Jump to content

Gaius Furius Chresimus

Add links
From Wikipedia, the free encyclopedia

This is an old revision of this page, as edited by AManWithNoPlan (talk | contribs) at 17:01, 29 January 2021 (not a valid doi). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

Caius Furius Cressinus Accused of Sorcery, Jean-Pierre Saint-Ours, 1792, 19 x 27 in. (48.26 x 68.58 cm), Los Angeles County Museum of Art

Gaius Furius Chresimus, or Cresimus, or Cressinus, was a 2nd-century BC Greek farmer and freedman in the Roman Republic mentioned in a fragment of the lost history of Lucius Calpurnius Piso Frugi, preserved in Pliny's Natural History. Piso tells that Furius Chresimus was acquitted of accusations of witchcraft during the aedileship of Spurius Postumius Albinus, dated 191 BC. The trial took place in a period of reaction against the growing influence of Hellenism at Rome, notably led by Albinus. Both Piso and Pliny told the story of the trial for its moralizing aspect.

Chresimus was the subject of number of history paintings in France at the end of the 18th century, when Neoclassicism became fashionable, and agricultural reform had become the subject of much political debate.

Life

The only mention of Chresimus in ancient sources comes from a fragment of Lucius Calpurnius Piso Frugi, who was consul in 133 BC, and notably an enemy of Tiberius Gracchus. Piso probably wrote a history called Annales in at least seven books, which he started after his censorship in 120.[1]

The consensus among historians is to identify the Spurius Postumius Albinus mentioned in the fragment with the consul of 186 BC, who was likely aedile in 191 BC, the most probable date of Chresimus' trial.[2][3] Piso's source for the trial might have been Aulus Postumius Albinus, consul in 151 BC, and author of a Roman history in Greek. However, Gary Forsythe pointed out that Albinus' history was principally focused to the Greek world and urban matters and would not have dealt with Chresimus' story. Instead, he suggests that Piso could have found about Chresimus from oral tradition among his family, because the Postumii Albini and the Calpurnii Pisones were closely linked politically throughout the second century BC.[4]

Caius Furius Cressinus Accused of Sorcery, Nicolas-Guy Brenet, 1777 (Musée des Augustins, Toulouse)

Chresimus was a Greek man, likely captured as slave during a war waged by the Roman Republic in the Greek east.[5][6] He was later freed by a member of the gens Furia, from whom he took his nomen – Furius. His cognomen – Chresimus – means frugal and is the Greek equivalent of the agnomen of Piso (nicknamed Frugi).[7][8] Chresimus later held a farm and in turn became a slave owner.[9]

Because Chresimus yielded much better harvests from a smaller land than his neighbours, they began to envy him, then sue him for magically poisoning (veneficia) their crops during the night.[10][11][12] Chresimus was prosecuted under a provision in the Law of the Twelve Tables which punished by death, or the loss of citizenship, anybody convicted of using magic to take away the fertility of someone else's soil. It is the only known trial where this law played a role.[10] Chresimus' neighbours were probably much richer than him, and they sued him to get rid of a newcomer that could have challenged the social order.[6] Due to his Greek origin, Chresimus may also have been the victim of his neighbours' xenophobia, who denounced him to Albinus, the curule aedile – equivalent of a prosecutor – who decided to charge him before the Centuriate Assembly.[13] Albinus was known to be a firm conservative opposed to Hellenism and religious innovations, like his contemporary Cato the Censor.[14] As consul in 186, Albinus was the leading authority in the famous Bacchanalia Case, a Greek cult of Bacchus in Southern Italy, which triggered a religious scandal and prompted Albinus to spend his entire consulship suppressing the worship.[15]

The trial took place on the Forum, before the other members of Chresimus' tribe and with Albinus presiding.[16] Chresimus brought his farming equipment and his own slaves in order to present himself as more hard-working than his neighbours. Chresimus was thus unanimously acquitted and reintegrated in his tribe.[16]

The story of Chresimus is similar to two other moralizing fragments of Piso's work, especially the story of Gnaeus Flavius (the son of a freedman that became aedile).[17][18] Piso apparently advocated a "benevolent paternalism" towards slaves as well as personal austerity from nobles in order to reduce social tensions. Piso's remark of Chresimus' well-dressed slaves also fits in this narrative.[19]

In the Naturalis Historia

Writing in the early Roman Empire, two centuries after Piso, Pliny the Elder included the story of Chresimus in his giant encyclopedia Naturalis Historia. The entire anecdote is taken from Piso, as Pliny appreciated his moralizing tone; he cites him more than any other Roman historian.[20][21] Chresimus' story is told in the book of his Naturalis Historia that deals with grain (Book XVIII), in a chapter on the general principles of agriculture (Chapter VIII), and not in his book on magic (Book XXX).[10] Pliny used the story to show that "hard work brings reward".[22]

In art

A French translation of Pliny's Naturalis Historia by Poinsinet de Sivery was published between 1771 and 1782. Nicolas-René Jollain (the Younger) painted the scene for the 1773 Paris salon; this was the first major painting on the theme.[24][25]

