BOOK XXXIV.

THE NATURAL HISTORY OF METALS. CHAP. 1. (1.)—THE ORES OF BRASS.[1215] We must, in the next place, give an account of the ores of brass,[1216] a metal which, in respect of utility, is next in value; indeed the Corinthian brass comes before silver, not to say almost before gold itself. It is also, as I have stated above,[1217] the standard of monetary value;[1218] hence the terms “æra militum,” “tribuni ærarii,” “ærarium,” “obærati,” and “ære diruti.”[1219] I have already mentioned for what length of time the Roman people employed no coin except brass;[1220] and there is another ancient fact which proves that the esteem in which it was held was of equal antiquity with that of the City itself, the circumstance that the third associated body[1221] which Numa established, was that of the braziers. CHAP. 2.—THE DIFFERENT KINDS OF COPPER. The ore is extracted in the mode that has been described above,[1222] and is then purified by fusion. The metal is also obtained from a coppery stone called “cadmia.”[1223] The most highly esteemed copper is procured from beyond seas: it was formerly obtained in Campania also, and at present is found in the country of the Bergomates,[1224] at the extremity of Italy. It is said to have been lately discovered also in the province of Germany. (2.) In Cyprus, where copper was first discovered, it is also procured from another stone, which is called “chalcitis.”[1225] This, however, was afterwards considered of little value, a better kind having been found in other regions, especially that called “aurichalcum,”[1226] which was long in high request, on account of its excellent quality; but none of it has been found for this long time, the earth having been quite exhausted. The kind which was next in value was the Sallustian,[1227] procured from the Alpine district of the Centrones;[1228] but this did not last long, and was succeeded by the Livian, in Gaul. They both took their names from the owners of the mines; the former a friend of the Emperor Augustus, the latter that emperor’s wife.[1229] They soon failed, however, and in the Livian even there is now found but a very small quantity of ore. That which is at present held in the highest estimation is the Marian, likewise known as the Corduban;[1230] next to the Livian, this kind most readily absorbs cadmia, and becomes almost as excellent as aurichalcum[1231] for making sesterces and double asses,[1232] the Cyprian copper being thought good enough for the as. Thus much concerning the natural qualities of this metal. CHAP. 3.—THE CORINTHIAN BRASS. The other kinds are made artificially, all of which will be described in the appropriate places, the more celebrated kinds first coming under our notice. Formerly a mixture was made of copper fused with gold and silver, and the workmanship in this metal was considered even more valuable than the material itself; but, at the present day, it is difficult to say whether the workmanship in it, or the material, is the worst. Indeed, it is wonderful, that while the value of these works[1233] has so infinitely increased, the reputation of the art itself[1234] is nearly extinct. But it would appear, that in this, as in every thing else, what was formerly done for the sake of reputation, is now undertaken for the mere purpose of gain. For whereas this art was ascribed to the gods[1235] themselves, and men of rank in all countries endeavoured to acquire fame by the practice of it, we have now so entirely lost the method of making this valuable compound by fusion, that, for this long time past, not even chance itself has assumed, in this department, the privilege which formerly belonged to art.[1236] Next after the above compound, so celebrated in antiquity, the Corinthian metal has been the most highly esteemed. This was a compound produced by accident, when Corinth was burnt at the time of its capture.[1237] There has been a wonderful mania with many for gaining possession of this metal. It is even said, that Verres, whom M. Cicero caused to be condemned, was proscribed by Antonius, along with Cicero, for no other reason than his refusal to give up some specimens of Corinthian metal, which were in his possession. But most of these people seem to me to make a pretence of their discernment in reference to this metal, rather for the purpose of distinguishing themselves from the multitude, than from any real knowledge which they possess; and this I will briefly show. Corinth was captured in the third year of the 158th Olympiad, being the year of the City, 608,[1238] some ages after the period when those artists flourished, who produced all the specimens of what these persons now call Corinthian metal. It is in order, therefore, to refute this opinion, that I shall state the age when these different artists lived; for, if we reckon according to the above-mentioned era of the Olympiads, it will be easy to compare their dates with the corresponding years of our City. The only genuine Corinthian vessels, then, are those which these men of taste metamorphose, sometimes into dishes, sometimes into lamps, or even into washing-basins,[1239] without any regard to decency. They are of three kinds; the white variety, approaching very nearly to the splendour of silver, and in which that metal forms a large proportion of the compound; a second kind, in which the yellow colour of gold predominates; and a third, in which all the metals are mixed in equal proportions. Besides these, there is another mixture, the composition of which it is impossible to describe, for although it has been formed into images and statues by the hand of man, it is chance that rules in the formation of the compound. This last is highly prized for its colour, which approaches to that of liver, and it is on this account that it is called “hepatizon:”[1240] it is far inferior to the Corinthian metal, but much superior to the Æginetan and Delian, which long held the first rank. CHAP. 4.—THE DELIAN BRASS. The Delian brass was the first[1241] that became famous, all the world coming to Delos to purchase it; and hence the attention paid to the manufacture of it. It was in this island that brass first obtained celebrity for the manufacture of the feet and supports of dining-couches. After some time it came to be employed for the statues of the gods, and the effigies of men and other animated beings. CHAP. 5.—THE ÆGINETAN BRASS. The next most esteemed brass was the Æginetan; the island itself being rendered famous for its brass—not indeed that the metal was produced there, but because the annealing of the Æginetan manufactories was so excellent. A brazen Ox, which was taken from this island, now stands in the Forum Boarium[1242] at Rome. This is a specimen of the Æginetan metal, as the Jupiter in the Temple of Jupiter Tonans, in the Capitol, is of the Delian. Myron[1243] used the former metal and Polycletus[1244] the latter; they were contemporaries and fellow-pupils, but there was great rivalry between them as to their materials. CHAP. 6. (3.)—STANDS FOR LAMPS. Ægina was particularly famous for the manufacture of sockets only for lamp-stands, as Tarentum was for that of the branches;[1245] the most complete articles were, therefore, produced by the union of the two. There are persons, too, who are not ashamed to give for one a sum equal to the salary of a military tribune,[1246] although, as its name indicates, its only use is to hold a lighted candle. On the sale of one of these lamp-stands, Theon the public crier announced, that the purchaser must also take, as part of the lot, one Clesippus, a fuller, who was hump-backed, and in other respects, of a hideous aspect. The purchase was made by a female named[1247] Gegania, for fifty thousand sesterces. Upon her exhibiting these purchases at an entertainment which she gave, the slave, for the amusement of her guests, was brought in naked. Conceiving an infamous passion for him, she first admitted him to her bed, and finally left him all her estate. Having thus become excessively rich, he adored the lamp-stand as much as any divinity, and the story became a sort of pendant to the celebrity of the Corinthian lamp-stands. Still, however, good morals were vindicated in the end, for he erected a splendid monument to her memory, and so kept alive the eternal remembrance of the misconduct of Gegania. But although it is well known that there are no lamp-stands in existence made of the Corinthian metal, yet this name is very generally attached to them, because, in consequence of the victory of Mummius,[1248] Corinth was destroyed: at the same time, however, it should be remembered that this victory dispersed a number of bronzes which originally came from many other cities of Achaia. CHAP. 7.—ORNAMENTS OF THE TEMPLES MADE OF BRASS. The ancients were in the habit of making the door-sills and even the doors of the temples of brass. I find it stated, also, that Cneius Octavius, who obtained a naval triumph over King Perseus,[1249] erected the double portico to the Flaminian Circus, which was called the “Corinthian” from the brazen capitals of the pillars.[1250] It is stated also, that an ordinance was made that the Temple of Vesta[1251] should be covered with a coating of Syracusan metal. The capitals, too, of the pillars, which were placed by M. Agrippa in the Pantheon, are made of similar metal. Even the opulence, too, of private individuals has been wrested to similar purposes. Spurius Carvilius, the quæstor, among the other charges which he brought against Camillus,[1252] accused him of having brazen doors in his house. CHAP. 8.—COUCHES OF BRASS. We learn from L. Piso,[1253] that Cneius Manlius was the first who introduced brazen banquetting-couches, buffets, and tables with single feet,[1254] when he entered the City in triumph, in the year of Rome 567, after his conquests in Asia. We also learn from Antias,[1255] that the heirs of L. Crassus, the orator, sold a number of banquetting-couches adorned with brass. The tripods,[1256] which were called Delphian, because they were devoted more particularly to receiving the offerings that were presented to the Delphian Apollo, were usually made of brass: also the pendant lamps,[1257] so much admired, which were placed in the temples, or gave their light in the form of trees loaded with fruit; such as the one, for instance, in the Temple of the Palatine Apollo,[1258] which Alexander the Great, at the sacking of Thebes, brought to Cyme,[1259] and dedicated to that god. CHAP. 9. (4.)—WHICH WAS THE FIRST STATUE OF A GOD MADE OF BRASS AT ROME. THE ORIGIN OF STATUES, AND THE RESPECT PAID TO THEM. But after some time the artists everywhere applied themselves to representations of the gods. I find that the first brass image, which was made at Rome, was that of Ceres; and that the expenses were defrayed out of the property that belonged to Spurius Cassius, who was put to death by his own father, for aspiring to the regal office.[1260] The practice, however, soon passed from the gods to the statues and representations of men, and this in various forms. The ancients stained their statues with bitumen, which makes it the more remarkable that they were afterwards fond of covering them with gold. I do not know whether this was a Roman invention; but it certainly has the repute of being an ancient practice at Rome. It was not the custom in former times to give the likeness of individuals, except of such as deserved to be held in lasting remembrance on account of some illustrious deed; in the first instance, for a victory at the sacred games, and more particularly the Olympic Games, where it was the usage for the victors always to have their statues consecrated. And if any one was so fortunate as to obtain the prize there three times, his statue was made with the exact resemblance of every individual limb; from which circumstance they were called “iconicæ.”[1261] I do not know whether the first public statues were not erected by the Athenians, and in honour of Harmodius and Aristogiton, who slew the tyrant;[1262] an event which took place in the same year in which the kings were expelled from Rome. This custom, from a most praiseworthy emulation, was afterwards adopted by all other nations; so that statues were erected as ornaments in the public places of municipal towns, and the memory of individuals was thus preserved, their various honours being inscribed on the pedestals, to be read there by posterity, and not on their tombs alone. After some time, a kind of forum or public place came to be made in private houses and in our halls, the clients adopting this method of doing honour to their patrons. CHAP. 10. (5.)—THE DIFFERENT KINDS AND FORMS OF STATUES. STATUES AT ROME WITH CUIRASSES. In former times the statues that were thus dedicated were clad in the toga.[1263] Naked statues also, brandishing a spear, after the manner of the youths at their gymnastic exercises, were much admired; these were called “Achillean.” The Greek practice is, not to cover any part of the body; while, on the contrary, the Roman and the military statues have the addition of a cuirass. Cæsar, the Dictator, permitted a statue with a cuirass to be erected in honour of him in his Forum.[1264] As to the statues which are made in the garb of the Luperci,[1265] they are of no older date than those which have been lately erected, covered with a cloak.[1266] Mancinus gave directions, that he should be represented in the dress which he wore when he was surrendered to the enemy.[1267] It has been remarked by some authors, that L. Attius,[1268] the poet, had a statue of himself erected in the Temple of the Muses,[1269] which was extremely large, although he himself was very short. Equestrian statues are also held in esteem in Rome; but they are of Greek origin, no doubt. Among the Greeks, those persons only were honoured with equestrian statues who were victors on horseback[1270] in the sacred games; though afterwards the same distinction was bestowed on those who were successful in the races with chariots with two or four horses: hence the use of chariots with us in the statues of those who have triumphed. But this did not take place until a late period; and it was not until the time of the late Emperor Augustus, that we had chariots represented with six horses,[1271] as also with elephants. CHAP. 11.—IN HONOUR OF WHOM PUBLIC STATUES WERE FIRST ERECTED: IN HONOUR OF WHOM THEY WERE FIRST PLACED ON PILLARS: WHEN THE ROSTRA WERE FIRST ERECTED. The custom of erecting chariots with two horses in honour of those who had discharged the office of prætor, and had passed round the Circus in a chariot, is not of ancient date. That of placing statues on pillars is older, as it was done in honour of C. Mænius,[1272] who conquered the ancient Latins, to whom the Romans by treaty gave one third of the spoil which they had obtained. It was in the same consulship also, that the “rostra” or beaks of the ships, which had been taken from the Antiates when vanquished, were fixed to the tribunal; it being the year of the City, 416.