Chapter 2 of this Book, and B. xxxv. c. 52.

[1629] Brongniart is of opinion that the “sory” of Pliny is the sulphate of copper, probably with an excess of acid. He informs us that he has received a specimen of a native sulphate of copper from Cuença, in Spain, which possesses all the characteristics of “sory” as here described. He considers it more difficult to ascertain the chemical composition of “misy,” but is disposed to consider it as a mixed sulphate of iron and copper.—B. [1630] In the next two Chapters.—B. [1631] We have a similar account of its medicinal virtues given us by Dioscorides; Celsus also enumerates chalcitis among the corrosives, or cauteries, “quæ exedunt corpus.” He also recommends it for affections of the eyes.—B. [1632] “Sore ointment.” [1633] See Note 1629 above. [1634] See Note 1629 above. Hardouin calls this substance “yellow copperas,” or “Roman vitriol.” [1635] “In scrobibus.” The mineral alluded to is Chalcitis, mentioned in Chapter 29.—B. [1636] Χαλκοῦ ἄνθος. “Flower of copper.”—B. [1637] “Atramentum sutorium.” It was thus called from its being used for colouring leather. Under this name he probably includes green vitriol, or sulphate of the protoxide of iron, and blue vitriol, or sulphate, and hydro-trisulphate of copper, the former of which is, properly, our copperas. See Beckmann, Hist. Inv. Vol. I. p. 181, _et seq._ _Bohn’s Edition._ See also Note 1624 above. [1638] In reality, the “chalcanthum” of Dioscorides was the small scales separated from molten copper by the application of water. See Chapters 24 and 25 above. [1639] Of this kind, probably. See Beckmann, Hist. Inv. Vol. I. p. 182. [1640] From this _vitreous_ appearance of the crystals of vitriol, it is most probable that vitriol derives its name. See Beckmann, Vol. I. p. 184. [1641] “Drop,” or “globule” chalcanthum. [1642] Possibly a corruption of “leucoion,” “violet white.” [1643] He has described the mode of procuring salt, by evaporating the brine in shallow pits, in B. xxxi. c. 39.—B. [1644] It is difficult to ascertain the exact nature of the substances treated of in this Chapter. Ajasson has some judicious remarks upon them, in which he points out what appear to be inconsistencies in the account given of them, and of their relation to each other.—B. Ajasson says that there is no doubt that a mammose or terreous carbonate of copper is meant under these names. These substances are no longer known, but our tutty, or impure oxide of zinc, bears some resemblance to them. [1645] See B. xix. c. 4, and Chapters 34 and 52 of this Book. [1646] A Greek word, signifying “ashes,” or the residuum after combustion.—B. [1647] From the corresponding passage in Dioscorides, there is some doubt whether the account of this process here given is correct.—B. [1648] So called from Laurium, a district in Attica, in which there were silver mines. See Pausanias, B. i.—B. [1649] Meaning “Substitute for spodos.” [1650] See B. xxiii. cc. 38, 63. [1651] See B. xxi. c. 26, and B. xvi. c. 20. [1652] See B. xxi. c. 95. [1653] See B. xi. c. 94.—B. [1654] “Detersive composition.” [1655] From Δὶς φρυγέσθαι.—“being twice calcined.”—B. [1656] The Scoriæ, Cadmia, and Flos, which are described in Chapters 22, 23 and 24.—B. [1657] A Roman coin, equal to the third part of the “as.”—B. [1658] We most fully coincide with Pliny in this sentiment, but we are constrained to differ from him in giving credit to the alleged fact, as he appears to have done.—B. [1659] See the list of authors at the end of this Book. [1660] “Arbusta:” trees on which vines were trained. See B. xvii. c. 35. [1661] Holland has the following Note upon this passage: “O Pliny, what wouldst thou say, if thou didst see and hear the pistols, muskets, culverines, and cannons in these days.” Vol. II. p. 513.—B. [1662] The charge that death is always the work of Nature.—B. [1663] Or “stylus.” [1664] See Ovid, Metam. B. iv. l. 467, _et seq._; and Fasti, B. vi. l. 489, _et seq._—B. [1665] An artist mentioned also by Ovid and Pausanias.—B. And by Virgil. [1666] “Mars Ultor.” In the Forum of Augustus, in the Eighth Region of the City. [1667] The Isle of Elba, which has been celebrated for the extent and the richness of its iron mines both by the ancients and the moderns.—B. Ajasson remarks that it appears to be a solid rock composed of peroxide of iron. [1668] “Clavis caligariis.” See B. viii. c. 44, B. ix. c. 33, and B. xxii. c. 46. [1669] There have been numerous opinions on the meaning of this word, and its signification is very doubtful. Beckmann has the following remarks in reference to this passage:—“In my opinion, this was the name given to pieces of steel completely manufactured and brought to that state which rendered them fit for commerce. At present steel comes from Biscay in cakes, from other places in bars, and both these were formerly called ‘stricturæ,’ because they were employed chiefly for giving sharpness to instruments, or tools, that is, for steeling them. In speaking of other metals, Pliny says that the finished productions at the works were not called ‘stricturæ’ (the case, for example, with copper), though sharpness could be given to instruments with other metals also. The words of Pliny just quoted are read different ways, and still remain obscure. I conjecture that he meant to say, that some steel-works produced things which were entirely of steel, and that others were employed only in steeling—‘ad densandas incudes malleorumve rostra.’ I shall here remark that these ‘stricturæ ferri’ remind us of the ‘striges auri,’ (see B. xxxiii. c. 19), such being the name given to native pieces of gold, which, without being smelted, were used in commerce.”—Hist. Inv. Vol. II. p. 327. _Bohn’s Edition._ [1670] “A stringendâ acie.” The iron was probably formed into thin, long bars, in thickness resembling a steel used for sharpening. The French word _acier_, meaning “steel,” may possibly come from the Latin “acies”—“edge,” as Beckmann has suggested. [1671] Situate at the spot now known as “Bambola,” near Calatayud. The river Salo ran near it, the waters of which, as here mentioned, were celebrated for their power of tempering steel. The poet Martial was a native of this place. [1672] Supposed to be the modern Tarragona. [1673] See B. iii. c. 21. [1674] See B. vi. cc. 20-24, B. vii. c. 2, and B. xii. cc. 1, 41. This Seric iron has not been identified. Ctesias, as quoted by Photius, mentions Indian iron. Sec Beckmann, Vol. II. p. 228. _Bohn’s Edition._ [1675] Thought by Beckmann, quoting from Bottiger, possibly to bear reference to a transfer trade of furs, through Serica, from the North of Asia. See Vol. II. p. 307. As to the Seric tissues, see B. xxxvii. c. 77. [1676] Or “Persian.” The steel of Damascus had in the middle ages a high reputation. [1677] See B. iii. cc. 24, 27. Horace speaks of the “Norican sword” on two occasions.