Chapter 40 of This Book.

Built by Augustus in the Ninth Region of the City, in honour of his sister Octavia.

See Chapter 36.

Bacchus.

And so caused his death by falling from his chariot. See the “Hippolytus” of Euripides.

Near the Theatre of Pompey, in the Ninth Region of the City.

“Caricatures.” Sillig thinks it not unlikely that Gryllus was painted with a pig’s face, that animal being signified by the Greek word γρυλλὸς.

See Chapter 40 of this Book.

See Chapter 6 of this Book.

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.

“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.

“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.

The “hypæthra” or promenades.

Most editions give “Famulus.” Nothing further is known of him.

See B. xxxvi. c. 24.

Both in the First Region of the City, near the Capenian Gate.

See Chapter 41 of this Book, where the difficulties attending this description will be considered.

See Chapter 36 of this Book.

See Chapter 35 of this Book.

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.

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.

See Chapter 36 of this Book.

Two paintings of his at Epidaurus are mentioned by Pausanias, B. ii. c. 27.

And not in encaustic; though, as we shall see in Chapter 41, the brush was sometimes used in this branch.

The “One day” picture.

See B. xxi. c. 3.

The “Chaplet-wearer.” See B. xxi. c. 3.

The “Chaplet-seller.”

A “correct” copy.

“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.

A.U.C. 678. See B. xxxvi. c. 24.

Mentioned also in B. xxxiv. c. 19.

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.

“Carne.” Beef, according to Plutarch, was the flesh mentioned.

The dress of the Greek philosophers, more particularly.

Born in the island of Cythnos, one of the Cyclades. He is supposed to be the artist mentioned by Theophrastus, De Lapid. c. 95.

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.

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.

Chiaroscuro.

In Chapter 10 of this Book.

Bacchus.

In the Eighth Region of the City.

Spoken of by Pausanias, B. iii. c. 19.

In the Forum at Rome.

See Chapter 36 of this Book, Note 2025, p. 261.

“Place of the prophecies of the dead;” in reference to the description of the Infernal Regions in the Fourth Book of the Odyssey.

See Chapter 37 of this Book.

See B. iv. c. 18.

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.

A “group of kindred.”

A disciple of Carneades. See the list of writers at the end of this Book.

B.C. 168.

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.

See Note 2116 above.

Medusa, slain by Perseus.

In the former editions, “Mecophanes.”

Or ochre. See B. xxxiii. c. 56.

Health, Brightness, and All-heal.

Greek for “sluggard.”

Probably, from the context, a pupil, also, of Pausias.

In pencil painting, and in encaustic.

Probably the same painter that is mentioned in Chapter 37.

An effect for which Schalken is famous.

“Shading his eyes.”

Son and pupil of Aglaopho, and brother of Polygnotus. He was probably a native of Thasos.

See Chapter 36, Note 2029, page 261.

“Dolus.” An emblematical picture evidently, probably representing the events just prior to the capture of Troy.

A famous diver, mentioned by Herodotus, B. viii. c. 8, Pausanias, B. x. c. 19, and Strabo, B. ix.

Probably the wife of Seleucus, given by him to his son Antiochus. See B. vii. c. 37, Note 1165.

That they should rebuild the walls of Troy.

His contest with Corragus the Macedonian, whom he defeated, is mentioned also by Ælian, Diodorus Siculus, Athenæus, and Quintus Curtius.

Gained “without raising the dust,” i.e. without any difficulty.

This is perhaps the meaning of “stemmata;” “heraldic pictures,” probably. See Juvenal, Sat. viii. l. 2.

Suidas seems to mention him, under the name of “Ctesiochus,” as the brother of Apelles.

Who was said to have been born from the thigh of Jove.

Or cap; see Chapter 35 of this Book.

By Hercules, when he demanded Iole of her father Eurytus, king of Œchalia.

See Note 2147 above.

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.

A building at the entrance into Athens, whence the “pompæ,” or solemn processions, set out.

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.

Caused by the anger of Juno. In this fit of insanity he slew his wife Megara and her children.

See also Chapter 36. From Plutarch we learn that he was greatly in favour with Aratus of Sicyon.

According to Brotero, a representation of the Ass and Crocodile was found in the pictorial embellishments at Herculaneum.

See B. xvii. c. 36, B. xviii. c. 56, and B. xix. c. 24.

“Theodoras” in most of the editions.

See Chapter 36 of this Book, page 252.

See the Æneid, B. II. c. 403, et seq.

Poliorcetes.

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.

After the murder of his mother.

See B. vii. c. 57.

Or player with the discus.

Against his brother Eteocles.

Who assisted Polynices in his siege of Thebes.

Helen, Castor, and Pollux.

See B. vii. c. 37.

Mentioned in Chapter 36, as having been commenced for the people of Cos, but never finished.

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.

Poliorcetes, who began to reign B.C. 306.

Already mentioned in this Chapter, at greater length.

See B. xxxiv. c. 40.

See Chapter 36 of this Book, and the present Chapter. Of the greater part of these artists nothing further is known.

See Chapter 35 of this Book.

Previously mentioned in this Chapter.

Or stylus—“cestrum.”

Probably the same painter as the one mentioned in Chapter 37 of this Book.

See Chapter 39 of this Book. Pausias painted in wax with the cestrum.

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.

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.

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.

Or Temple of the Nymphs. The daughter of Butades is called “Core” by Athenagoras.

See B. xxxiv. c. 3.

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.

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.

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.

A different person, probably, from the one of the same name mentioned in B. vii. c. 56.

Terra cotta figures.

See B. xxxiv. c. 19. Tatian mentions a statue of Melanippe by Lysistratus.

See B. xxxvi. c. 4.

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.

See B. xxxiv. c. 16.

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.

“Et.” The insertion of this word seems to militate against Sillig’s position.

The “Pottery.”

See also B. xxxvi. c. 4.

See Chapter 40 of this Book.

“Crater.” A vase in which wine and water were mixed for drinking.

See B. xxxiii. c. 55, B. xxxvi. c. 4, and end of B. xxxiii.

See B. xxxiii. c. 36.

In B. viii. c. 4, for instance.

The “Hercules fictilis.” It is mentioned by Martial, B. xiv. Ep. 178.

See B. xxxiii. c. 2, and B. xxxvii. cc. 7, 8, 11.

“Simpuvia.”

See B. xxxi. c. 31.

“Mammatis.” The exact meaning of this word is unknown. The passage is evidently in a corrupt state.

As to the Roman “Collegia,” see B. viii. c. 42, and B. xxxiv. c. 1.

“Solia.”—The same name is given also to a kind of sitting or reclining-bath, often mentioned by Pliny.

Asia Minor.

See B. iii. c. 18.

A service of three dishes.

See B. ix. c. 39.

See B. ix. cc. 24, 28, 74, 79.

In B. x. c. 72.

See Note 2211 above.

See B. xxiii. c. 47, and the end of this Book.

Martial speaks of this practice, B. iii. Epigr. 81.

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.

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.

The floors of the Roman houses were seldom boarded.

“Pulvis.” See B. iii. c. 9, B. xvi. c. 76, and B. xxxvi. c. 14. He alludes to the cement made of volcanic ashes, now known as “Pozzuolane.”

See B. iv. c. 17.

It being the practice to rub the bodies of the athletes with sand.

This circumstance is mentioned also by Suetonius, in his life of Nero. Patrobius was slain by order of the Emperor Galba.

Ajasson says that they are called tapias at the present day in Spain.

See B. ii. c. 73.

“Rubrica.”

See B. xxxi. c. 28.

Which was, as a measure, nearly three inches in breadth. See Introduction to Vol. III.

See B. v. c. 32.

Ajasson says that these bricks have been imitated by Fabroni, with a light argillaceous earth, found in the territory of Sienna. Delafosse thinks that a place called “Cala,” in the Sierra Morena, probably marks the site of the cities above mentioned.

See B. iv. c. 5, and B. xxxvi. c. 4.

“Gerusia.”

See B. iii. c. 19.

In B. iii. c. 6.

See B. xviii. c. 29.

“Untouched by fire.” Native sulphur.

“Gleba.”

Sulphur has been always considered highly useful for the cure of cutaneous affections.

From ἅρπαζω, “to carry away.”

Ovid, in his “Art of Love,” speaks of purifying houses with eggs and sulphur.

See B. xxxi. c. 32.

There are three distinct kinds of bitumen. 1. Naphtha, also known as petroleum, or rock-oil, inflammable, volatile, soluble in alcohol, and found in France and Italy. 2. Asphalt, or bitumen of Judæa, solid, insoluble in alcohol, and found in Lake Asphaltites in Syria, more particularly. 3. Pissasphalt, of a medium consistency between the other substances, of which it appears to be composed. See B. xxiv. c. 25.

In B. v. c. 15.

Naphtha, most probably.

See B. xxiv. c. 25.

Chapter 109.

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

“Asphalt plaster,” probably.

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

See B. xxxii. c. 13.

In B. xxxiv. c. 9.

Beckmann is of opinion that our alum was 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.

“Salsugo terræ.”

See Note 2261 above.

For gilding, Hardouin says.

The Roman provinces in Africa, other than Egypt.

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

Herodotus, 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.

“Fruitful,” or “useful.”

“Adulterated.”

See B. xx. c. 71.

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

“Hairy alum.”

See B. xxxiv. cc. 2, 29.

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

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

Στυπτηρία, the “styptic.”

“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.

At the beginning of this Chapter in part.

Aluminous 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.

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

“Star” earth, apparently.

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

In Chapter 21 of this Book.

It 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.

Agricola 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 from πνίγω, “to suffocate,” such being its effect if taken internally.

See the next Chapter.

So called from ἀμπέλος, 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.

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

Cimolian 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.

See Chapter 25 of this Book.

See B. xxxi. c. 46.

See B. xii. c. 51.

See B. v. c. 28.

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

This seems to be the meaning of “crescit in macerando.”

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

As a plebiscitum.

“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.

“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.

Probably because it was too calcareous, Beckmann thinks.

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

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

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

The goal for the chariots.

This 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.

Supposed 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.

Being afterwards manumitted. Sillig thinks that they may have arrived in Rome about B.C. 90.

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

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

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

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

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

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

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

See end of B. ix.

See end of B. xxxiv.

See end of B. viii.

See end of Books vii. and xiv.

See end of B. ii.

See end of B. iii.

See end of B. ii.

See end of B. x.

See end of B. ii.

See end of B. vii.

See end of B. xvi.

A 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, about A.D. 33. His works were at first proscribed, but were afterwards permitted by Caligula to be read.

See end of B. vii.

See end of B. xxxiii.

The painter, mentioned at great length in Chapter 36 of this Book, and elsewhere.

A painter of Sicyon, mentioned in Chapters 32 and 36 of this Book.

Probably the painter of that name, mentioned in Chapter 36 of this Book.

The artist mentioned in B. xxxiv. c. 19, and in Chapter 40 of the present Book.

See end of B. xxxiii.

Possibly the painter of that name, mentioned in Chapter 40 of this Book.

See end of B. ii.

See end of B. iii.

See end of B. xxx.

See end of B. iii.

See end of B. xii.

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

See end of B. xx.

See end of Books iv. and xii.

See end of B. xii.

See end of B. xiii.

See end of B. xii.

See end of B. xii.

See end of B. xxix.

See end of B. xii.

See end of B. xii.

See end of B. xxxiii.

See end of B. xxxiii.

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

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

He 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.

See B. viii. c. 82.

“Glandia.”

See Chapter 24 of this Book.

See Chapter 8 of this Book.

In the Eleventh Region of the City.

See B. xxxv. cc. 43, 45.

See B. xvii. c. 1.

These 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.

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

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

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

Another 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.

See B. xiv. c. 9.

See B. iv. c. 20.

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

Λύχνος being the Greek for a “lamp.”

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

A 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.

See B. xxxv. c. 44.

See B. xxxv. cc. 37, 40.

See B. xxxiv. c. 19.

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

He is mentioned also by Pausanias and Strabo.

The 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.

See B. iv. c. 11.

A statue, Sillig supposes, of the goddess Cybele.

“Pandoras Genesis.”

Sillig 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.