[1273] The same thing was done also by Caius Duillius, who was the first to obtain a naval triumph over the Carthaginians: his column still remains in the Forum.[1274] I am not certain whether this honour was not first conferred by the people on L. Minutius, the præfect of the markets; whose statue was erected without the Trigeminian Gate,[1275] by means of a tax of the twelfth of an as[1276] per head: the same thing, however, had been previously done by the senate, and it would have been a more distinguished honour had it not had its origin on such frivolous occasions. The statue of Attus Navius,[1277] for example, was erected before the senate-house, the pedestal of which was consumed when the senate-house itself was burnt at the funeral of Publius Clodius.[1278] The statue of Hermodorus also, the Ephesian,[1279] the interpreter of the laws which were transcribed by the Decemvirs, was erected by the public in the Comitium.[1280] It was for a very different, and more important reason, that the statue of Horatius Cocles was erected, he having singly prevented the enemy from passing the Sublician bridge:[1281] a statue which remains to this day. I am not at all surprized, too, that statues of the Sibyl should have been erected near the Rostra, even though three in number; one of which was repaired by Sextus Pacuvius Taurus, ædile of the people, and the other two by M. Messala. I should have considered these and that of Attus Navius to have been the oldest, as having been placed there in the time of Tarquinius Priscus, had there not been in the Capitol the statues of the preceding kings.[1282] (6.) Among these we have the statues of Romulus and Tatius without the tunic; as also that of Camillus, near the Rostra. The equestrian statue of Marcius Tremulus, clad in the toga, stood before the Temple of the Castors;[1283] him who twice subdued the Samnites, and by the capture of Anagnia delivered the people from their tribute.[1284] Among the most ancient are those of Tullus Clœlius, Lucius Roscius, Spurius Nautius, and C. Fulcinus, near the Rostra, all of whom were assassinated by the Fidenates, when on their mission as ambassadors.[1285] It was the custom with the republic to confer this honour on those who had been unjustly put to death; such as P. Junius, also, and Titus Coruncanius, who were slain by Teuta, queen of the Illyrians.[1286] It would be wrong not to mention what is stated in the Annals, that their statues, erected in the Forum, were three feet in height; whence it would appear that such were the dimensions of these marks of honour in those times. Nor must I forget to mention Cneius Octavius, on account of the language used by the Senate.[1287] When King Antiochus said, that he would give him an answer at another time, Octavius drew a line round him with a stick, which he happened to have in his hand, and compelled him to give an answer before he allowed him to step beyond the circle. Octavius being slain[1288] while on this embassy, the senate ordered his statue to be placed in the most conspicuous[1289] spot; and that spot was the Rostra. A statue appears also to have been decreed to Taracia Caia, or Furetia, a Vestal Virgin, the same, too, to be placed wherever she might think fit; an additional honour, no less remarkable, it is thought, than the grant itself of a statue to a female. I will state her merits in the words of the Annals: “Because she had gratuitously presented to the public the field bordering on the Tiber.”[1290] CHAP. 12.—IN HONOUR OF WHAT FOREIGNERS PUBLIC STATUES WERE ERECTED AT ROME. I find also, that statues were erected in honour of Pythagoras and of Alcibiades, in the corners of the Comitium; in obedience to the command of the Pythian Apollo, who, in the Samnite War,[1291] had directed that statues of the bravest and the wisest of the Greeks should be erected in some conspicuous spot: and here they remained until Sylla, the Dictator, built the senate-house on the site. It is wonderful that the senate should then have preferred Pythagoras to Socrates, who, in consequence of his wisdom, had been preferred to all other men[1292] by the god himself; as, also, that they should have preferred Alcibiades for valour to so many other heroes; or, indeed, any one to Themistocles, who so greatly excelled in both qualities. The reason of the statues being raised on columns, was, that the persons represented might be elevated above other mortals; the same thing being signified by the use of arches, a new invention which had its origin among the Greeks. I am of opinion that there is no one to whom more statues were erected than to Demetrius Phalercus[1293] at Athens: for there were three hundred and sixty erected in his honour, there being reckoned at that period no more days in the year: these, however, were soon broken to pieces. The different tribes erected statues, in all the quarters of Rome, in honour of Marius Gratidianus, as already stated;[1294] but they were all thrown down by Sylla, when he entered Rome. CHAP. 13.—THE FIRST EQUESTRIAN STATUES PUBLICLY ERECTED AT ROME, AND IN HONOUR OF WHAT FEMALES STATUES WERE PUBLICLY ERECTED THERE. Pedestrian statues have been, undoubtedly, for a long time in estimation at Rome: equestrian statues are, however, of considerable antiquity, and females even have participated in this honour; for the statue of Clælia is equestrian,[1295] as if it had not been thought sufficient to have her clad in the toga; and this, although statues were not decreed to Lucretia, or to Brutus, who had expelled the kings, and through both of whom Clælia had been given as a hostage.[1296] I should have thought that this statue, and that of Cocles, were the first that were erected at the public expense—for it is most likely that the statues of Attus and the Sibyl were erected by Tarquinius, and those of each of the other kings by themselves respectively—had not Piso stated that the statue of Clælia was erected by those who had been hostages with her, when they were given up by Porsena, as a mark of honour. But Annius Fetialis[1297] states, on the other hand, that the equestrian statue, which stood opposite the Temple of Jupiter Stator, in the vestibule of the house of Tarquinius Superbus, was that of Valeria,[1298] the daughter of the consul Publicola; and that she was the only person that escaped and swam across the Tiber; the rest of the hostages that had been sent to Porsena having been destroyed by a stratagem of Tarquinius. CHAP. 14.—AT WHAT PERIOD ALL THE STATUES ERECTED BY PRIVATE INDIVIDUALS WERE REMOVED FROM THE PUBLIC PLACES. We are informed by L. Piso, that when M. Æmilius and C. Popilius were consuls, for the second time,[1299] the censors, P. Cornelius Scipio and M. Popilius, caused all the statues erected round the Forum in honour of those who had borne the office of magistrates, to be removed; with the exception of those which had been placed there, either by order of the people or of the senate. The statue also which Spurius Cassius,[1300] who had aspired to the supreme authority, had erected in honour of himself, before the Temple of Tellus, was melted down by order of the censors; for even in this respect, the men of those days took precautions against ambition. There are still extant some declamations by Cato, during his censorship, against the practice of erecting statues of women in the Roman provinces. However, he could not prevent these statues being erected at Rome even; to Cornelia, for instance, the mother of the Gracchi, and daughter of the elder Scipio Africanus. She is represented in a sitting posture, and the statue is remarkable for having no straps to the shoes. This statue, which was formerly in the public Portico of Metellus, is now in the Buildings of Octavia.[1301] CHAP. 15.—THE FIRST STATUES PUBLICLY ERECTED BY FOREIGNERS. The first statue that was erected at Rome at the expense of a foreigner was that of C. Ælius, the tribune of the people, who had introduced a law against Sthennius Statilius Lucanus,[1302] for having twice attacked Thurii: on which account the inhabitants of that place presented Ælius with a statue and a golden crown. At a later period, the same people erected a statue to Fabricius,[1303] who had delivered their city from a state of siege. From time to time various nations thus placed themselves under the protection of the Romans; and all distinctions were thereby so effectually removed, that statues of Hannibal even are to be seen in three different places in that city, within the walls of which, he alone of all its enemies, had hurled his spear.[1304] CHAP. 16. (7.)—THAT THERE WERE STATUARIES IN ITALY ALSO AT AN EARLY PERIOD. Various circumstances prove, that the art of making statues was commonly practised in Italy at an early period. The statue in the Cattle Market[1305] is said to have been consecrated to Hercules by Evander; it is called the triumphal Hercules, and, on the occasion of triumphal processions, is arrayed in triumphal vestments. And then besides, King Numa dedicated the statue of the two-faced Janus;[1306] a deity who is worshipped as presiding over both peace and war. The fingers, too, are so formed as to indicate three hundred and sixty-five days,[1307] or in other words, the year; thus denoting that he is the god of time and duration. There are also Etruscan statues dispersed in various parts of the world, which beyond a doubt were originally made in Etruria. I should have supposed that these had been the statues only of divinities, had not Metrodorus[1308] of Scepsis, who had his surname from his hatred to the Roman name,[1309] reproached us with having pillaged the city of Volsinii for the sake of the two thousand statues which it contained. It appears to me a singular fact, that although the origin of statues was of such great antiquity in Italy, the images of the gods, which were consecrated to them in their temples, should have been formed either of wood or of earthenware,[1310] until the conquest of Asia, which introduced luxury among us. It will be the best plan to enlarge upon the origin of the art of expressing likenesses, when we come to speak of what the Greeks call “plastice;”[1311] for the art of modelling was prior to that of statuary. This last, however, has flourished to such an extraordinary degree, that an account of it would fill many volumes, if we were desirous of making an extensive acquaintance with the subject: but as to learning everything connected with it, who could do it? CHAP. 17.—THE IMMODERATE PRICES OF STATUES. In the ædileship of M. Scaurus, there were three thousand statues erected on the stage of what was a temporary theatre[1312] only. Mummius, the conqueror of Achaia, filled the City with statues; he who at his death was destined not to leave a dowry to his daughter,[1313] for why not mention this as an apology for him? The Luculli[1314] also introduced many articles from abroad. Yet we learn from Mucianus,[1315] who was thrice consul, that there are still three thousand statues in Rhodes, and it is supposed that there are no fewer in existence at Athens, at Olympia, and at Delphi. What living mortal could enumerate them all? or of what utility would be such information? Still, however, I may, perhaps, afford amusement by giving some slight account of such of those works of art as are in any way remarkable, and stating the names of the more celebrated artists. Of each of these it would be impossible to enumerate all the productions, for Lysippus[1316] alone is said to have executed no less than fifteen hundred[1317] works of art, all of which were of such excellence that any one of them might have immortalized him. The number was ascertained by his heir, upon opening his coffers after his death, it having been his practice to lay up one golden denarius[1318] out of the sum which he had received as the price of each statue. This art has arrived at incredible perfection, both in successfulness and in boldness of design. As a proof of successfulness, I will adduce one example, and that of a figure which represented neither god nor man. We have seen in our own time, in the Capitol, before it was last burnt by the party[1319] of Vitellius, in the shrine of Juno there, a bronze figure of a dog licking its wounds. Its miraculous excellence and its perfect truthfulness were not only proved by the circumstance of its having been consecrated there, but also by the novel kind of security that was taken for its safety; for, no sum appearing equal to its value, it was publicly enacted that the keepers of it should be answerable for its safety with their lives. CHAP. 18.—THE MOST CELEBRATED COLOSSAL STATUES IN THE CITY. As to boldness of design, the examples are innumerable; for we see designed, statues of enormous bulk, known as colossal statues and equal to towers in size. Such, for instance, is the Apollo in the Capitol, which was brought by M. Lucullus from Apollonia, a city of Pontus,[1320] thirty cubits in height, and which cost five hundred talents: such, too, is the statue of Jupiter, in the Campus Martius, dedicated by the late Emperor Claudius, but which appears small in comparison from its vicinity to the Theatre of Pompeius: and such is that at Tarentum, forty cubits in height, and the work of Lysippus.[1321] It is a remarkable circumstance in this statue, that though, as it is stated, it is so nicely balanced as to be moveable by the hand, it has never been thrown down by a tempest. This indeed, the artist, it is said, has guarded against, by a column erected at a short distance from it, upon the side on which the violence of the wind required to be broken. On account, therefore, of its magnitude, and the great difficulty of moving it, Fabius Verrucosus[1322] did not touch it, when he transferred the Hercules from that place to the Capitol, where it now stands. But that which is by far the most worthy of our admiration, is the colossal statue of the Sun, which stood formerly at Rhodes, and was the work of Chares the Lindian, a pupil of the above-named Lysippus;[1323] no less than seventy cubits in height. This statue, fifty-six years after it was erected, was thrown down by an earthquake; but even as it lies, it excites our wonder and admiration.[1324] Few men can clasp the thumb in their arms, and its fingers are larger than most statues. Where the limbs are broken asunder, vast caverns are seen yawning in the interior. Within it, too, are to be seen large masses of rock, by the weight of which the artist steadied it while erecting it. It is said that it was twelve years before this statue was completed, and that three hundred talents were expended upon it; a sum raised from the engines of warfare which had been abandoned by King Demetrius,[1325] when tired of the long-protracted siege of Rhodes. In the same city there are other colossal statues, one hundred in number; but though smaller than the one already mentioned, wherever erected, they would, any one of them, have ennobled the place. In addition to these, there are five colossal statues of the gods, which were made by Bryaxis.