Delphi Complete Works of Pliny the Elder

by Pliny the Elder

  In speaking of these artists, I must not omit to mention one memorable circumstance: Erigonus, who was colour-grinder to the painter Nealces, himself made such progress in the art as to leave a very celebrated pupil, Pasias, the brother of Ægineta, the modeller. It is also a very singular fact, and one well deserving of remark, that the last works of these artists, their unfinished paintings, in fact, are held in greater admiration than their completed works; the Iris of Aristides, for instance, the Tyndaridæ of Nicomachus, the Medea of Timomachus, and the Venus of Apelles, already mentioned. For in such works as these, we not only see the outline depicted, and the very thoughts of the artist expressed, but have the composition additionally commended to our notice by the regrets which we must necessarily feel on finding the hand that commenced it arrested by death.

  There are still some other artists, who, though by no means without reputation, can only be noticed here in a summary manner: Aristocydes; Anaxander; Aristobulus of Syria; Arcesilas, son of Tisicrates; Corœbos, a pupil of Nicomachus; Charmantides, a pupil of Euphranor; Dionysodorus of Colophon; Dicæogenes, a contemporary of King Demetrius; Euthymides; Heraclides of Macedon; Milo of Soli, a pupil of the statuary Pyromachus; Mnasitheus of Sicyon; Mnasitimus, the son and pupil of Aristonidas; Nessus, son of Habron; Polemon of Alexandria; Theodorus of Samos, and Stadieus, pupils of Nicosthenes; and Xeno of Sicyon, a pupil of Neocles.

  There have been some female painters also. Timarete, the daughter of Micon, painted a Diana at Ephesus, one of the very oldest panel-paintings known. Irene, daughter and pupil of the artist Cratinus, painted a figure of a girl, now at Eleusis, a Calypso, an Aged Man, the juggler Theodorus, and Alcisthenes the dancer. Aristarete, daughter and pupil of Nearchus, painted an Æsculapius. Iaia of Cyzicus, who always remained single, painted at Rome, in the youth of M. Varro, both with the brush, and with the graver, upon ivory, her subjects being female portraits mostly. At Naples, there is a large picture by her, the portrait of an Old Woman; as also a portrait of herself, taken by the aid of a mirror. There was no painter superior to her for expedition; while at the same time her artistic skill was such, that her works sold at much higher prices than those of the most celebrated portrait-painters of her day, Sopolis namely, and Dionysius, with whose pictures our galleries are filled. One Olympias painted also, but nothing is known relative to her, except that she had Autobulus for a pupil.

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  CHAP. 41.

  ENCAUSTIC PAINTING.

  In ancient times there were but two methods of encaustic painting, in wax and on ivory, with the cestrum or pointed graver. When, however, this art came to be applied to the painting of ships of war, a third method was adopted, that of melting the wax colours and laying them on with a brush, while hot. Painting of this nature, applied to vessels, will never spoil from the action of the sun, winds, or salt water.

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  CHAP. 42.

  THE COLOURING OF TISSUES.

  In Egypt, too, they employ a very remarkable process for the colouring of tissues. After pressing the material, which is white at first, they saturate it, not with colours, but with mordents that are calculated to absorb colour. This done, the tissues, still unchanged in appearance, are plunged into a cauldron of boiling dye, and are removed the next moment fully coloured. It is a singular fact, too, that although the dye in the pan is of one uniform colour, the material when taken out of it is of various colours, according to the nature of the mordents that have been respectively applied to it: these colours, too, will never wash out. Thus the dye-pan, which under ordinary circum- stances, no doubt, would have made but one colour of several, if coloured tissues had been put into it, is here made to yield several colours from a single dye. At the same moment that it dyes the tissues, it boils in the colour; and it is the fact, that material which has been thus submitted to the action of fire becomes stouter and more serviceable for wear, than it would have been if it had not been subjected to the process

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  CHAP. 43. (12.)

  THE INVENTORS OF THE ART OF MODELLING.

  On painting we have now said enough, and more than enough; but it will be only proper to append some accounts of the plastic art. Butades, a potter of Sicyon, was the first who invented, at Corinth, the art of modelling portraits in the earth which he used in his trade. It was through his daughter that he made the discovery; who, being deeply in love with a young man about to depart on a long journey, traced the profile of his face, as thrown upon the wall by the light of the lamp. Upon seeing this, her father filled in the outline, by compressing clay upon the surface, and so made a face in relief, which he then hardened by fire along with other articles of pottery. This model, it is said, was preserved in the Nymphæum at Corinth, until the destruction of that city by Mummius. Others, again, assert that the first inventors of the plastic art were Rhœcus and Theodorus, at Samos, a considerable period before the expulsion of the Bacchiadæ from Corinth: and that Damaratus, on taking to flight from that place and settling in Etruria, where he became father of Tarquinius, who was ultimately king of the Roman people, was accompanied thither by the modellers Euchir, Diopus, and Eugrammus, by whose agency the art was first introduced into Italy.

