The Natural History of Pliny, Volume 6 (of 6) by the Elder Pliny

49. Also Beckmann’s Hist. Inv., Vol. II. p. 219, _Bohn’s Edition_.

1678 words  |  Chapter 132

[945] Of doubtful identity. See B. xxxiv. c. 48. [946] See Chapter 19 of this Book. [947] “Thracius lapis.” This stone, which is mentioned also by Nicander, Galen, Simplicius, and Dioscorides, has not been identified. Holland has the following Note on this passage] “Which some take for pit-cole, or sea-cole rather, such as commeth from Newcastle by sea; or rather, a kind of jeat (jet).” In either case, he is probably wide of the mark, neither coal nor jet igniting on the application of water. [948] Or mistletoe. [949] In due succession to gold. [950] See B. xxxiv. cc. 47, 53. [951] “Plumbum nigrum”—“Black lead,” literally] so called by the ancients, in contradistinction to “plumbum album,” “white lead,” our “tin,” probably. [952] Lead ore; identified with “molybdæna” in B. xxxiv. c. 53. Native sulphurate of lead is now known as “galena.” See Beckmann’s Hist. Inv. Vol. II. p. 211, where this passage is commented upon. [953] This Beckmann considers to be the same as the “galena” above mentioned; half-vitrified lead, the “glätte” of the Germans. [954] The specific gravity of lead is 11.352, and of silver only 10.474. [955] From the words μετ’ ἄλλα, “one after another.” [956] It is supposed that these shafts were in the neighbourhood of Castulo, now Cazlona, near Linares in Spain. It was at Castulo that Hannibal married his rich wife Himilce; and in the hills north of Linares there are ancient silver mines still known its _Los Pozos de Anibal._ [957] A mile and a half. [958] The proper reading here, as suggested by Sillig, is not improbably “aquatini,” “water-carriers.” That, however, found in the MSS. is “Aquitani;” but those were a people, not of Spain, but of Gaul. Hardouin suggests that “Accitani” may be the correct reading, a people of that name in Spain being mentioned in B. iii. c. 5. [959] Meaning “raw” silver, apparently. [960] “Alumen.” See B. xxxv. c. 52. [961] Kircher speaks of this being still the case in his time. [962] See Chapter 19 of this Book. [963] “Vomica liquoris æterni.” Mercury or quicksilver becomes solidified and assumes a crystalline texture at 40° below zero. It is found chiefly in the state of sulphuret, which is decomposed by distillation with iron or lime. It is also found in a native state. [964] “Argentum vivum,” “living silver.” [965] Ajasson thinks that this is not to be understood literally, but that Pliny’s meaning is, that mercury is a universal dissolvent. [966] “Permanans tabe dirâ.” [967] The specific gravity of mercury is 13.598, that of hammered gold 19.361. Platinum is only a recent discovery. [968] “Id unum ad se trahit.” [969] “The first use of quicksilver is commonly reckoned a Spanish invention, discovered about the middle of the sixteenth century; but it appears from Pliny, that the ancients were acquainted with amalgam and its use, not only for separating gold and silver from earthy particles, but also for gilding.”—Beckmann, Hist. Inv., Vol. I. p. 15. _Bohn’s Edition._ [970] See the description of the mode of gilding, given in Chapter 20 of this Book. Beckmann has the following remarks on the present passage: “That gold-leaf was affixed to metals by means of quicksilver, with the assistance of heat, in the time of Pliny, we are told by himself in more passages than one. The metal to be gilded was prepared by salts of every kind, and rubbed with pumice-stone in order to clean it thoroughly (see Chapter 20), and to render the surface a little rough. This process is similar to that used at present for gilding with amalgam, by means of heat, especially as amalgamation was known to the ancients. But, to speak the truth, Pliny says nothing of heating the metal _after_ the gold is applied, or of evaporating the quicksilver, but of drying the cleaned metal before the gold is laid on. Had he not mentioned quicksilver, his gilding might have been considered as that with gold leaf by means of heat, _dorure en feuille à feu_, in which the gold is laid upon the metal after it has been cleaned and heated, and strongly rubbed with blood-stone, or polished steel. Felibien (_Principes de l’Architecture._ Paris, 1676, p. 280) was undoubtedly right when he regretted that the process of the ancients, the excellence of which is proved by remains of antiquity, has been lost.”—Hist. Inv. Vol. II. pp. 294, 295. _Bohn’s Edition._ [971] Beckmann finds considerable difficulties in this description—“I acknowledge that this passage I do not fully comprehend. It seems to say that the quicksilver, when the gold was laid on too thin, appeared through it, but that this might be prevented by mixing with the quicksilver the white of an egg. The quicksilver then remained under the gold: a thing which is impossible. When the smallest drop of quicksilver falls upon gilding, it corrodes the noble metal, and produces an empty spot. It is, therefore, incomprehensible to me how this could be prevented by using the white of an egg. Did Pliny himself completely understand gilding? Perhaps he only meant to say that many artists gave out the cold-gilding, where the gold-leaf was laid on with the white of an egg, as gilding by means of heat.”