[1326] Colossal statues used also to be made in Italy. At all events, we see the Tuscan Apollo, in the library of the Temple of Augustus,[1327] fifty feet in height from the toe; and it is a question whether it is more remarkable for the quality of the metal, or for the beauty of the workmanship. Spurius Carvilius also erected the statue of Jupiter which is seen in the Capitol, after he had conquered the Samnites,[1328] who fought in obedience to a most solemn oath; it being formed out of their breast-plates, greaves, and helmets, and of such large dimensions that it may be seen from the statue of Jupiter Latiaris.[1329] He made his own statue, which is at the feet of the other one, out of the filings of the metal. There are also, in the Capitol, two heads which are very much admired, and which were dedicated by the Consul P. Lentulus, one of them executed by the above-mentioned Chares,[1330] the other by Decius;[1331] but this last is so greatly excelled by the former, as to have all the appearance of being the work of one of the poorest of artists. But all these gigantic statues of this kind have been surpassed in our own age by that of Mercury, made by Zenodotus[1332] for the city of the Arverni in Gaul,[1333] which was ten years in being completed, and the making of which cost four hundred thousand sesterces. Having given sufficient proof there of his artistic skill, he was sent for by Nero to Rome, where he made a colossal statue intended to represent that prince, one hundred and ten feet in height. In consequence, however, of the public detestation of Nero’s crimes, this statue was consecrated to the Sun.[1334] We used to admire in his studio, not only the accurate likeness in the model of clay, but in the small sketches[1335] also, which served as the first foundation of the work. This statue proves that the art of fusing [precious] brass was then lost, for Nero was prepared to furnish the requisite gold and silver, and Zenodotus was inferior to none of the ancients, either as a designer or as an engraver.[1336] At the time that he was working at the statue for the Arverni, he copied for Dubius Avitus, the then governor of the province, two drinking-cups, chased by the hand of Calamis,[1337] which had been highly prized by Germanicus Cæsar, and had been given by him to his preceptor Cassius Silanus, the uncle of Avitus; and this with such exactness, that they could scarcely be distinguished from the originals. The greater, then, the superiority of Zenodotus, the more certainly it may be concluded that the secret of fusing [precious] brass is lost. (8.) Persons who possess what are called Corinthian bronzes,[1338] are generally so much enamoured of them, as to carry them about with them from place to place; Hortensius, the orator, for instance, who possessed a Sphinx, which he had made Verres give him, when accused. It was to this figure that Cicero alluded, in an altercation which took place at the trial: when, upon Hortensius saying that he could not understand enigmas, Cicero made answer that he ought to understand them, as he had got a Sphinx[1339] at home. The Emperor Nero, also, used to carry about with him the figure of an Amazon, of which I shall speak further hereafter;[1340] and, shortly before this, C. Cestius, a person of consular[1341] rank, had possessed a figure, which he carried with him even in battle. The tent, too, of Alexander the Great was usually supported, it is said, by statues, two of which are consecrated before the Temple of Mars Ultor,[1342] and a similar number before the Palace.[1343] CHAP. 19.—AN ACCOUNT OF THE MOST CELEBRATED WORKS IN BRASS, AND OF THE ARTISTS, 366 IN NUMBER. An almost innumerable multitude of artists have been rendered famous by their statues and figures of smaller size. Before all others is Phidias,[1344] the Athenian, who executed the Jupiter at Olympia, in ivory and gold,[1345] but who also made figures in brass as well. He flourished in the eighty-third Olympiad, about the year of our City, 300. To the same age belong also his rivals Alcamenes,[1346] Critias,[1347] Nesiotes,[1348] and Hegias.[1349] Afterwards, in the eighty-seventh Olympiad, there were Agelades,[1350] Callon,[1351] and Gorgias the Laconian. In the ninetieth Olympiad there were Polycletus,[1352] Phradmon,[1353] Myron,[1354] Pythagoras,[1355] Scopas,[1356] and Perellus.[1357] Of these, Polycletus had for pupils, Argius,[1358] Asopodorus, Alexis, Aristides,[1359] Phrynon, Dinon, Athenodorus,[1360] and Demeas[1361] the Clitorian: Lycius,[1362] too, was the pupil of Myron. In the ninety-fifth Olympiad flourished Naucsydes,[1363] Dinomenes,[1364] Canachus,[1365] and Patroclus.[1366] In the hundred and second Olympiad there were Polycles,[1367] Cephisodotus,[1368] Leochares,[1369] and Hypatodorus.[1370] In the hundred and fourth Olympiad, flourished Praxiteles[1371] and Euphranor;[1372] in the hundred and seventh, Aëtion[1373] and Therimachus;[1374] in the hundred and thirteenth, Lysippus,[1375] who was the contemporary of Alexander the Great, his brother Lysistratus,[1376] Sthennis,[1377] Euphron, Eucles, Sostratus,[1378] Ion, and Silanion,[1379] who was remarkable for having acquired great celebrity without any instructor: Zeuxis[1380] was his pupil. In the hundred and twenty-first Olympiad were Eutychides,[1381] Euthycrates,[1382] Laïppus,[1383] Cephisodotus,[1384] Timarchus,[1385] and Pyromachus.[1386] The practice of this art then ceased for some time, but revived in the hundred and fifty-sixth Olympiad, when there were some artists, who, though far inferior to those already mentioned, were still highly esteemed; Antæus, Callistratus,[1387] Polycles,[1388] Athenæus,[1389] Callixenus, Pythocles, Pythias, and Timocles.[1390] The ages of the most celebrated artists being thus distinguished, I shall cursorily review the more eminent of them, the greater part being mentioned in a desultory manner. The most celebrated of these artists, though born at different epochs, have joined in a trial of skill in the Amazons which they have respectively made. When these statues were dedicated in the Temple of Diana at Ephesus, it was agreed, in order to ascertain which was the best, that it should be left to the judgment of the artists themselves who were then present: upon which, it was evident that that was the best, which all the artists agreed in considering as the next best to his own. Accordingly, the first rank was assigned to Polycletus, the second to Phidias, the third to Cresilas, the fourth to Cydon, and the fifth to Phradmon.[1391] Phidias, besides the Olympian Jupiter, which no one has ever equalled, also executed in ivory the erect statue of Minerva, which is in the Parthenon at Athens.[1392] He also made in brass, beside the Amazon above mentioned,[1393] a Minerva, of such exquisite beauty, that it received its name from its fine proportions.[1394] He also made the Cliduchus,[1395] and another Minerva, which Paulus Æmilius dedicated at Rome in the Temple of Fortune[1396] of the passing day. Also the two statues, draped with the pallium, which Catulus erected in the same temple; and a nude colossal statue. Phidias is deservedly considered to have discovered and developed the toreutic art.[1397] Polycletus of Sicyon,[1398] the pupil of Agelades, executed the Diadumenos,[1399] the statue of an effeminate youth, and remarkable for having cost one hundred talents; as also the statue of a youth full of manly vigour, and called the Doryphoros.[1400] He also made what the artists have called the Model statue,[1401] and from which, as from a sort of standard, they study the lineaments: so that he, of all men, is thought in one work of art to have exhausted all the resources of art. He also made statues of a man using the body-scraper,[1402] and of a naked man challenging to play at dice;[1403] as also of two naked boys playing at dice, and known as the Astragalizontes;[1404] they are now in the atrium of the Emperor Titus, and it is generally considered, that there can be no work more perfect than this. He also executed a Mercury, which was formerly at Lysimachia; a Hercules Ageter,[1405] seizing his arms, which is now at Rome; and an Artemon, which has received the name of Periphoretos.[1406] Polycletus is generally considered as having attained the highest excellence in statuary, and as having perfected the toreutic[1407] art, which Phidias invented. A discovery which was entirely his own, was the art of placing statues on one leg. It is remarked, however, by Varro, that his statues are all square-built,[1408] and made very much after the same model.[1409] Myron of Eleutheræ,[1410] who was also the pupil of Agelades, was rendered more particularly famous by his statue of a heifer,[1411] celebrated in many well-known lines: so true is it, that most men owe their renown more to the genius of others, than to their own. He also made the figure of a dog,[1412] a Discobolus,[1413] a Perseus,[1414] the Pristæ,[1415] a Satyr[1416] admiring a flute, and a Minerva, the Delphic Pentathletes,[1417] the Pancratiastæ,[1418] and a Hercules,[1419] which is at the Circus Maximus, in the house of Pompeius Magnus. Erinna,[1420] in her poems,[1421] makes allusion to a monument which he erected to a cricket and a locust. He also executed the Apollo, which, after being taken from the Ephesians by the Triumvir Antonius, was restored by the Emperor Augustus, he having been admonished to do so in a dream. Myron appears to have been the first to give a varied development to the art,[1422] having made a greater number of designs than Polycletus, and shewn more attention to symmetry. And yet, though he was very accurate in the proportions of his figures, he has neglected to give expression; besides which, he has not treated the hair and the pubes with any greater attention than is observed in the rude figures of more ancient times. Pythagoras of Rhegium, in Italy, excelled him in the figure of the Pancratiast[1423] which is now at Delphi, and in which he also surpassed Leontiscus.[1424] Pythagoras also executed the statue of Astylos,[1425] the runner, which is exhibited at Olympia; that of a Libyan boy holding a tablet, also in the same place; and a nude male figure holding fruit. There is at Syracuse a figure of a lame man by him: persons, when looking at it, seem to feel the very pain of his wound. He also made an Apollo, with the serpent[1426] pierced by his arrows; and a Player on the Lyre, known as the Dicæus,[1427] from the fact that, when Thebes was taken by Alexander the Great, a fugitive successfully concealed in its bosom a sum of gold. He was the first artist who gave expression to the sinews and the veins, and paid more attention to the hair. There was also another Pythagoras, a Samian,[1428] who was originally a painter, seven of whose nude figures, in the Temple of Fortune of the passing day,[1429] and one of an aged man, are very much admired. He is said to have resembled the last-mentioned artist so much in his features, that they could not be distinguished. Sostratus, it is said, was the pupil of Pythagoras of Rhegium, and his sister’s son. According to Duris,[1430] Lysippus the Sicyonian was not the pupil[1431] of any one, but was originally a worker in brass, and was first prompted to venture upon statuary by an answer that was given by Eupompus the painter; who, upon being asked which of his predecessors he proposed to take for his model, pointed to a crowd of men, and replied that it was Nature herself, and no artist, that he proposed to imitate. As already mentioned,[1432] Lysippus was most prolific in his works, and made more statues than any other artist. Among these, is the Man using the Body-scraper[1433], which Marcus Agrippa had erected in front of his Warm Baths,[1434] and which wonderfully pleased the Emperor Tiberius. This prince, although in the beginning of his reign he imposed some restraint upon himself, could not resist the temptation, and had this statue removed to his bed-chamber, having substituted another for it at the baths: the people, however, were so resolutely opposed to this, that at the theatre they clamourously demanded the Apoxyomenos[1435] to be replaced; and the prince, notwithstanding his attachment to it, was obliged to restore it. Lysippus is also celebrated for his statue of the intoxicated Female Flute-player, his dogs and huntsmen, and, more particularly, for his Chariot with the Sun, as represented by the Rhodians.[1436] He also executed a numerous series of statues of Alexander the Great, commencing from his childhood.[1437] The Emperor Nero was so delighted with his statue of the infant Alexander, that he had it gilt: this addition, however, to its value, so detracted from its artistic beauty that the gold was removed, and in this state it was looked upon as still more precious, though disfigured by the scratches and seams which remained upon it, and in which the gold was still to be seen.[1438] He also made the statue of Hephæstion, the friend of Alexander the Great, which some persons attribute to Polycletus, whereas that artist lived nearly a century before his time.[1439] Also, the statue of Alexander at the chase, now consecrated at Delphi, the figure of a Satyr, now at Athens, and the Squadron of Alexander,[1440] all of whom he represented with the greatest accuracy. This last work of art, after his conquest of Macedonia,[1441] Metellus conveyed to Rome. Lysippus also executed chariots of various kinds. He is considered to have contributed very greatly to the art of statuary by expressing the details of the hair,[1442] and by making the head smaller than had been done by the ancients, and the body more graceful and less bulky, a method by which his statues were made to appear taller. The Latin language has no appropriate name for that “symmetry,”[1443] which he so attentively observed in his new and hitherto untried method of modifying the squareness observable in the ancient statues. Indeed, it was a common saying of his, that other artists made men as they actually were, while he made them as they appeared to be. One peculiar characteristic of his work, is the finish and minuteness which are observed in even the smallest details. Lysippus left three sons, who were also his pupils, and became celebrated as artists, Laippus, Bœdas, and, more particularly, Euthycrates; though this last-named artist rivalled his father in precision rather than in elegance, and preferred scrupulous correctness to gracefulness. Nothing can be more expressive than his Hercules at Delphi, his Alexander, his Hunter at Thespiæ, and his Equestrian Combat. Equally good, too, are his statue of Trophonius, erected in the oracular cave[1444] of that divinity, his numerous chariots, his Horse with the Panniers,[1445] and his hounds. Tisicrates, also a native of Sicyon, was a pupil of Euthycrates, but more nearly approaching the style of Lysippus; so much so, that several of his statues can scarcely be distinguished from those of Lysippus; his aged Theban, for example, his King Demetrius, and his Peucestes, who saved the life of Alexander the Great, and so rendered himself deserving of this honour.