In B. xxxiv. c. 19.

See B. xxxv. c. 45.

“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 the Coæ vestes, garments which, while they covered the body, revealed its naked charms. See further mention of them in B. ix. c. 26.

Visconti 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.

The 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.

There 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?”

Lucian, Valerius Maximus, and Athenæus, tell the same improbable story, borrowing it from Posidippus the historian.

Bacchus.

See B. xxxiv. c. 19.

See B. xxxiv. c. 19.

Pliny is mistaken here: for in the time of Cicero, as we find in Verr. 4, 2, 4, the Thespian Cupid was still at Thespiæ, in Bœotia, where it had been dedicated by Phryne, and was not removed to Rome till the time of the emperors. It was the Parian Cupid, originally made for the people of Parium, that, after coming into the possession of Heius, a rich Sicilian, was forcibly taken from him by Verres.

Where it was destroyed by fire in the reign of Titus. See B. xxxiv. c. 37.

See B. xxxiv. c. 19.

Frantic Bacchantes.

Sacrificing Bacchantes.

The name given in architecture to figures of females employed as columns in edifices. The Spartans, on taking the city of Carya, in Laconia, massacred the male inhabitants, and condemned the females to the most bitter servitude, as “hewers of wood and drawers of water.” Hence the memorials of their servitude thus perpetuated in architecture.

Or companions of Bacchus. See B. xxxv. c. 36.

See B. xxxiv. c. 19.

“Symplegma.”

Also mentioned in B. xxxiv. c. 19.

Pausanias, B. I., speaks of three figures sculptured by Scopas; Erôs, Himeros, and Pothos. It is doubtful, however, whether they are identical with those here spoken of.

Or “Desire.” The name of “Phaëthon” is added in most of the editions, but Sillig rejects it as either a gloss, or a corruption of some other name.

“Campteras.” This, which is probably the true reading, has been restored by Sillig from the Bamberg MS. The καμπτὴρ was the bend or turning, round the goal in the race-course for chariots; and as Vesta was symbolical of the earth, these figures, Sillig thinks, probably represented the poles, as goals of the sun’s course.

Figures of Virgins, carrying on their heads baskets filled with objects consecrated to Minerva.

Dedicated to Neptune by Cneius Domitius Ahenobarbus, in the Ninth Region of the City.

“Et” appears a preferable reading to the “aut” of the Bamberg MS.

“Hippocampi.” It is pretty clear that by this name he cannot mean the small fish so called in B. xxxii. cc. 20, 23, 27, 30, 35, 38, 50, and 53, and alluded to in B. ix. c. 1; the Syngnathus hippocampus of Linnæus.

A sea-divinity.

“Pistrices.” See B. ix. cc. 2, 3, 15.

Conqueror of Callæcia. See B. iv. c. 35. This temple was dedicated to Mars.

A statue of Apollo, Hardouin thinks, which was originally brought from Seleucia by C. Sosius, the quæstor of M. Lepidus. See B. xiii. c. 5.

Ajasson says that this work is identical with the group representing Niobe and her children, now at Florence. It was found in 1535, or, as some say, 1583, near the Lateran Gate at Rome; upon which, it was bought by Ferdinand de Medici, and placed in the park of one of his villas. More recently, the Emperor Leopold purchased it, and had it removed to Florence.

The Temple of Janus, in the Eighth Region of the City.

Probably by neither of them, as Janus was essentially an Italian Divinity. See Ovid’s Fasti, B. I.

See B. xxxv. c. 37.

A large upper garment, reaching to the ankles.

Both Liber and Libera were originally Italian Divinities, who presided over the vine and the fields. Pliny, however, always identifies the former with Bacchus, and other writers the latter with Persephone, or Proserpina, the daughter of Demeter or Ceres. Ovid, Fasti, B. iii. l. 512, calls Ariadne, “Libera.”

See B. xvi. c. 76.

A disciple of Marsyas, and a famous player on the flute. See p. 319.

All these figures have been found copied in the frescoes of Herculaneum.

See B. xxxiv. c. 19.

It is doubtful whether this is the same artist that is mentioned in B. xxxiv. c. 19.

See B. xxxiv. c. 19.

Hence, too, the use of the word “Mausoleum,” as meaning a splendid tomb.

He means, probably, the extent of the colonnade or screen which surrounded it. The Mausoleum was erected at Halicarnassus.

Facing east and west.

Or “wing.” The “ptera,” or “pteromata,” properly speaking, were the two wings at the sides of a building. See Note 2431 below.

She only survived her husband two years.

Another reading, and perhaps a preferable one, is “one hundred” feet. The account given by Pliny is very confused, and Littré has taken some pains to explain the construction of this building. He is of opinion that in the first place, a quadrangular main building was erected, 63 feet in length on the north and south, the breadth of the east and west faces being shorter, some 42 feet perhaps. Secondly, that there was a screen of 36 columns surrounding the main building, and 411 feet in circumference. (He adopts this reading in preference to the 440 feet of the Bamberg MS.) That the longer sides of this screen were 113.25 feet in extent, and the shorter 92.125 feet. That between the main building and this screen, or colonnade, there was an interval of 25.125 feet. Thirdly, that the colonnade and the main buildings were united by a vaulted roof, and that this union formed the “Pteron.” Fourthly, that rising from this Pteron, there was a quadrangular truncated pyramid, formed of twenty-four steps, and surmounted with a chariot of marble. This would allow, speaking in round numbers, 37½ feet for the height of the main body of the building, 37½ feet for the pyramid, and twenty-five feet for the height of the chariot and the figure which it doubtless contained.

Supposed to be the person alluded to by Horace, 1 Sat. 3, 90.

He is mentioned also by Tatian, and is supposed to have lived about the time of Alexander the Great.

“Charites.”

“Porch,” or “Vestibule” of the Citadel at Athens.

Mentioned in B. xxxv. c. 40. The present Socrates is identified by Pausanias, B. i. c. 22, and B. ix. c. 25, and by Diogenes Laertius, B. ii. c. 19, with the great Athenian philosopher of that name, son of the statuary Sophroniscus: but the question as to his identity is very doubtful. Diogenes Laertius adds, that whereas artists had previously represented the Graces naked, Socrates sculptured them with drapery.

See B. xxxiv. c. 19.

See B. xxxv. c. 45.

Or Muses of Thespiæ, in Bœotia.

There have been several distinguished sculptors, all of this name. A statuary, son of Apollodorus the Athenian, made the celebrated Venus de Medici. It is the opinion of Visconti and Thiersch, that the artist here mentioned flourished before the destruction of Corinth.

This name is doubtful, and nothing is known relative to the artist.

“Hippiades” is the old reading, which Dalechamps considers to mean “Amazons.” The Appiades were Nymphs of the Appian Spring, near the temple of Venus Genetrix, in the Forum of Julius Cæsar. See Ovid, Art. Am. B. i. l. 81, and B. iii. l. 451; and Rem. Am. l. 659.

From an inscription on a statue still extant, he is supposed to have been a pupil of Pasiteles, and consequently to have flourished about B.C. 25.

Figures in which the form and attributes of Hermes, or Mercury, and Eros, or Cupid, were combined, Hardouin thinks.

In B. xxxiii. c. 55.

In Caria: see B. v. c. 29.

Or “Xenias”—“Presiding over hospitality,” or “Protector of strangers.”

The story was, that Zethus and Amphion bound Dirce, queen of Thebes, to the flanks of an infuriated bull, in revenge for the death of their mother, Antiope, who had been similarly slain by her. This group is supposed still to exist, in part, in the “Farnese Bull,” which has been in a great measure restored. Winckelmann is of opinion, however, that the Farnese Bull is of anterior date to that here mentioned, and that it belongs to the school of Lysippus.

Probably a native of Rhodes. No further particulars of this artist appear to be known.

Bacchus.

See B. xxxiv. c. 19.

A different person, probably, from the painter, mentioned in B. xxxv. c. 40.

See B. xxxiv. c. 19.

Supposed by Sillig not to be the early statuary of Argos of that name, who flourished, probably, B.C. 476.

See B. xxxiv. c. 19.

“Pasiteles” would appear to be a preferable reading; for Pliny would surely have devoted more space to a description of these works of Praxiteles.

The same artist that is previously mentioned, Sillig thinks.

Of Jupiter.

See B. xxxiv. c. 19.

“Symplegma.” See Note 2401, page 314.

The first being in a stooping posture, washing herself.

In B. xxxiii. c. 55, and B. xxxiv. c. 18.

A sculptor of the age of Alexander the Great. He is also mentioned by Tatian. For an account of Callisthenes, see end of B. xii.

Winckelmann supposes that these artists lived in the time of Lysippus; but, as may be discovered from an attentive examination of the present passage, Lessing and Thiersch are probably right in considering them to have been contemporaries of the Emperor Titus. This group is generally supposed to have been identical with the Laocoön still to be seen in the Court of the Belvedere, in the Vatican at Rome; having been found, in 1506, in a vault beneath the spot known as the Place de Sette Sale, by Felix de Fredi, who surrendered it, in consideration of a pension, to Pope Julius II. The group, however, is not made of a single block, which has caused some to doubt its identity: but it is not improbable, that when originally made, its joints were not perceptible to a common observer. The spot, too, where it was found was actually part of the palace of Titus. It is most probable that the artists had the beautiful episode of Laocoön in view, as penned by Virgil, Æn. B. II.; though Ajasson doubts whether they derived any inspiration from it. Laocoön, in the sublime expression of his countenance, is doing any thing, he says, but—

“Clamores simul horrendos ad sidera tollit.”

“Sending dire outcries to the stars of heaven.”

This was an ancient and hideous idol, probably. Plato, Diodorus Siculus, Plautus, Lactantius, Arnobius, and Isidorus, all concur in saying that it was Saturn in honour of whom human victims were immolated.

“Ad Nationes.” A portico built by Augustus, and adorned with statues representing various nations.

“Thespiades.” They were brought by Mummius from Thespiæ, in Bœotia. See B. xxxiv. c. 19, and Note 2439, above.

See B. xxxv. c. 45, and end of B. xxxiii.

Magna Græcia.

Built by Metellus Macedonicus.

“Navalia.” This was the name of certain docks at Rome, where ships were built, laid up, and refitted. They were attached to the Emporium, without the Trigeminian Gate, and were connected with the Tiber.

See B. xxxv. c. 45.

In the Ninth Region of the City. These figures are mentioned also by Suetonius, C. 46.

See B. xxxiv. c. 19.

A singular combination of names, as they mean “Lizard” and “Frog.” No further particulars of these artists are known, but they appear to have lived in the time of Pompey.

Of Juno and Apollo.

“Spiræ.” See Chapter 56 of this Book.

Winckelmann, in Vol. II. p. 269, of the Monumenti Antichi ined., gives the chapiter of an Ionic column, belonging to the church of San Lorenzo, without the walls, at Rome, on the volutes of which are represented a frog and a lizard.

The old reading is adopted here, in preference to that of the Bamberg MS., which does not appear reconcileable to sense in saying that this temple of Jupiter was originally made in honour of Juno; for in such case there could be no mistake in introducing the emblems of female worship.

A sculptor of Miletus. See B. vii. c. 21.

A Lacedæmonian artist. See B. vii. c. 21.

As well as that of Paros.

Only completed in the time of the Emperor Adrian.

Cebriones, the charioteer of Hector. See Il. B. xvi. l. 735.

See B. xxxiii. c. 23.

This is generally explained as meaning ordinary stone, but covered with elaborate paintings, as was then the practice in the magnificent villas that were built at Tibur, the modern Tivoli. See, however, Chapter 48, and Note 2784.

As applied to the decorations of the walls of houses.

This date does not agree with that given to Scopas, one of the artists who worked at the Mausoleum, in the early part of B. xxxiv. c. 19. Sillig, however, is inclined to think that there were two artists named Scopas, and would thus account for the diversity of about seventy years between the dates.

See end of B. ii.

Owing to the liberality of Cæsar, he amassed great riches. He is repeatedly attacked by Catullus (Carm. xxix., xliii., lvii.), and accused of extortion, and other vices. Horace also speaks of him in terms of ridicule, I Sat. 5, 37.

