Chapter 391

1726Probably from Ovetum, the modern Oviedo.—B.

1727So called from the island of Capraria. See B. iii. cc. 11, 12, and B. vi. c. 37.

1728See B. iii. c. 12.

1729Not in Bætica, as Brotero remarks, but in Lusitania, or Portugal; the modern Santarem.—B.

1730See Introduction to Vol. III.

1731This circumstance is mentioned by Suetonius, c. 20.—B.

1732Hardouin 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.

1733See B. xxxiii. cc.33,34.

1734See B. xx. c. 81, and B. xxiv. c. 73.

1735“Charta.” See B. xxiv. c. 51.

1736This, according to Ajasson, is the protoxide, or probably, in some cases, the arseniate of lead.—B.

1737Fromσποδὸς, “ashes.”—B.

1738See Chapter34of this Book.—B.

1739This 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.

1740See B. xxxiii. c.31, and Chapter47of this Book.—B.

1741In Cilicia: see B. v. c. 22. He is speaking, no doubt, of the “metallic,” or artificial kind.

1742A kind of ointment. See B. xxiii. c. 81, and B. xxxiii. c.35.

1743Our Litharge. See B. xxxiii. c.35.

1744According to Ajasson, this substance is properly a sub-carbonate of lead, commonly called white lead.—B.

1745Scoria of lead and molybdæna.—B.

1746Preparations of lead are still used in cosmetics for whitening the complexion.

1747The 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.

1748Dioscorides, 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.

1749The 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.

1750The other two mentioned species naturally divide into laminæ, while this kind is disposed to separate into fine fibres.—B.

1751By this process a considerable portion of the sulphur is expelled, so as to cause the orpiment to approximate to the state of arsenic.—B.

1752See end of B. ii.

1753See end of B. ii.

1754See end of B. iii.

1755See end of B. ii.

1756See end of B. ii.

1757A 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 Chapter38of this Book; but nothing further seems to be known of him.

1758See end of B. vii. and Note 1315 to B. vii. c. 53.

1759Domitius Marsus, a poet of the Augustan age, of whom few particulars are known, except that he wrote an epitaph on the poet Tibullus, who diedB.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.

1760See end of B. xvi.

1761See end of B. xx.

1762See end of B. xii.

1763See end of B. vii.

1764See end of B. ii.

1765See end of B. iii.

1766See end of B. iv.

1767See c. 19 of this Book, Note1525, page 184.

1768See end of B.xxxiii.

1769See end of B. vii.

1770See end of B.xxxiii.

1771See end of B.xxxiii.

1772See end of B.xxxiii.

1773See end of B. iii.

1774See end of B. xii.

1775See end of Books iv., viii., xi., and xx.

1776See end of B. xx.

1777See end of Books iv., and xii.

1778See end of B. xii.

1779See end of B. xiii.

1780See end of B. xii.

1781See end of B. xii.

1782See end of B. xxix.

1783See end of B. xii.

1784See end of B. xii.

1785See end of B.xxxiii.

1786See 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.

1788See B. xxxiii. c.55.

1789See B. xxxiv. c.9.

1790See B. xxxiii. c.36.

1791See B. xxxvi. c.8.

1792See B. v. c. 29.

1793“Surdo figurarum discrimine.”

1794We are informed by Suetonius, that this practice existed in the time of Tiberius.—B. See also Note 18, p. 196.

1795Which 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.

1797This practice is referred to by Cicero, De Finib. B. v.—B.

1798In 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.

1799From the Greekεἰκὰς, the “twentieth” day of the month.

1800In obedience to the maxim of Epicurus,Λάθε βιῶσας—“Live in obscurity.”

1801See B. xxi. c. 49, and Note 2139, p. 346.

1802This 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.

1804A cognomen of the Gens Valeria at Rome, from which the family of the Messalæ had also originally sprung.

1805So 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.

1806They 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.

1807In the Greek Anthology, B. v., we have the imaginary portrait of Homer described at considerable length.—B.

1808Hardouin 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.

1809M. 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.

1811Hardouin 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.

1812A.U.C.671.—B. See B. vii. c. 54.

1813See B. xxxvi. c.24.

1814It is scarcely necessary to refer to the well-known description of the shield of Achilles, in the Iliad, B. xviii. l. 478et seq., and of that of Æneas, Æn. B. viii. l. 626,et seq.—B.

1815He implies that the word is derived from the Greekγλύφειν, “to carve” or “emboss” and not from the old Latin “cluo,” “to be famous.” Ajasson suggests the Greekκαλύπτω“to cover.”

1816Cneius and Publius Scipio, who had been slain by Hasdrubal.—B. As to L. Marcius, see B. ii. c. 3.

1817See 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.

1819This 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.

1820All 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.

1821From the Greekμονοχρώματον, “single colouring.”—B.

1822He is mentioned also by Athenagoras, Strabo, and Athenæus.

1823Called “graphis,” by the Greeks, and somewhat similar, probably, to our pen and ink drawings.

1824In Chapter43of this Book.—B.

1825Ajasson 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.

1826There 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.

1827Caligula.

1828See B. iii. c. 8.

1829We have already remarked that painting was practised very extensively by the Egyptians, probably long before the period of the Trojan war.—B.

1830Or “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.

1832Holbein and Mignard did the same.

1833Q. 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.

1834Originally the palace of Tullus Hostilius, in the Second Region of the City.

1835Asiaticus, the brother of the elder Africanus.—B.

1836It wasbeforethe 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.

1837He was legatus under the consul L. Calpurnius Piso, in the Third Punic War, and commanded the Roman fleet. He was elected ConsulB.C.145.

1838The younger Scipio Africanus.

1839We learn from Valerius Maximus, that C. Pulcher was the first to vary the scenes of the stage with a number of colours.—B.

1840See Chapter36of this Book.

1841We 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.

1842In 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.

1844We have an anecdote of a similar event, related by Cicero, as having occurred to Julius Cæsar, De Oratore, B. ii. c. 66.—B.

1845See B. vii. c. 39.

1846We 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 thefortiethChapter of this Book, and in B. xxxvii. c.5.—B.

1847In the “Vaporarium,” namely.—B. The Thermæ of Agrippa were in the Ninth Region of the City.

1848According to Hardouin, this was done after the battle of Actium, in which Augustus subdued his rival Antony.—B.

1849By adoption. The Temple of Julius Cæsar was in the Forum, in the Eighth Region of the City.

1850See B. vii. c. 22, B. x. c. 60, and B. xxxiv. c.11.

1851In Chapter36of this Book.—B.

1852See B. vii, cc. 45, 54, 60, and B. xxxiv. c.11.

1853See B. vii. c. 54, B. xv. c. 20, B. xxxiii. c.6, and B. xxxiv. c.11.

1854This 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.

1855See Chapter40of this Book.

1856“Inussisse;” meaning that he executed it in encaustic. The Greek term used was probablyΕΝΕΚΑΥΣΕ.

1857Hemsterhuys 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.

1858In Chapter40of this Book.

1859In B. xxxiii. c.39. He alludes to cinnabaris, minium, rubrica, and sinopis.

1860Meaning “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.

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