Chapter 55 of this Book, that he flourished before the burning of the

Temple of Diana at Ephesus, B.C. 356. He is frequently mentioned in the classical writers. See also B. vii. c. 39. [1108] He includes, probably, under this name both Asia Minor and Syria. See a similar passage in Livy, B. xxxix. [1109] This passage is rejected by Sillig as a needless interpolation. [1110] Asia Minor. [1111] King of Pergamus. [1112] Over King Antiochus. [1113] He alludes to the destruction of Corinth, by L. Mummius Achaïcus. [1114] A drinking cup with handles, sacred to Bacchus. See B. xxxiv. c. 25. [1115] Bacchus. [1116] In allusion to the plebeian origin of C. Marius, who was born at the village of Cereatæ, near Arpinum. It is more than probable that the story that he had worked as a common peasant for wages, was an invention of the faction of Sylla. [1117] “Ille arator Arpinas, et manipularis imperator.” [1118] Meaning the first king of that name. He was son of Mithridates IV., king of Pontus. [1119] Appian says that there “was a gold statue of this Mithridates, exhibited in the triumph of Pompey, eight cubits in height.” Plutarch speaks of another statue of the same king, exhibited by Lucullus, six feet in height. [1120] “Compedes.” See Chapter 12 of this Book. [1121] The translation of this passage is somewhat doubtful. We will, therefore, subjoin that of Holland, who adopts the other version. “As we may see by our proud and sumptuous dames, that are but commoners and artizans’ wives, who are forced to make themselves carquans and such ornaments for their shoes, of silver, because the rigour of the statute provided in that case will not permit them to weare the same of gold.” [1122] A rhetorician who taught at Rome in the reign of Augustus. The poet Ovid was one of his pupils. His rival in teaching declamation was Porcius Latro. [1123] Of an improper intimacy with his pupils. [1124] Rings of silver being passed through the prepuce. This practice is described by Celsus, B. vii. c. 25. [1125] “Videret hinc dona fortium fieri, aut in hæc frangi.” [1126] In B. vii. c. 39, and in Chapter 53 of this Book. [1127] “Quatuor paria ab eo omnino facta sunt.” Sillig, in his _Dictionary of Ancient Artists_, finds a difficulty in this passage. “The term ‘omnino’ seems to imply that the productions in question, all of which perished, were the _only_ works executed by this artist; but we find several passages of ancient writers, in which vases, &c. engraved by Mentor, are mentioned as extant. Thus, then, we must conclude, either that the term ‘omnino’ should be understood in the sense of ‘chiefly,’ ‘pre-eminently,’ or that the individuals claiming to possess works of Mentor, were themselves misinformed, or endeavoured to deceive others.” If, however, we look at the word “paria” in a strictly technical sense, the difficulty will probably be removed. Pliny’s meaning seems to be that Mentor made four _pairs_, and no more, of some peculiar kind of vessel probably, and that all these pairs were now lost. He does not say that Mentor did not make other works of art, in _single_ pieces. Thiersch, _Act. Acad. Monac._ v. p. 128, expresses an opinion that the word “omnino” is a corruption, and that in it lies concealed the name of the kind of plate that is meant. [1128] See B. vii. c. 39. [1129] His age and country are unknown. [1130] From Pausanias we learn that he was a statuary and engraver on plate, born at Carthage; but Raoul Rochette thinks that he was a native of Chalcedon. He is mentioned also by Cicero, In Verrem, 4. 14, and in the Culex, l. 66, ascribed by some to Virgil. [1131] His country is uncertain. According to the statements of Pausanias, B. i. c. 28, he must have been a contemporary of Phidias, about Olymp. 