STRANGURIA SUSCEPTIBLE ILEUM DIE WITHIN SEVEN DAYS UNLESS MANIFEST FEVER AND FOLLOW ABUNDANT DIURESIS.

 

45. WHEN THE WOUNDS LAST A YEAR OR LONGER NECESSARILY THE BONE CUT AND SCARS SAG.

 

46. ​​IF SOMEONE SUFFERED KYPHOSIS BEFORE ADOLESCENCE AFTER ASTHMA OR COUGH, DYING.

 

47. INDIVIDUALS WHO BENEFIT FROM PHLEBOTOMY OR LAXATIVE MUST. APPLY THESE TREATMENTS SPRING,

 

48. THE DISPLAY DYSENTERY FAVORS THOSE WHO SUFFER FROM SWELLING OF THE SPLEEN.

 

49. IN PATIENTS WITH GOUTY DISORDERS INFLAMMATION SUBSIDES WITHIN FORTY DAYS AND TREATED.

 

50. THE WOUNDS OF THE BRAIN NECESSARILY ACCOMPANIED BY FEVER AND VOMITING CHOLODI.

 

51. IF HEALTHY PERSON SUDDENLY FEEL HEADACHE, SUDDENLY LOST HIS VOICE AND DROPPED TO RATTLE, DIED WITHIN A WEEK, UNLESS MANIFESTED FEVER.

   

52. IT SHOULD ALSO EXAMINE THE STATUS OF THE EYES AT THE TIME OF YPNOU- IF, AS THE EYELIDS ARE LOWERED, IT SEEMS, AMONG THEM A SHARE OF THE WHITES OF THE EYE, AND THERE EXISTED DIARRHEA OR HAS BEEN CATHARTIC, THE PROGNOSIS IS DEVASTATING AND DEADLY.

 

53. INSANITIES ACCOMPANIED BY LAUGHTER IS NOT AS DANGEROUS AS THOSE THAT OCCUR WITH GLOOM.

 

54. IN SEVERE FEBRILE DISEASE INTERMITTENT BREATHING IS A BAD SIGN.

55. GOUTY DISEASES USUALLY OCCUR IN SPRING AND AUTUMN.

56- ON MELANCHOLIC SITUATIONS MOVEMENTS JUICE HAZARD FOR STROKE EVENT OR CONVULSIONS OR INSANITY OR BLINDNESS.

 

57. STROKE OCCURS MAINLY AT THE AGE OF FORTY TO SIXTY.

 58. IF UNSTUCK OMENTUM NECESSARILY WILL ROT.

 

59. PEOPLE WHO SUFFER FROM SCIATICA, THEY SHIFT THE HIP AND GO BACK INTO POSITION LATER FORMED SLIME.

 

60. THE SHIFTING OF THE HIP IN HUMANS WITH CHRONIC SCIATICA, CAUSES ATROPHY OF LIMB, THEREBY START LIMP UNLESS BE CAUTERIZED.

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