—B. [1678] See B. iii. cc. 9, 17. [1679] See B. xviii. c. 67, and B. xxxvi. c. 38. [1680] B. xxxvi. c. 25. [1681] Properly “bubbles,” or “beads.” [1682] See B. xxxvi. c. 66. In the account of the loadstone referred to above, he informs us that this mineral was employed in the formation of glass.—B. Beckmann is of opinion that Manganese is here alluded to. See Vol. II. p. 237. [1683] Another reading is “Dinochares,” or “Dinocrates,” for an account of whom, see B. v. c. 11, and B. vii. c. 38. [1684] Wife and sister of Ptolemy Philadelphus. See B. vi. c. 33, and B. xxxvi. c. 14. [1685] Some accounts state that the statue was to be of brass, and the head of iron. It is said that the same thing was attempted with respect to the statue of Mahomet, in his tomb at Medina.—B. [1686] We learn from Bowles that the celebrated mine of Sommorostro is still worked for this metal. [1687] See B. iv. c. 34.—B. [1688] Both the reading and the meaning of this passage are very doubtful. [1689] See B. v. c. 21.—B. [1690] We may presume that Pliny supposed that the ancient links had been protected by some of the substances mentioned above, although this is not distinctly stated.—B. Or rather by some religious ceremony as above alluded to. [1691] “Nocturnas lymphationes.”—B. [1692] The _actual_ cautery, as it is termed, is occasionally employed, in certain diseases, by the moderns, but I am not aware that it has been tried in hydrophobia.—B. This precaution is sometimes used by country practitioners, at all events. [1693] I cannot agree with Delafosse in his remark that “this remedy also is much in use for cœliac and other affections at the present day.”—B. It is still recommended by old women in the country, for children more particularly. [1694] There are two versions of this story. In B. xxv. c. 19, Pliny says that Achilles cured Telephus by the application of a plant, which from him received its name. According to the other account, the oracle had declared, that the wound of Telephus, which had been inflicted by Achilles, could only be cured by means of the same weapon which had caused it.—B. [1695] All the statements in this Chapter are to be found in Dioscorides, B. v. c. 93.—B. [1696] The scaly excrescences beaten from iron in the forges, Hardouin says.—B. [1697] From the Greek ὕγρον πλαστρὸν.—B. [1698] See B. xxxv. c. 57.—B. [1699] It is most probable that the “black lead” of Pliny was our lead, and the “white lead” our tin. Beckmann has considered these Chapters at great length, Vol. II. p. 209, _et seq._ _Bohn’s Edition._ [1700] Supposed to have been derived from the Oriental word _Kastîra_. [1701] What is here adduced as a fabulous narrative is not very remote from the truth; the Scilly Isles and Cornwall being the principal sources of the tin now employed in Europe. Small boats, corresponding to the description here given, were very lately still in use among the inhabitants of some parts of the south-west coast of England [and on the Severn]. Pliny has already spoken of these boats in B. vii. c. 57.—B. See also B. iv. c. 30, as to the _coracles_ of the ancient Britons. [1702] The ores of tin are known to exist in Gallicia; but the mines in that country are very scanty compared to those of Cornwall.—B. [1703] “Talutium” is mentioned in B. xxxiii. c. 21. [1704] Tin ore is among the heaviest of minerals, though the specific gravity of the metal is small. M. Hæfer is of opinion that these pebbles contained platinum. [1705] Or tin. The greater fusibility of the tin producing this separation.—B. [1706] We may conclude that the “plumbum nigrum,” or “black lead” of Pliny is the Galena or sulphuret of lead of the moderns; it is frequently what is termed argentiferous, _i.e._ united with an ore of silver, and this in such quantity as to cause it to be worked for the purpose of procuring the silver.—B. See Beckmann, Vol. II. p. 210. [1707] “Instead of oil, workmen use at present ‘colophonium,’ or some other resin.”—Beckmann, Vol. II. p. 223. See also B. xxxiii. c. 20. [1708] Iliad, xi. 25, and xxiii. 561.—B. [1709] Ajasson considers this to be Bismuth; but it is more probable that Beckmann is right in his conclusion, supported by Agricola, Entzel, Fallopius, Savot, Bernia, and Jung, that it was a compound metal, the _Werk_ of the German smelting-houses] a metal not much unlike our pewter, probably. See Beckmann, Hist. Inv. Vol. II. pp. 209, 212, 224. _Bohn’s Edition._ [1710] See B. xxxiii. c. 31, and c. 53 of this Book. [1711] A compound metal, probably, somewhat like pewter. See Note 1709 above. He evidently alludes to the process of “tinning.” [1712] In B. xxxiii. c. 45: where he says that the best mirrors were formerly made of a mixture of stannum and copper.—B. See Beckmann, Hist. Inv. Vol. II. pp. 60-62, 72. [1713] Or tin. [1714] “Silver mixture.” [1715] Such a mixture as this would in reality become _more valuable_ than “argentarium,” as the proportion would be _two-thirds_ of tin and one of lead. How then could the workmen merit the title of dishonest? Beckmann suggests that the tinning ought to have been done with _pure tin_, but that unprincipled artists employed tin mixed with lead. It is most probable, however, that Pliny himself has made a mistake, and that we should read “equal parts of black lead” (our lead); in which case the mixture passed off as “argentarium,” instead of containing _equal_ parts of tin and lead, would contain _five-sixths_ of lead. See Beckmann, Hist. Inv. Vol. II. p. 221. _Bohn’s Edition._ [1716] All these readings are doubtful in the extreme. [1717] As being too brittle, probably; the reason suggested by Beckmann, Vol. II. p. 221. [1718] Literally, “inboiled,” being coated by immersion in the molten tin. [1719] Supposed by Hardouin to have been the town of Alise, in Auxois. [1720] See B. iv. c. 33. [1721] The names of various kinds of carriages, the form of which is now unknown. [1722] Both tin and lead can be fused in paper, when it is closely wrapped around them. [1723] In reality India did and does possess them both; but it is possible that in those days it was not considered worth while to search for them. [1724] The “lead” of the moderns. [1725] Mr. T. Wright, the eminent antiquarian, is of opinion that the extensive Roman lead mines at Shelve, in Shropshire, are here alluded to. See the _Illustrated London News_, Oct. 4, 1856. [1726] Probably from Ovetum, the modern Oviedo.