Chapter 395

2253Naphtha, most probably.

2254See B. xxiv. c. 25.

2255Chapter 109.

2256As to the “nitrum” of Pliny, see B. xxxi. c. 46.

2257“Asphalt plaster,” probably.

2258Or mint. See B. xix. c. 47, and B. xx. c. 53.

2259See B. xxxii. c. 13.

2260In B. xxxiv. c.9.

2261Beckmann is of opinion that ouralumwas not known to the Greeks or Romans, and that what the latter called “alumen” was green vitriol, or sulphate of the protoxide of iron, in an impure state. Hist. Inv. Vol. I. p. 180.Bohn’s Edition.Dr. Pereira remarks, however, that “there can be little doubt that Pliny was acquainted with our alum, but did not distinguish it from sulphate of iron, for he informs us that one kind of alum was white, and was used for dyeing wool of bright colours.” Materia Medica, Vol. I, Delafosse identifies the “alumen” of Pliny with double sulphate of alum and iron.

2262“Salsugo terræ.”

2263See Note2261above.

2264For gilding, Hardouin says.

2265The Roman provinces in Africa, other than Egypt.

2266Now Strombolo. See B. iii. c. 14.

2267Herodotus, B. ii., mentions the fact that King Amasis sent the people of Delphi a thousand talents of this substance, as his contribution towards rebuilding their temple.

2268“Fruitful,” or “useful.”

2269“Adulterated.”

2270See B. xx. c. 71.

2271“Split” alum. Probably iron alum, the Frenchalum de plume; of a flaky, silky appearance.

2272“Hairy alum.”

2273See B. xxxiv. cc.2,29.

2274So called, according to Dioscorides, from the “round” form of the pieces.

2275He has previously said that the most esteemed kind was the Egyptian, that of Melos being the next best.

2276Στυπτηρία, the “styptic.”

2277“Sero picis.” Hardouin is of opinion that under this name pisselæon is intended. See B. xv. c. 7, B. xxiv. cc. 11, 24, and B. xxv. c. 22.

2278At the beginning of this Chapter in part.

2279Aluminous silicates, as Delafosse remarks, more or less combined with other minerals. Though employed for various purposes in the arts, they are now but little used in medicine.

2280Probably because it was the more extensively employed of the two, in “collyria,” or compositions for the eyes.

2281“Star” earth, apparently.

2282From Eretria, in Eubœa. See B. iv. c. 21.

2283In Chapter21of this Book.

2284It appears to be a matter of doubt whether it was found at Selinus, in Sicily, or the place of that name in Cilicia. See B. iii. c. 14, and B. v. c. 22.

2285Agricola is of opinion that this earth had its name from the place called Pnigeum, in the Libyan Mareotis. Other commentators would have it to be derived fromπνίγω, “to suffocate,” such being its effect if taken internally.

2286See the next Chapter.

2287So called fromἀμπέλος, a “vine;” either because it was applied to vines to kill the insects, or because its admixture with the soil was favourable to the cultivation of the vine.

2288“Washes for beautifying the eye-brows.” See B. xxi. c. 73, B. xxiii. c. 51, and B. xxxiii. c.34.

2289Cimolian earth, known in modern chemistry as Cimolite, is not a cretaceous earth, but an aluminous silicate, still found in the island of Kimoli, or Argentiera, one of the Cyclades; See B. iv. c. 23. Tournefort describes it as a white chalk, very heavy, tasteless, and dissolving in water. It is found also at Alexandrowsk in Russia.

2290See Chapter25of this Book.

2291See B. xxxi. c. 46.

2292See B. xii. c. 51.

2293See B. v. c. 28.

2294Beckmann thinks that this may have been our common chalk. Vol. II. p. 105.

2295Thisseemsto be the meaning of “crescit in macerando.”

2296A.U.C.535, it is supposed.

2297As a plebiscitum.

2298“Desquamatur.” This is most probably the meaning of the word, though Beckmann observes “that it was undoubtedly a term of art, which cannot be further explained, because we are unacquainted with the operation to which it alludes.”—Vol II. p. 104.Bohn’s Edition.

2299“Funditur sulphure.” The meaning of these words is very doubtful. Beckmann proposes to read “offenditur,” but he is not supported by any of the MSS. He has evidently mistaken the meaning of the whole passage.

2300Probably because it was too calcareous, Beckmann thinks.