See B. iv. c. 21.

See Chapter 4 of this Book.

The black marbles, Ajasson remarks, are comparatively rare. He is of opinion that the colour of the Lucullan marble was the noir antique of the French, and says that it is to be found at Bergamo, Carrara, Prato in Tuscany, and near Spa in Belgium.

“Chios” is another reading.

“Thundering Jupiter.” This temple was built by Augustus.

Ajasson says that his remarks on the choice of the sand for this purpose, are very judicious.

A recommendation worse than useless, Ajasson remarks.

For this purpose, at the present day, granular corindon, or yellow emery, is used, as also a mixture composed of the oxides of lead and of tin; the substance being repeatedly moistened when applied.

See Chapters 13 and 43 of this Book.

A city in Crete where the stone was prepared for use.

“Cotes.”

Books III. IV. V. and VI.

The modern Ophite, both Noble, Serpentine, and Common.

From the Greek ὄφις, a “serpent.”

This would appear to be a kind of Apatite, or Augustite, found in crystalline rocks.

A superstition, owing solely to the name and appearance of the stone.

From the Greek τέφρα, “ashes.” The modern Tephroite is a silicate of manganese.

Memphis, in Egypt.

A variety of the modern Porphyry, possibly; a compact feldspathic base, with crystals of feldspar. Ajasson refuses to identify it with porphyry, and considers it to be the stone called Red antique, of a deep uniform red, and of a very fine grain; which also was a production of Egypt.

“Small stone.”

Of porphyrites.

“Procurator.”

See B. xxxvi. c. 38. See also the Lydian stone, or touchstone, mentioned in B. xxxiii. c. 43.

From Βάσανος, a “touchstone.”

Philostratus gives a short account of this group, and copies of it are to be seen in the Vatican, and in the grounds of the Tuilleries.

See B. v. c. 10.

The Egyptians called it, not Memnon, but Amenophis, and it is supposed that it represented a monarch of the second dynasty. This is probably the statue still to be seen at Medinet Abou, on the Libyan side of the Nile, in a sitting posture, and at least 60 feet in height. The legs, arms, and other parts of the body are covered with inscriptions, which attest that, in the third century of the Christian era, the priests still practised upon the credulity of the devotees, by pretending that it emitted sounds. It may possibly have been erected for astronomical purposes, or for the mystic worship of the sun. The Greek name “Memnon” is supposed to have been derived from the Egyptian Mei Amun, “beloved of Ammon.”

Ajasson remarks that under this name the ancients meant, first, yellow calcareous Alabaster, and secondly, Chalcedony, unclassified.

See end of the present Book.

See B. vi. cc. 27, 28, 32.

“Variatum est.”

Ajasson thinks that these columns, in reality, were made, in both instances, of yellow jasper, or else yellow sardonyx, a compound of sard and chalcedony.

Erected A.U.C. 741.

See B. xxxiii. c. 47.

The reading here is doubtful, and it is questionable whether he considers the two stones as identical.

Probably calcareous Alabaster, Ajasson thinks. See B. xxxvii. c. 54.

See B. xiii. c. 3.

Plaster of Paris is made of gypsum or alabaster, heated and ground.

A feature both of jasper and of sardonyx.

By some persons it has been considered to be the same with the “lychnitis,” or white marble, mentioned in Chapter 4 of this Book. Ajasson is of opinion that it has not been identified.

Ajasson is in doubt whether this stone was really a marble or a gypsic alabaster. It received its name from the river Curalius or Coural, near which it was found; and it was also known as Sangaric marble. Ajasson thinks that the ancient milk-white marble, still found in Italy, and known to the dealers in antiquities as Palombino, may have been the “corallitic” stone. He also mentions the fine white marble known as Grechetto.

See B. v. c. 29. Sulphuret of manganese is now known as Alabandine; it is black, but becomes of a tarnished brown on exposure to the air. It is not improbable that this manganese was used for colouring glass, and that in Chapter 66 of this Book Pliny again refers to manganese when speaking of a kind of “magnet” or load-stone. See Beckmann, Hist. Inv. Vol. II. pp. 237-8, Bohn’s Edition; who thinks, that in the present passage Pliny is speaking of a kind of marble. It is the fact, however, that Pyrolusite, or grey ore of manganese, is used, at a red heat, for discharging the brown and green tints of glass. See also B. xxxiv. c. 42, and the Note.

Syenite is the name still given to feldspar, hornblende, and quartz, passing into each other by insensible gradations, and resembling granite.

“Varied with red spots,” similar to our red granite.

“Obelisci.” So called from ὀβελισκὸς, a “small spit,” in consequence of their tapering form.

Meaning, probably, that in the Egyptian language, the same word is used as signifying a “spit” and a “ray” of light; for it is generally agreed that the word “obeliscus” is of Greek origin.

He does not appear to have been identified; and the correct reading is doubtful.

Heliopolis, or On. See B. v. c. 11.

These figures or hieroglyphics did not denote the phonetic language of Egypt, but only formed a symbolical writing.

Perhaps the same as “Sesostris.” The former reading is “Sothis.”

Ajasson identifies him with Rameses III., a king of the eighteenth dynasty, who reigned B.C. 1561. This was also one of the names of Sesostris the Great.

The name of the bull divinity worshipped by the people of On, or Heliopolis; while by the people of Memphis it was known as Apis.

This, Hardouin says, was the same obelisk that was afterwards erected by Constantius, son of Constantine the Great, in the Circus Maximus at Rome; whence it was removed by Pope Sextus V., in the year 1588, to the Basilica of the Lateran.

This name is probably mutilated: there are about twenty different readings of it.

This name is also very doubtful. One reading is “Eraph,” and Hardouin attempts to identify him with the Pharaoh Hophra of Jeremiah, xliv. 30, the Ouafres of the Chronicle of Eusebius, and the Apries of Herodotus.

The Nectanabis, probably, of Plutarch, in his Life of Agesilaüs, and the Nectanebus of Nepos, in the Life of Chabrias.

Callixenus of Rhodes was a contemporary of Ptolemy Philadelphus, and was the author of a description of Alexandria, and of a catalogue of painters and sculptors.

Egyptian talents, probably. See. B. xxxiii. c. 15.

Evidently a stupendous monument, or rather aggregate of buildings, erected by Ptolemy II., Philadelphus, in memory of his wife and sister, Arsinoë. See B. xxxiv. c. 42.

Caligula.

See B. xvi. c. 76, and B. xxxv. c. 47.

Or Circus Maximus; in the Eleventh Region of the City. According to Kircher, it was this obelisk that Pope Sextus V. had disinterred, and placed before the church of the Madonna del Popolo.

There are sixteen various readings to this name.

Diogenes Laertius says that he arrived in Egypt in the reign of King Amasis.

Boscovich and Brotero would read here “eighty-two feet and three quarters,” which is more in accordance with its height, as measured by Kircher.

After being long buried in ruins, it was disinterred, but not re-erected, by Pope Benedict XIV. When thus brought to light, it was found to be broken asunder. On it there was an inscription stating that the Emperor Augustus had “presented it to the Sun”—“Soli donum dedit.”

Twelve o’clock in the day.

After the summer solstice.

The one that is mentioned above as having been removed from Alexandria by Caligula.

This obelisk was transferred by Pope Sextus V. from the Circus Vaticanus to the place of the Cathedral of St. Peter.

So called because it was laid out on some gardens which had belonged to one Vaticanus.

Caligula.

There are nine or ten readings of this name. Bunsen suggests “Menophtheus,” the Egyptian king Meneph-Pthah.

In Egypt, probably.

Ajasson thinks that they were intended as places of sepulture for the kings, but for the concealment, also, of their treasures.

See B. v. c. 9.

In Chapter 19 of this Book.

See B. v. c. 9. Herodotus says that these pyramids were built by King Mœris, in the middle of the lake, towering fifty paces above the surface of the water. Diodorus Siculus says that they were built by him in honour of himself and his wife.

Or left-hand side to those coming down the stream. He alludes to the three great Pyramids of Ghizeh, not far from Cairo. There are numerous other pyramids to be seen in Egypt.

In B. v. c. 9.

It still exists, though the face is mutilated. It was disinterred from the sand by Belzoni, but is now again nearly covered. According to Cavaglia, the signature of the Historian Arrian was found inscribed on one of the fore-paws, when it was disinterred.

This reading is, perhaps, preferable to the LXI. s, (61½) of the Bamberg MS. The head and neck, when uncovered, were found to be 27 feet in height.

Built by King Cheops, according to Herodotus, B. ii.

All these writers are mentioned in the list of authors at the end of the present Book.

For the use of the workmen. There is, probably, no foundation for a statement so exact as this; as it would be very singular that such a fact should continue to be known, and the names of the builders be buried in oblivion.

According to modern measurement, the sides of its base measure at the foundation 763 feet 4 inches, and it occupies a space of more than 13 acres. Its perpendicular height is 480 feet.

Other readings are 883, and 783.

Differing very considerably from the modern measurement. These variations may possibly arise, however, from a large portion of the base being covered with sand.

It was entirely coated with marble from the Thebaid; which, however, was removed by the Arabs in the middle ages. In the vicinity there is a fourth pyramid, but of such small dimensions that some of the Egyptian obelisks exceed it in height.

“Nitrum.” See B. xxxi. c. 46.

From this reason being given, it would almost appear that these “bridges” in reality were aqueducts, for conveying the water, in order to melt the mounds of salt and nitre.

A very improbable story, as Ajasson remarks; as if the method of ascertaining the heights of edifices was unknown to the sages of Egypt, and the constructors of the Pyramids!

Herodotus, B. ii. cc. 134, 5, takes great pains to prove the absurdity of this story; and there is little doubt that the beautiful courtesan has been confounded with the equally beautiful Egyptian Queen, Nitocris, who is said by Julius Africanus and Eusebius to have built the third pyramid. As to the courtesan having been a fellow-slave of the fabulist, Æsop, it is extremely doubtful.

The greater harbour, there being two at Alexandria.

Ptolemy Lagus.

Supposed by Thiersch to have been the same person as the statuary mentioned in B. xxxiv. c. 19.

A risk that is now obviated, if, indeed, there is such a risk, by the use of revolving lights and coloured lights.

See B. v. c. 9.

The site of this labyrinth has not been traced, but Sir G. Wilkinson is inclined to think that it was at Howarah el Soghaïr in the Faiöum.

Similar, probably, to the one at Hampton Court.

Most modern writers, and some of the ancients, have altogether denied the existence of the Cretan Labyrinth; but, judging from the testimony of Tournefort and Cockerell, it is most probable that it really did exist, and that it was a vast natural grotto or cavern, enlarged and made additionally intricate by human ingenuity. There are many caverns of this nature in Crete, and one near Gortyna, at Hagios-Deka, is replete with galleries and intricate windings similar to those ascribed to the Labyrinth of Dædalus.

See Chapter 13 of this Book. He is surprised that the people of Egypt, a country which abounded in exquisite marbles, should have used that of another country in preference to their own.

As to the meaning of this word, see B. v. c. 9.

See Chapter 5 of this Book.

“Ulnæ.” See Introduction to Vol. III.

The ἄρουρα was a Greek square measure, containing 2500 square feet.

See Chapter 11 of this Book.

As to the meaning of this word, see Chapter 4 of this Book, page 317, and Note 2429.

“Circummon” is a more common reading.

Or acacia. See B. xxiv. c. 65.

Welcker remarks that it is uncertain whether this Labyrinth was erected as a temple of the Cabiri, or whether it had any connection with the art of mining.

Smilis lived, probably, 200 years before Rhœcus and Theodorus, and was a native of Ægina, not Lemnos. Sillig, however, is inclined to think that there were two artists of this name; the elder a contemporary of Dædalus, and the maker of several wooden statues.

See B. xxxv. c. 43.

See B. iii. c. 8.

A round, broad-brimmed hat, such as we see represented in the statues of Mercury.

Where two brazen vessels were erected on a column, adjoining to which was the statue of a boy with a whip; which, when agitated by the wind, struck the vessels, and omens were drawn from the tinkling noise produced, significant of future events, it was supposed.