—Hist. Inv. Vol. II. p. 295. [972] Chapter 42 of this Book. See also Chapter 20, in Note 868, to which it has been mentioned as artificial quicksilver. [973] He is speaking of Antimony. [974] From its whiteness. [975] Under the name of “female stimmi,” Ajasson thinks that pure, or native, antimony is meant, more particularly the lamelliform variety, remarkable for its smoothness. He thinks it possible, also, that it may have derived its Greek name “larbason,” or “larbasis,” from its brittleness. [976] Ajasson thinks that under this name, crude antimony or sulphuret of antimony may have been included; as also sulphuret of lead, sulphuret of antimony and copper, and sulphuret of antimony and silver; the last of which is often found covered with an opaque pellicle. [977] “Globis.” The fracture of sulphuret of antimony is, in reality, small subconchoïdal. [978] “Eye dilating.” Belladonna, a preparation from the Atropa belladonna, is now used in medicine for this purpose. A similar effect is attributed in B. xxv. c. 92, to the plant Anagallis. In reality, the application of prepared antimony would contract the eyelids, and so _appear_ to enlarge the eyes. This property is peculiar, Ajasson remarks, to sulphuret of antimony, and sulphuret of antimony and silver. [979] Preparations “for beautifying the eyebrows.” See B. xxi. c. 73, B. xxiii. c. 51, and B. xxxv. c. 56. Omphale, the Lydian queen, who captivated Hercules, is represented by the tragic poet Ion, as using “stimmi” for the purposes of the toilet. It was probably with a preparation of antimony that Jezebel “painted her face, and tired her head.” 2 Kings, ix. 30. The “Kohl” used by the females in Egypt and Persia is prepared from antimony. [980] “Spuma argenti.” See the next Chapter. [981] According to Dioscorides, it was prepared as a cosmetic by enclosing it in a lump of dough, and then burning it in the coals till reduced to a cinder. It was then extinguished with milk and wine, and again placed upon coals, and blown till ignition. [982] As to the “nitrum” of the ancients, see B. xxxi. c. 46. [983] “Flos”—literally the “flower.” [984] “From this passage we may infer that the metal antimony was occasionally seen by the ancients, though not recognized by them as distinct from lead.”—Dana’s System of Mineralogy, p. 418. New York, 1850. [985] Pliny has here mistaken the sense of the word στέαρ, which in the passage of Dioscorides, B. v. c. 99, borrowed probably from the same source, evidently means _dough_, and not grease. [986] From ἕλκω, “to drag”—in consequence of its viscous consistency, Hardouin says. [987] In B. xxxiv. c. 53. [988] Cerates, adipose or oleaginous plasters. See B. xxiii. c. 81. [989] “Spuma argenti.” This he uses as a general name for fused oxide of lead, the Litharge of commerce. [990] Ajasson thinks it possible that the “chrysitis,” or “golden” litharge, may have been the yellow deutoxide of lead; the argyritis, or “silver” litharge, the white variety of the same deutoxide; and the “molybditis,” or “leaden” litharge, a general name for sulphuret of lead and silver; of lead and antimony; of lead, antimony, and bismuth; and of lead, antimony, and copper. Or perhaps, he thinks, they may have been the respective names of yellow or golden litharge, white or silver litharge, and terne. With the latter opinion Delafosse seems to coincide. [991] “Tubulis.” These cakes were probably made in a tubular form. [992] “Vena;” meaning the ore probably in its raw state, and mixed with earth. All these distinctions are probably unfounded. [993] See B. xxxiv. c. 53. [994] Of “Puteolana.” [995] The litharge. [996] The scoria. [997] Nothing whatever is known as to the identity of these varieties of litharge. Indeed the words themselves are spelt in various ways in the respective MSS. [998] In B. xxxiv. c. 53, where he identifies it with “galena,” mentioned in Chapter 31 of this Book. [999] See B. xviii. c. 13, B. xvi. c. 61, and B. xxii. c. 66. [1000] Sal gem, or common salt. [1001] In this Chapter. See note 987 above. [1002] The minium spoken of in this and the following Chapter is our Cinnabar, a bisulphurate of mercury. This ore is the great source of the mercury of commerce, from which it is obtained by sublimation. When pure, it is the same as the manufactured vermilion of commerce. [1003] Intended, no doubt, to be typical of blood and carnage; and indicative of a very low state of civilization. [1004] See B. xxxv. c. 45. [1005] See B. v. c. 31. [1006] See B. xvi. c. 12, and B. xxiv. c. 4. [1007] The same as the miltos mentioned below, “miltos” being the word used by Homer, Il. II. 637. This substance is totally different from the minium of the preceding Chapters, and from that mentioned in c.