[1446] Artists, who have transmitted these details in their works, bestow wonderful encomiums upon Telephanes, the Phocæan, a statuary but little known, they say, because he lived in Thessaly, where his works remained concealed; according to their account, however, he is quite equal to Polycletus, Myron, and Pythagoras. They more particularly commend his Larissa, his Spintharus, the pentathlete,[1447] and his Apollo. Others, however, assign another reason for his being so little known; it being owing, they think, to his having devoted himself to the studios established by Kings Xerxes and Darius. Praxiteles, who excelled more particularly in marble, and thence acquired his chief celebrity, also executed some very beautiful works in brass, the Rape of Proserpine, the Catagusa,[1448] a Father Liber,[1449] a figure of Drunkenness, and the celebrated Satyr,[1450] to the Greeks known as “Periboetos.”[1451] He also executed the statues, which were formerly before the Temple[1452] of Good Fortune, and the Venus, which was destroyed by fire, with the Temple of that goddess, in the reign of Claudius, and was considered equal to his marble statue of Venus,[1453] so celebrated throughout the world. He also executed a Stephanusa,[1454] a Spilumene,[1455] an Œnophorus,[1456] and two figures of Harmodius and Aristogiton, who slew the tyrants; which last, having been taken away from Greece by Xerxes, were restored to the Athenians on the conquest of Persia by Alexander the Great.[1457] He also made the youthful Apollo, known as the “Sauroctonos,”[1458] because he is aiming an arrow at a lizard which is stealing towards him. There are greatly admired, also, two statues of his, expressive of contrary emotions—a Matron in tears, and a Courtesan full of gaiety: this last is supposed to be a likeness of Phryne, and it is said that we can detect in her figure the love of the artist, and in the countenance of the courtesan the promised reward.[1459] His kindness of heart, too, is witnessed by another figure; for in a chariot and horses which had been executed by Calamis,[1460] he himself made the charioteer, in order that the artist, who excelled in the representation of horses, might not be considered deficient in the human figure. This last-mentioned artist has executed other chariots also, some with four horses, and some with two; and in his horses he is always unrivalled. But that it may not be supposed that he was so greatly inferior in his human figures, it is as well to remark that his Alcmena[1461] is equal to any that was ever produced. Alcamenes,[1462] who was a pupil of Phidias, worked in marble and executed a Pentathlete in brass, known as the “Encrinomenos.”[1463] Aristides, too, who was the scholar of Polycletus, executed chariots in metal with four and two horses. The Leæna[1464] of Amphicrates[1465] is highly commended. The courtesan[1466] Leæna, who was a skilful performer on the lyre, and had so become acquainted with Harmodius and Aristogiton, submitted to be tortured till she expired, rather than betray their plot for the extermination of the tyrants.[1467] The Athenians, being desirous of honouring her memory, without at the same time rendering homage to a courtesan, had her represented under the figure of the animal whose name she bore;[1468] and, in order to indicate the cause of the honour thus paid her, ordered the artist to represent the animal without a tongue.[1469] Bryaxis executed in brass statues of Æsculapius and Seleucus;[1470] Bœdas[1471] a figure in adoration; Baton, an Apollo and a Juno, which are in the Temple of Concord[1472] at Rome. Ctesilaüs[1473] executed a statue of a man fainting from his wounds, in the expression of which may be seen how little life remains;[1474] as also the Olympian Pericles,[1475] well worthy of its title: indeed, it is one of the marvellous adjuncts of this art, that it renders men who are already celebrated even more so. Cephisodotus[1476] is the artist of an admirable Minerva, now erected in the port of Athens; as also of the altar before the Temple of Jupiter Servator,[1477] at the same place, to which, indeed, few works are comparable. Canachus[1478] executed a nude Apollo, which is known as the “Philesian:”[1479] it is at Didymi,[1480] and is composed of bronze that was fused at Ægina. He also made a stag with it, so nicely poised on its hoofs, as to admit of a thread being passed beneath. One[1481] fore-foot, too, and the alternate hind-foot are so made as firmly to grip the base, the socket being[1482] so indented on either side, as to admit of the figure being thrown at pleasure upon alternate feet. Another work of his was the boys known as the “Celetizontes.”[1483] Chæreas made statues of Alexander the Great and of his father Philip. Desilaüs[1484] made a Doryphoros[1485] and a wounded Amazon; and Demetrius[1486] a statue of Lysimache, who was priestess of Minerva sixty-four years. This statuary also made the Minerva, which has the name of Musica,[1487] and so called because the dragons on its Gorgon’s head vibrate at the sound of the lyre; also an equestrian statue of Simon, the first writer on the art of equitation.[1488] Dædalus,[1489] who is highly esteemed as a modeller in clay, made two brazen figures of youths using the body-scraper;[1490] and Dinomenes executed figures of Protesilaüs[1491] and Pythodemus the wrestler. The statue of Alexander Paris is the work of Euphranor:[1492] it is much admired, because we recognize in it, at the same moment, all these characteristics; we see him as the umpire between the goddesses, the paramour of Helen, and yet the slayer of Achilles. We have a Minerva, too, by Euphranor, at Rome, known as the “Catulina,” and dedicated below the Capitol, by Q. Lutatius;[1493] also a figure of Good Success,[1494] holding in the right hand a patera, and in the left an ear of corn and a poppy. There is also a Latona by him, in the Temple of Concord,[1495] with the new-born infants Apollo and Diana in her arms. He also executed some brazen chariots with four and two horses, and a Cliduchus[1496] of beautiful proportions; as also two colossal statues, one representing Virtue, the other Greece;[1497] and a figure of a female lost in wonder and adoration: with statues of Alexander and Philip in chariots with four horses. Eutychides executed an emblematic figure of the Eurotas,[1498] of which it has been frequently remarked, that the work of the artist appears more flowing than the waters even of the river.[1499] Hegias[1500] is celebrated for his Minerva and his King Pyrrhus, his youthful Celetizontes,[1501] and his statues of Castor and Pollux, before the Temple of Jupiter Tonans:[1502] Hegesias,[1503] for his Hercules, which is at our colony of Parium.[1504] Of Isidotus we have the Buthytes.[1505] Lycius was the pupil[1506] of Myron: he made a figure representing a boy blowing a nearly extinguished fire, well worthy of his master, as also figures of the Argonauts. Leochares made a bronze representing the eagle carrying off Ganymede: the eagle has all the appearance of being sensible of the importance of his burden, and for whom he is carrying it, being careful not to injure the youth with his talons, even through the garments.[1507] He executed a figure, also, of Autolycus,[1508] who had been victorious in the contests of the Pancratium, and for whom Xenophon wrote his Symposium;[1509] the figure, also, of Jupiter Tonans in the Capitol, the most admired of all his works; and a statue of Apollo crowned with a diadem. He executed, also, a figure of Lyciscus, and one of the boy Lagon,[1510] full of the archness and low-bred cunning of the slave. Lycius also made a figure of a boy burning perfumes. We have a young bull by Menæchmus,[1511] pressed down beneath a man’s knee, with its neck bent back:[1512] this Menæchmus has also written a treatise on his art. Naucydes[1513] is admired for a Mercury, a Discobolus,[1514] and a Man sacrificing a Ram. Naucerus made a figure of a wrestler panting for breath; Niceratus, an Æsculapius and Hygeia,[1515] which are in the Temple of Concord at Rome. Pyromachus represented Alcibiades, managing a chariot with four horses: Polycles made a splendid statue of Hermaphroditus; Pyrrhus, statues of Hygeia and Minerva; and Phanis, who was a pupil of Lysippus, an Epithyusa.[1516] Stypax of Cyprus acquired his celebrity by a single work, the statue of the Splanchnoptes;[1517] which represents a slave of the Olympian Pericles, roasting entrails and kindling the fire with his breath. Silanion made a statue in metal of Apollodorus, who was himself a modeller, and not only the most diligent of all in the study of this art, but a most severe criticizer of his own works, frequently breaking his statues to pieces when he had finished them, and never able to satisfy his intense passion for the art—a circumstance which procured him the surname of “the Madman.” Indeed, it is this expression which he has given to his works, which represent in metal embodied anger rather than the lineaments of a human being. The Achilles, also, of Silanion is very excellent, and his Epistates[1518] exercising the Athletes. Strongylion[1519] made a figure of an Amazon, which, from the beauty of the legs, was known as the “Eucnemos,”[1520] and which Nero used to have carried about with him in his travels. Strongylion was the artist, also, of a youthful figure, which was so much admired by Brutus of Philippi, that it received from him its surname.[1521] Theodorus of Samos,[1522] who constructed the Labyrinth,[1523] cast his own statue in brass; which was greatly admired, not only for its resemblance, but for the extreme delicacy of the work. In the right hand he holds a file, and with three fingers of the left, a little model of a four-horse chariot, which has since been transferred to Præneste:[1524] it is so extremely minute, that the whole piece, both chariot and charioteer, may be covered by the wings of a fly, which he also made with it. Xenocrates[1525] was the pupil of Ticrates, or, as some say, of Euthycrates: he surpassed them both, however, in the number of his statues, and was the author of some treatises on his art. Several artists have represented the battles fought by Attalus and Eumenes with the Galli;[1526] Isigonus, for instance, Pyromachus, Stratonicus, and Antigonus,[1527] who also wrote some works in reference to his art. Boëthus,[1528] although more celebrated for his works in silver, has executed a beautiful figure of a child strangling a goose. The most celebrated of all the works, of which I have here spoken, have been dedicated, for some time past, by the Emperor Vespasianus in the Temple of Peace,[1529] and other public buildings of his. They had before been forcibly carried off by Nero,[1530] and brought to Rome, and arranged by him in the reception-rooms of his Golden Palace.[1531] In addition to these, there are several other artists, of about equal celebrity, but none of whom have produced any first-rate works; Ariston,[1532] who was principally employed in chasing silver, Callides, Ctesias, Cantharus of Sicyon,[1533] Diodorus, a pupil of Critias, Deliades, Euphorion, Eunicus,[1534] and Hecatæus,[1535] all of them chasers in silver; Lesbocles, also, Prodorus, Pythodicus, and Polygnotus,[1536] one of the most celebrated painters; also two other chasers in silver, Stratonicus,[1537] and Scymnus, a pupil of Critias. I shall now enumerate those artists who have executed works of the same class:— Apollodorus,[1538] for example, Antrobulus, Asclepiodorus, and Aleuas, who have executed statues of philosophers. Apellas[1539] has left us some figures of females in the act of adoration; Antignotus, a Perixyomenos,[1540] and figures of the Tyrannicides, already mentioned. Antimachus and Athenodorus made some statues of females of noble birth; Aristodemus[1541] executed figures of wrestlers, two-horse chariots with the charioteers, philosophers, aged women, and a statue of King Seleucus:[1542] his Doryphoros,[1543] too, possesses his characteristic gracefulness. There were two artists of the name of Cephisodotus:[1544] the earlier of them made a figure of Mercury nursing Father Liber[1545] when an infant; also of a man haranguing, with the hand elevated, the original of which is now unknown. The younger Cephisodotus executed statues of philosophers. Colotes,[1546] who assisted Phidias in the Olympian Jupiter, also executed statues of philosophers; the same, too, with Cleon,[1547] Cenchramis, Callicles,[1548] and Cepis. Chalcosthenes made statues of comedians and athletes. Daïppus[1549] executed a Perixyomenos.[1550] Daïphron, Democritus,[1551] and Dæmon made statues of philosophers. Epigonus, who has attempted nearly all the above-named classes of works, has distinguished himself more particularly by his Trumpeter, and his Child in Tears, caressing its murdered mother. The Woman in Admiration, of Eubulus, is highly praised; and so is the Man, by Eubulides,[1552] reckoning on his Fingers. Micon[1553] is admired for his athletes; Menogenes, for his four-horse chariots. Niceratus,[1554] too, who attempted every kind of work that had been executed by any other artist, made statues of Alcibiades and of his mother Demarate,[1555] who is represented sacrificing by the light of torches. Tisicrates[1556] executed a two-horse chariot in brass, in which Piston afterwards placed the figure of a female. Piston also made the statues of Mars and Mercury, which are in the Temple of Concord at Rome. No one can commend Perillus;[1557] more cruel even than the tyrant Phalaris[1558] himself, he made for him a brazen bull, asserting that when a man was enclosed in it, and fire applied beneath, the cries of the man would resemble the roaring of a bull: however, with a cruelty in this instance marked by justice, the experiment of this torture was first tried upon himself. To such a degree did this man degrade the art of representing gods and men, an art more adapted than any other to refine the feelings! Surely so many persons had not toiled to perfect it in order to make it an instrument of torture! Hence it is that the works of Perillus are only preserved, in order that whoever sees them, may detest the hands that made them. Sthennis[1559] made the statues of Ceres, Jupiter, and Minerva, which are now in the Temple of Concord; also figures of matrons weeping, adoring, and offering sacrifice; Simon[1560] executed figures of a dog and an archer. Stratonicus,[1561] the chaser in silver, made some figures of philosophers; and so did both of the artists named Scopas.