—B. [1727] So called from the island of Capraria. See B. iii. cc. 11, 12, and B. vi. c. 37. [1728] See B. iii. c. 12. [1729] Not in Bætica, as Brotero remarks, but in Lusitania, or Portugal; the modern Santarem.—B. [1730] See Introduction to Vol. III. [1731] This circumstance is mentioned by Suetonius, c. 20.—B. [1732] Hardouin observes, that these insects are never met with in mines; but probably this may depend more upon other causes, than upon the vapours which are supposed to proceed from the metals.—B. [1733] See B. xxxiii. cc. 33, 34. [1734] See B. xx. c. 81, and B. xxiv. c. 73. [1735] “Charta.” See B. xxiv. c. 51. [1736] This, according to Ajasson, is the protoxide, or probably, in some cases, the arseniate of lead.—B. [1737] From σποδὸς, “ashes.”—B. [1738] See Chapter 34 of this Book.—B. [1739] This was probably lead ore in its primary state, when only separated from the stannum, and before it was subjected to fusion for the purpose of obtaining pure lead.—See Beckmann’s Hist. Inv. Vol. II. p. 211. _Bohn’s Edition._ Ajasson identifies it with litharge, or fused oxide of lead, known as gold and silver litharge, from its colour. [1740] See B. xxxiii. c. 31, and Chapter 47 of this Book.—B. [1741] In Cilicia: see B. v. c. 22. He is speaking, no doubt, of the “metallic,” or artificial kind. [1742] A kind of ointment. See B. xxiii. c. 81, and B. xxxiii. c. 35. [1743] Our Litharge. See B. xxxiii. c. 35. [1744] According to Ajasson, this substance is properly a sub-carbonate of lead, commonly called white lead.—B. [1745] Scoria of lead and molybdæna.—B. [1746] Preparations of lead are still used in cosmetics for whitening the complexion. [1747] The Realgar of the moderns, red orpiment, or red sulphuret of arsenic. Pliny has in numerous places spoken of it as a remedy for certain morbid states both of animals and vegetables, B. xvii. c. 47, B. xxiii. c. 13, B. xxv. c. 22, and B. xxviii. c. 62, but he has not previously given any account of its origin and composition.—B. [1748] Dioscorides, B. v. c. 122, informs us, with respect to this effect of sandarach, that it was burned in combination with resin, and that the smoke was inhaled through a tube.—B. [1749] The substance here mentioned, though its name is the foundation of our word “arsenic,” is not the arsenic of modern commerce, but probably a sulphuret of arsenic containing a less proportion of sulphur than the Sandarach of the last Chapter.—B. [1750] The other two mentioned species naturally divide into laminæ, while this kind is disposed to separate into fine fibres.—B. [1751] By this process a considerable portion of the sulphur is expelled, so as to cause the orpiment to approximate to the state of arsenic.—B. [1752] See end of B. ii. [1753] See end of B. ii. [1754] See end of B. iii. [1755] See end of B. ii. [1756] See end of B. ii. [1757] A different person from the Messala mentioned at the end of B. ix. He is mentioned in B. xxxiii. c. 14, B. xxxv. c. 2, and in Chapter 38 of this Book; but nothing further seems to be known of him. [1758] See end of B. vii. and Note 1315 to B. vii. c. 53. [1759] Domitius Marsus, a poet of the Augustan age, of whom few particulars are known, except that he wrote an epitaph on the poet Tibullus, who died B.C. 18. He is mentioned by Ovid and Martial, from the latter of whom we learn that his epigrams were distinguished for their wit, licentiousness, and satire. [1760] See end of B. xvi. [1761] See end of B. xx. [1762] See end of B. xii. [1763] See end of B. vii. [1764] See end of B. ii. [1765] See end of B. iii. [1766] See end of B. iv. [1767] See c. 19 of this Book, Note 1525, page 184. [1768] See end of B. xxxiii. [1769] See end of B. vii. [1770] See end of B. xxxiii. [1771] See end of B. xxxiii. [1772] See end of B. xxxiii. [1773] See end of B. iii. [1774] See end of B. xii. [1775] See end of Books iv., viii., xi., and xx. [1776] See end of B. xx. [1777] See end of Books iv., and xii. [1778] See end of B. xii. [1779] See end of B. xiii. [1780] See end of B. xii. [1781] See end of B. xii. [1782] See end of B. xxix. [1783] See end of B. xii. [1784] See end of B. xii. [1785] See end of B. xxxiii. [1786] See end of B. xxxiii. [1787] “Officinarum tenebræ;” probably in reference to the ignorance displayed by the compounders of medicines, as pointed out in B. xxxiii. c. 38, and in B. xxxiv. c. 25.—B. [1788] See B. xxxiii. c. 55. [1789] See B. xxxiv. c. 9. [1790] See B. xxxiii. c. 36. [1791] See B. xxxvi. c. 8. [1792] See B. v. c. 29. [1793] “Surdo figurarum discrimine.” [1794] We are informed by Suetonius, that this practice existed in the time of Tiberius.—B. See also Note 18, p. 196. [1795] Which he is ready to employ in carrying away his plunder. [1796] “Ceromata;” this is properly a Greek term, signifying an ointment used by athletes, composed of oil and wax.—B. [1797] This practice is referred to by Cicero, De Finib. B. v.—B. [1798] In reality, his birth-day was not on the twentieth day of any month; but, for some reason which is not known, he fixed upon this day.—B. He was born on the seventh day of the month Gamelion. [1799] From the Greek εἰκὰς, the “twentieth” day of the month. [1800] In obedience to the maxim of Epicurus, Λάθε βιῶσας—“Live in obscurity.” [1801] See B. xxi. c. 49, and Note 2139, p. 346. [1802] This appears to have been the usual practice at the funerals of distinguished personages among the Romans: it is referred to by Tacitus, Ann. B. ii. c. 73, in his account of the funeral of Germanicus.—B. [1803] “Tabulina.” Rooms situate near the atrium. [1804] A cognomen of the Gens Valeria at Rome, from which the family of the Messalæ had also originally sprung. [1805] So called from his father-in-law Pomponius, a man celebrated for his wealth, and by whom he was adopted. It would appear that Scipio Pomponianus adopted Scipio Salvitto, so called from his remarkable resemblance to an actor of mimes. See B. vii. c. 10. [1806] They were probably, like the Scipios, a branch of the Gens Cornelia. Suetonius speaks in very derogatory terms of a member of this family, who accompanied Julius Cæsar in his Spanish campaign against the Pompeian party. [1807] In the Greek Anthology, B. v., we have the imaginary portrait of Homer described at considerable length.