5. Müller and Meyer treat this story of the brazen statue as a fiction.

[1525] Probably the same author that is mentioned at the end of B. xxxiii. See also B. xxxv. c. 36. [1526] The Galli here spoken of were a tribe of the Celts, who invaded Asia Minor, and afterwards uniting with the Greeks, settled in a portion of Bithynia, which hence acquired the name of Gallo-Græcia or Galatia.—B. [1527] See end of B. xxxiii. Attalus I., king of Pergamus, conquered the Galli, B.C. 239. Pyromachus has been mentioned a few lines before, and Stratonicus, in B. xxxiii. c. 55, also by Athenæus. [1528] A native of Carthage. A work of his is mentioned by Cicero, in Verrem 4, 14, and in the Culex, l. 66, attributed to Virgil. See also B. xxxiii. c. 55. [1529] In the Eighth Region of the City. [1530] We are informed by Pausanias, B. x., that Nero carried off from Greece 500 bronze statues of gods and men.—B. [1531] See B. xxxvi. c. 24. [1532] See B. xxxv. c. 55. [1533] Mentioned by Pausanias, B. vi. Many of these artists are altogether unknown. [1534] See B. xxxiii. c. 55. [1535] See B. xxxiii. c. 55. [1536] See B. xxxiii. c. 56, and B. xxxv. c. 35. [1537] Probably the same artist that has been mentioned in the preceding page. [1538] The artist already mentioned as having been represented by Silanion. [1539] Pausanias, B. iii., speaks of his statue of Cynisca, a female who was victor at the Olympic games. Indeed, the victors at these games were frequently represented in a posture resembling that of adoration. [1540] A man “scraping himself,” probably. See Note 1435, page 175. The “Tyrannicides” were Harmodius and Aristogiton. [1541] Tatian mentions an artist of this name. [1542] Sillig thinks that this was Seleucus, king of Babylon, B.C. 312. [1543] See Note 1485 above. [1544] Pausanias, B. viii., gives an account of a statue of Diana, made of Pentelican marble, by this Cephisodotus, a native of Athens; he is supposed to have flourished in the 102nd Olympiad. In the commencement of this Chapter, Pliny has enumerated a Cephisodotus among the artists of the 120th Olympiad.—B. [1545] Bacchus. [1546] The elder artist of this name. See B. xxxv. c. 34. [1547] A native of Sicyon; Pausanias, B. v. cc. 17, 21, informs us that Cleon made a statue of Venus and two statues of Jupiter; he also mentions others of his works in B. vi.—B. [1548] A native of Megara. He made a statue of Diagoras the pugilist, who was victor at the Olympic games, B.C. 464. He is mentioned also by Pausanias. [1549] Probably the same with the “Laïppus” mentioned in the early part of this Chapter. Sillig, Dict. Ancient Artists, considers “Daïppus” to be the right name. [1550] See Note 1540 above. [1551] A native of Sicyon, and pupil of Pison, according to Pausanias, B. vi. c. 3. He flourished about the 100th Olympiad. [1552] Works of his at Athens are mentioned by Pausanias, B. i. c. 2, who also states that he was father of Euchir, the Athenian. [1553] A statuary of Syracuse, son of Niceratus. He made two statues of Hiero II., king of Syracuse, who died B.C. 215. He must not be confounded with the painter and statuary of the same name, mentioned in B. xxxiii. c. 56, and B. xxxv. c. 35. He is mentioned also by Pausanias. [1554] An Athenian, son of Euctemon. He is mentioned also by Tatian, and is supposed by Sillig to have flourished about B.C. 420. [1555] Called Dinomache by Plutarch. [1556] Already mentioned as a successful pupil of Lysippus. [1557] He was probably a native of Agrigentum, and flourished about B.C. 560. The brazen bull of Perillus, and his unhappy fate, are recorded by many of the classical writers, among others by Valerius Maximus, B. ix. cc. 2, 9, and by Ovid, Art. Am. B. i. ll. 653-4.—B. [1558] See B. vii. c. 57. [1559] Mentioned at the commencement of this Chapter. [1560] A statuary of Ægina, mentioned also by Pausanias, B. v. c. 27, in connexion with Dionysius of Argos. He flourished about Olymp. 76. [1561] Already mentioned in B. xxxiii. c. 55, and previously in this Chapter. [1562] “Scopas uterque.” Sillig, Dict. Ancient Artists, expresses an opinion that these words are an interpolation; but in his last edition of Pliny, he thinks with M. Ian, that some words are wanting, expressive of the branch in which these artists excelled. See also B. xxxvi. cc. 5, 14. [1563] He is previously mentioned in this Chapter. See p. 179. [1564] An Athenian artist, son of Eubulides. He is also mentioned by Pausanias. [1565] A Lacedæmonian artist, also mentioned by Pausanias. [1566] See B. xxxvi. c. 4. [1567] Mentioned also by Pausanias, B. i. c. 3. [1568] Probably _not_ the Athenian statuary mentioned by Pausanias, B. ix. c. 7. See Sillig, Dict. Ancient Artists. [1569] A native of Phocis, mentioned also by Vitruvius. [1570] Also a Dithyrambic poet; mentioned by Diodorus Siculus. [1571] In B. xxxv. c. 36. [1572] See B. xxxiii. c. 55. [1573] Mentioned by Tatian as having made the statue of Eutychis. See Pliny, B. vii. c. 3. [1574] He executed a statue of Hephæstion; and an inscription relative to him is preserved by Wheler, Spon, and Chishull. [1575] See B. xxxvi. c. 4. [1576] A native of Sardis; mentioned by Pausanias. [1577] An Athenian, mentioned also by Pausanias. [1578] Strabo mentions some of his productions in the Temple at Ephesus. [1579] “Fritterer away of his works.” He was also an engraver on gold, and a painter. He is spoken of in high terms by Vitruvius, Pausanias, and Dionysius of Halicarnassus. [1580] We have an account of Cato’s honourable conduct on this occasion in Plutarch.