[1562] The following artists have made statues of athletes, armed men, hunters, and sacrifices—Baton,[1563] Euchir,[1564] Glaucides,[1565] Heliodorus,[1566] Hicanus, Leophon, Lyson,[1567] Leon, Menodorus,[1568] Myagrus,[1569] Polycrates, Polyidus,[1570] Pythocritus, Protogenes, a famous painter, whom we shall have occasion to mention hereafter;[1571] Patrocles, Pollis, Posidonius[1572] the Ephesian, who was also a celebrated chaser in silver; Periclymenus,[1573] Philon,[1574] Symenus, Timotheus,[1575] Theomnestus,[1576] Timarchides,[1577] Timon, Tisias, and Thrason.[1578] But of all these, Callimachus is the most remarkable, on account of his surname. Being always dissatisfied with himself, and continually correcting his works, he obtained the name of “Catatexitechnos;”[1579] thus affording a memorable example of the necessity of observing moderation even in carefulness. His Laconian Female Dancers, for instance, is a most correct performance, but one in which, by extreme correctness, he has effaced all gracefulness. It has been said, too, that Callimachus was a painter also. Cato, in his expedition against Cyprus,[1580] sold all the statues that he found there, with the exception of one of Zeno; in which case he was influenced, neither by the value of the metal nor by its excellence as a work of art, but by the fact that it was the statue of a philosopher. I only mention this circumstance casually, that an example[1581] so little followed, may be known. While speaking of statues, there is one other that should not be omitted, although its author is unknown, that of Hercules clothed in a tunic,[1582] the only one represented in that costume in Rome: it stands near the Rostra, and the countenance is stern and expressive of his last agonies, caused by that dress. There are three inscriptions on it; the first of which states that it had formed part of the spoil obtained by L. Lucullus[1583] the general; the second, that his son, while still a minor, dedicated in accordance with a decree of the Senate; the third, that T. Septimius Sabinus, the curule ædile, had it restored to the public from the hands of a private individual. So vast has been the rivalry caused by this statue, and so high the value set upon it. CHAP. 20.—THE DIFFERENT KINDS OF COPPER AND ITS COMBINATIONS. PYROPUS. CAMPANIAN COPPER. We will now return to the different kinds of copper, and its several combinations. In Cyprian copper we have the kind known as “coronarium,”[1584] and that called “regulare,”[1585] both of them ductile. The former is made into thin leaves, and, after being coloured with ox-gall,[1586] is used for what has all the appearance of gilding on the coronets worn upon the stage. The same substance, if mixed with gold, in the proportion of six scruples of gold to the ounce, and reduced into thin plates, acquires a fiery red colour, and is termed “pyropus.”[1587] In other mines again, they prepare the kind known as “regulare,” as also that which is called “caldarium.”[1588] These differ from each other in this respect, that, in the latter, the metal is only fused, and breaks when struck with the hammer, whereas the “regulare” is malleable, or ductile,[1589] as some call it, a property which belongs naturally to all the copper of Cyprus. In the case, however, of all the other mines, this difference between bar copper and cast brass is produced by artificial means. All the ores, in fact, will produce bar or malleable copper when sufficiently melted and purified by heat. Among the other kinds of copper, the palm of excellence is awarded to that of Campania,[1590] which is the most esteemed for vessels and utensils. This last is prepared several ways. At Capua it is melted upon fires made with wood, and not coals, after which it is sprinkled with cold water and cleansed through a sieve made of oak. After being thus smelted a number of times, Spanish silver-lead is added to it, in the proportion of ten pounds of lead to one hundred pounds of copper; a method by which it is rendered pliable, and made to assume that agreeable colour which is imparted to other kinds of copper by the application of oil and the action of the sun. Many parts, however, of Italy, and the provinces, produce a similar kind of metal; but there they add only eight pounds of lead, and, in consequence of the scarcity of wood, melt it several times over upon coals. It is in Gaul more particularly, where the ore is melted between red-hot stones, that the difference is to be seen that is produced by these variations in the method of smelting. Indeed, this last method scorches the metal, and renders it black and friable. Besides, they only melt it twice; whereas, the oftener this operation is repeated, the better in quality it becomes. (9.) It is also as well to remark that all copper fuses best when the weather is intensely cold. The proper combination for making statues and tablets is as follows: the ore is first melted; after which there is added to the molten metal one third part of second-hand[1591] copper, or in other words, copper that has been in use and bought up for the purpose. For it is a peculiarity of this metal that when it has been some time in use, and has been subject to long-continued friction, it becomes seasoned, and subdued, as it were, to a high polish. Twelve pounds and a half of silver-lead are then added to every hundred pounds of the fused metal. There is also a combination of copper, of a most delicate nature, “mould-copper,”[1592] as it is called; there being added to the metal one tenth part of lead[1593] and one twentieth of silver-lead, this combination being the best adapted for taking the colour known as “Græcænicus.”[1594] The last kind is that known as “ollaria,”[1595] from the vessels that are made of it: in this combination three or four pounds of silver-lead[1596] are added to every hundred pounds of copper. By the addition of lead to Cyprian copper, the purple tint is produced that we see upon the drapery of statues. CHAP. 21.—THE METHOD OF PRESERVING COPPER. Copper becomes covered with verdigris more quickly when cleaned than when neglected, unless it is well rubbed with oil. It is said that the best method of preserving it is with a coating of tar. The custom of making use of copper for monuments, which are intended to be perpetuated, is of very ancient date: it is upon tablets of brass that our public enactments are engraved. CHAP. 22. (10.)—CADMIA. The ores of copper furnish a number of resources[1597] that are employed in medicine; indeed, all kinds of ulcers are healed thereby with great rapidity. Of these, however, the most useful is cadmia.[1598] This substance is formed artificially, beyond a doubt, in the furnaces, also, where they smelt silver, but it is whiter and not so heavy, and by no means to be compared with that from copper. There are several kinds of it. For, as the mineral itself, from which it is prepared artificially, so necessary in fusing copper ore, and so useful in medicine, has the name of “cadmia,”[1599] so also is it found in the smelting-furnaces, where it receives other names, according to the way in which it is formed. By the action of the flame and the blast, the more attenuated parts of the metal are separated, and become attached, in proportion to their lightness, to the arched top and sides of the furnace. These flakes are the thinnest near the exterior opening of the furnace, where the flame finds a vent, the substance being called “capnitis;”[1600] from its burnt appearance and its extreme lightness it resembles white ashes. The best is that which is found in the interior, hanging from the arches of the chimney, and from its form and position named “botryitis.”[1601] It is heavier than the first-mentioned kind, but lighter than those which follow. It is of two different colours: the least valuable is ash-coloured, the better kind being red, friable, and extremely useful as a remedy for affections of the eyes. A third kind of cadmia is that found on the sides of the furnace, and which, in consequence of its weight, could not reach the arched vaults of the chimney. This species is called “placitis,”[1602] in reference to its solid appearance, it presenting a plane surface more like a solid crust than pumice, and mottled within. Its great use is, for the cure of itch-scab, and for making wounds cicatrize. Of this last there are two varieties, the “onychitis,” which is almost entirely blue on the exterior, and spotted like an onyx within; and the “ostracitis,”[1603] which is quite black and more dirty than the others, but particularly useful for healing wounds. All the species of cadmia are of the best quality from the furnaces of Cyprus. When used in medicine it is heated a second time upon a fire of pure charcoal, and when duly incinerated, is quenched in Aminean[1604] wine, if required for making plasters, but in vinegar, if wanted for the cure of itch-scab. Some persons first pound it, and then burn it in earthen pots; which done, they wash it in mortars and then dry it. Nymphodorus[1605] recommends that the most heavy and dense pieces of mineral cadmia that can be procured, should be burnt upon hot coals and quenched in Chian wine; after which, it must be pounded and then sifted through a linen cloth. It is then pulverized in a mortar and macerated in rain water, the sediment being again pounded until it is reduced to the consistency of ceruse, and presents no grittiness to the teeth. Iollas[1606] recommends the same process; except that he selects the purest specimens of native cadmia. CHAP. 23.—FIFTEEN REMEDIES DERIVED FROM CADMIA. TEN MEDICINAL EFFECTS OF CALCINED COPPER. Cadmia[1607] acts as a desiccative, heals wounds, arrests discharges, acts detergently upon webs and foul incrustations of the eyes, removes eruptions, and produces, in fact, all the good effects which we shall have occasion to mention when speaking of lead. Copper too, itself, when calcined, is employed for all these purposes; in addition to which it is used for white spots and cicatrizations upon the eyes. Mixed with milk, it is curative also of ulcers upon the eyes; for which purpose, the people in Egypt make a kind of eye-salve by grinding it upon whet stones. Taken with honey, it acts as an emetic. For these purposes, Cyprian copper is calcined in unbaked earthen pots, with an equal quantity of sulphur; the apertures of the vessel being well luted, and it being left in the furnace until the vessel itself has become completely hardened. Some persons add salt, and others substitute alum[1608] for sulphur; others, again, add nothing, but merely sprinkle the copper with vinegar. When calcined, it is pounded in a mortar of Thebaic stone,[1609] after which it is washed with rain water, and then pounded with a large quantity of water, and left to settle. This process is repeated until the deposit has gained the appearance of minium;[1610] after which it is dried in the sun, and put by for keeping in a box made of copper. CHAP. 24. (11.)—THE SCORIA OF COPPER. The scoria, too, of copper is washed in the same manner; but the action of it is less efficacious than that of copper itself. The flower, too, of copper[1611] is also used in medicine; a substance which is procured by fusing copper, and then removing it into another furnace, where the repeated action of the bellows makes the metal separate into small scales, like the husks of millet, and known as “flower of copper.” These scales are also separated, when the cakes of metal are plunged into water: they become red, too, like the scales of copper known as “lepis,”[1612] by means of which the genuine flower of copper is adulterated, it being also sold under that name. This last is made by hammering nails that are forged from the cakes of metal. All these processes are principally carried on in the furnaces of Cyprus; the great difference between these substances being, that this lepis is detached from the cakes by hammering, whereas the flower falls off spontaneously. CHAP. 25.—STOMOMA OF COPPER; FORTY-SEVEN REMEDIES. There is another finer kind of scale which is detached from the surface of the metal, like a very fine down, and known as “stomoma.”[1613] But of all these substances, and even of their names, the physicians, if I may venture so to say, are quite ignorant, as appears by the names they give them; so unacquainted are they with the preparation of medicaments, a thing that was formerly considered the most essential part of their profession.[1614] At the present day, whenever they happen to find a book of recipes, if they wish to make any composition from these substances, or, in other words, to make trial of the prescription at the expense of their unhappy patients, they trust entirely to the druggists,[1615] who spoil everything by their fraudulent adulterations. For this long time past, they have even purchased their plasters and eye-salves ready made, and the consequence is, that the spoiled or adulterated wares in the druggists’ shops are thus got rid of. Both lepis and flower of copper are calcined in shallow earthen or brazen pans; after which they are washed, as described above,[1616] and employed for the same purposes; in addition to which, they are used for excrescences in the nostrils and in the anus, as also for dullness of the hearing, being forcibly blown into the ears through a tube. Incorporated with meal, they are applied to swellings of the uvula, and, with honey, to swellings of the tonsils. The scales prepared from white copper are much less efficacious than those from Cyprian copper. Sometimes they first macerate the nails and cakes of copper in a boy’s urine; and in some instances, they pound the scales, when detached, and wash them in rain water. They are then given to dropsical patients, in doses of two drachmæ, with one semisextarius of honied wine: they are also made into a liniment with fine flour. CHAP. 26.—VERDIGRIS; EIGHTEEN REMEDIES. Verdigris[1617] is also applied to many purposes, and is prepared in numerous ways. Sometimes it is detached already formed, from the mineral from which copper is smelted: and sometimes it is made by piercing holes in white copper, and suspending it over strong vinegar in casks, which are closed with covers; it being much superior if scales of copper are used for the purpose. Some persons plunge vessels themselves, made of white copper, into earthen pots filled with vinegar, and scrape them at the end of ten days. Others, again, cover the vessels with husks of grapes,[1618] and scrape them in the same way, at the end of ten days. Others sprinkle vinegar upon copper filings, and stir them frequently with a spatula in the course of the day, until they are completely dissolved. Others prefer triturating these filings with vinegar in a brazen mortar: but the most expeditious method of all is to add to the vinegar shavings of coronet copper.