—B. [1808] Hardouin supposes that this work was written by Cicero, and that he named it after his friend Atticus; but, as Delafosse remarks, it is clear from the context that it was the work of Atticus.—B. [1809] M. Deville is of opinion that these portraits were made in relief upon plates of metal, perhaps bronze, and coloured with minium, a red tint much esteemed by the Romans. [1810] “Clypei.” These were shields or escutcheons of metal, with the features of the deceased person represented either in painting or in relief. [1811] Hardouin informs us that there are some Greek inscriptions given by Gruter, p. 441, and p. 476, from which it appears that public festivals were celebrated on occasions of this kind.—B. [1812] A.U.C. 671.—B. See B. vii. c. 54. [1813] See B. xxxvi. c. 24. [1814] It is scarcely necessary to refer to the well-known description of the shield of Achilles, in the Iliad, B. xviii. l. 478 _et seq._, and of that of Æneas, Æn. B. viii. l. 626, _et seq._—B. [1815] He implies that the word is derived from the Greek γλύφειν, “to carve” or “emboss” and not from the old Latin “cluo,” “to be famous.” Ajasson suggests the Greek καλύπτω “to cover.” [1816] Cneius and Publius Scipio, who had been slain by Hasdrubal.—B. As to L. Marcius, see B. ii. c. 3. [1817] See B. xxxiii. c. 5. [1818] “Lustrations.” Periods at the end of the census, made by the censors every five years. The censors were the guardians of the temples, and consequently these bucklers would come under their supervision. [1819] This period for the invention of painting by the Egyptians is evidently incorrect; but still there is sufficient reason for concluding that there now exist specimens of Egyptian art, which were in existence previous to the time of the earliest Grecian painters of whom we have any certain account.—B. [1820] All the ancients who have treated of the history of the art agree, that the first attempt at what may be considered the formation of a picture, consisted in tracing the shadow of a human head or some other object on the wall, the interior being filled up with one uniform shade of colour.—B. [1821] From the Greek μονοχρώματον, “single colouring.”—B. [1822] He is mentioned also by Athenagoras, Strabo, and Athenæus. [1823] Called “graphis,” by the Greeks, and somewhat similar, probably, to our pen and ink drawings. [1824] In Chapter 43 of this Book.—B. [1825] Ajasson remarks, that a great number of paintings have been lately discovered in the Etruscan tombs, in a very perfect state, and probably of very high antiquity.—B. [1826] There would appear to be still considerable uncertainty respecting the nature of the materials employed by the ancients, and the manner of applying them, by which they produced these durable paintings; a branch of the art which has not been attained in equal perfection by the moderns.—B. [1827] Caligula. [1828] See B. iii. c. 8. [1829] We have already remarked that painting was practised very extensively by the Egyptians, probably long before the period of the Trojan war.—B. [1830] Or “Health.” It was situate on the Quirinal Hill, in the Sixth Region of the City. [1831] “Forum Boarium.” In the Eighth Region of the City. [1832] Holbein and Mignard did the same. [1833] Q. Pedius was either nephew, or great nephew of Julius Cæsar, and had the command under him in the Gallic War; he is mentioned by Cæsar in his Commentaries, and by other writers of this period.—B. [1834] Originally the palace of Tullus Hostilius, in the Second Region of the City. [1835] Asiaticus, the brother of the elder Africanus.—B. [1836] It was _before_ the decisive battle near Mount Sipylus, that the son of Africanus was made prisoner. King Antiochus received him with high respect, loaded him with presents, and sent him to Rome.—B. [1837] He was legatus under the consul L. Calpurnius Piso, in the Third Punic War, and commanded the Roman fleet. He was elected Consul B.C. 145. [1838] The younger Scipio Africanus. [1839] We learn from Valerius Maximus, that C. Pulcher was the first to vary the scenes of the stage with a number of colours.—B. [1840] See Chapter 36 of this Book. [1841] We have an amusing proof of this ignorance of Mummius given by Paterculus, B. i. c. 13, who says that when he had the choicest of the Corinthian statues and pictures sent to Italy, he gave notice to the contractors that if they lost any of them, they must be prepared to supply new ones. Ajasson offers a conjecture which is certainly plausible, that Mummius might possibly regard this painting as a species of talisman.—B. [1842] In the eleventh Region of the City. [1843] “Sub Veteribus;” meaning that part of the Forum where the “Old Shops” of the “argentarii” or money-brokers had stood. [1844] We have an anecdote of a similar event, related by Cicero, as having occurred to Julius Cæsar, De Oratore, B. ii. c. 66.—B. [1845] See B. vii. c. 39. [1846] We have had this Temple referred to in B. ii. c. 23, B. vii. c. 39, B. viii. c. 64, and B. ix. c. 57: it is again mentioned in the fortieth Chapter of this Book, and in B. xxxvii. c. 5.—B. [1847] In the “Vaporarium,” namely.—B. The Thermæ of Agrippa were in the Ninth Region of the City. [1848] According to Hardouin, this was done after the battle of Actium, in which Augustus subdued his rival Antony.—B. [1849] By adoption. The Temple of Julius Cæsar was in the Forum, in the Eighth Region of the City. [1850] See B. vii. c. 22, B. x. c. 60, and B. xxxiv. c. 11. [1851] In Chapter 36 of this Book.—B. [1852] See B. vii, cc. 45, 54, 60, and B. xxxiv. c. 11. [1853] See B. vii. c. 54, B. xv. c. 20, B. xxxiii. c. 6, and B. xxxiv. c. 11. [1854] This was the personification of the Nemean forest in Peloponnesus, where Hercules killed the Lion, the first of the labours imposed upon him by Eurystheus.—B. [1855] See Chapter 40 of this Book. [1856] “Inussisse;” meaning that he executed it in encaustic. The Greek term used was probably ΕΝΕΚΑΥΣΕ. [1857] Hemsterhuys is of opinion that he was the brother of Æschines, the orator, contemptuously alluded to by Demosthenes, Fals. Legat. Sec. 237, as a painter of perfume pots. If so, he was probably an Athenian, and must have flourished about the 109th Olympiad. [1858] In Chapter 40 of this Book. [1859] In B. xxxiii. c. 39. He alludes to cinnabaris, minium, rubrica, and sinopis. [1860] Meaning “new painting,” probably. The reading, however, is doubtful. [1861] “Splendor.” Supposed by Wornum to be equivalent to our word “tone,” applied to a coloured picture, which comprehends both the “tonos” and the “harmoge” of the Greeks. Smith’s Dict. Antiq. Art. _Painting_. [1862] “Tone,” says Fuseli, (in the English acceptation of the word) “is the element of the ancient ‘harmoge,’ that imperceptible transition, which, without opacity, confusion, or hardness, united local colour, demitint, shade, and reflexes.”