Chapters

1. Chapter 1 2. BOOK XXXII. 3. 1. The power of Nature as manifested in antipathies. The 4. 8. Places where fish recognize the human voice. Oracular 5. 10. When sea-fish were first eaten by the people of Rome. The 6. 12. The antipathies and sympathies which exist between certain 7. 13. Amphibious animals. Castoreum: sixty-six remedies and 8. 15. Remedies derived from the aquatic animals, classified 9. 16. Remedies for poisons, and for noxious spells. The dorade: 10. 17. Remedies for the stings of serpents, for the bites of dogs, 11. 18. The sea-frog: six remedies. The river-frog: fifty-two 12. 19. The enhydris: six remedies. The river-crab: fourteen remedies. 13. 20. The sea-calf: ten remedies. The muræna: one remedy. The 14. 21. The various kinds of oysters: fifty-eight remedies and 15. 23. Remedies for alopecy, change of colour in the hair, and 16. 24. Remedies for diseases of the eyes and eyelids. Two remedies 17. 25. Remedies for diseases of the ears. The batia: one remedy. 18. 26. Remedies for tooth-ache. The dog-fish: four remedies. 19. 27. Remedies for lichens, and for spots upon the face. The 20. 28. Remedies for scrofula, imposthumes of the parotid glands, 21. 30. Remedies for pains in the liver and side. The elongated 22. 31. Remedies for diseases of the bowels. Sea-wort: one remedy 23. 32. Remedies for diseases of the spleen, for urinary calculi, 24. 33. Remedies for intestinal hernia, and for diseases of the 25. 34. Remedies for inflamed tumours, and for diseases of the 26. 35. Remedies for incontinence of urine. The ophidion: one 27. 36. Remedies for gout, and for pains in the feet. The beaver: 28. 38. Remedies for fevers. The fish called asellus: one remedy. 29. 42. Methods of arresting hæmorrhage and of letting blood. The 30. 45. Remedies for warts, and for malformed nails. The glanis: 31. 46. Remedies for female diseases. The glauciscus: one 32. 49. Methods of preventing intoxication. The fish called rubellio: 33. 50. Antaphrodisiacs and aphrodisiacs. The hippopotamus: one 34. 52. Other aquatic productions. Adarca or calamochnos: three 35. 53. The names of all the animals that exist in the sea, one 36. BOOK XXXIII. 37. 13. Coins of gold. At what periods copper, gold, and silver, 38. 15. The persons who have possessed the greatest quantity of gold 39. 16. At what period silver first made its appearance upon the arena 40. 17. At what periods there was the greatest quantity of gold and 41. 29. The chrysocolla of the goldsmiths, known also as 42. 30. The marvellous operations of nature in soldering metallic 43. 36. Minium: for what religious purposes it was used by the 44. 40. The various kinds of minium. The use made of it in 45. 44. The different kinds of silver, and the modes of testing 46. 47. Instances of immense wealth. Persons who have possessed 47. 48. At what period the Roman people first made voluntary 48. 50. Instances of the frugality of the ancients in reference 49. 51. At what period silver was first used as an ornament for 50. 52. At what period silver chargers of enormous size were first 51. 55. The most remarkable works in silver, and the names of the 52. 56. Sil: The persons who first used it in painting and the 53. BOOK XXXIV. 54. 9. Which was the first statue of a god made of brass at Rome. 55. 10. The different kinds and forms of statues. Statues at Rome 56. 11. In honour of whom public statues were first erected: in 57. 12. In honour of what foreigners public statues were erected at 58. 13. The first equestrian statues publicly erected at Rome, and 59. 14. At what period all the statues erected by private 60. 16. That there were statuaries in Italy also at an early 61. 19. An account of the most celebrated works in brass, and of 62. 20. The different kinds of copper and its combinations. Pyropus. 63. 23. Fifteen remedies derived from cadmia. Ten medicinal effects 64. 41. The different kinds of iron, and the mode of tempering 65. 46. Seventeen remedies derived from the scales of iron. 66. BOOK XXXV. 67. 3. When shields were first invented with portraits upon them; 68. 5. The commencement of the art of painting. Monochrome 69. 8. At what period foreign paintings were first introduced at 70. 9. At what period painting was first held in high esteem at Rome, 71. 12. Pigments other than those of a metallic origin. Artificial 72. 31. Which colours do not admit of being laid on a wet 73. 33. At what time combats of gladiators were first painted 74. 34. The age of painting; with the names of the more celebrated 75. 