2301See B. iv. c. 3, and B. xxxvi. c.59.

2302Plate powder; from “argentum,” “silver.” See B. xvii. c. 4.

2303Whitening, or chalk washed and prepared, is still used for this purpose.

2304The goal for the chariots.

2305This reading is restored by Sillig from the Bamberg MS., but no particulars are known relative to the person alluded to; unless, indeed, as Sillig suspects to be the case, he is identical with Publius Syrus, the writer of mimes, mentioned in B. viii. c. 77.

2306Supposed by some to have been the Manilius who was author of the poem called “Astronomica,” still in existence. It is more probable, however, that he was the father of the poet, or perhaps the grandfather; as it is clear from a passage in Suetonius, that Staberius Eros taught at Rome during the civil wars of Sylla, while the poem must have been written, in part at least, after the death of Augustus.

2307Being afterwards manumitted. Sillig thinks that they may have arrived in Rome aboutB.C.90.

2308“Catasta.” A raised platform of wood on which the slaves were exposed for sale.

2309“Rectorem.” For an explanation of this allusion, see B. xxviii. c. 14.

2310A native of Gadara in Syria, according to Josephus. Seneca speaks of him as being more wealthy than his master.

2311Or Menodorus, who deserted Sextus Pompeius and went over to Octavianus.

2312Who remained faithful to Pompeius, and died in his cause.

2313He is probably speaking in reference to her paramour, the freedman Pallas. See B. xxxiii. c.47.

2314As to the earths of Galata and Clypea, see B. v. c. 7. The others are mentioned in B. iii. c. 11.

2315See end of B. ix.

2316See end of B.xxxiv.

2317See end of B. viii.

2318See end of Books vii. and xiv.

2319See end of B. ii.

2320See end of B. iii.

2321See end of B. ii.

2322See end of B. x.

2323See end of B. ii.

2324See end of B. vii.

2325See end of B. xvi.

2326A native of Longula in Latium. Though of dissolute character, he was famous as an orator and satirical writer. It was he who accused Nonius Asprenas of poisoning, as mentioned in Chapter 46 of this Book. He died in exile at the island of Seriphos, aboutA.D.33. His works were at first proscribed, but were afterwards permitted by Caligula to be read.

2327See end of B. vii.

2328See end of B.xxxiii.

2329The painter, mentioned at great length in Chapter36of this Book, and elsewhere.

2330A painter of Sicyon, mentioned in Chapters32and36of this Book.

2331Probably the painter of that name, mentioned in Chapter36of this Book.

2332The artist mentioned in B. xxxiv. c.19, and in Chapter40of the present Book.

2333See end of B.xxxiii.

2334Possibly the painter of that name, mentioned in Chapter40of this Book.

2335See end of B. ii.

2336See end of B. iii.

2337See end of B. xxx.

2338See end of B. iii.

2339See end of B. xii.

2340See end of Books iv., viii., xi., and xx.

2341See end of B. xx.

2342See end of Books iv. and xii.

2343See end of B. xii.

2344See end of B. xiii.

2345See end of B. xii.

2346See end of B. xii.

2347See end of B. xxix.

2348See end of B. xii.

2349See end of B. xii.

2350See end of B.xxxiii.

2351See end of B.xxxiii.

2352See B. xxxvii. cc.7,8,11.

2353See the lines of Juvenal, Sat. x. l. 151,et seq.

2354He alludes to vessels made of crystal, which, as Dalechamps remarks, was long supposed to be nothing but ice in a concrete form. See B. xxxvii. c.9.

2355See B. viii. c. 82.

2356“Glandia.”

2357See Chapter24of this Book.

2358See Chapter8of this Book.

2359In the Eleventh Region of the City.

2360See B. xxxv. cc.43,45.

2361See B. xvii. c. 1.

2362These two artists are invariably mentioned together. Pausanias, B. ii. c. 14, and B. iii. c. 17, speaks or them as the pupils or sons of Dædalus; only intimating thereby, as Sillig thinks, that they were the first sculptors worthy of being associated with the father of artists. Pausanias, B. ii. c. 22, mentions ebony statues by them.

2363In the time of the Telchines, before the arrival of Inachus in Argolis.

2364Pausanias says that this statue was completed by their pupils. Clemens Alexandrinus mentions other works of theirs.