  Butades first invented the method of colouring plastic compositions, by adding red earth to the material, or else modelling them in red chalk: he, too, was the first to make masks on the outer edges of gutter-tiles upon the roofs of buildings; in low relief, and known as “prostypa” at first, but afterwards in high relief, or “ectypa.” It was in these designs, too, that the ornaments on the pediments of temples originated; and from this invention modellers first had their name of “plastæ.”

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  CHAP. 44.

  WHO WAS THE FIRST TO MOULD FIGURES IN IMITATION OF THE FEATURES OF LIVING PERSONS, OR OF STATUES.

  The first person who expressed the human features by fitting a mould of plaster upon the face, and then improving it by pouring melted wax into the cast, was Lysistratus of Sicyon, brother of Lysippus, already mentioned. It was he, in fact, who first made it his study to give a faithful likeness; for before his time, artists only thought how to make their portraits as handsome as possible. The same artist, too, was the first who thought of making models for his statues; a method which afterwards became so universally adopted, that there could be neither figure nor statue made without its model in clay. Hence it would appear, that the art of modelling in clay is more ancient than that of moulding in bronze.

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  CHAP. 45.

  THE MOST FAMOUS MODELLERS.

  The most celebrated modellers were Damophilus and Gorgasus, who were painters as well. These artists adorned with their works, in both kinds, the Temple of Ceres, in the Circus Maximus at Rome; with an inscription in Greek, which stated that the decorations on the right-hand were the workmanship of Damophilus, and those on the left, of Gorgasus. Varro says that, before the construction of this temple, everything was Tuscan in the temples; and that, when the temple was afterwards repaired, the painted coatings of the walls were cut away in tablets and enclosed in frames, but that the figures on the pediments were dispersed. Chalcosthenes, too, executed at Athens some works in unbaked earth, on the spot which, from his manufactory, has since obtained the name of “Ceramicus.”

  M. Varro states that he knew an artist at Rome, Possis by name, who executed fruit, grapes, and fish, with such exactness, that it was quite impossible, by only looking at them, to distinguish them from the reality. He speaks very highly also of Arcesilaüs, who was on terms of intimacy with Lucius Lucullus, and whose models in plaster used to sell at a higher rate, among artists themselves, than the works of others. He informs us, also, that it was by this modeller that the Venus Genetrix in the Forum of Cæsar was executed, it having been erected before completion, in the great haste that there was to consecrate it; that the same artist had made an agreement with Lucullus to ex
ecute a figure of Felicity, at the price of sixty thousand sesterces, the completion of which was prevented by their death; and that Octavius, a Roman of equestrian rank, being desirous of a model for a mixing-bowl, Arcesilaüs made him one in plaster, at the price of one talent.

  Varro praises Pasiteles also, who used to say, that the plastic art was the mother of chasing, statuary, and sculpture, and who, excellent as he was in each of these branches, never executed any work without first modelling it. In addition to these particulars, he states that the art of modelling was anciently cultivated in Italy, Etruria in particular; and that Volcanius was summoned from Veii, and entrusted by Tarquinius Priscus with making the figure of Jupiter, which he intended to consecrate in the Capitol; that this Jupiter was made of clay, and that hence arose the custom of painting it with minium; and that the four-horse chariot, so often mentioned, upon the pediment of the temple, was made of clay as well. We learn also from him, that it was by the same artist that the Hercules was executed, which, even to this day, is named at Rome from the material of which it is composed. Such, in those times, were the most esteemed statues of the gods; and small reason have we to complain of our forefathers for worshipping such divinities as these; for in their day there was no working of gold and silver — no, not even in the service of the gods.

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  CHAP. 46.

  WORKS IN POTTERY.

  Statues of this nature are still in existence at various places. At Rome, in fact, and in our municipal towns, we still see many such pediments of temples; wonderful too, for their workmanship, and, from their artistic merit and long duration, more deserving of our respect than gold, and certainly far less baneful. At the present day even, in the midst of such wealth as we possess, we make our first libation at the sacrifice, not from murrhine vases or vessels of crystal, but from ladles made of earthenware.

  Bounteous beyond expression is the earth, if we only consider in detail her various gifts. To omit all mention of the cereals, wine, fruits, herbs, shrubs, medicaments, and metals, bounties which she has lavished upon us, and which have already passed under our notice, her productions in the shape of pottery alone, would more than suffice, in their variety, to satisfy our domestic wants; what with gutter-tiles of earthenware, vats for receiving wine, pipes for conveying water, conduits for supplying baths, baked tiles for roofs, bricks for foundations, the productions, too, of the potter’s wheel; results, all of them, of an art, which induced King Numa to establish, as a seventh company, that of the makers of earthenware.

  Even more than this, many persons have chosen to be buried in coffins made of earthenware; M. Varro, for instance, who was interred, in true Pythagorean style, in the midst of leaves of myrtle, olive, and black poplar; indeed, the greater part of mankind make use of earthen vases for this purpose. For the service of the table, the Samian pottery is even yet held in high esteem; that, too, of Arretium in Italy, still maintains its high character; while for their cups, and for those only, the manufactories of Surrentum, Asta, Pollentia, Saguntum in Spain, and Pergamus in Asia, are greatly esteemed.

