QTJINTILIAN-. 633 QUIRK, GAMMON AND SNAP. rhetoric, and contains an inquiry into the essen- tial nature of tlie art. Tlie subjects of the five following books are invention and arrangement; while those of the eighth, ninth, tenth, and eleventh are composition (embracing the proper use of figures of speech) and delivery. The last, and, in the author's view, the most important, book is devoted to the various requisites for the formation of a finished orator, such as his man- ners, his moral character, his mode of under- taking, preparing, and conducting causes, the style of eloquence most advantageous to adopt, the age at which pleading should be begun, and at which it should be left off, and other aUied topics. The entire work is remarkable for its soimd critical judgments, its purity of taste, and the perfect familiarity it exhibits with the litera- ture of oratory. The condensed survey of Greek and Roman literature with which the tenth book commences has always been admired for its cor- rectness and animation. The declamations, amounting to 104, which have been ascribed to him, are now believed to be spurious, as they evidently belong to different authors, and even different epochs. The Dialogiis de Or<xtorihus of Tacitus was fornierl.y ascribed to Quintilian. Early editions of Quintilian are those of Grono- vius (Leyden, 1065) ; Burmann (Le3'den, 1720) ; and of Spalding and Zumpt (Leipzig, 1798-1829, containing a lexicon). The best modern editions of the [iistituiio Oratoria are bv Hahn (2 vols., Leipzig, 1868-09), Jleister (2 vols,, Prague, 1886- 87), and Bonnell (2 vols., Leipzig, 1896). Book I. alone is edited by Fierville (Paris, 1890) ; and Book X. by Jleister (Leipzig, 1887) and Peter- son (O.xford, 1891). The last English transla- tion is by Watson (London, 1856). The Drcla- ntdtioncs are published by Ritter (Leipzig, 1884). QUINTUPLET, or QUINTOLE (from Lat. quint us, fifth -j- -plus, -fold). In music, a group of five notes, formed of a note divided into five instead of its proper complement of four parts, the five notes having collectively the value usu- ally expressed by four such notes. Thus, the five semiquavers of the follow- ing group are equivalent in value to a quarter note, or four sixteenth notes : GUIN'TUS CUR'TIUS BU'FUS. A Roman historian. See CuRTirs, QriXTUS, QUIN'TUS ICIL'IUS. A name given by Frederick the Great to Karl Theophilus Guichard (q.v. ). QUINTUS SMYRNiE'US (or of Siitbn.). A Greek epic poet, probably of the close of the fourth century ..d. He wrote in 14 books the Posthomerica, which completes the story of the Iliad, drawing his material from the cyclic poets, and patterning closely no doubt on the work of Arctinus and Lesches. Quintus is sometimes called 'Calaber,' from the circumstance that a manuscript of his w'ork was discovered at Otranto in Calabria, His poem, which is stiff and frigid, is best edited by Kochly (1850) and Zim- mermann (1891). QUINZE JOYES DE MARIAGE, kaxz zhwa de mu'ri^-azh', Les (Fr., The Fifteen Joys of Wedlock) . A satire composed, in all likelihood, by Antoine de la Sale (q.v.). and written before 1461. It gets its title and its framework from a prayer then widely known — Quinze Joies de Sot re Dame. It is a kind of litany on household worries. Consult the edition by Henckenkamp (Halle, 1901). QUIR'INAL {Lat. Collis Quirinalis) . One of the seven hills on which ancient Rome stood. It lies due north of the Palatine, and its western slope looks down on the Campus Martius, which stretches from its base to the banks of the Tiber. It was not included in the early Septimontium, or city of the seven hills, but was part of the city of the four regions, and was of course in- cluded in the so-called Servian Wall. The most notable ancient structures on the Quirinal were the temples of Quirinus, Flora, and Salus (safety), and on the plateau from which both Quirinal and Viminal project, near the Colline gate, an ancient shrine of Fortuna.^ In Imperial times the great thermte (or baths) of Diocletian and Constantine were built on the hill. The residence of the King of Italy, since 1870, previously a summer residence of the popes, oc- cupies a commanding situation on the Quirinal Hill. It was begun in 1574 by Pope (iregory XIIL, and completed under Paul V. The palace is modern in its arrangements and decoration. It contains a large ceiling painting by Overbeck, commemorating the flight of Pius IX. in 1848, a cast of Thorwaldsen's "Procession of Alexander the Great," and an "Annunciation" by Guido Reni. QUIRI'NUS. In the early Roman religion, the name of the third great god, ranking next to .Jove and Mars. Whatever the origin of the god, he seems to have been regarded as a parallel to Mars, representing rather the war god as in time of peace ready for the fray. The original promi- nence of Quirinus is shown by the fact that the third great flamen was devoted to his worship, which does not, however, seem to have been very exacting, as the flamen appears assisting at sev- eral other services unconnected with Quirinus. He was also honored originally by the Colline Salii, as was Mars by the Pa- latine. His old temple lay on the Quiri- nal Hill near the Porta Quirinalis. We hear of a new building in B.C. 29.3, and after its destruction by fire, of the erection by Augustus of a splendid structure, which was dedicated B.C. 16. Early in the first century B.C. the belief arose that Quirinus was the deified Romulus, a theoiy which' was fostered by Caesar and Augus- tus, and led also to the association of an old god- dess Hora Quirini with Hersilia, the wife of Romulus. The annual festival of Quirinus was on February 17th, the supposed date of the trans- lation of Romulus to heaven. QUIRITES, kwl-rl'tez (Lat. nom. pi.. pToh- ably from Sabine fjuiris, spear). The collective name of the Romans in their civil relations, while in connection with foreign affairs they were known as Romani. Quirites seems to have been the original name of a Sabine tribe, and the Ro- man nation, made up of Latin and Sabine ele- ments, was called by the name of either of its com- ponent parts. A distinction, however, gradually crept in as to the use of the term Quirites, and while always a title of honor as applied to the Roman citizens, and so used in all public speeches and addresses, in the army it became a term of reproach, implying that he to whom it was givett was no true soldier, but fit only for a civilian. QUIRK, GAMMON AND SNAP. A firm of unprincipled solicitors in Warren's Teit Thou-