2365Another reading is “Anthermus.” Of many of these sculptors, no further particulars are known.

2366Another cause of the quarrel is said to have been the refusal of Bupalus to give his daughter in marriage to Hipponax. This quarrel is referred to in the Greek Anthology, B. iii. Epigr. 26.

2367See B. xiv. c. 9.

2368See B. iv. c. 20.

2369Dedicated by Augustus, in the Tenth Region of the City.

2370Λύχνοςbeing the Greek for a “lamp.”

2371See B. iii. c. 8: now known as the marble of Massa and Carrara, of a bluish white, and a very fine grain.

2372A similar case has been cited, in the figure of St. Jerome, to be seen on a stone in the Grotto of Our Saviour at Bethlehem, and in a representation of the Crucifixion, in the Church of St. George, at Venice. A miniature resembling that of the poet Chaucer is to be seen on the surface of a small stone in the British Museum.

2373See B. xxxv. c.44.

2374See B. xxxv. cc.37,40.

2375See B. xxxiv. c.19.

2376“In the Gardens.” A suburb of Athens, in which there was a temple of Venus, or Aphrodite Urania.

2377He is mentioned also by Pausanias and Strabo.

2378The Goddess of Retribution. Pausanias, B. i. c. 33, says that it was the work of Phidias, and that it was made of Parian marble, which the Persians had brought into Attica for the purpose of erecting a trophy. Strabo, however, in B. ix., says that it was the work of Agoracritus and Diodotus (an artist otherwise unknown), and that it was not at all inferior to the production of Phidias. Tzetzes again, Suidas, and Photius, say that it was the work of Phidias, and that it was presented by him to his favourite pupil, Agoracritus. Sillig rejects the story of the contest, and the decision by the suffrages of the Athenian people. Some modern writers have doubted also, whether a statue of Venus could be modified so as to represent Nemesis; but not with sufficient reason, Sillig thinks.

2379See B. iv. c. 11.

2380A statue, Sillig supposes, of the goddess Cybele.

2381“Pandoras Genesis.”

2382Sillig is of opinion that this passage is corrupt, and is inclined to think, with Panofka, that the reading should be “nascenti adstantes,”—gods “standing by the new-born” Pandora.

2383In B. xxxiv. c.19.

2384See B. xxxv. c.45.

2385“Velatâ specie.” There has been much discussion about the meaning of these words; and Sillig is of opinion that the figure was represented draped in a garment, which, while it seemed designed to hide the person, really exposed it to view. This dress would not improbably recommend it additionally to the inhabitants of Cos, who were skilled in making theCoæ vestes, garments which, while they covered the body, revealed its naked charms. See further mention of them in B. ix. c. 26.

2386Visconti thinks that a statue still preserved in the Royal Museum at Paris, is a copy of the Coan Venus. It has, however, a figure of Cupid associated with it, which, as Sillig observes, militates against the supposition.

2387The ancient writers abound in praises of this wonderful statue. Lucian, however, has given the most complete and artistic description of it. It was supposed by the ancients, to represent Venus as standing before Paris, when he awarded to her the prize of beauty; but it has been well remarked, that the drapery in the right hand, and the vase by the side of the figure, indicate that she has either just left or is about to enter the bath. The artist modelled it from Phryne, a courtesan or hetæra of Athens, of whom he was greatly enamoured. It was ultimately carried to Constantinople, where it perished by fire in the reign of Justinian. It is doubtful whether there are any copies of it in existence. There is, however, a so-called copy in the gardens of the Vatican, and another in the Glyptothek, at Munich. A Venus in the Museo Pio-Clementino, at Rome, is considered by Visconti and others to have been a copy of the Cnidian Venus, with the addition of drapery. It is supposed that Cleomenes, in making the Venus de Medici, imitated the Cnidian Venus in some degree.

2388There are numerous Epigrams in reference to this statue in the Greek Anthology; the most striking line in any of which is the beautiful Pentameter:Φεῦ! φεῦ! ποῦ γυμνὴν εἶδε με Πραξιτέλης;“Alas! where has Praxiteles me naked seen?”

2388There are numerous Epigrams in reference to this statue in the Greek Anthology; the most striking line in any of which is the beautiful Pentameter:

Φεῦ! φεῦ! ποῦ γυμνὴν εἶδε με Πραξιτέλης;

“Alas! where has Praxiteles me naked seen?”

Back to Index Next