Nicolas-Guy Brenet's painting Caius Furius Cressinus Accused of Sorcery linked agriculture with the civic virtue of the Romans.[26] Joseph Marie Terray, the Controller-General of Finances (1769–1774) for Louis XV, commissioned the original work, probably to allay the perception that the abbé Terray was opposed to patriotic agricultural reform.[26] Brenet painted two versions; the first, exhibited in the 1775 Paris Salon was 3 by 5 feet (0.91 m × 1.52 m), while the copy painted for the 1777 salon was much larger, 10 by 10 feet (3.0 m × 3.0 m).[24] This larger version was commissioned for the crown by the comte d'Angiviller, director of the Bâtiments du Roi, and is now in the Musée des Augustins, Toulouse, while the smaller is lost.[27] According to Robert Rosenblum, the scene and Furius Chresimus's apologia echo Jean-Jacques Rousseau's 1762 Emile, or On Education, in which agriculture was described as of all endeavours "the most honest, the most useful, and by consequence the most noble".[24]

The painting of the same subject by the Genevan painter Jean-Pierre Saint-Ours, an admirer and acquaintance of Rousseau, was commissioned in 1792 after his return there from Rome, by a landowner who felt he had been unjustly accused of corruption. It is now in Los Angeles.[28]

See also

References

  1. ^ M. P. Pobjoy, in Cornell (ed.), Fragments of the Roman Historians, pp. 230–239.
  2. ^ Münzer, RE, vol. 43, col. 930, 931 (Postumius 49), thinks that Albinus should be identified with the consul of 174, and dates his aedileship from 185 BC.
  3. ^ Broughton, vol. I, p. 353.
  4. ^ Forsythe, Calpurnius, pp. 263, 264, 380.
  5. ^ Forsythe, Calpurnius, p. 376.
  6. ^ a b Graf, Magic in the Ancient World, p. 63.
  7. ^ Cicero, Tusculanae Disputationes, iii. 16.
  8. ^ Cornell (ed.), Fragments of the Roman Historians, vol. III, p. 213. No explanation is given on this coincidence.
  9. ^ Bradley, Cambridge World History of Slavery, pp. 378, 379.
  10. ^ a b c Graf, Magic in the Ancient World, p. 62.
  11. ^ Collins, Magic in the Ancient Greek World, pp. 143–145, who points that Chresimus was sued for using magic, not just potions.
  12. ^ Teitel Paule, "Qvae Saga, Qvis Magvs", p. 746.
  13. ^ Forsythe, Calpurnius, pp. 380, 381.
  14. ^ Forsythe, Calpurnius, p. 381–383.
  15. ^ Forsythe, Calpurnius, pp. 381, 382.
  16. ^ a b Graf, Magic in the Ancient World, p. 64.
  17. ^ Forsythe, Calpurnius, p. 383.
  18. ^ Cornell (ed.), Fragments of the Roman Historians, vol. II, pp. 321, 323.
  19. ^ Forsythe, Calpurnius, pp. 383, 384.
  20. ^ Clemence Schultze, "Encyclopaedic Exemplarity in Pliny the Elder", in Gibson & Morello (eds.), Pliny the Elder, p. 174.
  21. ^ M. P. Pobjoy, in Cornell (ed.), Fragments of the Roman Historians, vol. I, p. 238; vol. II, p. 327; vol. III, pp. 212, 213.
  22. ^ Clemence Schultze, "Encyclopaedic Exemplarity in Pliny the Elder", in Gibson & Morello (eds.), Pliny the Elder, p. 172.
  23. ^ Pliny the Elder (1950). Natural History: Book XVIII: Chapter VIII. Loeb Classical Library 371. Translated by Henderson, Jeffrey. Cambridge, MA: Harvard University Press. pp. 216–219. ISBN 9780674994096. Retrieved 2020-08-15. {{cite book}}: |website= ignored (help)
  24. ^ a b c Rosenblum, Robert (1970). Transformations in Late Eighteenth Century Art. Princeton University Press. pp. 59–60. ISBN 978-0-691-00302-3.
  25. ^ Michel, Marianne Roland (1977). "Concerning Two Rediscoveries in Neo-Classical Painting". The Burlington Magazine. 119 (889): i–viii. ISSN 0007-6287. JSTOR 878827.
  26. ^ a b Shovlin, John (2006). The Political Economy of Virtue: Luxury, Patriotism, and the Origins of the French Revolution (1 ed.). Cornell University Press. ISBN 978-0-8014-4479-1. JSTOR 10.7591/j.ctt7zg50.
  27. ^ Colin B. Bailey, Patriotic Taste: Collecting Modern Art in Pre-revolutionary Paris, p. 85, 2002, Yale University Press, ISBN 0300089864, 9780300089868, google books
  28. ^ Krul, 184-185

Bibliography

Ancient sources

Modern sources

Retrieved from "https://en.wikipedia.org/w/index.php?title=Gaius_Furius_Chresimus&oldid=1003573241"