  The city of Tralles, too, in Asia, and that of Mutina in Italy, have their respective manufactures of earthenware, and even by this branch of art are localities rendered famous; their productions, by the aid of the potter’s wheel, becoming known to all countries, and conveyed by sea and by land to every quarter of the earth. At Erythræ, there are still shown, in a temple there, two amphoræ, that were consecrated in consequence of the singular thinness of the material: they originated in a contest between a master and his pupil, which of the two could make earthenware of the greatest thinness. The vessels of Cos are the most highly celebrated for their beauty, but those of Adria are considered the most substantial.

  In relation to these productions of art, there are some instances of severity mentioned: Q. Coponius, we find, was condemned for bribery, because he made present of an amphora of wine to a person who had the right of voting. To make luxury, too, conduce in some degree to enhance our estimation of earthenware, “tripatinium,” as we learn from Fenestella, was the name given to the most exquisite course of dishes that was served up at the Roman banquets. It consisted of one dish of murænæ, one of lupi, and a third of a mixture of fish. It is clear that the public manners were then already on the decline; though we still have a right to hold them preferable to those of the philosophers even of Greece, seeing that the representatives of Aristotle, it is said, sold, at the auction of his goods, as many as seventy dishes of earthenware. It has been already stated by us, when on the subject of birds, that a single dish cost the tragic actor Æsopus one hundred thousand sesterces; much to the reader’s indignation, no doubt; but, by Hercules! Vitellius, when emperor, ordered a dish to be made, which was to cost a million of sesterces, and for the preparation of which a furnace had to be erected out in the fields! luxury having thus arrived at such a pitch of excess as to make earthenware even sell at higher prices than murrhine vessels. It was in reference to this circumstance, that Mucianus, in his second consulship, when pronouncing one of his perorations, reproached the memory of Vitellius with his dishes as broad as the Pomptine Marsh; not less deserving to be execrated than the poisoned dish of Asprenas, which, according to the accusation brought against him by Cassius Severus, caused the death of one hundred and thirty guests.

  These works of artistic merit have conferred celebrity on some cities even, Rhegium for example, and Cumæ. The priests of the Mother of the gods, known as the Galli, deprive themselves of their virility with a piece of Samian pottery, the only means, if we believe M. Cælius, of avoiding dangerous results. He it was, too, who recommended, when inveighing against certain abominable practices, that the person guilty of them should have his tongue cut out, in a similar manner; a reproach which would appear to have been levelled by anticipation against this same Vitellius.

  What is there that human industry will not devise? Even broken pottery has been utilized; it being found that, beaten to powder, and tempered with lime, it becomes more solid and durable than other substances of a similar nature; forming the cement known as the “Signine” composition, so extensively employed for even making the pavements of houses.

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  CHAP. 47. (13.)

  VARIOUS KINDS OF EARTH. THE PUTEOLAN DUST, AND OTHER EARTHS OF WHICH CEMENTS LIKE STONE ARE MADE.

  But there are other resources also, which are derived immediately from the earth. Who, indeed, cannot but be surprised at finding the most inferior constituent parts of it, known as “dust” only, on the hills about Puteoli, forming a barrier against the waves of the sea, becoming changed into stone the moment of its immersion, and increasing in hardness from day to day — more particularly when mixed with the cement of Cumæ? There is an earth too, of a similar nature found in the districts about Cyzicus; but there, it is not a dust, but a solid earth, which is cut away in blocks of all sizes, and which, after being immersed in the sea, is taken out transformed into stone. The same thing may be seen also, it is said, in the vicinity of Cassandrea; and at Cnidos, there is a spring of fresh water which has the property of causing earth to petrify within the space of eight months. Between Oropus and Aulis, every portion of the land upon which the sea encroaches becomes transformed into solid rock.

  The finer portion of the sand of the river Nilus is not very different in its properties from the dust of Puteoli; not, indeed, that it is used for breaking the force of the sea and withstanding the waves, but only for the purpose, forsooth, of subduing the body for the exercises of the palestra! At all events, it was for this purpose that it used to be brought over for Patrobius, a freedman of the Emperor Nero. I find it stated also, that Craterus, Leonnatus, and Meleager, generals of Alexander the Great, had this sand transported along with their munitions of war. But I forbear to enlarge any further upon this subject; or indeed, by Hercules! upon those preparations of earth and wax of which the ceromata are made, so much employed by our youth in their exerc
ises of the body, at the cost of all vigour of the mind.

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  CHAP. 48. (14.)

  FORMACEAN WALLS.

  And then, besides, have we not in Africa and in Spain walls of earth, known as “formaceoan” walls? from the fact that they are moulded, rather than built, by enclosing earth within a frame of boards, constructed on either side. These walls will last for centuries, are proof against rain, wind, and fire, and are superior in solidity to any cement. Even at this day, Spain still beholds watch-towers that were erected by Hannibal, and turrets of earth placed on the very summits of her mountains. It is from the same source, too, that we derive the substantial materials so well adapted for forming the earth-works of our camps and embankments against the impetuous violence of rivers. What person, too, is unacquainted with the fact, that partitions are made of hurdles coated with clay, and that walls are constructed of unbaked bricks?