—Lect. I. [1863] “Austeri aut floridi.” [1864] Because of their comparatively great expense. [1865] See B. xxxiii. cc. 30, 37. Under this name are included Sulphuret of mercury, and Red oxide of lead. [1866] See B. xxxiii. cc. 38, 39. [1867] See B. xxxiii. c. 26. “Indicum” and “purpurissum” will be described in the present Book. [1868] Or “rubrica Sinopica;” “red earth of Sinope,” a brown red ochre, or red oxide of iron. Dioscorides identifies it with the Greek μιλτὸς, which indeed seems to have embraced the cinnabaris, minium, and rubricæ of the Romans. [1869] “Splendorem.” See Note 1861 above. [1870] So called from its deep grey brown colour, like that of the “cicer” or chick-pea. [1871] The sense of this passage seems to require the insertion of “quæ,” although omitted by the Bamberg MS. [1872] “Pressior.” [1873] Those parts of the walls, probably, which were nearer to the ground, and more likely to become soiled. [1874] Red ochre, or red oxide of iron. See B. xxxiii. c. 38, and B. xxxiv. c. 37. [1875] See B. xxxiii. cc. 36, 37. [1876] Ajasson thinks that this was an hydroxide of iron, of a greenish yellow or brown colour. [1877] Whence our word “ochre.” See “Sil,” in B. xxxiii. cc. 56, 57. [1878] Theophrastus, on the contrary, says that it is “ochra” that is burnt, in order to obtain “rubrica.” [1879] See B. xxxiii. cc. 56, 57. [1880] A white earth from the Isle of Melos. See Chapter 19. [1881] See B. xxxiii. c. 20. “One may readily conceive that this must have been a ferruginous ochre, or kind of bole, which is still used as a ground, _poliment, assiette_.”—Beckmann, Hist. Inv. Vol. II. p. 294. _Bohn’s Edition._ [1882] A white, much used for fresco painting. Ajasson is of opinion, that Pliny, in this Chapter, like the other ancient authors, confounds two earths that are, in reality, totally different.—Hydrosilicate of magnesia, or Steatite, and Rhomboidical carbonate of lime. [1883] See B. v. c. 6. [1884] Ajasson thinks that possibly our compact magnesite, meerschaum, or sea-foam, may be the substance here alluded to. [1885] See Chapter 57 of this Book. [1886] See B. iv. c. 33. Tournefort says that this earth is exactly similar to the Cimolian earth, described in Chapter 57. [1887] See B. xxxiii. c. 57, and Chapter 21 of this Book. [1888] In B. xxxiv. c. 54. [1889] Ceruse, white lead, or carbonate of lead, is prepared in much the same manner at the present day. Ajasson is of opinion that the native pigment discovered on the lands of Theodotus, was native carbonate of lead, the crystals of which are found accompanied by quartz. [1890] “Burnt” ceruse. This was, in fact, one of the varieties of “minium,” red oxide of lead, our red lead. Vitruvius and Dioscorides call it “sandaraca,” differing somewhat from that of Pliny. [1891] In Chapter 10. [1892] See B. xxxiii. cc. 56, 57. [1893] It was possibly owing to this that the colour known as “umber” received its name, and not from Ombria, in Italy. Ajasson says that shadows cannot be successfully made without the use of transparent colours, and that red and the several browns are remarkably transparent. [1894] See B. iv. c. 21. [1895] As to both of these artists, see Chapter 36. [1896] To the chest. [1897] See B. vi. c. 34, and B. xxxvii. c. 32. [1898] In B. xxxiv. c. 55. “Pliny speaks of different shades of sandaraca, the pale, or massicot, (yellow oxide of lead), and a mixture of the pale with minium. It also signified Realgar, or red sulphuret of arsenic.”—Wornum, in Smith’s Dict. Antiq. Art. _Colores_. [1899] Sir H. Davy supposes this colour to have approached our crimson. In painting, it was frequently glazed with purple, to give it an additional lustre. [1900] Ecl. iv. l. 45. “Sponte suâ sandyx pascentes vestiet agnos.” Ajasson thinks that “Sandyx” may have been a name common to two colouring substances, a vegetable and a mineral, the former being our madder. Beckmann is of the same opinion, and that Virgil has committed no mistake in the line above quoted. Hist. Inv. Vol. II. p. 110. _Bohn’s Edition._ See also B. xxiv. c. 56. [1901] The form “_sand_,” in these words, Ajasson considers to be derived either from “Sandes,” the name of Hercules in Asia Minor, or at least in Lydia] or else from Sandak, the name of an ancestor of Cinyras and Adonis. [1902] In B. xxxiii. c. 40. According to Aetius, syricum was made by the calcination of pure ceruse, (similar to the “usta” above mentioned). He states also that there was no difference between sandyx and syricum, the former being the term generally used by medical men. [1903] “Black colouring substance.” [1904] “Carbones infectos.” The reading is very doubtful. It may possibly mean “charred bones tainted with dirt.” This would make an inferior ivory-black. The earth before-mentioned is considered by Ajasson to be a deuto-sulphate of copper, a solution of which, in gallic acid, is still used for dyeing black. The water near copper-mines would very probably be also highly impregnated with it. Beckmann considers these to have been vitriolic products. Vol. II. p. 265. [1905] Our Lamp-black. Vitruvius describes the construction of the manufactories above alluded to. [1906] Probably, our Chinese, or Indian ink, a different substance from the indicum of Chapter 27. [1907] From τρύξ, “grape-husks” or “wine-lees.” [1908] Indian ink is a composition of fine lamp-black and size. [1909] See B. ii. c. 29. Sepia, for sepic drawing, is now prepared from these juices. [1910] In Chapter 12 of this Book. [1911] Plate powder. See B. xvii. c. 4, and Chapter 58 of this Book. [1912] See B. ix. c. 60. [1913] See B. ix. c. 65, and B. xxi. cc. 38, 97. According to Vitruvius, it is a colour between scarlet and purple. It may possibly have been made from woad. [1914] See B. iii. c. 16. [1915] See B. xxxiii. c. 57. [1916] White of egg, probably. [1917] Indigo, no doubt, is the colour meant. See B. xxxiii. c. 57. [1918] It is the produce of the Indigofera tinctoria, and comes from Bengal more particularly. Beckmann and Dr. Bancroft have each investigated this subject at great length, and though Pliny is greatly mistaken as to the mode in which the drug was produced, they agree in the conclusion that his “indicum” was real indigo, and not, as some have supposed, a pigment prepared from _isatis_, or woad. [1919] This passage, similar in many respects to the account given by Dioscorides, is commented on at great length by Beckmann, Hist. Inv. Vol. II. p. 263. _Bohn’s Edition._ [1920] See Chapter 56 of this Book. [1921] See Chapter 30 of this Book. [1922] “Armenium.” Armenian bole is still used for colouring tooth-powder and essence of anchovies. [1923] See B. xxxiii. c. 26. [1924] So called, probably, either from the place where it was made, or from the person who first discovered it. Some commentators have suggested that it should be “apian” green, meaning “parsley” colour. [1925] So called from “anulus,” a “ring,” as mentioned below. [1926] “Quo muliebres picturæ illuminantur.” The meaning of this passage is obscure. It would seem almost to apply to paintings, but Beckmann is of opinion that the meaning is, “This is the beautiful white with which the ladies paint or ornament themselves.”