[1619] Rhodian verdigris, more particularly, is adulterated with pounded marble; some persons use pumice-stone or gum. The adulteration, however, which is the most difficult to detect, is made with copperas;[1620] the other sophistications being detected by the crackling of the substance when bitten with the teeth. The best mode of testing it is by using an iron fire-shovel; for when thus subjected to the fire, if pure, the verdigris retains its colour, but if mixed with copperas, it becomes red. The fraud may also be detected by using a leaf of papyrus, which has been steeped in an infusion of nut-galls; for it becomes black immediately upon the genuine verdigris being applied. It may also be detected by the eye; the green colour being unpleasant to the sight. But whether it is pure or adulterated, the best method is first to wash and dry it, and then to burn it in a new earthen vessel, turning it over until it is reduced to an ash;[1621] after which it is pounded and put by for use. Some persons calcine it in raw earthen vessels, until the earthenware becomes thoroughly baked: others again add to it male frankincense.[1622] Verdigris is washed, too, in the same manner as cadmia. It affords a most useful ingredient for eye-salves, and from its mordent action is highly beneficial for watery humours of the eyes. It is necessary, however, to wash the part with warm water, applied with a fine sponge, until its mordency is no longer felt. CHAP. 27.—HIERACIUM. “Hieracium”[1623] is the name given to an eye-salve, which is essentially composed of the following ingredients; four ounces of sal ammoniac, two of Cyprian verdigris, the same quantity of the kind of copperas which is called “chalcanthum,”[1624] one ounce of misy[1625] and six of saffron; all these substances being pounded together with Thasian vinegar and made up into pills. It is an excellent remedy for incipient glaucoma and cataract, as also for films upon the eyes, eruptions, albugo, and diseases of the eye-lids. Verdigris, in a crude state, is also used as an ingredient in plasters for wounds. In combination with oil, it is wonderfully efficacious for ulcerations of the mouth and gums, and for sore lips. Used in the form of a cerate, it acts detergently upon ulcers, and promotes their cicatrization. Verdigris also consumes the callosities of fistulas and excrescences about the anus, either used by itself, applied with sal ammoniac, or inserted in the fistula in the form of a salve. The same substance, kneaded with one third part of resin of turpentine, removes leprosy. CHAP. 28. (12.)—SCOLEX OF COPPER; EIGHTEEN REMEDIES. There is another kind of verdigris also, which is called “scolex.”[1626] It is prepared by triturating in a mortar of Cyprian copper, alum and salt, or an equal quantity of nitre, with the very strongest white vinegar. This preparation is only made during the hottest days of the year, about the rising of the Dog-star. The whole is triturated until it becomes green, and assumes the appearance of small worms, to which it owes its name. This repulsive form is corrected by mixing the urine of a young child, with twice the quantity of vinegar. Scolex is used for the same medicinal purposes as santerna, which we have described as being used for soldering gold,[1627] and they have, both of them, the same properties as verdigris. Native scolex is also procured by scraping the copper ore of which we are about to speak. CHAP. 29.—CHALCITIS: SEVEN REMEDIES. Chalcitis[1628] is the name of a mineral, from which, as well as cadmia, copper is extracted by heat. It differs from cadmia in this respect, that this last is procured from beds below the surface, while chalcitis is detached from rocks that are exposed to the air. Chalcitis also becomes immediately friable, being naturally so soft as to have the appearance of a compressed mass of down. There is also this other distinction between them, that chalcitis is a composition of three other substances, copper, misy, and sory,[1629] of which last we shall speak in their appropriate places.[1630] The veins of copper which it contains are oblong. The most approved kind is of the colour of honey; it is streaked with fine sinuous veins, and is friable and not stony. It is generally thought to be most valuable when fresh, as, when old, it becomes converted into sory. It is highly useful for removing fleshy excrescences in ulcers, for arresting hæmorrhage, and, in the form of a powder, for acting astringently upon the gums, the uvula, and the tonsillary glands.[1631] It is applied in wool, as a pessary, for affections of the uterus; and with leek juice it is formed into plasters for diseases of the genitals. This substance is macerated for forty days in vinegar, in an earthen vessel luted with dung; after which it acquires a saffron colour. When this composition is mixed with an equal proportion of cadmia, it forms the medicament known as “psoricon.”[1632] If two parts of chalcitis are combined with one of cadmia, the medicament becomes more active; and it is rendered still more powerful if vinegar is used instead of wine. For all these purposes, calcined chalcitis is the most efficacious. CHAP. 30.—SORY: THREE REMEDIES. The sory[1633] of Egypt is the most esteemed, being considered much superior to that of Cyprus, Spain, and Africa; although some prefer the sory from Cyprus for affections of the eyes. But from whatever place it comes, the best is that which has the strongest odour, and which, when triturated, becomes greasy, black, and spongy. It is a substance so unpleasant to the stomach, that some persons are made sick merely by its smell. This is the case more particularly with the sory from Egypt. That from other countries, by trituration, acquires the lustre of misy, and is of a more gritty consistency. Held in the mouth, and used as a collutory, it is good for toothache. It is also useful for malignant ulcers of a serpiginous nature. It is calcined upon charcoal, like chalcitis. CHAP. 31.—MISY: THIRTEEN REMEDIES. Some persons have stated, that misy[1634] is formed by the calcination of the mineral, in trenches;[1635] its fine yellow powder becoming mixed with the ashes of the burnt fire-wood. The fact is, however, that though obtained from the mineral, it is already formed, and in compact masses, which require force to detach them. The best is that which comes from the manufactories of Cyprus, its characteristics being, that when broken, it sparkles like gold, and when triturated, it presents a sandy or earthy appearance, like chalcitis. Misy is used in the process of refining gold. Mixed with oil of roses, it is used as an injection for suppurations of the ears, and, in combination with wool, it is applied to ulcers of the head. It also removes inveterate granulations of the eye-lids, and is particularly useful for affections of the tonsils, quinsy, and suppurations. For these maladies, sixteen drachmæ should be mixed with one semisextarius of vinegar, and boiled with the addition of some honey, until it becomes of a viscous consistency; in which state it is applicable to the different purposes above mentioned. When its action is wanted to be modified, a sprinkling of honey is added. A fomentation of misy and vinegar removes the callosities of fistulous ulcers; it also enters into the composition of eye-salves. It arrests hæmorrhage, prevents the spreading of serpiginous and putrid ulcers, and consumes fleshy excrescences. It is particularly useful for diseases of the male generative organs, and acts as a check upon menstruation. CHAP. 32.—CHALCANTHUM, OR SHOEMAKERS’ BLACK: SIXTEEN REMEDIES. The Greeks, by the name[1636] which they have given to it, have indicated the relation between shoemakers’ black[1637] and copper; for they call it “chalcanthum.”[1638] Indeed there is no substance[1639] so singular in its nature. It is prepared in Spain, from the water of wells or pits which contain it in dissolution. This water is boiled with an equal quantity of pure water, and is then poured into large wooden reservoirs. Across these reservoirs there are a number of immovable beams, to which cords are fastened, and then sunk into the water beneath by means of stones; upon which, a slimy sediment attaches itself to the cords, in drops of a vitreous[1640] appearance, somewhat resembling a bunch of grapes. Upon being removed, it is dried for thirty days. It is of an azure colour, and of a brilliant lustre, and is often taken for glass. When dissolved, it forms the black dye that is used for colouring leather. Chalcanthum is also prepared in various other ways: the earth which contains it being sometimes excavated into trenches, from the sides of which globules exude, which become concrete when exposed to the action of the winter frosts. This kind is called “stalagmia,”[1641] and there is none more pure. When its colour is nearly white, with a slight tinge of violet, it is called “lonchoton.”[1642] It is also prepared in pans hollowed out in the rocks; the rain water carrying the slime into them, where it settles and becomes hardened. It is also formed in the same way in which we prepare salt;[1643] the intense heat of the sun separating the fresh water from it. Hence it is that some distinguish two kinds of chalcanthum, the fossil and the artificial; the latter being paler than the former, and as much inferior to it in quality as it is in colour. The chalcitis which comes from Cyprus is the most highly esteemed for the purposes of medicine, being taken in doses of one drachma with honey, as an expellent of intestinal worms. Diluted and injected into the nostrils, it acts detergently upon the brain, and, taken with honey or with hydromel, it acts as a purgative upon the stomach. It removes granulations upon the eye-lids, and is good for pains and films upon the eyes; it is curative also of ulcerations of the mouth. It arrests bleeding at the nostrils, and hæmorrhoidal discharges. In combination with seed of hyoscyamus, it brings away splinters of broken bones. Applied to the forehead with a sponge, it acts as a check upon defluxions of the eyes. Made up into plasters, it is very efficacious as a detergent for sores and fleshy excrescences in ulcers. The decoction of it, by the contact solely, is curative of swellings of the uvula. It is laid with linseed upon plasters which are used for relieving pains. The whitish kind is preferred to the violet in one instance only, for the purpose of being blown into the ears, through a tube, to relieve deafness. Applied topically by itself, it heals wounds; but it leaves a discoloration upon the scars. It has been lately discovered, that if it is sprinkled upon the mouths of bears and lions in the arena, its astringent action is so powerful as to deprive the animals of the power of biting. CHAP. 33. (13.)—POMPHOLYX. The substances called pompholyx[1644] and spodos[1645] are also found in the furnaces of copper-smelting works; the difference between them being, that pompholyx is disengaged by washing, while spodos is not washed. Some persons have called the part which is white and very light “pompholyx,” and say that it is the ashes of copper and cadmia; whereas spodos is darker and heavier, being a substance scraped from the walls of the furnace, mixed with extinguished sparks from the metal, and sometimes with the residue of coals. When vinegar is combined with it, pompholyx emits a coppery smell, and if it is touched with the tongue, the taste is most abominable. It is useful as an ingredient in ophthalmic preparations for all diseases of the eyes, as also for all the purposes for which spodos is used; this last only differing from it in its action being less powerful. It is also used for plasters, when required to be gently cooling and desiccative. For all these purposes it is more efficacious when it has been moistened with wine. CHAP. 34.—SPODOS: FIVE REMEDIES. The Cyprian spodos[1646] is the best. It is formed by fusing cadmia with copper ore. This substance, which is the lightest part of the metal disengaged by fusion, escapes from the furnace, and adheres to the roof, being distinguished from the soot by the whiteness of its colour. Such parts of it as are less white are indicative of incomplete combustion, and it is this which some persons call “pompholyx.” Such portions of it as are of a more reddish colour are possessed of a more energetic power, and are found to be so corrosive, that if it touches the eyes, while being washed, it will cause blindness. There is also a spodos of a honey colour, an indication that it contains a large proportion of copper. All the different kinds, however, are improved by washing; it being first skimmed with a feather,[1647] and afterwards submitted to a more substantial washing, the harder grains being removed with the finger. That, too, which has been washed with wine is more modified in its effects; there being also some difference according to the kind of wine that is used. When it has been washed with weak wine the spodos is considered not so beneficial as an ingredient in medicaments for the eyes; but the same kind of preparation is more efficacious for running sores, and for ulcers of the mouth attended with a discharge of matter, as well as in all those remedies which are used for gangrene. There is also a kind of spodos, called “lauriotis,”[1648] which is made in the furnaces where silver is smelted. The kind, however, that is best for the eyes, it is said, is that produced in the furnaces for smelting gold. Indeed there is no department of art in which the ingenuity of man is more to be admired; for it has discovered among the very commonest objects, a substance that is in every way possessed of similar properties. CHAP. 35.—FIFTEEN VARIETIES OF ANTISPODOS. The substance called “antispodos”[1649] is produced from the ashes of the fig-tree or wild fig, or of leaves of myrtle, together with the more tender shoots of the branches. The leaves, too, of the wild olive[1650] furnish it, the cultivated olive, the quince-tree, and the lentisk; unripe mulberries also, before they have changed their colour, dried in the sun; and the foliage of the box, pseudo-cypirus,[1651] bramble, terebinth and œnanthe.[1652] The same virtues have also been found in the ashes of bull-glue[1653] and of linen cloth. All these substances are burnt in a pot of raw earth, which is heated in a furnace, until the earthenware is thoroughly baked. CHAP. 36.—SMEGMA. In the copper forges also smegma[1654] is prepared. When the metal is liquefied and thoroughly smelted, charcoal is added to it and gradually kindled; after which, upon it being suddenly acted upon by a powerful pair of bellows, a substance is disengaged like a sort of copper chaff. The floor on which it is received ought to be prepared with a stratum of coal-dust. CHAP. 37.