38. An effectual way of putting a stop to the singing of 76. 39. Artists who have painted in eucaustics or wax, with 77. 40. The first inventors of various kinds of painting. The 78. 44. Who was the first to mould figures in imitation of the 79. 47. Various kinds of earth. The Puteolan dust, and other 80. 50. Sulphur, and the several varieties of it: fourteen 81. 51. Bitumen, and the several varieties of it: twenty-seven 82. 52. Alumen, and the several varieties of it: thirty-eight 83. 56. Chian earth: three remedies. Selinusian earth: three 84. 57. Cretaceous earths used for scouring cloth. Cimolian earth: 85. 58. Argentaria. Names of freedmen who have either risen to 86. 59. The earth of Galata; of Clypea; of the Baleares; and of 87. BOOK XXXVI. 88. 4. The first artists who excelled in the sculpture of marble, 89. 6. Who were the first to cut marble into slabs, and at what 90. 7. Who was the first to encrust the walls of houses at Rome with 91. 8. At what period the various kinds of marble came into use at 92. 9. The method of cutting marble into slabs. The sand used in 93. 13. Lygdinus; corallitic stone; stone of Alabanda; stone of 94. 23. The fugitive stone. The seven-fold echo. Buildings erected 95. 38. Æthiopic hæmatites. Androdamas: two remedies. Arabian 96. 43. Stones for mortars used for medicinal and other purposes. 97. 54. The various kinds of sand. The combinations of sand with 98. 64. At what period mosaic pavements were first invented. At 99. BOOK XXXVII. 100. 4. Who were the most skilful lapidaries. The finest specimens 101. 6. Jewels displayed at Rome in the triumph of Pompeius 102. 7. At what period murrhine vessels were first introduced at 103. 10. Luxury displayed in the use of crystal. Remedies derived 104. 14. The various precious stones, classified according to their 105. 23. Sardonyx; the several varieties of it. Defects in the 106. 40. Amethystos: four varieties of it. Socondion. Sapenos. 107. 54. Achates: the several varieties of it. Acopos: the remedies 108. 55. Balanites. Batrachitis. Baptes. Beli oculus. Belus. 109. 56. Cadmitis. Callais. Capnitis. Cappadocia. Callaica. 110. 58. Encardia or ariste. Enorchis. Exebenus. Erythallis. 111. 59. Galaxias. Galactitis, leucogæa, leucographitis, or 112. 60. Heliotropium. Hephæstitis. Hermuaidoion. Hexecontalithos. 113. 62. Lepidotis. Lesbias. Leucophthalmos. Leucopœcilos. 114. 63. Memnonia. Media. Meconitis. Mithrax. Morochthos. 115. 65. Oica. Ombria or notia. Onocardia. Oritis or sideritis. 116. 66. Panchrus. Pangonus. Paneros or panerastos. Pontica: four 117. 67. Solis gemma. Sagda. Samothracia. Sauritis. Sarcitis. 118. 68. Trichrus. Thelyrrhizos. Thelycardios or mule. Thracia: 119. 71. Precious stones which derive their names from various parts 120. 72. Precious stones which derive their names from animals. 121. 73. Precious stones which derive their names from other objects. 122. 74. Precious stones that suddenly make their appearance. 123. 77. A comparative view of Nature as she appears in different 124. BOOK XXXII.[1] 125. BOOK XXXIII. 126. BOOK XXXIV. 127. BOOK XXXV. 128. BOOK XXXVI. 129. BOOK XXXVII. 130. Introduction to Vol. III. 131. 480. _Bohn’s Edition_. 132. 49. Also Beckmann’s Hist. Inv., Vol. II. p. 219, _Bohn’s Edition_. 133. 40. It is our red ochre, peroxide of iron, mixed in a greater or less 134. Chapter 36. 135. 295. _Bohn’s Edition._ 136. Chapter 20 of the present Book. On the above passage by Dr. Watson, 137. Chapter 55 of this Book, that he flourished before the burning of the 138. Chapter 26), were the blue copper earth already mentioned, which may 139. 400. Several works of his are also mentioned by Pausanias. 140. 5. Müller and Meyer treat this story of the brazen statue as a fiction. 141. 328. _Bohn’s Edition._ 142. Chapter 32. 143. Chapter 2 of this Book, and B. xxxv. c. 52. 144. Chapter 40 of this Book. 145. 14. He alludes to the cement made of volcanic ashes, now known as 146. Introduction to Vol. III. 147. 19. Sillig, however, is inclined to think that there were _two_ artists 148. 703. His Basilica, a building which served as a court of law and as an 149. Chapter 68 of this Book. 150. Chapter 37. 151. Chapter 55 above. 152. Chapter 48, and “Beli oculus” in Chapter 55, of this Book. 153. Chapter 66 and the Tecolithos of Chapter 68. 154. 480. Of his Tragedies, eighteen are still extant, out of seventy-five, 155. Introduction to the work, i. 1-11.

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