—Hist. Inv. Vol. II. p. 261. _Bohn’s Edition._ [1927] Beckmann suggests that it was so called from its being one of the sealing earths, “anulus” being the name of a signet ring. Vol. II. p. 260. [1928] “Cretulam.” [1929] See B. xxxiii. c. 57. [1930] See Chapter 39, where this process is more fully described. “‘_Ceræ_,’ or ‘waxes,’ was the ordinary term for painters’ colours among the Romans, but more especially encaustic colours, which were probably kept dry in boxes, and the wet brush or pencil was rubbed upon them when colour was required, or they were moistened by the artist previous to commencing work. From the term ‘ceræ’ it would appear that wax constituted the principal ingredient in the colouring vehicle used; but this does not necessarily follow, and it is very improbable that it did; there must have been a great portion of gum or resin in the colours, or they could not have hardened. Wax was undoubtedly a most essential ingredient, since it apparently prevents the colours from cracking. ‘Ceræ’ therefore might originally simply mean colours which contained wax, in contradistinction to those which did not; but was afterwards applied generally by the Romans to the colours of painters.”—Wornum, Smith’s Dict. Antiq. Art. _Painting_. [1931] Called “Inceramenta navium,” in Livy, B. xxviii. c. 45. See also Chapters 39 and 41 of this Book. [1932] Pliny here commits a mistake, which may have arisen from an imperfect recollection, as Sir. H. Davy has supposed, of a passage in Cicero (Brutus, c. 18), which, however, quite contradicts the statement of Pliny. “In painting, we admire in the works of Zeuxis, Polygnotus, Timanthes, and those who used _four_ colours only, the figure and the lineaments; but in the works of Echion, Nicomachus, Protogenes, and Apelles, _everything_ is perfect.” Indeed Pliny contradicts himself, for he speaks of _two_ other colours used by the earliest painters, the _testa trita_, or ground earthenware, in Chapter 5 of this Book; and “cinnabaris,” or vermilion, in B. xxxiii. c. 36. Also, in Chapter 21 of this Book he speaks of Eretrian earth as having been used by Nicomachus, and in Chapter 25 of ivory black as having been invented by Apelles. [1933] These painters will all be noticed in Chapter 36. [1934] See Chapter 19 of this Book. [1935] See B. xxxiii. c. 56. [1936] Blue is here excluded altogether, unless under the term “atramentum” we would include black and blue indicum, or in other words, Indian ink and indigo. [1937] See Chapter 27 of this Book. [1938] In allusion to “Dragon’s blood.” See B. xxxiii. c. 38. [1939] In Chapter 2 of this Book. [1940] From the construction of the passage, it is difficult to say whether he means to say that such colossal figures were till then unknown in painting, or whether that the use of canvass in painting was till then unknown. If the latter is the meaning, it is not exactly correct, though it is probable that the introduction of canvass for this purpose was comparatively late; there being no mention of its being employed by the Greek painters of the best periods. [1941] See B. iii. c. 9, B. xiv. c. 3, and B. xvi. c. 91. [1942] “Torcutæ.” For the explanation of this term, see end of B. xxxiii. [1943] In reality he was cousin or nephew of Phidias, by the father’s side, though Pausanias, B. v. c. 11, falls into the same error as that committed by Pliny. He is mentioned likewise by Strabo and Æschines. [1944] See B. xxxvi. c. 55. [1945] See B. xxxiv. c. 19. [1946] See B. xxxiv. c. 19. [1947] See B. vii. c. 39. [1948] Paintings with but one colour. “Monochromata,” as we shall see in Chapter 36, were painted at all times, and by the greatest masters. Those of Zeuxis corresponded with the _Chiariscuri_ of the Italians, light and shade being introduced with the highest degree of artistic skill. [1949] These several artists are quite unknown, being mentioned by no other author. [1950] It is pretty clear, from vases of a very ancient date, that it is not the sexual distinction that is here alluded to. Eumarus, perhaps, may have been the first to give to each sex its characteristic style of design, in the compositions, draperies, attitudes, and complexions of the respective sexes. Wornum thinks that, probably, Eumarus, and certainly, Cimon, belonged to the class of ancient tetrachromists, or polychromists, painting in a variety of colours, without a due, or at least a partial, observance of the laws of light and shade. Smith’s Dict. Antiq. Art. _Painting_. [1951] He is mentioned also by Ælian. Böttiger is of opinion that he flourished about the 80th Olympiad. It is probable, however, that he lived long before the age of Polygnotus; but some time after that of Eumarus. Wornum thinks that he was probably a contemporary of Solon, a century before Polygnotus. [1952] “Catagrapha.” [1953] This picture was placed in the Pœcile at Athens, and is mentioned also by Pausanias, B. i. c. 15, and by Æschines, Ctesiph. s. 186. [1954] See B. vii. c. 57. (Vol. II. p. 233), where he is mentioned as an Athenian. It is not improbable that he became a citizen of Athens in the seventy-ninth Olympiad, B.C. 463, when Thasos was brought under the power of Athens, and, as Sillig suggests, at the solicitation of Cimon, the son of Miltiades. It is generally supposed that he flourished about the eightieth Olympiad. [1955] Belonging to the Theatre of Pompey, in the Ninth Region of the City. [1956] With scenes from the Trojan War, and the adventures of Ulysses. [1957] Or “Variegated;” from its various pictures. [1958] See B. xxxiii. c. 56. [1959] See B. vii. c. 37. [1960] She is again mentioned in Chapter 40. [1961] He was a native of Thasos, and father and instructor of Polygnotus. As Pliny has already stated that Polygnotus flourished _before_ the ninetieth Olympiad, there is an inconsistency in his making mention of the son as flourishing before the father. Hence Sillig, with Böttiger, is inclined to think that there were two artists of this name, one about the seventieth, and the other about the ninetieth Olympiad, the former being the father of Polygnotus. [1962] “Primusque gloriam penicillo jure contulit.” Wornum considers that “the rich effect of the combination of light and shade with colour is clearly expressed in these words.”