—DIPHRYX. There is another product of these furnaces, which is easily distinguished from smegma, and which the Greeks call “diphryx,”[1655] from its being twice calcined. This substance is prepared from three different sources. It is prepared, they say, from a mineral pyrites, which is heated in the furnace until it is converted by calcination into a red earth. It is also made in Cyprus, from a slimy substance extracted from a certain cavern there, which is first dried and then gradually heated, by a fire made of twigs. A third way of making it, is from the residue in the copper-furnaces that falls to the bottom. The difference between the component parts of the ore is this: the copper itself runs into the receivers, the scoriæ make their escape from the furnace, the flower becomes sublimated, and the diphryx remains behind. Some say that there are certain globules in the ore, while being smelted, which become soldered together; and that the rest of the metal is fused around it, the mass itself not becoming liquefied, unless it is transferred to another furnace, and forming a sort of knot, as it were, in the metal. That which remains after the fusion, they say, is called “diphryx.” Its use in medicine is similar to that of the substances mentioned above;[1656] it is desiccative, removes morbid excrescenses, and acts as a detergent. It is tested by placing it on the tongue, which ought to be instantly parched by it, a coppery flavour being perceptible. CHAP. 38.—PARTICULARS RELATIVE TO THE SERVILIAN TRIENS. We must not neglect to mention one other very remarkable fact relative to copper. The Servilian family, so illustrious in our annals, nourishes with gold and silver a copper triens,[1657] which devours them both. The origin and nature of this coin is to me incomprehensible;[1658] but I will quote the very words of the story, as given by old Messala[1659] himself—“The family of the Servilii is in possession of a sacred triens, to which they offer every year a sacrifice, with the greatest care and magnificence; the triens itself, they say, appears sometimes to increase in size and sometimes to diminish; changes which indicate the coming advancement or decadence of the family.” CHAP. 39 (14).—IRON ORES. Next to copper we must give an account of the metal known as iron, at the same time the most useful and the most fatal instrument in the hand of mankind. For by the aid of iron we lay open the ground, we plant trees, we prepare our vineyard-trees,[1660] and we force our vines each year to resume their youthful state, by cutting away their decayed branches. It is by the aid of iron that we construct houses, cleave rocks, and perform so many other useful offices of life. But it is with iron also that wars, murders, and robberies are effected, and this, not only hand to hand, but from a distance even, by the aid of missiles and winged weapons, now launched from engines, now hurled by the human arm, and now furnished with feathery wings. This last I regard as the most criminal artifice that has been devised by the human mind; for, as if to bring death upon man with still greater rapidity, we have given wings to iron and taught it to fly.[1661] Let us therefore acquit Nature of a charge that here belongs to man himself.[1662] Indeed there have been some instances in which it has been proved that iron might be solely used for innocent purposes. In the treaty which Porsena granted to the Roman people, after the expulsion of the kings, we find it expressly stipulated, that iron shall be only employed for the cultivation of the fields; and our oldest authors inform us, that in those days it was considered unsafe to write with an iron pen.[1663] There is an edict extant, published in the third consulship of Pompeius Magnus, during the tumults that ensued upon the death of Clodius, prohibiting any weapon from being retained in the City. CHAP. 40.—STATUES OF IRON; CHASED WORKS IN IRON. Still, however, human industry has not failed to employ iron for perpetuating the honours of more civilized life. The artist Aristonidas, wishing to express the fury of Athamas subsiding into repentance, after he had thrown his son Learchus from the rock,[1664] blended copper and iron, in order that the blush of shame might be more exactly expressed, by the rust of the iron making its appearance through the shining substance of the copper; a statue which still exists at Rhodes. There is also, in the same city, a Hercules of iron, executed by Alcon,[1665] the endurance displayed in his labours by the god having suggested the idea. We see too, at Rome, cups of iron consecrated in the Temple of Mars the Avenger.[1666] Nature, in conformity with her usual benevolence, has limited the power of iron, by inflicting upon it the punishment of rust; and has thus displayed her usual foresight in rendering nothing in existence more perishable, than the substance which brings the greatest dangers upon perishable mortality. CHAP. 41.—THE DIFFERENT KINDS OF IRON, AND THE MODE OF TEMPERING IT. Iron ores are to be found almost everywhere; for they exist even in the Italian island of Ilva,[1667] being easily distinguished by the ferruginous colour of the earth. The method of working the ore is the same as that employed in the case of copper. In Cappadocia, however, it is peculiarly questionable whether this metal is present due to the water or to the earth; because, when the latter has been saturated with the water of a certain river, it yields, and then only, an iron that may be obtained by smelting. There are numerous varieties of iron ore; the chief causes of which arise from differences in the soil and in the climate. Some earths produce a metal that is soft, and nearly akin to lead; others an iron that is brittle and coppery, the use of which must be particularly avoided in making wheels or nails, the former kind being better for these purposes. There is another kind, again, which is only esteemed when cut into short lengths, and is used for making hobnails;[1668] and another which is more particularly liable to rust. All these varieties are known by the name of “strictura,”[1669] an appellation which is not used with reference to the other metals, and is derived from the steel that is used for giving an edge.[1670] There is a great difference, too, in the smelting; some kinds producing knurrs of metal, which are especially adapted for hardening into steel, or else, prepared in another manner, for making thick anvils or heads of hammers. But the main difference results from the quality of the water into which the red-hot metal is plunged from time to time. The water, which is in some places better for this purpose than in others, has quite ennobled some localities for the excellence of their iron, Bilbilis,[1671] for example, and Turiasso[1672] in Spain, and Comum[1673] in Italy; and this, although there are no iron mines in these spots. But of all the different kinds of iron, the palm of excellence is awarded to that which is made by the Seres,[1674] who send it to us with their tissues and skins;[1675] next to which, in quality, is the Parthian[1676] iron. Indeed, none of the other kinds of iron are made of the pure hard metal, a softer alloy being welded with them all. In our part of the world, a vein of ore is occasionally found to yield a metal of this high quality, as in Noricum[1677] for instance; but, in other cases, it derives its value from the mode of working it, as at Sulmo,[1678] for example, a result owing to the nature of its water, as already stated. It is to be observed also, that in giving an edge to iron, there is a great difference between oil-whetstones and water-whetstones,[1679] the use of oil producing a much finer edge. It is a remarkable fact, that when the ore is fused, the metal becomes liquefied like water, and afterwards acquires a spongy, brittle texture. It is the practice to quench smaller articles made of iron with oil, lest by being hardened in water they should be rendered brittle. Human blood revenges itself upon iron; for if the metal has been once touched by this blood it is much more apt to become rusty. CHAP. 42.—THE METAL CALLED LIVE IRON. We shall speak of the loadstone in its proper place,[1680] and of the sympathy which it has with iron. This is the only metal that acquires the properties of that stone, retaining them for a length of time, and attracting other iron, so that we may sometimes see a whole chain formed of these rings. The lower classes, in their ignorance, call this “live iron,” and the wounds that are made by it are much more severe. This mineral is also found in Cantabria, not in continuous strata, like the genuine loadstone, but in scattered fragments, which they call “bullationes.”[1681] I do not know whether this species of ore is proper also for the fusion of glass,[1682] as no one has hitherto tried it; but it certainly imparts the same property as the magnet to iron. The architect Timochares,[1683] began to erect a vaulted roof of loadstone, in the Temple of Arsinoë,[1684] at Alexandria, in order that the iron statue of that princess might have the appearance of hanging suspended in the air:[1685] his death, however, and that of King Ptolemæus, who had ordered this monument to be erected in honour of his sister, prevented the completion of the project. CHAP. 43. (15.)—METHODS OE PREVENTING RUST. Of all metals, the ores of iron are found in the greatest abundance. In the maritime parts of Cantabria[1686] which are washed by the Ocean, there is a steep and lofty mountain, which, however incredible it may appear, is entirely composed of this metal, as already stated in our description of the parts bordering upon the Ocean.[1687] Iron which has been acted upon by fire is spoiled, unless it is forged with the hammer. It is not in a fit state for being hammered when it is red-hot, nor, indeed, until it has begun to assume a white heat. By sprinkling vinegar or alum upon it, it acquires the appearance of copper. It is protected from rust by an application of ceruse, gypsum, and tar; a property of iron known by the Greeks as “antipathia.”[1688] Some pretend, too, that this may be ensured by the performance of certain religious ceremonies, and that there is in existence at the city of Zeugma,[1689] upon the Euphrates, an iron chain, by means of which Alexander the Great constructed a bridge across the river; the links of which that have been replaced are attacked with rust, while the original links are totally exempt from it.[1690] CHAP. 44.—SEVEN REMEDIES DERIVED FROM IRON. Iron is employed in medicine for other purposes besides that of making incisions. For if a circle is traced with iron, or a pointed weapon is carried three times round them, it will preserve both infant and adult from all noxious influences: if nails, too, that have been extracted from a tomb, are driven into the threshold of a door, they will prevent night-mare.[1691] A slight puncture with the point of a weapon, with which a man has been wounded, will relieve sudden pains, attended with stitches in the sides or chest. Some affections are cured by cauterization with red-hot iron, the bite of the mad dog more particularly; for even if the malady has been fully developed, and hydrophobia has made its appearance, the patient is instantly relieved on the wound being cauterized.[1692] Water in which iron has been plunged at a white heat, is useful, as a potion, in many diseases, dysentery[1693] more particularly. CHAP. 45.—FOURTEEN REMEDIES DERIVED FROM RUST. Rust itself, too, is classed among the remedial substances; for it was by means of it that Achilles cured Telephus, it is said, whether it was an iron weapon or a brazen one that he used for the purpose. So it is, however, that he is represented in paintings detaching the rust with his sword.[1694] The rust of iron is usually obtained for these purposes by scraping old nails with a piece of moistened iron. It has the effect of uniting wounds, and is possessed of certain desiccative and astringent properties. Applied in the form of a liniment, it is curative of alopecy. Mixed with wax and myrtle-oil, it is applied to granulations of the eyelids, and pustules in all parts of the body; with vinegar it is used for the cure of erysipelas; and, applied with lint, it is curative of itch, whitlows on the fingers, and hang-nails. Used as a pessary with wool, it arrests female discharges. Diluted in wine, and kneaded with myrrh, it is applied to recent wounds, and, with vinegar, to condylomatous swellings. Employed in the form of a liniment, it alleviates gout.[1695] CHAP. 46.—SEVENTEEN REMEDIES DERIVED FROM THE SCALES OF IRON. HYGREMPLASTRUM. The scales of iron,[1696] which are procured from a fine point or a sharp edge, are also made use of, being very similar in effect to rust, but more active; for which reason they are employed for defluxions of the eyes. They arrest bleeding, also, more particularly from wounds inflicted with iron; and they act as a check upon female discharges. They are applied, too, for diseases of the spleen, and they arrest hæmorrhoidal swellings and serpiginous ulcers. They are useful also for affections of the eyelids, gradually applied in the form of a fine powder. But their chief recommendation is, their great utility in the form of a hygremplastrum[1697] or wet plaster, for cleansing wounds and fistulous sores, consuming all kinds of callosities, and making new flesh on bones that are denuded. The following are the ingredients: of pitch, six oboli, of Cimolian chalk,[1698] six drachmæ, two drachmæ of pounded copper, the same quantity of scales of iron, six drachmæ of wax, and one sextarius of oil. To these is added some cerate, when it is wanted to cleanse or fill up wounds. CHAP. 47. (16.)—THE ORES OF LEAD. The nature of lead next comes to be considered. There are two kinds of it, the black and the white.[1699] The white is the most valuable: it was called by the Greeks “cassiteros,”[1700] and there is a fabulous story told of their going in quest of it to the islands of the Atlantic, and of its being brought in barks made of osiers, covered with hides.[1701] It is now known that it is a production of Lusitania and Gallæcia.[1702] It is a sand found on the surface of the earth, and of a black colour, and is only to be detected by its weight. It is mingled with small pebbles, particularly in the dried beds of rivers. The miners wash this sand, and calcine the deposit in the furnace. It is also found in the gold mines that are known as “alutiæ,”[1703] the stream of water which is passed through them detaching certain black pebbles, mottled with small white spots and of the same weight[1704] as gold. Hence it is that they remain with the gold in the baskets in which it is collected; and being separated in the furnace, are then melted, and become converted into white lead.