Chapter 40 of this Book.

[2080] Built by Augustus in the Ninth Region of the City, in honour of his sister Octavia. [2081] See Chapter 36. [2082] Bacchus. [2083] And so caused his death by falling from his chariot. See the “Hippolytus” of Euripides. [2084] Near the Theatre of Pompey, in the Ninth Region of the City. [2085] “Caricatures.” Sillig thinks it not unlikely that Gryllus was painted with a pig’s face, that animal being signified by the Greek word γρυλλὸς. [2086] See Chapter 40 of this Book. [2087] See Chapter 6 of this Book. [2088] In the original, as given by Sillig, “Plautiu, Marcus Cleœtas.” That commentator supposes him to have been a Greek by birth, and adopted into the Plautian family, on being made a citizen of Rome. [2089] “Euripi.” See B. ii. c. 100, B. viii. c. 40, and B. ix. cc. 22, 80. The landscape paintings on the interior walls of houses at Herculaneum and Pompeii may be taken as specimens of this artist’s style. [2090] “Succollatis sponsione mulieribus.” This passage appears to be a mass of confusion, in spite of Sillig’s attempts to amend and explain it. The meaning can only be guessed at, not given with any degree of certainty: of Ludius himself, no further particulars are known. [2091] The “hypæthra” or promenades. [2092] Most editions give “Famulus.” Nothing further is known of him. [2093] See B. xxxvi. c. 24. [2094] Both in the First Region of the City, near the Capenian Gate. [2095] See Chapter 41 of this Book, where the difficulties attending this description will be considered. [2096] See Chapter 36 of this Book. [2097] See Chapter 35 of this Book. [2098] Possibly the artist of that name mentioned by Athenæus, B. x., as a tutor of Apelles. If so, he must have flourished about the ninety-seventh Olympiad. [2099] Elasippus “inburned” this picture, _i.e._ executed it in encaustic. From the Attic form of this word, it has been concluded that he was an Athenian. The spelling of his name is very doubtful. [2100] See Chapter 36 of this Book. [2101] Two paintings of his at Epidaurus are mentioned by Pausanias, B. ii. c. 27. [2102] And _not_ in encaustic; though, as we shall see in Chapter 41, the brush was sometimes used in this branch. [2103] The “One day” picture. [2104] See B. xxi. c. 3. [2105] The “Chaplet-wearer.” See B. xxi. c. 3. [2106] The “Chaplet-seller.” [2107] A “correct” copy. [2108] “In confracto.” Meaning probably the group of the surrounding spectators, on which the shadow of the animal’s body was thrown. It is evident that this artist excelled in his effect of light and shade, enhanced by contrasts, and strong foreshortenings.”—Wornum, Smith’s Dict. Antiq. Art. _Painting_. [2109] A.U.C. 678. See B. xxxvi. c. 24. [2110] Mentioned also in B. xxxiv. c. 19. [2111] Praised by Pausanias, B. i. It was in this combat, he says, that Gryllus, the son of Xenophon, and Epaminondas the Theban, first distinguished themselves. [2112] “Carne.” Beef, according to Plutarch, was the flesh mentioned. [2113] The dress of the Greek philosophers, more particularly. [2114] Born in the island of Cythnos, one of the Cyclades. He is supposed to be the artist mentioned by Theophrastus, De Lapid. c. 95. [2115] It is supposed by Sillig, from Dio Cassius, B. liii. c. 27, that this painting was transferred by M. Vipsanius Agrippa, to the Portico of Neptune. [2116] See Chapter 20 of this Book, where he is mentioned as having been the first artist who used “usta” or burnt ceruse. From Pausanias we learn that his remains were interred at Athens, in the road leading to the Academia. [2117] Chiaroscuro. [2118] In Chapter 10 of this Book. [2119] Bacchus. [2120] In the Eighth Region of the City. [2121] Spoken of by Pausanias, B. iii. c. 19. [2122] In the Forum at Rome. [2123] See Chapter 36 of this Book, Note 2025, p. 261. [2124] “Place of the prophecies of the dead;” in reference to the description of the Infernal Regions in the Fourth Book of the Odyssey. [2125] See Chapter 37 of this Book. [2126] See B. iv. c. 18. [2127] Supposed by Hardouin to be the writer mentioned at the end of B. vii. and B. x.: or perhaps, “a chief” of an Athenian tribe. [2128] A “group of kindred.” [2129] A disciple of Carneades. See the list of writers at the end of this Book. [2130] B.C. 168. [2131] Represented in a sitting posture, as mentioned by Ovid, Trist. II. 525, and by Philostratus, Vit. Apol. B. II. c. 10. The Medea is described in an Epigram in B. iv. of the Greek Anthology, imitated by Ausonius, Epigr. 