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FORMING
A GLOSSARY OF ALL THE WORDS REPRESENTING VISIBLE OBJECTS
CONNECTED WITH THE ARTS, MANUFACTURES, AND
EVERY-DAY LIFE OF
THE GREEKS AND ROMANS,
WITH REPRESENTATIONS OF NEARLY TWO THOUSAND OBJECTS
FROM THE ANTIQUE.
ANTHONY RICH, JUN. B.A
LATE OF CAIUS COLLEGE, CAMBRIDGE.
1 Segnius irritant animos demissa per aurem,
Quam quae sunt oculis subjecta fidelibus."
LONDON:
LONGMAN, BROWN, GREEN, AND LONGMANS,
PATERNOSTER-ROW.
1849.
PREFACE.
A vEBT^considerable portion of the materials comprised in the present
volume, were collected, for my own instruction and amusement, during
a protracted residence of seven years in the central and southern
parts *bf Italy. To a person who arrives there fresh from the ordi-
nary studies of a public school and college, with the advantage of pos-
sessing a competent skill in the practice of drawing, the collections
of antiquities naturally become a paramount source of attraction, and
suggest various matters for reflection, independent of the influence they
possess as beautiful productions of art. He will perceive many par-
ticulars which escape the general observer, but tending to elucidate
numerous subjects connected with his previous studies, and explaining to
him what had hitherto been involved in complete mystery, or only seen
at a distance through the dim, and often fallacious, haze of a fanciful
imagination. Observing, for instance, the costume represented in painting
and sculpture, and entering upon an examination of its details, he detects
a great number of different articles, clearly distinct in form, character,
and method of arrangement, some of which readily explain themselves,
and suggest at once their classic names, previously, however, only known
by rote. Others again present themselves which he feels a difficulty in
accounting for, how they were called, what was their special use, what
constituted the precise points of difference between them and others of
nearly similar appearance, and what were the distinctive classic terms by
which each was discriminated. It must be apparent, as these differences
exist in the objects themselves, that they would be distinguished in the
language of the people who used them ; or, if the verbal differences were
already known, it would be natural to expect that an exemplification, in
proof of the fact, would be found amongst the artistic representations of
them. When these are discovered, a sudden light would flash upon the
mind, dispelling doubts, creating conviction, and enabling the observer to
say with self-satisfaction, this was called by such a name, that was em-
ployed in such a manner, now I see the meaning of such a passage,
allusion, or expression. It was from the frequent experience of such
impressions that the idea suggested itself to me of making a drawing or a
note of every thing which fell under my observation, that would help to
Vi PREFACE.
illustrate the language or manners of the classic ages. I read their
authors on the spot, and consulted the numerous antiquarian treatises
devoted to the explanation of such matters, by which means my knowledge
imperceptibly increased in accuracy and amount, till the contents of my
note-book and portfolio acquired something like the dimensions of the
present volume, and contained at that time (for I am referring to a period
long since passed) a quantity of information, which would then have been
entirely new to English literature. Latterly, however, there has been a
general disposition amongst us to recur back and investigate the customs
of by-gone ages, whether of our own or other nations ; and several
German, as well as English, scholars, who have visited or resided in
Italy, have directed their researches more especially to classical anti-
quities. But the greater portion of their works is devoted to investiga-
tions respecting the political institutions of the ancients, comparatively
little attention being bestowed upon social manners and every-day life,
which it is especially the aim of these pages to describe and depict ; and
no attempt has yet been made to illustrate systematically, and word
by word, the language of ancient literature by the works of ancient art.
Hence I have been induced to venture upon the experiment of putting
my fragments together, with the hope of being able to fill up, in a useful
and agreeable manner, the space left void, or but cursorily sketched over
in the pages of larger and more learned productions.
From what has been said, the nature of the work may be readily con-
ceived. In the first place, to define the true meaning of all the terms, tech-
nical or otherwise, expressive of any particular object, artificial produc-
tion, manual operation, &c., which can be submitted to ocular inspection.
Secondly, to impart a distinct notion of that meaning, by exhibiting a
virtual representation of the thing itself, faithfully copied from some
classic original, thus presenting the same forms as the ancients were
accustomed to look upon, and suggestive of the same ideas as they them-
selves conceived. And lastly, to furnish a general knowledge of the
social customs, and every-day life, of the Romans and Greeks, in the
shape of a vocabulary, containing all the written terms which have
reference to such matters ; illustrated by a series of pictures, after
their own designs, of the dress they wore, the houses they lived in, the
utensils they used, or the pursuits they followed, by which we may be
said to acquire a sort of personal acquaintance with the people themselves,
and to see them, as it were, in a glass, under the genuine characters, and
familiar aspects, which they presented to one another. For this purpose
an Index is added at the end of the volume, forming a systematic table of
contents to the whole, and containing separate lists of all the words
relating to any given subject classed under distinct heads, so that by
rrmg m the consecutive order there set out to the explanations given
der each, all that relates to any particular topic will be concentrated
PREFACE. Vll
under one view, as if written in a single article, thus affording a compre-
hensive insight into the whole matter, as well as a knowledge of the
various classical terms connected with it, and the distinctions or affinities
between such of them as are allied in sense, though not actually syno-
nymous.