[1705] Black lead is not procured in Gallæcia, although it is so greatly abundant in the neighbouring province of Cantabria; nor is silver procured from white lead, although it is from black.[1706] Pieces of black lead cannot be soldered without the intervention of white lead, nor can this be done without employing oil;[1707] nor can white lead, on the other hand, be united without the aid of black lead. White lead was held in estimation in the days even of the Trojan War, a fact that is attested by Homer, who calls it “cassiteros.”[1708] There are two different sources of black lead: it being procured either from its own native ore, where it is produced without the intermixture of any other substance, or else from an ore which contains it in common with silver, the two metals being fused together. The metal which first becomes liquid in the furnace, is called “stannum;”[1709] the next that melts is silver; and the metal that remains behind is galena,[1710] the third constituent part of the mineral. On this last being again submitted to fusion black lead is produced, with a deduction of two-ninths. CHAP. 48. (17.)—STANNUM. ARGENTARIUM. When copper vessels are coated with stannum,[1711] they produce a less disagreeable flavour, and the formation of verdigris is prevented; it is also remarkable, that the weight of the vessel is not increased. As already mentioned,[1712] the finest mirrors were formerly prepared from it at Brundisium, until everybody, our maid-servants even, began to use silver ones. At the present day a counterfeit stannum is made, by adding one-third of white copper to two-thirds of white lead.[1713] It is also counterfeited in another way, by mixing together equal parts of white lead and black lead; this last being what is called “argentarium.”[1714] There is also a composition called “tertiarium,” a mixture of two parts of black lead and one of white: its price is twenty denarii per pound, and it is used for soldering pipes. Persons still more dishonest mix together[1715] equal parts of tertiarium and white lead, and, calling the compound “argentarium,” coat articles with it melted. This last sells at sixty denarii per ten pounds, the price of the pure unmixed white lead being eighty denarii, and of the black seven.[1716] White lead is naturally more dry; while the black, on the contrary, is always moist; consequently the white, without being mixed with another metal, is of no use[1717] for anything. Silver too, cannot be soldered with it, because the silver becomes fused before the white lead. It is confidently stated, also, that if too small a proportion of black lead is mixed with the white, this last will corrode the silver. It was in the Gallic provinces that the method was discovered of coating articles of copper with white lead, so as to be scarcely distinguishable from silver: articles thus plated are known as “incoctilia.”[1718] At a later period, the people of the town of Alesia[1719] began to use a similar process for plating articles with silver, more particularly ornaments for horses, beasts of burden, and yokes of oxen: the merit, however, of this invention belongs to the Bituriges.[1720] After this, they began to ornament their esseda, colisata, and petorita[1721] in a similar manner; and luxury has at last arrived at such a pitch, that not only are their decorations made of silver, but of gold even, and what was formerly a marvel to behold on a cup, is now subjected to the wear and tear of a carriage, and this in obedience to what they call fashion! White lead is tested, by pouring it, melted,[1722] upon paper, which ought to have the appearance of being torn rather by the weight than by the heat of the metal. India has neither copper nor lead,[1723] but she procures them in exchange for her precious stones and pearls. CHAP. 49.—BLACK LEAD. Black lead[1724] is used in the form of pipes and sheets: it is extracted with great labour in Spain, and throughout all the Gallic provinces; but in Britannia[1725] it is found in the upper stratum of the earth, in such abundance, that a law has been spontaneously made, prohibiting any one from working more than a certain quantity of it. The various kinds of black lead are known by the following names—the Ovetanian,[1726] the Caprariensian,[1727] and the Oleastrensian.[1728] There is no difference whatever in them, when the scoria has been carefully removed by calcination. It is a marvellous fact, that these mines, and these only, when they have been abandoned for some time, become replenished, and are more prolific than before. This would appear to be effected by the air, infusing itself at liberty through the open orifices, just as some women become more prolific after abortion. This was lately found to be the case with the Santarensian mine in Bætica;[1729] which, after being farmed at an annual rental of two hundred thousand denarii, and then abandoned, is now rented at two hundred and fifty-five thousand per annum. In the same manner, the Antonian mine in the same province has had the rent raised to four hundred thousand sesterces per annum. It is a remarkable fact, that if we pour water into a vessel of lead, it will not melt; but that if we throw into the water a pebble or a copper quadrans,[1730] the vessel will be penetrated by the fire. CHAP. 50. (18.)—FIFTEEN REMEDIES DERIVED FROM LEAD. Lead is used in medicine, without any addition, for the removal of scars; if it is applied, too, in plates, to the region of the loins and kidneys, in consequence of its cold nature it will restrain the venereal passions, and put an end to libidinous dreams at night, attended with spontaneous emissions, and assuming all the form of a disease. The orator Calvus, it is said, effected a cure for himself by means of these plates, and so preserved his bodily energies for labour and study. The Emperor Nero—for so the gods willed it—could never sing to the full pitch of his voice, unless he had a plate of lead upon his chest; thus showing us one method of preserving the voice.[1731] For medicinal purposes the lead is melted in earthen vessels; a layer of finely powdered sulphur being placed beneath, very thin plates of lead are laid upon it, and are then covered with a mixture of sulphur and iron. While it is being melted, all the apertures in the vessel should be closed, otherwise a noxious vapour is discharged from the furnace, of a deadly nature, to dogs in particular. Indeed, the vapours from all metals destroy flies and gnats; and hence it is that in mines there are none of those annoyances.[1732] Some persons, during the process, mix lead-filings with the sulphur, while others substitute ceruse for sulphur. By washing, a preparation is made from lead, that is much employed in medicine: for this purpose, a leaden mortar, containing rain water, is beaten with a pestle of lead, until the water has assumed a thick consistency; which done, the water that floats on the surface is removed with a sponge, and the thicker part of the sediment is left to dry, and is then divided into tablets. Some persons triturate lead-filings in this way, and some mix with it lead ore, or else vinegar, wine, grease, or rose-leaves. Others, again, prefer triturating the lead in a stone mortar, one of Thebaic stone more particularly, with a pestle of lead; by which process a whiter preparation is obtained. As to calcined lead, it is washed, like stibi[1733] and cadmia. Its action is astringent and repressive, and it is promotive of cicatrization. The same substance is also employed in preparations for the eyes, cases of procidence[1734] of those organs more particularly; also for filling up the cavities left by ulcers, and for removing excrescences and fissures of the anus, as well as hæmorrhoidal and condylomatous tumours. For all these purposes the lotion of lead is particularly useful; but for serpiginous or sordid ulcers it is the ashes of calcined lead that are used, these producing the same advantageous effects as ashes of burnt papyrus.[1735] The lead is calcined in thin plates, laid with sulphur in shallow vessels, the mixture being stirred with iron rods or stalks of fennel-giant, until the melted metal becomes calcined; when cold, it is pulverized. Some persons calcine lead-filings in a vessel of raw earth, which they leave in the furnace, until the earthenware is completely baked. Others, again, mix with it an equal quantity of ceruse or of barley, and triturate it in the way mentioned for raw lead; indeed, the lead which has been prepared this way is preferred to the spodium of Cyprus. CHAP. 51.—FIFTEEN REMEDIES DERIVED FROM THE SCORIA OF LEAD. The scoria[1736] of lead is also made use of; the best kind being that which approaches nearest to a yellow colour, without any vestiges of lead, or which has the appearance of sulphur without any terreous particles. It is broken into small pieces and washed in a mortar, until the mortar assumes a yellow colour; after which, it is poured off into a clean vessel, the process being repeated until it deposits a sediment, which is a substance of the greatest utility. It possesses the same properties as lead, but of a more active nature. How truly wonderful is the knowledge which we gain by experiment, when even the very dregs and foul residues of substances have in so many ways been tested by mankind! CHAP. 52.—SPODIUM OF LEAD. A spodium[1737] of lead is also prepared in the same manner as that extracted from Cyprian copper.[1738] It is washed with rain water, in linen of a loose texture, and the earthy parts are separated by pouring it off; after which it is sifted, and then pounded. Some prefer removing the fine powder with a feather, and then triturating it with aromatic wine. CHAP. 53.—MOLYBDÆNA: FIFTEEN REMEDIES. Molybdæna,[1739] which in another place I have called “galena,”[1740] is a mineral compounded of silver and lead. It is considered better in quality the nearer it approaches to a golden colour and the less lead it contains; it is also friable, and of moderate weight. When it is melted with oil, it acquires the colour of liver. It is found adhering also to the furnaces in which gold and silver have been smelted; and in this case it is called “metallic.” The most esteemed kind is that prepared at Zephyrium.[1741] Those kinds, too, are considered the best that are the least earthy and the least stony. It is used in preparing liparæ,[1742] as also for soothing or cooling ulcers, and as an ingredient in plasters, which are applied without ligatures, but are used only as a liniment for producing cicatrization on the bodies of delicate persons and the more tender parts. The composition is made of three pounds of molybdæna, one pound of wax, and three heminæ of oil; to which are added lees of olives, in the case of aged persons. Combined with scum of silver[1743] and scoria of lead, it is employed warm in fomentations for dysentery and tenesmus. CHAP. 54.—PSIMITHIUM, OR CERUSE; SIX REMEDIES. Psimithium,[1744] which is also known as ceruse, is another production of the lead-works. The most esteemed comes from Rhodes. It is made from very fine shavings of lead, placed over a vessel filled with the strongest vinegar; by which means the shavings become dissolved. That which falls into the vinegar is first dried, and then pounded and sifted, after which it is again mixed with vinegar, and is then divided into tablets and dried in the sun, during summer. It is also made in another way; the lead is thrown into jars filled with vinegar, which are kept closed for ten days; the sort of mould that forms upon the surface is then scraped off, and the lead is again put into the vinegar, until the whole of the metal is consumed. The part that has been scraped off is triturated and sifted, and then melted in shallow vessels, being stirred with ladles, until the substance becomes red, and assumes the appearance of sandarach. It is then washed with fresh water, until all the cloudy impurities have disappeared, after which it is dried as before, and divided into tablets. Its properties are the same as those of the substances above mentioned.[1745] It is, however, the mildest of all the preparations of lead; in addition to which, it is also used by females to whiten the complexion.[1746] It is, however, like scum of silver, a deadly poison. Melted a second time, ceruse becomes red. CHAP. 55.—SANDARACH; ELEVEN REMEDIES. We have already mentioned nearly all the properties of sandarach.[1747] It is found both in gold-mines and in silver-mines. The redder it is, the more pure and friable, and the more powerful its odour, the better it is in quality. It is detergent, astringent, heating, and corrosive, but is most remarkable for its septic properties. Applied topically with vinegar, it is curative of alopecy. It is also employed as an ingredient in ophthalmic preparations. Used with honey, it cleanses the fauces and makes the voice more clear and harmonious. Taken with the food, in combination with turpentine, it is a pleasant cure for cough and asthma. In the form of a fumigation also, with cedar, it has a remedial effect upon those complaints.[1748] CHAP. 56.—ARRHENICUM. Arrhenicum,[1749] too, is procured from the same sources. The best in quality is of the colour of the finest gold; that which is of a paler hue, or resembling sandarach, being less esteemed. There is a third kind also, the colour of which is a mixture of that of gold and of sandarach. The last two kinds are both of them scaly, but the other is dry and pure, and divides into delicate long veins.[1750] This substance has the same virtues as the one last mentioned, but is more active in its effects. Hence it is that it enters into the composition of cauteries and depilatory preparations. It is also used for the removal of hangnails, polypi of the nostrils, condylomatous tumours, and other kinds of excrescences. For the purpose of increasing its energies, it is heated in a new earthen vessel, until it changes its colour.[1751] SUMMARY.—Remedies, one hundred and fifty-eight. Facts, narratives, and observations, nine hundred and fifteen. ROMAN AUTHORS QUOTED.—L. Piso,[1752] Antias,[1753] Verrius,[1754] M. Varro,[1755] Cornelius Nepos,[1756] Messala,[1757] Rufus,[1758] the Poet Marsus,[1759] Bocchus,[1760] Julius Bassus[1761] who wrote in Greek on Medicine, Sextus Niger[1762] who did the same, Fabius Vestalis.[1763] FOREIGN AUTHORS QUOTED.—Democritus,[1764] Metrodorus[1765] of Scepsis, Menæchmus[1766] who wrote on the Toreutic art, Xenocrates[1767] who did the same, Antigonus[1768] who did the same, Duris[1769] who did the same, Heliodorus[1770] who wrote on the Votive Offerings of the Athenians, Pasiteles[1771] who wrote on Wonderful Works, Timæus[1772] who wrote on the Medicines derived from Metals, Nymphodorus,[1773] Iollas,[1774] Apollodorus,[1775] Andreas,[1776] Heraclides,[1777] Diagoras,[1778] Botrys,[1779] Archidemus,[1780] Dionysius,[1781] Aristogenes,[1782] Democles,[1783] Mnesides,[1784] Xenocrates[1785] the son of Zeno, Theomnestus.[1786]