22. [2132] See Note 2116 above. [2133] Medusa, slain by Perseus. [2134] In the former editions, “Mecophanes.” [2135] Or ochre. See B. xxxiii. c. 56. [2136] Health, Brightness, and All-heal. [2137] Greek for “sluggard.” [2138] Probably, from the context, a pupil, also, of Pausias. [2139] In pencil painting, and in encaustic. [2140] Probably the same painter that is mentioned in Chapter 37. [2141] An effect for which Schalken is famous. [2142] “Shading his eyes.” [2143] Son and pupil of Aglaopho, and brother of Polygnotus. He was probably a native of Thasos. [2144] See Chapter 36, Note 2029, page 261. [2145] “Dolus.” An emblematical picture evidently, probably representing the events just prior to the capture of Troy. [2146] A famous diver, mentioned by Herodotus, B. viii. c. 8, Pausanias, B. x. c. 19, and Strabo, B. ix. [2147] Probably the wife of Seleucus, given by him to his son Antiochus. See B. vii. c. 37, Note 1165. [2148] That they should rebuild the walls of Troy. [2149] His contest with Corragus the Macedonian, whom he defeated, is mentioned also by Ælian, Diodorus Siculus, Athenæus, and Quintus Curtius. [2150] Gained “without raising the dust,” _i.e._ without any difficulty. [2151] This is perhaps the meaning of “stemmata;” “heraldic pictures,” probably. See Juvenal, Sat. viii. l. 2. [2152] Suidas seems to mention him, under the name of “Ctesiochus,” as the brother of Apelles. [2153] Who was said to have been born from the thigh of Jove. [2154] Or cap; see Chapter 35 of this Book. [2155] By Hercules, when he demanded Iole of her father Eurytus, king of Œchalia. [2156] See Note 2147 above. [2157] Several Cratini were distinguished as Comic writers, but we do not read in any other author of any one of them being a painter. The reading is doubtful. [2158] A building at the entrance into Athens, whence the “pompæ,” or solemn processions, set out. [2159] Hardouin thinks that this was the victory gained by Aratus of Sicyon over Aristippus, the Tyrant of Argos. If so, Leontiscus must have flourished about Olymp. 136. [2160] Caused by the anger of Juno. In this fit of insanity he slew his wife Megara and her children. [2161] See also Chapter 36. From Plutarch we learn that he was greatly in favour with Aratus of Sicyon. [2162] According to Brotero, a representation of the Ass and Crocodile was found in the pictorial embellishments at Herculaneum. [2163] See B. xvii. c. 36, B. xviii. c. 56, and B. xix. c. 24. [2164] “Theodoras” in most of the editions. [2165] See Chapter 36 of this Book, page 252. [2166] See the Æneid, B. II. c. 403, _et seq._ [2167] Poliorcetes. [2168] A native of Samos, mentioned by Quintilian, B. xii. c. 10, as one of the painters between the time of Philip and that of the successors of Alexander. [2169] After the murder of his mother. [2170] See B. vii. c. 57. [2171] Or player with the discus. [2172] Against his brother Eteocles. [2173] Who assisted Polynices in his siege of Thebes. [2174] Helen, Castor, and Pollux. [2175] See B. vii. c. 37. [2176] Mentioned in Chapter 36, as having been commenced for the people of Cos, but never finished. [2177] See B. xxxiv. cc. 19, 39. Sillig is of opinion that the picture mentioned by Pausanias, B. I. c. 1, in honour of Leosthenes, killed in the Lamina War, B.C. 323, was by this artist. [2178] Poliorcetes, who began to reign B.C. 306. [2179] Already mentioned in this Chapter, at greater length. [2180] See B. xxxiv. c. 40. [2181] See Chapter 36 of this Book, and the present Chapter. Of the greater part of these artists nothing further is known. [2182] See Chapter 35 of this Book. [2183] Previously mentioned in this Chapter. [2184] Or stylus—“cestrum.” [2185] Probably