1. The _entire_ epitome of Xiphilinus (Books 36-80).
2. Vatican Excerpts of Peter Patricius (Nos. 1-38), compared with Dio's wording.
3. Vatican Excerpts of Peter Patricius (Nos. 156-191), containing that portion of the Historia Augusta which is subsequent to Dio's narrative.
4. Excerpts by John of Antioch, taken from Dio.
6. Some "Constantinian Excerpts," compared with Dio.
7. The account of Dio given by Photius and by Suidas.
Boissevain's invaluable emendations and interpretations have been liberally used by the present translator, and some of his changes of arrangement have been accepted outright, others only indicated.
The atmosphere of Dio's Roman History is serious to a degree. Its author never loses sight of the fact that by his labor he is conferring a substantial benefit upon mankind, and he follows, moreover, a particular historical theory, popular at the time, which allows little chance for sportiveness or wit. Just as the early French drama could concern itself only with personages of noble or royal rank, so Dio's ideal compels him for the most part to restrict himself to the large transactions of governments or rulers and to diminish the consideration that idiosyncrasies of private life or points of antiquarian interest might otherwise seem to claim. The name of this ideal is "Dignity" ([Greek: onkos] is the Greek), a principle of construction which is opposed to a narration adorned with details. However much it may have been overworked at times, its influence was certainly healthful, for it demanded that the material be handled in organic masses to prevent the reader from being lost in a confused mass of minutiæ. Racy gossip and old wives' tales are to be replaced by philosophic reflection and pictures of temperament. Instead of mere lists of anecdotes there must be a careful survey of political relations. Names, numbers, and exact dates may often be dispensed with. Still, amid all this, there is enough humor of situation in the gigantic tale and enough latitude of speech on the part of the acting personages to prevent monotony and to render intellectual scintillations of the compiler comparatively unnecessary. Occasionally, for the sake of sharper focus on the portrait of some leader, Dio will introduce this or that trivial incident and may perhaps feel called upon immediately, under the strictness of his self-imposed régime, to apologize or justify himself.