—B. See also B. xxix. c. 30. [1581] “Inane exemplum.” Hardouin thinks that this is said in reference to his neglect of the example set by his grandfather, Cato the Censor, who hated the Greeks. See B. vii. c. 31. [1582] In the poisoned garment, which was the eventual cause of his death.—B. [1583] The general who conducted the war against Mithridates.—B. [1584] See B. xxxiii. c. 46. “Chaplet” copper. [1585] “Bar” copper, or “malleable.” [1586] It is very improbable that this effect could be produced by the cause here assigned; but without a more detailed account of the process employed, we cannot explain the change of colour.—B. [1587] Πυρωπὸς, “sparkling like fire.” Similar to, if not identical with, our tinsel. [1588] “Cast brass.” [1589] See Beckmann, Hist. Inv. Vol. I. p. 415. _Bohn’s Edition._ [1590] In the former Editions the whole of the next ten lines, from this word down to “sun” is omitted. It is evident that it has been left out by accident, in consequence of the recurrence of the word “Campano.” The hiatus has been supplied from the Bamberg MS., and the reading is supported by the text of Isidorus, Orig. B. xvi. c. 20, s. 9. [1591] “Collectanei.” [1592] “Formalis.” [1593] “Plumbi nigri”—“black lead,” literally, but not what _we_ mean by that name. [1594] The “Grecian” colour. It does not appear to have been identified, nor does it appear what it has to do with moulds. [1595] “Pot” copper, or brass. [1596] Beckmann is of opinion that this “plumbum argentarium” was a mixture of equal parts of tin and lead. Hist. Inv. Vol. II, p. 220. _Bohn’s Edition._ [1597] Most of these preparations are in reality highly dangerous. Oxides, however, or salts of copper, have been employed internally with success, acting by alvine evacuation and by vomiting. The _Crocus Veneris_ of the old chemists was an oxide of copper. It is still used by the peasants of Silesia, Ajasson says. [1598] It is obvious that the “cadmia” here described must be an essentially different substance from the “cadmia” mentioned in the second Chapter of this Book, that being a natural production, possibly calamine or hydrosilicate or carbonate of zinc; while the “cadmia” of this Chapter is a furnace-calamine, a product of the fusion of the ore of copper, or zinc.—B. It is evident, too, that copper ores, impregnated with zinc or calamine, also passed under this name. See Beckmann, Hist. Inv. Vol. II. pp. 33-35, _Bohn’s Edition_, where this subject is discussed at considerable length: also the treatise by Delafosse, in Lemaire’s Edition of Pliny. [1599] The metal known to us as “cadmium” was discovered by Professor Stromeyer in 1818: it is either associated in its ores with zinc, or forms a native sulphuret. [1600] “Smoky residue.” None of these substances formed in smelting are preserved for medicinal purposes at the present day. Tutty is an impure oxide of zinc. [1601] “Cluster residue.” From its resemblance to a bunch of grapes. [1602] “Caked residue.” [1603] “Shell-formed residue.” [1604] See B. xiv. c. 16. [1605] See end of B. iii. [1606] See end of B. xii. [1607] We have the same account of the medicinal effects of Cadmia, and the other preparations mentioned in this Chapter, given by Dioscorides.—B. [1608] For an account of the “alumen” of the ancients, see B. xxxv. c. 52. [1609] See B. xxxiii. c. 21, and B. xxxvi. c. 13. [1610] See B. xxxiii. c. 37. [1611] “Æris flos.” Ajasson makes some correct remarks upon the difference between the “scoria” and the “flower” of the metal. The former may be considered as consisting of the metal, mixed with a certain proportion of heterogeneous matter, which has been separated during the fusion of the ore, while the latter consists of the pure metal in a state of mechanical division.—B. [1612] From the Greek λεπὶς, “husk,” or “scale.” [1613] Ajasson describes this substance as consisting merely of the pure metal in a state of minute mechanical division; it would appear, therefore, to be scarcely, if at all, different from the articles described in the last Chapter. The word Στόμωμα means a “hard substance,” or “hard scales,” therefore the application of this term to a substance like down, “lanugo,” is perhaps not very appropriate.—B. [1614] Beckmann comments at some length on this passage; Vol. I. p.