—Smith’s Dict. Antiq. Art. _Painting_. This artist, who was noted for his arrogance, is mentioned by other ancient writers. [1963] “Penicillus.” This was the hair-pencil or brush, which was used by one class of painters, in contradistinction to the stylus or cestrum used for spreading the wax-colours. Painters with the brush used what we should term “water-colours;” oil-colours, in our sense of the word, being unknown to the ancients. [1964] In “Magna Græcia,” near Crotona, it is supposed. Tzetzes styles him as an Ephesian. [1965] This is _probably_ the meaning of the words—“Artem ipsis ablatam Zeuxim ferre secum.” It is doubtful whether “ipsis” or “ipsi” is the correct reading. [1966] King of Macedonia. [1967] Μωμήσεταί τις μᾶλλον ἢ μιμήσεται. This line is attributed by Plutarch to Apollodorus. [1968] Cicero and Dionysius of Halicarnassus say that this picture was executed at Crotona, and not at Agrigentum. It is generally supposed to have been the painting of Helena, afterwards mentioned by Pliny. [1969] “Ex albo.” “That is, in grey and grey, similar to the Chiaríscuri of the Italians.”—Wornum, in Smith’s Dict. Antiq. Art. _Painting_. [1970] “Figlina opera.” It is not improbable that this may allude to the painting of fictile vases. [1971] A.U.C. 666. As to this expedition of Fulvius Nobilior, see Livy, B. xxxviii. [1972] Of Philippus Marcius, in the Ninth Region of the City. [1973] In the Eighth Region of the City. [1974] See end of B. xxxiii. [1975] See end of B. xxxiii. and B. xxxiv. [1976] The antithesis seems to require here the reading “inexorabilem,” instead of “exorabilem.” [1977] “Navarchum.” [1978] The “Chief of the Galli,” or high priest of Cybele. [1979] See end of B. x. [1980] Possibly the person mentioned in B. xi. c. 9, or perhaps the Tragic writer of this name, mentioned in the present Chapter. [1981] Bacchus. [1982] “Hoplites.” A runner in panoply, or complete armour, at the Olympic Games. [1983] The “Liver in luxury.” Athenæus, B. xii., confirms this statement, and gives some lines which Parrhasius wrote under certain of his works. [1984] Of Achilles, which were awarded to Ulysses in preference to Ajax. [1985] We learn from Suetonius that Tiberius possessed a Meleager and Atalanta by Parrhasius, of this nature. [1986] Said by Eustathius to have been a native of Sicyon, but by Quintilian, of Cythnos. [1987] Cicero, for instance, De Oratore, c. 22, s. 74. [1988] Menelaüs. [1989] Agamemnon. [1990] Built near the Forum, by Vespasian, according to Suetonius. [1991] A native of Thebes. A full account of him will be given in the course of this Chapter. [1992] Or “Grecian.” [1993] He was a native of Amphipolis in Macedonia. [1994] Phlius was the chief town of Phliasia, in the north-east of Peloponnesus. It seems to be quite unknown to what events Pliny here alludes. [1995] Possibly the naval victory gained by the Athenians under Chabrias near Naxos, in the first year of the 101st Olympiad. [1996] Which would make the course of study, as M. Ian says, extend over a period of twelve years. [1997] “Graphice;” equivalent, perhaps, to our word “drawing.” “The elementary process consisted in drawing lines or outlines with the graphis, (or stylus) upon tablets of box; the first exercise was probably to draw a simple line.”—Wornum, in Smith’s Dict. Antiq. Art. _Painting_. [1998] See end of B. xxxiii. [1999] Both of whom are mentioned as statuaries, in the early part of B. xxxiv. c. 19. [2000] Bacchus. [2001] The generality of Greek writers represent him as a native either of Ephesus, or of Colophon. [2002] “Venustas.” This word, it has been remarked, will hardly bear a definition. It has been rendered “grace,” “elegance,” “beauty.” [2003] “Venerem.” The name of the Goddess of Beauty. [2004] “Gracefulness.” [2005] “Secuit.” Possibly meaning that he drew another outline in each of these outlines. The meaning, however, is doubtful, and has occasioned much trouble to the commentators. Judging from the words used by Apelles and Protogenes, each in his message, it is not unlikely that the “linea” or outline drawn by each was a profile of himself, and that the profile of Protogenes was drawn within that of Apelles; who, on the second occasion, drew a third profile between the other two, but with a still finer line than either of them. In Dr. Smith’s Dictionary of Biography, _art._ Apelles, it is thus explained: “The most natural explanation of this difficult passage seems to be, that down the middle of the first line of Apelles, Protogenes drew another, so as to divide it into two parallel halves, and that Apelles again divided the line of Protogenes in the same manner.” [2006] The Latin form of which, as given by Erasmus, is “Nulla dies abeat, quin linea ducta supersit.” “Let no day pass by, without an outline being drawn, and left in remembrance.” [2007] “In pergulâ.” [2008] “Ne sutor ultra crepidam.” Equivalent to our saying, “Let not the shoemaker go beyond his last.” [2009] In B. vii. c. 38. [2010] Also known as “Campaspe,” and “Pacate.” She was the favourite concubine of Alexander, and is said to have been his first love. [2011] “Venus rising out of the waters.” Athenæus says, B. xiii., that the courtesan Phryne was his model, whom, at the festival of Neptune, he had seen enter the sea naked at Eleusis. [2012] See Matthew xiii. 57; Mark vi. 4. “A prophet is not without honour, save in his own country.” [2013] “Physiognomists.” [2014] “Vocatores”—more literally, his “inviting officers.” [2015] Strabo mentions a portrait of Antigonus in the possession of the inhabitants of Cos. [2016] See Note 2011 above. Propertius mentions this as his greatest work. B. III. El. 9, l. 11. “In Veneris tabulâ summam sibi ponit Apelles.” “In his picture of Venus, Apelles produces his masterpiece.” It is mentioned also by Ovid, Tristia, B. II. l. 527, and Art. Amor. B. III. l. 401. The line in B. III. l. 224 