A building like this, as Niebuhr says, is absolutely impossible, and belongs to the “Arabian Nights.” The description in some particulars resembles that of a Chinese pagoda.

Probably of Babylon, which were built on terraces raised on arches.

His meaning is, that it was built upon arches.

Asia Minor.

The Hotel de Ville at Brussels is said to have been built upon a stratum of hides.

See Chapter 4 of the present Book. Sillig, in his “Dictionary of Ancient Artists,” suggests a reading which would make the passage to mean that Scopas was jointly architect with Chersiphron. The latter, however, was not the architect of the second temple at Ephesus, but flourished nearly four hundred years before.

Strabo says that, in conjunction with his son Metagenes, he began the first Temple at Ephesus. Thiersch is of opinion that he lived about the first Olympiad, He is mentioned also in B. vii. c. 38.

“Epistylia.” See B. xxxv. c. 49.

Which must have been above the bags and at the summit of the inclined plane.

See B. v. c. 40.

“Lapis Fugitivus.”

A public place where the Prytanes or chief magistrates assembled, and where the public banquets were celebrated.

Or “Narrow” gate, apparently. Dion Cassius, B. 74, tells a similar story nearly, of seven towers at Byzantium, near the Thracian Gate; and “Thracia” is given by the Bamberg MS. It is most probable that the two accounts were derived from the same source.

Ἑπτάφωνον, “seven times vocal.” Plutarch also mentions this portico.

Βουλευτήριον, the “senate house” or “council-chamber.”

It was the most ancient of the bridges at Rome, and was so called from its being built upon “sublices,” or wooden beams. It was originally built by Ancus Martius, and was afterwards rebuilt by the Pontifices or pontiffs. We learn from Ovid, Fasti, B. v. l. 621, that it was still a wooden bridge in the reign of Augustus. In the reign of Otho it was carried away by an inundation. In later times it was also known as the Pons Æmilius, from the name of the person probably under whose superintendence it was rebuilt.

See B. xxxiv. c. 11.

L. Æmilius Paulus, who was consul with C. Marcellus, A.U.C. 703. His Basilica, a building which served as a court of law and as an exchange, was erected in the Eighth Region of the City, at the cost of 1500 talents; which were sent to him by Cæsar, Plutarch says, as a bribe to gain him over from the aristocratical party. It was surrounded with an open peristyle of columns of Phrygian marble.

“Diribitorium.” See B. xvi. c. 76.

Scribonius Libo, who was Ædile during the consulship of Cicero.

“Mound,” or “Terrace.” See B. iii. c. 9, where it is ascribed to Tarquinius Superbus; but Strabo seems to attribute its foundation to Servius Tullius.

Thebes, in Egypt. See Chapter 20 of this Book.

A.U.C. 721. He alludes probably to the cleansing of the sewers beneath the city, which took place, Dion Cassius informs us, in the ædileship of Agrippa.

As Hardouin remarks, the story of the Milesian Virgins, as related by Aulus Gellius and Plutarch, is very similar.

A.U.C. 676.

Caligula. The Palace of Caligula was situate on the Palatine Hill] that of Nero extended from the Palatine Hill to the Esquiline, nearly the whole of which was covered by it. It was left unfinished by Nero, but the Emperor Otho completed it. Martial, Spectac. Ep. 2, speaks in terms of indignation of there being now “but one house in all the City;” but, unfortunately, he gives utterance to it with a view of flattering Domitian.

Whence its name, “Aurea,” the “golden” Palace.

“Sellaria.”

By this mode of expression, he probably means that they were “birds of a feather”—one as bad as the other.

His mother, Metella Cæcilia, became the wife of Sylla.

He forgets the Pyramids and the Labyrinth of Egypt, which he has so recently described.

See B. xvii. c. 1, and Chapter 3 of the present Book. L. Crassus is the person alluded to.

“Four” is the number mentioned in B. xvii. c. 1.

In Chapter 2 of this Book.

In B. xxxiv. c. 17.

“Cavea.” The place where the spectators sat, much like the “pit” of our theatres.

See B. xxxiii. c. 19.

“Choragio.”

He was defeated and slain in Africa by Juba and P. Attius Varus.

And, consequently, of more strict manners, and more strict morals.

“Tabulis.” The wooden frames, probably, which formed the margin of one side of each theatre, and which, when they were brought together, would make a diameter running through the circle which they formed. Hardouin thinks that these theatres are alluded to in Virgil, Georg. B. III. l. 22, et seq.

In allusion, probably, to the addresses delivered by Curio, when tribune, from the Rostra, in favour of Cæsar.

“Pensiles.” Pliny not improbably intends a pun here, this word meaning also “suspended,” or “poised”—in reference, probably, to their suspension on the pivots in Curio’s theatres.

Between Cæsar and Pompey, which he is supposed to have inflamed for his own private purposes.

He was prætor B.C. 144; and, in order that he might complete his aqueduct, his office was prolonged another year.

This aqueduct was begun by Appius Claudius Cæcus, the censor, and was the first made at Rome; B.C. 313.

See B. iii. c. 17. It was commenced by M. Curius Dentatus, B.C. 273, the water being brought a distance of 43 miles. It was afterwards known as the “Anio Vetus,” to distinguish it from another aqueduct from the same river, mentioned in this Chapter, and called the “Anio Novus.” The former was constructed of Peperino stone, and the water-course was lined with cement. Considerable remains of it are still to be seen.

The Aqua Tepula was constructed B.C. 127; so that it is doubtful if Pliny is not here in error.

The Aqua Marcia was brought a distance of upwards of 60 miles, from the vicinity of Sublaqueum, now Subiaco, and was of such elevation that water could be supplied to the loftiest part of the Capitoline Hill. A considerable number of the arches are still standing. In the vicinity of the city it was afterwards united with the Aqua Tepula and the Aqua Julia; the watercourse of the last being above that of the Aqua Tepula, and that above the course of the Aqua Marcia. See B. xxxi. cc. 24, 25.

See B. xxxi. cc. 24, 25.

See B. xxxi. c. 25.

See end of B. iii.

Victor mentions 856 public baths at Rome.

Caligula.

Anio Novus.

Nero.

See B. ii. c. 106, and B. iii. c. 17. In order to check the sudden rise of its waters, a design was entertained by Julius Cæsar to construct a subterranean canal from the lake into the valley of the Liris, which, unfortunately, was frustrated by his death. Claudius, however, executed the work, by cutting a gallery upwards of an English mile and a half through the limestone rock; a work which, according to Suetonius, occupied thirty thousand workmen continually for eleven years. On opening it with a mock naval combat, an accident happened in which many persons lost their lives, and Claudius himself but narrowly escaped. The emissary answered its purpose for some time, and, though Nero suffered the works to fall into decay, they were repaired by Hadrian. In the middle ages, however, the work fell in, and has not since been restored.

See B. iii. c. 9.

“Magnes.”

In Chapter 23 of this Book.

“Iron earth;” from σίδηρος, “iron.” The magnet, or loadstone itself, is an oxide of iron, known as Oxidulated iron, or Ferroso-ferric oxide; sometimes in combination with quartz or alumine.

From Heraclea, in Lydia, or in Thessaly, according to some accounts. It is not improbable, however, that it was so called after “Heracles,” or Hercules, on account of its powerful influence upon iron ores.

Isidorus says, “India,” in B. 16 of the “Origines.”

See the list of authors at the end of this Book.

Varieties, no doubt, of oxide of iron.

An absurd distinction, as Ajasson remarks; based, probably, on Eastern notions, and with reference to the comparative powers of attraction.

From αἷμα, “blood.” He alludes to Specular iron, red ochre, or red hematite, another oxide of iron.

Sometimes it has, but in a very slight degree.

Ajasson remarks that most probably the possessors of this pretended variety knew the distinction between the two poles of the magnet, and took care, when it was their interest to do so, to place the opposite pole towards that of the other loadstone.

It was the belief of the Duke of Noya Caraffa, that this stone was identical with Tourmaline: but, as Beckmann says, tourmaline, when heated, first attracts iron, and then repels it. Hist. Inv. Vol. I. pp. 87, 88. Bohn’s Edition. Ajasson is of opinion that the Theamedes was neither more nor less than the ordinary loadstone, with the negative pole presented, by designing persons, towards another magnet.

In B. ii. c. 98, and B. xx. c. 1.

See B. iv. c. 23.

See B. ii. c. 106, Vol. I. p. 137, and Note 687. There is little doubt that this was a volcanic, porous product.

From σάρξ, “flesh,” and φάγω, “to eat.” See B. ii. c. 98. Ajasson identifies it with Alunite, or Alum stone, in its several varieties.

Both of them varieties of calcareous tufa, Ajasson thinks.

Or Sarcophagus: see the preceding Chapter.

Democritus, amongst the ancients, and Savonarola and Cardan, in more recent times, have attributed to stones the powers of reproduction. Vivès speaks of certain diamonds which conceive and fructify; and Avicenna speaks of the selenite or moon-stone of Arabia, which, when suspended from a tree, generates other stones of a similar nature. Tournefort also entertained similar opinions.

Fossil teeth of mammiferæ, probably.

Fossil animal remains, no doubt.

Cneius Pompeius. See B. iii. c. 3.

“Palmati.” This is more probably the meaning, than the “human palm,” as Littré renders it. They were fossil impressions of leaves, in all probability.

See Chapter 43 of this Book: also B. iv. cc. 7, 8.

Stones so called, possibly, from being found in the vicinity of Cora in Italy: See B. iii. c. 9. These stones are also mentioned by Isidorus, Orig. B. xvi. c. 4.

Identified by Ajasson and Desfontaines? with Quartz molar agate, very abundant in this volcanic region of Italy.

“Molares.” “Millstone.”

Or Serpentine. See Chapter 11 of this Book.

Not the Pyrites of modern Mineralogy, combinations of sulphur with various mineral ores.

The Greek for “fire” being πῦρ.

Sulphate of copper, probably, our Chalcopyrite, or yellow copper pyrites.

See B. v. c. 35.

Or “quick,” “vivos.” Ajasson identifies these with the quartz agates that form our gun-flints, a Chalcedonic variety of Silica.

Amadue, or German tinder.

Fossil shells of oysters and bivalve mollusks, combined, probably, with Fahlunite or Hydrous Iolite.

This is the most delicate variety of Asbestus, a kind of Hornblende: it presents the lustre of satin. As to Asbestus, see B. xix. c. 4, where Pliny has evidently taken it to be a vegetable production.

See B. xxxv. c. 52.

“Earthy” stone. These are either nodules of iron-stone, hollow in the centre, or else round, inorganic masses, hollow, and lined with crystals within. These latter are mostly of a silicious nature.

It was, probably, a yellow, argillaceous earth, and it is more probable that it derived its name from μελὶ, “honey,” in consequence of its colour than by reason of its supposed sweet juices. The Mellite, Mellitite, or Honey-stone of modern Mineralogy, also known as Mellate of Alumina, has its name from its honey-yellow colour. It is found in Thuringia, Moravia, and Bohemia; but most probably was unknown in the days of Pliny.

See B. xx. cc. 6, 21.

Our jet, which somewhat resembles cannel-coal, and is found in clay soils.

See B. v. c. 28, where a place called “Gagæ” is mentioned. In Note 3900 to that Chapter, “gagates” is erroneously rendered “agate.”

See B. v. c. 26.

This comparison is not inapt, as it is closely akin to Lignite, or brown coal.

A bituminous and animal odour, Ajasson says, quite peculiar to itself.

He has borrowed this erroneous assertion, probably, from Nicander, who, with Pliny, says the same of the “Thracian stone,” which has not been identified, but is supposed to have been a sort of coal. See B. xxxiii. c. 30.

This is, probably, the meaning of “sonticus morbus,” a disease, which, according to the jurists, excused those affected with it, from attending in courts of justice.

Albertus Magnus, De Mineral. B. ii., says that if it is given in water to a female, it will have a diuretic effect immediately, if she is not in a state of virginity, and that the contrary will be the case if she is.

See B. xxx. c. 5. According to Dalechamps, this was practised by placing the jet upon a hatchet at a red heat.

“Stone-macerater.” From τήκω, to “macerate,” and λιθὸς, “a stone.”