84, B.C. 444. He is mentioned also by Propertius, Martial, and Statius. [1132] His birth-place is unknown, but he probably lived about the time of Phidias, and we learn from Pausanias that he was living when the plague ceased at Athens, in B.C. 429. He is mentioned also by Cicero, Ovid, Quintilian, Lucian, and Dionysius of Halicarnassus. [1133] Nothing further is known of this artist. [1134] “Collocavisse verius quam cælasse.” [1135] “Phiala.” [1136] He lived probably about Olymp. 126; but his country is unknown. He is mentioned by Athenæus. See also B. xxxiv. c. 19. [1137] Nothing whatever is known of him, unless indeed he is identical with the Tauriscus mentioned in B. xxxvi. c. 5. [1138] Nothing is known of his age or country. He is also mentioned in B. xxxiv. c. 19. [1139] His age and country are unknown. See B. xxxiv. c. 19. [1140] Nothing further is known of him. See B. xxxiv. c. 19. [1141] See the end of this Book. [1142] Beyond the mention made of him in B. xxxiv. c. 19, no particulars relative to him are known. [1143] Other readings of this name are “Lædus Stratiotes,” “Ledis Thracides,” “Hieris Thracides,” and “Lidistratices.” The Bamberg MS. has “Hedys Trachides.” Salmasius, Hardouin, and Sillig propose “Leostratides,” and Thiersch “Lysistratides.” [1144] Nothing further is known of him. [1145] For the murder of his mother Clytæmnestra. [1146] Nothing is known of this artist. [1147] From Troy. [1148] “Coquos,” literally, “cooks.” [1149] “Cooks in miniature.” [1150] By the process of moulding, probably. [1151] “Crustarius.” Of this artist nothing further is known. [1152] Yellow or brown Ochre, probably. Ajasson thinks that under this name may be included peroxide of iron, hydroxide of iron in a stalactitic and mamillary form, and compact peroxide of iron, imparting a colour to argillaceous earth. [1153] “Scaly and ochrey brown iron ore are decomposed earthy varieties, often soft like chalk; yellow ochre is here included.”—Dana, Syst. Mineral, p. 436. [1154] “Marmorosum.” [1155] “Lucidum.” [1156] “Abacos.” Small compartments or partitions in a square form on the walls of rooms. [1157] See B. vii. c. 57, where he is called an Athenian, whereas he was a native of Thasos. He was one of the most eminent painters of antiquity, and flourished in the age of Pericles. See a further account of him in B. xxxv. c. 35. [1158] Son of Phanochus, and contemporary of Polygnotus. See B. xxxv. c. 25, where it is stated that in conjunction with Polygnotus, he either invented some new colours, or employed them in his paintings on a better plan than that previously adopted. [1159] “It is possible that the ‘cæruleum’ of the ancients may in some cases have been real ultramarine, but properly and in general, it was only copper ochre.”—Beckmann’s Hist. Inv. Vol. I. p. 472. _Bohn’s Edition._ Delafosse identifies it with blue carbonate and hydrocarbonate of copper, one of the two azurites. [1160] “Candidiorem nigrioremve, et crassiorem tenuioremve.” [1161] Beckmann thinks that Pliny is here alluding to an artificial kind of “cæruleum.” “Pliny clearly adds to it an artificial colour, which in my opinion was made in the same manner as our lake; for he speaks of an earth, which when boiled with plants, acquired their blue colour.”—Hist. Inv., Vol. II. p. 480. [1162] Supposed by Hardouin to have been “glastum” or “woad,” the Isatis tinctoria of Linnæus, mentioned in B. xxii. c. 2. [1163] “In suâ coquitur herbâ.” [1164] A blue powder; see Chapter 27 of this Book. Beckmann has the following remarks on this and the preceding lines: “The well-known passage of Pliny in which Lehmann thinks he can with certainty discover cobalt, is so singular a medley that nothing to be depended on can be gathered from it. The author, it is true, where he treats of mineral pigments, seems to speak of a blue sand which produced different shades of blue paint, according as it was pounded coarser or finer. The palest powder was called lomentum, and this Lehmann considers as our powder-blue. I am, however, fully convinced that the _cyanus_ of Theophrastus, the _cæruleum_ of Pliny, and the _chrysocolla_ (see