the same painter as the one mentioned in Chapter 37 of this Book. [2186] See Chapter 39 of this Book. Pausias painted in wax with the cestrum. [2187] Wornum is of opinion that this must have been a species of drawing with a heated point, upon ivory, without the use of wax. Smith’s Dict. Antiq. Art. _Painting_. [2188] This method, as Wornum remarks, though first employed on ships, was not necessarily confined to ship-painting; and it must have been a very different style of painting from the ship-colouring of Homer, since it was of a later date even than the preceding methods. [2189] Though he says nothing here of the use of the “cauterium,” or process of _burning in_, its employment may certainly be inferred from what he has said in Chapter 39. Wornum is of opinion that the definition at the beginning of this Chapter, of _two_ methods apparently, “_in_ wax and _on_ ivory,” is in reality an explanation of _one_ method only, and that the ancient modes of painting in encaustic were not only three, but several. [2190] Or Temple of the Nymphs. The daughter of Butades is called “Core” by Athenagoras. [2191] See B. xxxiv. c. 3. [2192] Son of Philæus. He is mentioned by Pausanias, B. viii. c. 14, and by Herodotus, B. iii. c. 60, as the architect of a fine temple at Samos, and, with Smilis and Theodorus, of the Labyrinth at Lemnos. [2193] Mentioned also in B. xxxiv. c. 19. Pliny is in error here in using the word “plastice;” for it was the art of casting brass, and not that of making plaster casts, that these artists invented. [2194] See Chapter 5 of this Book. He is said by Dionysius of Halicarnassus, B. iii., to have been a member of the family of the Bacchiadæ. [2195] A different person, probably, from the one of the same name mentioned in B. vii. c. 56. [2196] Terra cotta figures. [2197] See B. xxxiv. c. 19. Tatian mentions a statue of Melanippe by Lysistratus. [2198] See B. xxxvi. c. 4. [2199] In the Eleventh Region of the City. This Temple of Ceres, Bacchus, and Proserpine, in the Circus Maximus, was vowed by A. Posthumius, the Dictator, A.U.C. 258, and dedicated by the consul Cassius, A.U.C. 261, or B.C. 493. [2200] See B. xxxiv. c. 16. [2201] Sillig (Dict. Anc. Art.) is of opinion that this Chalcosthenes is not identical with the artist of that name mentioned in B. xxxiv. c. 19; the name “Ceramicus” probably being of far earlier origin than the formation of the statues of Comedians. [2202] “Et.” The insertion of this word seems to militate against Sillig’s position. [2203] The “Pottery.” [2204] See also B. xxxvi. c. 4. [2205] See Chapter 40 of this Book. [2206] “Crater.” A vase in which wine and water were mixed for drinking. [2207] See B. xxxiii. c. 55, B. xxxvi. c. 4, and end of B. xxxiii. [2208] See B. xxxiii. c. 36. [2209] In B. viii. c. 4, for instance. [2210] The “Hercules fictilis.” It is mentioned by Martial, B. xiv. Ep. 178. [2211] See B. xxxiii. c. 2, and B. xxxvii. cc. 7, 8, 11. [2212] “Simpuvia.” [2213] See B. xxxi. c. 31. [2214] “Mammatis.” The exact meaning of this word is unknown. The passage is evidently in a corrupt state. [2215] As to the Roman “Collegia,” see B. viii. c. 42, and B. xxxiv. c. 1. [2216] “Solia.”—The same name is given also to a kind of sitting or reclining-bath, often mentioned by Pliny. [2217] Asia Minor. [2218] See B. iii. c. 18. [2219] A service of three dishes. [2220] See B. ix. c. 39. [2221] See B. ix. cc. 24, 28, 74, 79. [2222] In B. x. c. 72. [2223] See Note 2211 above. [2224] See B. xxiii. c. 47, and the end of this Book. [2225] Martial speaks of this practice, B. iii. Epigr. 81. [2226] Nothing further seems to be known of this personage, or of the grounds of his invective. Pliny may possibly allude to some abominable practices, with which Vitellius is charged by Suetonius also. [2227] The “Opus Signinum” was a plaster or cement much used for making pavements. It took its name from Signia, in Italy, celebrated for its tiles. See B. iii. c. 9. [2228] The floors of the Roman houses were seldom boarded. [2229] “Pulvis.” See B. iii. c. 9, B. xvi. c. 76, and B. xxxvi. c.