Dioscorides says that it was found in Cappadocia also; and both he and Galen attribute to it certain medicinal properties. It was used either for colouring, or else, like fuller’s earth, for taking the grease out of wool and cloth. Ajasson is inclined to think that it was either a volcanic scoria or a Peperite, also of volcanic origin.

Or “blood-stone,” mentioned already in Chapter 25 of this Book.

He is evidently speaking here of the red peroxide of iron.

Vermilion. See B. xxxiii. c. 37.

Literally, “split” stone; so called, probably, from its laminated form. Ajasson identifies it with yellow or brown iron ore, known in Mineralogy as Limonite, or Brown Hematite.

“Explendis oculorum lacunis.”

Mentioned in Chapter 25 of this Book.

Mentioned also in Chapter 25. Probably Red peroxide of iron, in a massive form.

“All-serviceable,” or “all-heal.”

“Man-subduing.”

The colour of Specular iron, or red peroxide of iron, being of a dark steel-grey or iron-black, this is probably another variety of it. Ajasson thinks that it includes compact or massive red oxide of iron, and scaly red iron, or red iron froth, which leaves red marks upon the fingers.

See Chapter 11 of this Book. Its alleged attraction of silver and copper is fabulous, no doubt.

This is probably the Limonite, or Hydrous peroxide of iron, mentioned in the preceding Chapter. See Note 2719 above.

Identified by Ajasson with Red ochre, or Reddle, a red peroxide of iron, used for red crayons in drawing.

“Liver-stone.” Not to be confounded with the Hepatite of modern Mineralogy, or Sulphate of Barytes.

“Spleen-stone.”

See B. xxxv. c. 14.

Identified by Ajasson with Laminated protoxide of iron. It has probably an affinity to the variety noticed above, in Notes 2719 and 2727.

Owing solely, in all probability, to its name, “blood-stone.”

Ajasson is at a loss to know whether this is our Anthracite, a non-bituminous coal, or some kind of bituminous coal. Delafosse takes it to be pit-coal.

Or “eagle-stone.” It is a Geodes, mentioned in Chapter 23 of this Book, a globular mass of clay iron-stone. Sometimes it is hollow within, and sometimes it encloses another stone, or a little water, or some mineral dust.

Chapter 4.

See B. iv. c. 2.

A kind of pumice, Ajasson thinks, or porous feldspathic scoria from volcanos.

In B. xxxv. c. 53.

In Chapter 37 of this Book.

See B. xxiii. cc. 45, 80.

Probably of a similar nature to the Samian stone.

Pumice is still used as the basis of a dentifrice, but it destroys the enamel of the teeth.

See Note 2739 above.

Or “temples of the Muses:” evidently grottos in the present instance.

In allusion to the line, “Aridâ modo pumice expolitum”—“Just polished with dry pumice-stone.” Ep. I. l. 2. Both the backs of books and the parchment used for writing were rubbed with pumice.

Sec B. v. c. 36.

See B. xxxiv. c. 22.

Hist. B. ix. c. 18.

As a preventive of vomiting.

“Musta.” Grape-juice in the process of being made into wine.

Delafosse suggests that this may have been grey-spotted granite. The name is doubtful, as “Edesian” and “Ephesian” are other readings.

In Chapter 13 of this Book.

“Golden stone.” A variety, perhaps, of the Thebaic stone with gold spots, mentioned in Chapter 13 of this Book.

Possibly so called from Χάλαζα, “hail,” it being, perhaps, a granite with spots like hailstones.

Sec Chapters 11 and 33 of this Book.

In consequence of its extreme hardness.

Phœnician stone and Tænarian stone do not appear to have been identified. Parian stone may probably have been white Parian marble.

See Chapter 12 of this Book.

Serpentine. See Chapters 11 and 30.

See B. iv. cc. 22, 23.

Ajasson identifies it with Ollar stone, talc, or soap-stone, a hydrous silicate of magnesia, and nearly allied to the Ophites of Chapters 11 and 30.

He being a native of that part of Italy.

The Green Colubine Ollar stone; or soap-stone of Italy.

See B. iii. c. 21.

Identified by Brotero with our Free-stone or grit-stone.

So called from its resemblance to the spots on a peacock’s tail. He alludes, probably, to the mode of roofing with tiles cut in the form of scales, still much employed on the continent, and in Switzerland more particularly.

Or “Mirror-stone.” Transparent Selenite or gypsum; a sulphate of lime.

Now Segorba, in Valentia.

Ajasson is of opinion that various kinds of mica and talc are the minerals here alluded to.

From φεγγὸς, “brightness.” Beckmann is of opinion that this was a calcareous or gypseous spar (Hist. Inv. Vol. II. p. 66); but Ajasson seems to think that it was very similar to Parian marble, which was sometimes called by this name.

This is more likely to apply to a white marble than to a calcareous or gypseous spar. Suetonius says, c. 14, that Domitian, when he suspected that plots were forming against him, caused the porticos in which he walked to be lined with Phengites, which by its reflection showed what was going on behind his back.

See B xviii. c. 2.

See Chapter 24 of this Book.

Beckmann says, in reference to this passage, supposing that a kind of spar is meant by the word phengites—“It is probable that the openings of the walls of the building where the windows used to be, were in this instance filled up with phengites. which, by admitting a faint light, prevented the place from being dark, even when the doors were shut.”— Hist. Inv. Vol. II. p. 66. Bohn’s Edition.

In Chapter 10 of this Book.

See B. v. cc. 22, 35, for two places of this name.

A Celtic word, probably.

See B. iii. c. 2.

Identical, probably, with the Tufa of modern Mineralogy, which thence derives its name, a Carbonate of lime.

Thus reversing the order of things with the Romans, who put the lime on their houses, and the pitch in their wines. See B. xiv. cc. 3, 24, 25.

See B. xiv. c. 24.

A white tufa, Vitruvius says, B. i. c. 7.

It was in reference, possibly, to this stone that Cicero made the remark, mentioned in Chapter 5 of this Book; the heat of Chios being so great, perhaps, that the Tiburtine stone could not have endured it.

A general name for Silica, Flint, or Quartz, and the several varieties.

See B. iii. c. 8.

See B. ii. c. 96, B. iii. c. 9, and B. xiv. c. 8.

Ajasson thinks that Travertine is meant; a tufa, or carbonate of lime, which is common in Tuscany.

“Built of stones of equal size.”

“Built of stones of unequal sizes.”

“Filled up work,” apparently.

The reading is very doubtful here: for the word seems to mean, in Greek, “From one wall to another.” “Diamicton”—“Mixed up,” is another reading.

Where the outer face of each stone forms an exact square; the pointings consequently having a netlike or reticulated appearance.

The vertical pointings or junctures lying one over the other.

De Re Rust. c. 38.

See Chapters 29 and 30 of this Book.

To which Pozzuolane belongs.

For making mortar.

Pounded marble mixed with quicklime.

“Lacte et croco” appears to be a preferable reading to “late e croco,” as given by the Bamberg MS.

It seems difficult to understand whether by the word “spiræ” he means astragals, or bases. It would almost appear, by the use of the word “subditæ,” that it is “bases” for the shafts. It is just possible, however, that the meaning may be that the “spiræ” were placed beneath the capitals which were added.

A different thing altogether from the Maltha or Pissasphalt of B. ii. c. 108. Festus describes it as a mixture of pitch and wax; and Palladius, in B. i. c. 17, speaks of it as being composed of tar, grease, and lime boiled; and in c. 35 he describes Maltha caldaria as a mixture of hammoniacum, figs, tow, tar, and melted suet. It was probably a general name for several kinds of cement. Heineccius says that it was employed for sealing, but on what authority does not appear. See Beckmann, Hist. Inv. Vol. I. p. 141. Bohn’s Edition.

This is perhaps the meaning of “duplici lenimento.” The reading, however, is doubtful.

The name now given to Sulphate of lime, including the varieties of Alabaster and Selenite. Plaster of Paris is prepared from it.

The method of preparing plaster of Paris.

See B. iv. c. 3.

See B. iv. c. 3.

The same thing, strictly speaking. See Chapter 12 of this Book.

See Chapter 45 of this Book.

See B. vii. c. 46.

Dioscorides says, B. v. c. 134, that, taken internally, it produces suffocation.

“Lithostrota.”

His age and country are unknown.

“The house that has no sweeping.”

“Subtegulanea.”—“Undercover;” in contradistinction to the “subdialia” of next Chapter.

“Pavimentum,” from “pavio,” to “beat down.”

“Scutulatum.”—Having figures in the shape of a lozenge or rhombus.

The line is,

“Arte pavimenti atque emblemate vermiculato;”

literary compositions being compared by him to the artificial construction of a pavement.

“Subdialia;” more literally, “open-air pavements.”

Or “kernel;” so called because it lay in the middle. Vitruvius says that it was composed of one part lime, and three parts pounded pottery.

“Quercus.”

“Spicata testacea.” These pavements were probably so called because the bricks were laid at angles to each other (of about forty-five degrees), like the grains in an ear of wheat; or like the spines projecting from either side of the back-bone of a fish.

“Lithostrota.”

In Chapter 24 of this Book.

See B. v. c. 17.

See B. v. c. 19.

A mineral alkali, Beckmann thinks; for it could not possibly be our saltpetre, he says. See B. xxxi. c. 46.

Beckmann discredits this story, because sand, he says, is not so easily brought to a state of fusion. Hist. Inv. Vol. II. p. 496. Bohn’s Edition.

“Magnes lapis.” See B. xxxiv. c. 42, and Chapter 25 of this Book. Beckmann is of opinion that an ore of Manganese is meant, a substance which has a resemblance to the magnet, and is of the greatest utility in making glass. Hist. Inv. Vol. II. p. 237.

This appears to be the meaning of “Quoniam in se liquorem vitri quoque ut ferrum trahere creditur.”

In the description given by Isidorus in the “Origines,” which in other respects is similar, these words are omitted, and it is possible that they are a gloss by some one who was better acquainted with the Old Testament than with Pliny. On the other hand, as Sillig remarks, the Phœnicians may, at an early period, have imported into Greece a substance which they called “nitre of Ophir.”

See Beckmann, Hist. Inv. Vol. II. p. 84.

“Excogitaverat.” Beckmann would seem to give this word the force only of “thought of,” for he gives it as his opinion that attempts were made at Sidon to form glass mirrors, but that the experiments had not completely succeeded. “Had this invention formed an epoch in the art of making mirrors, Pliny, in another place (B. xxxiii. c. 45), where he describes the various improvements of it so fully, would not have omitted it: but of those experiments he makes no further mention.” He also expresses an opinion that the Sidonian mirrors consisted of dark-coloured glass, resembling obsidian stone.”—Hist. Inv. Vol. II. pp. 69, 70. Bohn’s Edition.

Knowles says, in his Turkish History, p. 1273, that in 1610, among other rare presents sent to the King of Spain from the Sophy of Persia, there were six drinking-glasses, made of malleable glass so exquisitely tempered that they could not be broken.

Dion Cassius and Suetonius tell a similar story; and, according to one account, Tiberius ordered the artist to be put to death.

This reading is doubtful. It would appear to mean “stone handled.” Another reading is “pterotos,” “with winged handles.”

Volcanic glass, feldspar in a more or less pure state, our Obsidian, is probably meant; a word derived from the old reading, Obsidius, corrected by Sillig to Obsius.

He is speaking of the stone, not the glass that resembled it.

A thing very difficult to be done, as Beckmann observes, by reason of its brittleness.

The present Portugal.

“Blood-red” glass.

See B. xxxvii. cc. 7, 8, 11. This glass was probably of an opal colour, like porcelain.

This passage is commented upon by Beckmann, Vol. II. p. 75, in connexion with a similar passage in Isidorus, Orig., which is probably corrupt.

See B. xxxvii. c. 10. He was not aware, apparently, that in such case they act as convex burning-glasses, and that ice even may be similarly employed.

This is, probably, the meaning of “in guttas;” a new reading, which is only found in the Bamberg MS.

See B. xxxiv. c. 2.

See B. xxxiv. c. 47.

“Improba” seems to be used here in much the some sense in which Virgil has said “Labor improbus”—“Unremitting labour.”