is also well known— “Nuda Venus madidas exprimit imbre comas.” “And naked Venus wrings her dripping locks.” [2017] In the Forum, in the Eighth Region of the City. [2018] His father by adoption. [2019] There are several Epigrams descriptive of it in the Greek Anthology. [2020] This, probably, is the meaning of “Tali opere dum laudatur victo sed illustrato,” words which have given much trouble to the commentators. [2021] Nothing further seems to be known of him. [2022] “Cois.” The first one was also painted for the people of Cos, by whom it was ultimately sold to Augustus. [2023] See Chapter 32 of this Book. That this is an erroneous assertion, has been shown in Note 1932 above. [2024] Probably the weight of the panel, frame, and ornamental appendages. [2025] This word was probably a title, meaning “Keeper of the temple.” Strabo tells us that the “megabyzi,” or as he calls them, the “megalobyzi,” were eunuch priests in the Temple of Artemis, or Diana, at Ephesus. [2026] The favourite of Alexander, by whom he was afterwards slain. [2027] Probably the name of a rich sensualist who lived at Argos. A son of the Attic orator Lycurgus, one of the sophists, also bore this name. [2028] This name is supposed by Sillig to have been inserted erroneously, either by Pliny, or by his transcribers. [2029] Either the Argonaut of that name, who was killed by the Caledonian Boar, or else, which is the most probable, a King of the Leleges in Samos, with whom, according to the Scholiast on Apollonius Rhodius, originated the saying, “There is many a slip between the cup and the lip;” in reference to his death, by a wild boar, when he was about to put a cup of wine to his mouth. [2030] Shown in his forbearing to appropriate them to his own use. [2031] Anna Perenna, probably, a Roman divinity of obscure origin, the legends about whom are related in the Fasti of Ovid, B. iii. l. 523. _et seq._ See also Macrobius, Sat. I. 12. Her sacred grove was near the Tiber, but of her temple nothing whatever is known. “Antoniæ” is another reading, but no such divinity is mentioned by any other author. [2032] Sillig (Dict. Anc. Art.) is of opinion that the reading is corrupt here, and that the meaning is, that Apelles “painted a Hero and Leander.” [2033] Or Demigod. [2034] One of the followers of Alexander, ultimately slain by Eumenes in Armenia. [2035] King of Macedonia. [2036] Odyss. B. vi. l. 102, _et seq._ [2037] Sir Joshua Reynolds discovers in the account here given “an artist-like description of the effect of glazing, or scumbling, such as was practised by Titian and the rest of the Venetian painters.”—_Notes to Du Fresnoy._ [2038] “Lapis specularis.” See B. xxxvi. c. 45. [2039] He was son of Aristodemus, and brother and pupil of Nicomachus, in addition to Euxenidas, already mentioned in this Chapter. He, Pausanias, and Nicophanes, excelled, as we learn from Athenæus, B. xiii., in the portraits of courtesans; hence their name, πορνόγραφοι. [2040] It has been well remarked by Wornum, in the article so often quoted, that “expression of the feelings and passions cannot be denied to Polygnotus, Apollodorus, Parrhasius, Timanthes, and many others.” [2041] See B. iv. c. 12. [2042] Meaning, “Her who has ceased” to live. The reference is to Byblis, who died of love for her brother Caunus. See Ovid’s Metam. B. ix. l. 455, _et seq._ [2043] Or Bacchus. Already mentioned in Chapter 8 of this Book, in reference to the Roman general Mummius. [2044] In the Eleventh Region of the City. [2045] In the Tenth Region of the City. [2046] Celebrated on the 3rd of July. [2047] In reference to the age of Apelles, whom he is supposed to have survived. [2048] In Caria, near to Lycia. Suidas says that he was born at Xanthus in Lycia. [2049] Or Vestibule. [2050] Supposed by Sillig to have been an allegorical painting representing two of the sacred ships of the Athenians; but to have been mistaken in later times for a picture of Ulysses and Nausicaa, a subject taken from the Odyssey, B. vi. l. 16, _et seq._ As to Paralus, said to have been the first builder of long ships, or ships of war, see B. vii. c. 57. [2051] Or “long ships.” [2052] Son of Cercaphus and Cydippe or Lysippe, and grandson of Apollo. He is said to have been the founder of the town of Ialysus, mentioned in B. v. c. 36. [2053] “These four times most probably were, the dead colouring, a first and a second painting, and lastly, scumbling with glazing.”—Wornum, Smith’s Dict. Antiq. Art. _Painting_. [2054] See Chapter 40 in this Book. [2055] “Poppyzonta.” “Smacking with his lips.” Somewhat similar to the s—s—s—s of our grooms and ostlers. [2056] Poliorcetes. [2057] “In repose.” [2058] Phæstis, or Phæstias by name. [2059] In B. xxxiv. c. 19. [2060] A native of Athens, ranked by Plutarch with Euphranor and Nicias. [2061] Tyrant of Elaten, mentioned already in this Chapter. See Note 2041. [2062] Supposed by Sillig to have been a native of Thebes. [2063] Or “Youth;” in the Eighth Region of the City. [2064] See B. xiii. c. 5. [2065] A round, closely-fitting skull cap, made of felt. St. Jerome, Epist. 120, speaks of Ulysses as being thus represented in paintings. Statues of him with the “pileus” are still to be seen. [2066] See B. ii. c. 6. [2067] A contemporary of Philip of Macedon. [2068] A dithyrambic poet, born at Selinus. He flourished B.C. 398. Only a few lines of his works remain. [2069] “Breviores etiamnum quasdam picturæ compendiarias invenit.” Delafosse is of opinion that paintings in grotesque are probably meant. [2070] His country is uncertain, but he probably lived about the time of Apelles. [2071] In Chapter 40 of this Book. [2072] He belonged, as Wornum remarks, to the class of genre-painters, or _peintres du genre bas_, as the French term them. His age and country are unknown. [2073] “Painter of low subjects.” This term is equivalent in meaning, probably, to our expression—“The Dutch style.” [2074] “Mæniana.” Balustrades or balconies, said to have been so called from one Mænius, who built them. [2075] See Chapter 8 of this Book. They are mentioned also in the “Curculio” of Plautus, A. iv. s. i. l. 19. Nothing further is known of Serapio. [2076] His country is unknown, but he is supposed to have lived in the first century B.C. See also Chapter 40 of this Book. [2077] “Painter of men.” [2078] Mentioned also by Varro. He probably lived in the time of Alexander the Great. [2079] A native of Egypt, compared by many to the most eminent artists. He is spoken of in high terms by Quintilian, B. xii. c. 10. See also