Breccia verde di Sparta,an elusive decorative stone used in antiquity

Breccia verde di Sparta is the traditional name given by the Roman marmorarii of the 19th century to a brecciated volcanic rock whose unknown precise provenance has been determined here for the first time through exploration of the broader area of Psefí (south of Krokees, province of Sparta, Peloponnese, Greece). This location was well known in antiquity and in modern times for having been exploited by the Romans for an important green porphyry named lapis lacedaemonius, nowadays also known as porfido verde antico. This breccia has been seldom used in Roman times for opera sectilia; in contrast, it appears more frequently reused in medieval floors; it is also frequently present in historical lithotecs formed in the 19th and 20th centuries. To fully characterise it and determine its relationships with green porphyry, breccia verde di Sparta samples from the newly discovered source have been thoroughly studied minero-petrographically and geochemically, and their complex genesis has been reconstructed. It appears that after extrusion the original brecciated basaltic andesite underwent extensive hydrothermal low-grade metamorphism, with a complete alteration of the igneous assemblage and minerals that preserved only part of the clinopyroxene phenocrysts. Alteration was accompanied by crystallisation of abundant epidote and chlorite, which imparted its predominant green colour to the rock. These breccias intruded in the lithoclases of the porphyry.     

Between Fantasy and Philosophy: Saʿdi,Translator of Voltaire’s Zadig

Zadig ou la Destinée opens on a preface supposedly written by Sadi (sic), who seems to suggest he is the translator of the story which is to follow. The article will investigate the role played by Voltaire’s reference to Sa?di in Zadig as an Oriental prop for the narrative’s exotic setting, but also, more importantly, as participating in its philosophical content. Travelers’ accounts had brought growing interest in Persia, and Sa?di would not have been unfamiliar to an educated public; the Orient more generally became an experimental space for Enlightenment thought. Playing on the notion of the translator as cultural bridge, the article examines the uses Voltaire makes of Sa?di in Zadig and whether these correlate to the eighteenth-century French reader’s perceptions of the Iranian poet.     

Saʿdi-ye Shirāzi and Bono Giamboni in Dialogue: A Comparative Approach to Temperance

This article presents a study of two coeval works on morals: the first belongs to the classic Persian tradition, the Golestān (The Rose Garden) by Sa?di (Shirāz 1210–91 or 1292); the second, Il libro de’ vizî e delle virtudi (Book of Vices and Virtues) by Bono Giamboni (Florence 1240–92), belongs to the first didactic prose in vernacular Italian. The study will specially concern the theme of temperance ????? qanā?at, central to both Islamic and Christian morals. An analysis is made of passages dedicated to this theme in both texts, also through comparative observations, in order to identify the approach characteristic to each work.     

The Dragoman and the Scholar: Two Polish Translations of Saʿdi’s Golestān

This article discusses two Polish translations of Sa?di’s Golestān, prepared by Samuel Otwinowski and Wojciech Biberstein-Kazimirski (alias Albert Kazimirski de Biberstein) and published in 1879 and 1876 respectively. Though edited at the end of the nineteenth century, Otwinowski's translation had been originally completed in the first half of the seventeenth century and is assumed to be the first one or one of the very first renderings of Sa?di's work into a European language. The question that remains unresolved is whether or not Otwinowski's translation, despite being unpublished, was known to seventeenth- and eighteenth-century Polish poets. One can find some stories and motifs “picked” from Sa?di’s Golestān in their poetry, but they seem more likely to have been influenced by non-Polish renderings. This article describes the different translation strategies adopted by the two translators, the literarily gifted dragoman Otwinowski and the nineteenth-century philologist Biberstein Kazimirski.