He alludes, probably, to eclipses of the sun.

Acacia charcoal is still recommended as a valuable tonic, and as good for internal ulcerations and irritations of the mucous membrane.

In B. xxvi. c. 4.

“Querneus.”

It is much more likely that he was the son of Tarquin himself, who not improbably, if indeed there ever was such a person, invented the story, to escape the wrath of Queen Tanaquil. This absurd story is mentioned also by Ovid, Arnobius, and Dionysius of Halicarnassus.

See B. iii. c. 9, and B. xix. c. 4.

See end of B. ii. L. Cælius Antipater.

See end of B. ii.

Probably Sulpicius Galba, who devoted his time to literary pursuits, and rose to no higher office than the prætorship, He was grand-father of the Emperor Galba, and wrote a historical work.

Another reading is “Ictius,” but nothing is known of either.

See end of B. ii.

See end of B. ii.

See end of B. ii.

See end of B. ii. and end of B. xviii.

See end of B. vii.

See end of B. xvi.

See end of B. ii. and end of B. xviii.

See end of B. vi.

See end of B. iii.

See end of B. xvi.

See end of B. iii.

See end of B. xxxiii.

See end of B. v.

See end of B. viii.

All that we know of him is, that he wrote on Precious Stones. Apollonius Dyscolus mentions an author who wrote on the same subject, whose name was “Tacus;” and possibly the same person is meant.

Mentioned in this and the next Book, as a writer on Precious Stones.

Cornelius Alexander. See end of B. iii.

See end of B. xxx.

See end of B. xx.

See end of B. vii.

See end of B. ii.

A Sicilian author of the time of Alexander. In his “Sacred History,” he interpreted the legends of the popular religion as based upon historical facts, and taught that the gods of Mythology were only deified men. His system has been compared with the rationalism of some German theologians, and Euhemerists were still to be found at the close of last century. Diodorus Siculus, Polybius, and Dionysius of Halicarnassus have followed in his track; and the poet Ennius translated his work, which is now lost.

A Greek writer on Egypt. He is often quoted by Stephanus Byzantinus, who says that he was not much younger than Plato. He is mentioned as a writer on the Pyramids of Egypt, in Chapter 17 of this Book.

See end of B. xii.

See end of B. ii.

From the mention made of him in Chapter 17 of this Book, he must have lived in the first century before, or the first century after Christ.

Possibly Antisthenes of Rhodes, a historian who lived about 200 B.C.

Possibly the author mentioned by Athenæus, B. xv. as having written on Egypt. He is mentioned in Chapter 17 of this Book.

Hardouin thinks that he is the same person as Hermateles, mentioned by Tertullian, De Spectaculis, c. 8, as having written on Obelisks.

A native of Naucratis, in Egypt, who wrote a work on that country, mentioned by Athenæus, and some Poems.

In B. xxxiii. c. 4.

This being imposed as a punishment on him, in remembrance of his sacrilegious crimes, when released by Jupiter from the rock. Prometheus and Vulcan, as Ajasson remarks, are personifications of fire, employed for artistic purposes.

See B. xxxiii. c. 6.

For ultimately, Oroetes, the satrap of Sardes, contrived to allure him into his power, and had him crucified, B.C. 522. Fuller, in his Worthies, p. 370, tells a very similar story of the loss and recovery of his ring by one Anderson, a merchant of Newcastle-on-Tyne; and Zuinglius gives a similar statement with reference to Arnulph, duke of Lorraine, who dropped his ring into the Moselle, and recovered it from the belly of a fish.

See Chapter 23. According to Herodotus, Pausanias, Dionysius of Halicarnassus, and Suidas, the stone was an emerald; and Lessing thinks that there was no figure engraved on it. See Chapter 4 of this Book. Without vouching for the truth of it, we give the following extract from the London Journal, Vol. xxiii. No. 592. “A vine-dresser of Albano, near Rome, is said to have found in a vineyard, the celebrated ring of Polycrates.—The stone is of considerable size, and oblong in form. The engraving on it, by Theodore of Samos, the son of Talikles, is of extraordinary fineness and beauty. It represents a lyre, with three bees flying about; below, on the right, a dolphin; on the left, the head of a bull. The name of the engraver is inscribed in Greek characters. The upper surface of the stone is slightly concave, not highly polished, and one corner broken. It is asserted that the possessor has been offered 50,000 dollars for it.”

“Achates.” A variegated chalcedony. It was probably what is called, from its radiated streaks, a fortification agate. See Chapter 54 of this Book.

Ajasson remarks that there can be little doubt that Nature had at least been very extensively seconded by Art.

“Choraules.” One who accompanies the chorus on the pipe or flute.

“Smaragdus.”

One of the Danaïdes.

This is said with reference to the one in the Temple of Concord, mentioned in Chapter 2.

But see Exodus xxvii. 9, et seq., where it is shown that the practice existed many hundreds of years before.

See B. vii. c. 38; where marble is the substance named. There are still two gems in existence said to have been engraved by this artist; but by some they are thought to be spurious.

There are many precious stones with his name, still extant: but only six appear to have been really engraved by him.

This signet is mentioned also by Plutarch and Valerius Maximus.

See B. iii. c. 4.

The younger Africanus. This circumstance is mentioned in the Epitome of Livy, B. xlviii.

See B. xxxiii. c. 5, and end of Book ix.

In reference to the ambiguous part which he acted, Ajasson thinks, in the early part of his career.

In reference to the story of Œdipus and the Sphinx.

A Greek word, signifying a “repository of kings.”

See B. xxxvi. c. 24.

The sister of Augustus.

See B. xxxiii c. 53.

See B. xxxiv. c. 8.

“Acta.”

Chapter 7.

A.U.C. 693.

30th of September.

“Alveum lusorium.”

Probably meaning a shrine dedicated to the Muses.

See B. ii. c. 78, and B. vii. c. 60.

That of Africa.

See B. vii. c. 27.

As was the case, after the murder of Pompey in Egypt.

Caligula.

Modern writers differ as to the material of which these vessels were composed. Some think that they were of variegated glass, and others of onyx; but the more general opinion is, that they were Chinese porcelain, and we have the line in Propertius, B. iv. El. 5, l. 26. “And murrhine vessels baked on Parthian hearths.” Ajasson is of opinion, from the description given by Pliny, that these vessels were made of Fluor spar, or fluate of lime. “Myrrhine” is another reading of the word.

“Ante hos annos.” Sillig is of opinion that the reading here should be “L. Annius,” and that L. Annius Bassus, who was Consul suffectus in the year 70 A.D., is the person referred to; or possibly, T. Arrius Antoninus, who was Consul suffectus, A.D. 69.

The Gardens of Nero, in the Fourteenth Region of the City.

He had been formerly a sharer in the debaucheries of Nero. Tacitus called him “Caius.”

See B. vi. cc. 27, 28, 32.

Ajasson is of opinion that this passage bears reference to crystallization. Both he and Desfontaines see in the present Chapter a very exact description of Fluor spar; and there is certainly great difficulty in recognizing any affinity between murrhine vessels, as here described, and porcelain.

“Abacus.”

In the preceding Chapter.

Meaning that they are semitransparent, Ajasson thinks. One great characteristic of Fluor spar is its being subtranslucent.

This would appear to be the meaning here of “sales.” See p. 396.

One of the grounds, Ajasson says, on which may be based the opinion that they were artificial.

Colourless crystals, quartz, or rock crystal; called “white stone” in jewellery.

See B. xxxvi. c. 45. This was a very general opinion of the ancients with respect to crystal.

Κρύσταλλος, from κρύος, “cold.”

See B. v. c. 29.

In Caria, see B. v. c. 29.

The Island “of the dead.” Brotero supposes it to be the island of Maceira.

See B. vi. c. 34. As Ajasson remarks, there could be no snow or ice here.

See B. iv. c. 35.

Dioscorides attributes the hardening of crystal to the action of the sun.

“Its shape is rhombohedral, and hemihedral in some of its modifications. The planes on the angles between the prism and pyramidal terminations, incline sometimes to the right, and sometimes to the left, and the crystals are termed right and left-handed crystals.”—Dana, System of Mineralogy, Art. Quartz.

Ajasson remarks that blocks have been found in Switzerland, weighing above eight hundred pounds.

Forty-eight sextarii. See Introduction to Vol. III.

This “vomica,” Ajasson says, is either water, azote, rarified oxygen, or water in combination with naphtha.

“Centra,” knots, or flaws. See B. xvi. c. 76, where he speaks of the “centra” in marble. See also Beckmann, Hist. Inv. Vol. I. p. 471. Bohn’s Edition.

“Sale.” See Note 2934 above.

“Without flaw.”

See B. xxxvi. c. 67.

“Succinum.” It is of vegetable origin, and, according to Göppert, was originally the viscous resin of a tree named by him Pinites succinifer.

It is used by men, more particularly, at the present day, as a mouthpiece for pipes.

As to the vegetable origin of amber, there is no doubt that the ancients were right.

Most probably from ἥλιος, the “sun.” Phaëthon was fabled to have been the son of Apollo. See the story in Ovid’s Met. B. ii. l. 340, et seq.

Where amber was not to be found.

In reality, these “Amber Islands” were situate at the mouth of the Vistula, into which the Radanus discharged itself; a river whose name was afterwards confounded with “Eridanus,” the ancient name of the Padus, or Po. See B. iv. cc. 27, 30, as to the produce of amber in the Baltic.

Another reference to its vegetable origin.

De Lapid. n. 53.

In confirmation of this, Ajasson remarks that amber is found at Saint Paulet in the Department Du Gard, and at Aix, in the Department of Bouches-du-Rhône, regions not very distant from the territory of ancient Liguria.

It has been supposed by some that this in reality was Tourmaline, and Woodward has identified it with Belemnites. See Beckmann, Hist. Inv. Vol. I. p. 86. Bohn’s Edition. See further as to “Lyncurium,” B. viii. c. 57, and Chapter 13 of this Book.

See B. iv. c. 28.

See B. iv. c. 27.

Said in reference to the electric spark, Ajasson thinks.

In Hebrew, this word means “a stone.”

From the Greek ἁρπάζω, “to drag.”

See B. x. c. 38.

All this is based, Ajasson thinks, upon the stories of Hindoo mythology.

The old reading is “Osericta:” Ajasson identifies it with the island of Oësel in the Baltic.

See B. x. c. 38.

See B. iv. cc. 27, 30, and the Notes.

See B. iv. c. 30.

It is just possible that the Pinites succinifer may have still existed, to some extent, eighteen hundred years ago. See Note 2953 above.

From “succus,” “juice.”

Goitre, for example.

The projecting part in the Circus or Amphitheatre, next the arena, and immediately in front of the place occupied by the emperor and nobles.

The knots, probably, were adorned with studs or buttons of amber.

“Libitina.” Meaning the litters on which the slain gladiators were carried away from the arena.

Martial has three Epigrams on Insects enclosed in amber; B. iv. Ep. 32 and 59, and B. vi. Ep. 15.

These so-called kinds or varieties are mostly accidental variations only in appearance.

Which is perceptible on its being rubbed: in some cases the odour of amber is very fine, in others it is perfectly fetid; though in the latter case, as Ajasson remarks, it is doubtful whether it may be considered to be genuine amber.

“Lini.” Salmasius suggests “pini,” “pith of pine.”

“Golden amber.” Brotero thinks that this must have been Hyacinth or Zirconite of a yellowish white colour. Ajasson says that the description would equally apply to Idocrase, Meionite, or Harmotome.

See Note 2962, above. Brotero identifies it with orange-coloured Hyacinth; Ajasson and Desfontaines with Tourmaline. Ajasson suggests, also, that the first syllabic in its name—Lync, may have been derived from the Sanscrit Lanka, the name of Ceylon, one of the localities where the Tourmaline is chiefly found.

Ajasson thinks that Rubellite or Red Tourmaline is here alluded to.

This is the case with tourmaline when subjected to heat.

We may here remark, that throughout this Book, in all cases where there is any doubt as to the identification of the substance, the ancient name is retained. Hence our words “adamant” and “diamond.” If Pliny means the latter, which is doubtful, it still maintains the rank here assigned to it. The word “adamas” is supposed to be derived from the Greek ἀ, privative, and δαμάω, “to subdue,” it being supposed to be invincible by fire. The diamond is pure carbon crystallized, and is thought to have been of vegetable origin. Dana has the following remarks upon the word “adamas.”—“This name was applied by the ancients to several minerals differing much in their physical properties. A few of these are quartz, specular iron ore, emery, and other substances of rather high degrees of hardness, which cannot now be identified. It is doubtful whether Pliny had any acquaintance with the real diamond.”—System of Mineralogy, Art. Diamond. We may also add, from the same authority, that the method of polishing diamonds was first discovered in 1456, by Louis Berquen, a citizen of Bruges, previous to which time the diamond was only known in its native uncut state.

This statement cannot apply to the “diamond” as known to us, though occasionally grains of gold have been found in the vicinity of the diamond.

Ajasson is of opinion that the Æthiopia here mentioned is in reality India, and that the “Temple of Mercury” means the Brahmaloka, or Temple of Brahma.

The diamond, as known to us, is octahedral.

Though found in comparative abundance in India, the diamond is not found in Arabia.

This is not the case with the diamond; for on being struck under such circumstances, it will break.

In reality, the diamond will burn, and, at a temperature of 14° Wedgewood, is wholly consumed, producing carbonic acid gas.

See Note 2988, above.

“Millet-seed.”

Ajasson says, that no doubt this adamas was Adamantine, or limpid Corundum.

Ajasson suggests that this may have been Dichroite, or Cordierite, known also as Iolite, or Water sapphire.

Possibly the Siderite, sparry iron, or spathic iron of modern Mineralogy. Ajasson is inclined to think that it is Corundum, of a dark hue.

See B. xx. c. 1, B. xxviii. cc. 23, 41, and B. xxxii. c. 12.

Brotero thinks that this was a story invented by the dealers, with a view of concealing the real method of breaking the stone.

Said, probably, with reference to the rank, nauseous smell of the he-goat.

This is true with reference to the diamond, and, in a less degree, several other crystalline substances, emery and quartz, for example.

Ajasson remarks, that if the diamond is placed in the magnetic line or current of the loadstone, it attracts iron equally with the loadstone, and consequently neutralizes the attractive power of the loadstone in a considerable degree.

The reading is very doubtful here. This word, as it is here given, would appear to be derived from the Greek ἀ privative, and ἄγχομαι, “to strangle oneself,” and to mean, “preventive of suicide.”

See B. iv. c. 27, and Chapter 11 of this Book.

At the present day the ruby is next in esteem to the diamond.

Chapter 54, et seq.

The Emerald, and various other green precious stones, were included under this name.

“Virentes” seems a very preferable reading to “silentes,” as given by the Bamberg MS.

The emerald is supposed to derive this colour from a minute portion of oxide of chrome.

Engraved emeralds are but seldom found among collections of ancient gems. In 1593, there was one found in the tomb of Maria, daughter of Stilicho, in the Vatican, with the head of Honorius, her husband, engraved upon it.

“It may here be objected that real emeralds are too small to admit of being used as mirrors; but the ancients speak of some sufficiently large for that purpose, and also of artificial ones; so that we may with certainty conclude, that they classed among the emeralds fluor spar, green vitrified lava, or the green Icelandic agate, as it is called, green jasper, and also green glass.”—Beckmann, Hist. Inv. Vol. II. p. 67. Bohn’s Edition. It has also been suggested, with reference to this passage, that Nero was short-sighted, and that this emerald was formed like a concave lens. The passage, however, will hardly support such a construction. Ajasson thinks that it must have been a Dioptase or Siberian emerald; or else a green Corundum.

Ajasson is of opinion that the Dioptase, Siberian emerald, or Malachite emerald is meant.

Ajasson thinks that this may be the Dioptase or Achirite of Chinese Bucharia; and that the merchant Achir Mahmed, from whom it takes its name, was by no means the first to introduce it, or to circulate his wonderful stories as to its formation.

See B. ii. cc. 47, 48, and B. xviii. c. 74.

Mount Zalora. in Upper Egypt, still produces emeralds, and was probably the only locality of the genuine stone that was known to the ancients.

“Cetarias.”

Ajasson remarks that the greater part of the defects here described belong in reality to the Dioptase.

“Sal.” See Chapters 8, 10, 22, and 37, of this Book.

Ajasson is of opinion that Diallage is here meant, known also by the names of Bronzite, schillerspath, schillerstein, and omphasite.

See B. iv. c. 11.

“In sole” seems a preferable reading to “in solo,” “on the ground,” as given by the Bamberg MS.

See Chapter 39 of this Book; where it will be shown that this probably is not the modern Sapphire.

Ajasson suggests that these may have been Quartz agates of the dendritic or arborized kind.

He probably alludes here to some variety of the Chalcedony or Opal quartz.

Said with reference to Chrysoprase, Ajasson thinks; a leek-green chalcedony, coloured by nickel.

Probably the Cacholong of modern mineralogy, a variety of opal, nearly opaque, and of a porcelain or bluish white colour.

Ajasson and Brotero identify this with milk-white chalcedony; but on what authority, does not appear.

See B. iv. c. 8.

Supposed by Ajasson to be the Euclase, a brittle green stone, composed of silica, alumina, and glucina. Haüy gave it this name from the Greek words εὖ, “easily” and κλάω, “to break.” According to Dana, however, Euclase was first brought from Peru: if such is the fact, we must, perhaps, look for its identification in Epidote, a green silicate of alumina.

“Brazen smaragdus.” It was probably Dioptase, combined with copper Pyrites. See Notes 3013, 3014, and 3015, above.

With reference to this statement and the others in this Chapter, Ajasson remarks that these stones can have been nothing but prases, green jaspers, fusible spaths, emerald quartz, and fluates of lime.

Herodotus mentions this smaragdus and the temple, B. ii. c. 44, as having been seen by himself.

“Iaspis.” See Chapter 37 of this Book.

Meaning “the conqueror of many,” probably; in reference to his contentious disposition. See end of B. xxx.

The Beryl and the Emerald are only varieties of the same species, the latter owing its colour to oxide of chrome, the former to oxide of iron.

The best Beryls are found in Siberia, Hindostan, Brazil, and the United States.

The crystals are naturally hexagonal.

Hence the name of the sky-blue, or mountain-green beryl, aquamarine.

Or “golden beryl,” The modern Chrysoberyl is altogether a different stone from the one here described, which probably is identical with Chrysoprase or leek-green Chalcedony, the stone next mentioned.

“Leek-green and gold.”

“Sky-coloured.”

The largest specimen of Beryl known, belonged to Don Pedro. It was not cylindrical in form, but shaped like the head of a calf, and weighed 225 ounces troy.

Which is the case.

In Chapter 18 of this Book.

“Pterygia.”

In the Uralian Mountains, for example.

Opals are hydrated silica, the amount of water varying.

On the contrary, precious Opal is found in Hungary, at Frankfort, and in Honduras, and other varieties in numerous parts of the world, including the East Indies.

See Chapter 25 of this Book.

See B. xxxv. c. 28.

The largest opal known is in the Imperial cabinet at Vienna. It is the size of a man’s fist, and weighs 17 ounces, but is full of fissures.

See Carm. 53 of the Poems of Catullus.

A.U.C. 788.

See B. viii. c. 47. He alludes to the story of the Beaver.

See B. xxii. c. 29.

This is the case with common opal, as distinguished from precious opal.

“Lovely youth.”

Said ironically. There is a somewhat similar remark in B. xxxiii. c. 12.

A mixture of brown-red and white chalcedony.

From the Greek Σάρδιον, “sard,” and ὄνυξ, a “finger nail.”

His meaning seems to be that it does not present the bright transparent red of the Indian Sarda or Carnelian. See Chapter 31 of this Book.

“Quâdam spe.” Un soupçon, as the French would say.

This would appear, from the description, to be an Agate, or variegated Chalcedony.

He probably intends to include the Sarda or Carnelian here.

A variety, probably, of common Chalcedony.

See B. ix. cc. 74, 88, and B. xxxii. c. 53.

“Fæculentæ,” of the colour of wine-lees.

So called from ὄνυξ, a “finger-nail.” It is a variety of the Chalcedony, resembling Agate, but the colours are arranged in flat horizontal planes.

See B. xxxiv. c. 22, and B. xxxvi. c. 12.

It is pretty clear that the Onyx of Pliny included not only our Onyx, but several other varieties of the Chalcedony.

“Igniculos.”

“Carnosas.” It is somewhat doubtful whether our Carnelian, or Cornelian, take its name from this word, or from “cornus,” a cornel-berry.

See Chapter 31.

Literally meaning a “red-hot coal.” The carbunculus of Pliny is supposed to include not only the red, or Iron and Iron-lime garnet, but the Spinelle ruby also, or Oriental ruby.

There is some truth in this, as some few kinds both of the Garnet and Ruby are infusible. Of the ruby, the red varieties change to brown, black, and opaque even, as the temperature increases, and on cooling become first green, and then nearly colourless, but at last resume their red colour.

From the Greek; meaning “incombustible.”

From Καρχήδων, the Greek name for Carthage.

Carthago Magna, so called in contradistinction to Carthage Nova, or New Carthage, in Spain.

See B. v. c. 29.

In the vicinity of Orthosia. It is from this place that one kind of garnet is now called “Almandine.” There is also the Almandine, or violet-coloured ruby. Sec Beckmann, Hist. Inv. Vol. II. p. 238. Bohn’s Edition. It is probable that Carthage was the great entrepôt for the carbunculi of the Garamantes and Æthiopia, where Red sapphire, Red corundum, or Oriental ruby, was probably found.

A variety, perhaps, of Iron garnet, or Iron-lime garnet.

Desfontaines suggests that this may have been the Balas ruby, or possibly the Syrian Garnet, of a violet purple colour. Not improbably it is the Almandine ruby.

“Pinnato fulgore.” This mottled appearance is to be seen in the interior of some red garnets.

Common garnets, probably.

Sillig suggests that this may be from λιγνὺς, “soot.” The reading, however, is extremely doubtful.

See Introduction to Vol. III. If this is the truth, they were made of some of the crystals of the garnet, probably.

De Lapid. see 61.

“Pliny has here committed a gross mistake, which has not been observed by Hardouin. Theophrastus, in the passage alluded to, does not speak of a ruby, but the well-known black marble of Chio; though he calls both carbunculus, a name given to the ruby, on account of its likeness to a burning coal, and to the black marble on account of its resemblance to a quenched coal or cinder; and the latter, as well as the Obsidian stone, was sometimes used for mirrors.”—Beckmann, Hist. Inv. Vol. II. pp. 67, 68. Bohn’s Edition.

“Illos.” He should have said “hos”—“the latter.”

See B. iv. c. 35; the present Lisbon.

Dalechamps thinks that this is the same as the “anthracites” mentioned in B. xxxvi. c. 38, and identifies it either with our Anthracite, or else with pit-coal or bituminous coal. It is much more likely, however, that a precious stone is meant; and, in conformity with this opinion, Brotero and Ajasson have identified it with the Spinelle or scarlet Ruby, and the Balas or rose-red ruby, magnesiates of alumina.

Sec B. iv. c. 1.

“Carbo.” This word may mean either a “burning coal” or “charcoal” hence the confusion that has arisen in identifying the mineral substance that is meant.

See Note 3077, to Chapter 25.

“Sandaresus” and “Sandasiros” are other readings. This stone has not been identified, but Ajasson is inclined to think that it may have been Aventurine quartz, and is the more inclined to this opinion, as that mineral is found in Persia, and sandastra or tchandastra is purely a Sanscrit word. The description, however, would hardly seem to apply to Aventurine.

Littré suggests that the reading here probably might be “ob id non magno”—“sell not so dear.”

It has not been identified.

From λυχνὸς, a “lighted lamp” or “torch.” Brotero is of opinion that this is the Cherry-coloured ruby, that the Ionian stone is the Purple ruby, and that the kermes-berry coloured stone is the Scarlet or Spinelle ruby. From the distinct reference made to its electric nature, Ajasson identifies it with Tourmaline, a Silicate of alumina. Beckmann is of the same opinion; Hist. Inv. Vol. I. p. 88. Bohn’s Edition.

“Remissiorem.”

See B. xxi. cc. 33, 39, where the “Flos Jovis” is mentioned in juxtaposition with the flower called “lychnis,” either the Umbel’d Campion rose, or the Common red rose Campion.

“Coccum.” “Kermes-berry coloured.” These kinds probably were, Indicolite or Blue tourmaline, and Rubellite or Red tourmaline.

As Beckmann remarks, he should have said that it first attracts, and then repels them; such being the case with Tourmaline.

Not identical, most probably, with the Carchedonian or Carthaginian stone mentioned in Chapter 25, which was probably a garnet or a ruby. Ajasson has no doubt that it is identical with jasper quartz, including the varieties called Striped or Riband jasper, and Egyptian jasper.

See B. v. c. 5, and B. vii. c. 2.

Tourmaline, probably, in combination with other mineral substances.

Carnelian, a variety of Chalcedony. It is originally grey, or greyish red, which afterwards turns to a rich, deep, red, on exposure to the sun’s rays, and subsequently to artificial heat.

Which supplies the best carnelians at the present day.

From their mixture, Ajasson says, with argillaceous earth.

Under this name Pliny evidently speaks of the stone known to us as Chrysolite, and possibly of green agate as well. Our Topaz cannot be easily recognized in this Chapter, at all events.

See B. vi. c. 34.

See B. vi. c. 34.

Τοπάζω in Greek, signifies “to conjecture.”

It was agate, most probably.

“Leek-green.” Ajasson and Desfontaines think that this must have been either Oriental Chrysolite or Oriental Peridote.

Some would identify this with Oriental topaz or yellow corundum, a variety of the Sapphire; while others would see in it the genuine Topaz; and others, again, think it synonymous with the Chrysoprase. The name “chrysopteron” means “golden-wing.”

“Leek-green and gold.” An apple or leek-green Chalcedony, coloured by nickel. See Chapters 20, 34, and 73, of this Book.

See B. xxxvi. c. 10.

Dana thinks this identical with the Turquois. Ajasson and Desfontaines identify it with Oriental Peridote.

Turquois is found in large quantities in a mountainous district of Persia, not far from Nichabour; where it occurs in veins which traverse the mountains in all directions.

Isidorus says, B. xvi. c. 17, that they wore it in the ears. The Shah of Persia, it is said, retains for his own use all the larger and more finely tinted specimens of turquois that are found in his dominions.

This story is now regarded as fabulous.

See B. x. cc. 44, 79.

The stone now known as “Prase” is a vitreous, leek-green, variety of massive quartz.

This may possibly have been Plasma, a faintly translucent Chalcedony, approaching jasper, having a greenish colour, sprinkled with yellow and whitish dots, and a glistening lustre. Or, perhaps, Bloodstone or Heliotrope, a kind of jasper.

See the preceding Chapter, and Note 3118.

“Cymbia.” Drinking vessels shaped like a boat.

Or “Nile-stone.” Egyptian jasper, or Egyptian pebble, a kind of quartz.

Our Malachite, a green carbonate of copper. See B. xxxiii. c. 26.

Called μολόχη or μαλάχη in Greek.

Also of Siberia, Shetland, the United States, and numerous other localities.

Meadow-green jasper.

Salmasius erroneously takes this to be the Turquoise. It is our sky-blue jasper, no doubt. See Beckmann, Hist. Inv. Vol. I. p. 471, Bohn’s Edition.

See B. vi. c. 2.

The Bamberg MS. gives “Calchedon” here.

Namely, πορφυρίζουσα, ῥοδίζουσα, and σμαραγδίζουσα.

“Northern,” apparently.

“Sky-blue,” mentioned above.

See Chapter 31. Red jasper, or perhaps Red porphyry.

“Aut” appeals to be a preferable reading to the “ut” of the Bamberg MS.

See B. xv. cc. 12, 13.

“Terebinthizusa.” Yellow jasper, Ajasson says.

See Chapter 18 of this Book.

“Seal-stone.” A kind of carnelian, probably.

“Publico gemmarum dominio iis tantum dato, quoniam optime signent.” The above is the sense given to the passage by Holland, Ajasson, and Littré; but another translation may also be suggested—“A stone to which alone, by general consent, is awarded the custody of precious stones, from the fact that it makes the best impression as a seal.” In reference to the custom of putting a seal on the dactyliothecæ, or jewel-caskets. See page 80 of this Book.

“Single-lined.”

“Many-lined.”

Albertus Magnus, De Mineral. B. ii., has several other stories respecting it of a similar nature.

Jasper onyx.

Identified by Ajasson with snow-flake chalcedony.

Spotted jasper onyx.

See B. xxxi. c. 41.

Smoked jasper onyx.

It is still used for making vases, boxes, knife-handles, and other articles, and is much used in the manufacture of Florentine mosaics. We may also remark, that the “iaspis” of Pliny probably included some stones not of the jasper kind.

“Azure stone;” generally supposed to have been a species of Lapis lazuli or azure. Beckmann is of opinion that it was a mineral or mountain blue, tinged with copper.

It is found in China, Persia, Siberia, and Bucharia.

Ultramarine is prepared from Lapis lazuli, and an artificial kind is extensively in use, which equals the native in permanency and brilliancy of colour, and is very extensively employed in the arts. Theophrastus, De Lapid. sec. 55, speaks of this artificial ultramarine.

This must not be taken for the Sapphire of the present day, but was most probably Lapis lazuli, and identical, perhaps, with Cyanos. Beckmann has devoted considerable attention to this subject; Hist. Inv. Vol. I. pp. 468-473. Bohn’s Edition.

Particles of iron pyrites, probably, which are frequently to be seen in Lapis lazuli.

Quartz, probably, according to some authorities.

So called, according to some authorities, from ἀ, “not,” μεθύω, “to intoxicate,” on account of its being a supposed preservative against inebriety. Ajasson is of opinion that Pliny does not here speaks of the Quartz Amethyst of modern mineralogy, but only the Oriental Amethyst, violet Sapphire, or violet Corundum. It is not improbable, however, that he includes them all, as well as violet Fluor spar, and some other purple stones; inclusive, possibly, of the Garnet.

He is probably speaking here of violet Fluor spar; Oriental amethyst, or violet sapphire, it is next to impossible to engrave.

See B. ix. c. 62.

The city of Pharan, mentioned by St. Jerome and Eusebius.

“In suspectu.” See B. xxi. c. 22.

“Lovely youth.” The Opal has been thus called in Chapter 22.

“Avenger of slighted love.”

“Veneris gena;” called in Greek “Aphrodites blepharon.”

Which is most probable; however untrue the story itself may be. See Note 3162 above.

A kind of Baboon. See B. vi. c. 35, B. vii. c. 2, and B. viii. c. 80.

It is considered very doubtful whether the modern Hyacinth or Zircon is one of the number of stones that were called “Hyacinthus” by the ancients. Jameson appears to have thought that they gave this name to the oriental amethyst or violet sapphire.

See B. xxi. c. 38.

Generally supposed to be the Oriental topaz, yellow Sapphire or yellow Corundum. We have already seen, in Chapter 32, that the “Topazos” of the ancients was in all probability the modern Chrysolite.

In Pontus: see B. vi. c. 4.

See B. xxxiv. c. 2.

Supposed to be yellow-white Hyacinth. See Chapter 12 of this Book.

“Electrum.”

See Chapter 76 of this Book.

See Chapter 9 of this Book.

Yellow quartz crystal probably, or False topaz.

“White gold stone.” It has not been identified.

“Smoke-stone.” A jasper has been so called in Chapter 37.

“Honey gold stone.” Some are of opinion that this was the Honey-coloured Hyacinth. Others, again, identify it with the yellow, honey-coloured Topaz; an opinion with which Ajasson coincides.

“Xanthon” is another reading. See Chapter 60 of this Book.

“Lovely youth.” See Chapter 22, where it has been already mentioned. He here reverts to the Opals.

See Chapter 40, for example, where it is given to a variety of the Amethyst.

The Opal, which he is about to describe.

See Chapter 18 of this Book.

The vitreous Asteriated crystals of Sapphire are still called by this name. Ajasson, however, and Desfontaines, identify this gem with Girasol opal or fire opal. See Note 3147.

From ἀστερ, a star.

“Star-stone.” Ajasson identifies this stone with the Asteriated Sapphire or Corundum, mentioned in Note 3190 above.

See B. iv. cc. 10, 17.

“Lightning darting.”

“Star-like.” Ajasson thinks, that it is identical with the stone next mentioned.

“Planet-stricken.” It is not improbable that this was Cat’s-eye, a translucent Chalcedony, presenting a peculiar opalescence, or internal reflections, when cut en cabochon. The colour is either bright-greenish grey, or else yellow, red, or brownish.

See Note 3194 above. Parisot thinks that these must have been Aërolites or Meteorites.

Brotero thinks that these were petrified shells, to which the magicians imputed marvellous properties.

Brotero is of opinion that those were Belemnites, more commonly known as “thunderstones.” The reading “bætyli” is doubtful; but Parisot says, on what authority does not appear, that “Betylus” meant “Great father,” and that this name, as well as “Abaddir” of similar signification, was given by magicians to aërolites or meteorites used in their enchantments.

A meteoric stone or aërolite, evidently.

“Rainbow.” Opinion seems divided as to whether this is Hyalin quartz iridized internally, or prismatic crystals of Limpid quartz, which decompose the rays of the sun.

The reading and meaning of this passage are very doubtful.

The reading is doubtful, “zeros” and “erros” being given by some MSS. Ajasson hazards a conjecture that it may have been a variety of quartz, formed of a concretion of agates united by a cement of a similar nature.

A general name for Agate, and possibly some other stones not now included under the name.

“Jasper agate.”

“Wax agate.” The modern Orange agate, probably.

“Smaragdus agate.” Emerald-coloured agate.

“Blood agate.” Agate sprinkled with spots of red jasper.

“White agate.”

“Tree agate.” Moss agate or Mocha stone, coloured by oxide of iron.

Probably the reading should be “Stactachates,” “Myrrh agate.”

“Coralline agate.” See Chapter 56.

Undulated agate.

Moss agate, probably. See Note 3210 above.

Sillig is of opinion that the reading here is corrupt.

“Coticulas.” Stones for grinding drugs.

“Refreshing” stone. Hardly any of these stones appear to be identified.

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

Probably the same as the Alabastrites of B. xxxv. c. 12.

From the Greek, ἀλέκτωρ, a “cock.”

See B. vii. c. 19.

“Man-subduing.” Identified by some with Marcasite, or White iron pyrites.

See Chapter 15 of this Book.

“Silver-subduing.”

“Counteracting-stone.”

Probably the stone mentioned in B. xxxvi. c. 41.

“Aromatic stone.” Cæsalpinus is of opinion that this is grey or clouded amber.

“Reginis.”

See B. xix. c. 4, and B. xxxvi. c. 31.

The reading is doubtful.

Called “melancoryphi” in Chapter 33.

Ajasson thinks that the reading should be “Aeizoe,” from the Greek ἀειζώη, “long lived.”

“Shining stone,” apparently.

See Chapter 33 of this Book.

The reading is doubtful.

See B. xxxiii. c. 2: where a fossil Chrysocolla is also mentioned.

See B. xi. c. 36, and B. xxxiii. c. 21.

“Gem of Aphrodite” or “Venus.” Thought by Dalechamps and Hardouin to have been a kind of agate.

“Which never grows cold.”

A kind of Onyx, Dalechamps thinks.

“Acorn stone.” Like an olive in appearance, and now known as “Jew stone,” probably, a fossil.

“Frog-stone.” Varieties of quartz, probably.

“Dipped stone.” Dalechamps says that it was amber stained with alkanet, but on what authority does not appear.

“Eye of Belus.” Supposed by Ajasson and Desfontaines to be Cat’s eye Chalcedony. See Chapter 50, Note 3196.

Belus, the father of Ninus, the “Bel” of Scripture. See Chapter 58.

A kind of Tecolithos, Dalechamps says. See B. xxxvi. c. 35, and