The Latin language, in preference to the Greek, is taken as a basis,
for obvious reasons; being more generally known, it affords a more
general scope and interest to the work, But the Greek synonymes,
when sufficiently identical, are inserted in a bracket by the side of the
leading words, and any special difference between the Greek and Roman
usages is pointed out in the text ; and, an Alphabetical Index of the
Greek words, with their Latin synonymes, is subjoined, which will show
the corresponding usages of the two languages in juxtaposition, and afford
the means of referring to the Greek words as readily as if they had been
inserted alphabetically in the body of the volume. At the same time
it is not professed, nor was it ever intended, to make so complete an ana-
lysis of the Greek language as of the Latin ; nor are the Greek authorities
regularly cited except in particular cases, where their assistance was
necessary ; but as nothing really essential is omitted, those who have
mastered what is here contained, will, I apprehend, find themselves able
to supply all that is needful out of the knowledge already acquired.
In selecting written authorities, the plan pursued has always been
to prefer, where suitable, the same passages as those usually quoted
in the dictionaries; and to place them immediately after the assump-
tion they are intended to support, inserted in brackets, and with-
out interrupting the text, in order that the book might accommodate
itself to the use of all who feel an interest in the subjects it treats of, not
as classical students only, but as inquirers after popular knowledge. As
a general rule, too, when a word occurs incidentally in any author
belonging to the flourishing age of literature, but the precise character
of the object expressed by it is ascertained from descriptions or inferences
found in writings of a much later period, both passages are referred to ;
the one to establish the genuine and early usage of the term, the other to
decide the proper interpretation belonging to it. But where words are
of such common occurrence, and their meanings so generally known and
admitted as not to require proof, it has been thought sufficient merely to
mention the names of some of the best authors where they are found,
without specifying any particular passages.
It is often impossible to ascertain the exact sense of many terms, and
the precise character of the objects designated by them, without having
recourse to the details and evidence afforded by authors of the inferior
periods of classic literature. Hence the grammarians, scholiasts, and
inscriptions are frequently appealed to ; not as tests of good Latinity, nor
of correct etymology, nor, indeed, as unerring guides, but as an available
viii PREFACE.
resource of certain value, where their testimony is confirmed by other
evidence, especially that afforded by artistic representations; for if
nothing but written proofs from the best periods of literature are to be
admitted as valid, the very absence of these will often produce im-
pressions just as erroneous respecting the customs of antiquity, as the
opposite fault of accepting every thing which is written, without sub-
mitting it to the ordeal of a strict and impartial investigation. To cite
an example from one of many others : Beckmann, in most respects an
extremely estimable authority, gives it as his opinion, in the History of
Inventions, that presses for cloth were not invented until the tenth
century ; because, as he states, he had not met with any passage in which
such machines were mentioned. But when the fulling establish-
ment was excavated at Pompeii, (which city was overwhelmed by the
eruption of A. D. 79), the representation of a cloth-press, exactly similar
in construction to those now in use, was discovered amongst other
pictures exhibiting different processes of the trade, upon a pilaster of
the building; and Ammianus Marcellinus, though a late writer as
regards Latinity, yet considerably anterior to the period fixed by Beck-
mann, for he lived in the fourth century, distinctly gives the name
pressorium to a contrivance of the kind in question. At the same time,
it is not to be denied that due caution, and a fitting degree of critical
scepticism, ought to be exerted upon all occasions, that one may not be
induced to give out what is only doubtful as a certainty, or to invest
mere fancies with the air of established truths. With this conviction I
have felt it a paramount duty to trace regularly all the steps for the con-
clusions arrived at ; citing impartially the reasons and authorities ; never
attempting to speak positively, unless the grounds appeared to warrant
it ; always noting the points which admitted of doubt ; and in cases
where the balance of authority seemed undecided, and the opinions of
the learned not agreed, I have faithfully produced both sides of the
argument, and the evidence in support of each.
It is scarcely necessary to enlarge upon the advantage of using the
products of art as a means of interpreting a written language. A de-
scription in words, when sufficiently clear and circumstantial, may convey
all that is wished for ; and yet the impression will become more decided
by inspection of a virtual representation of the thing itself. Nor is the
authority justly due to the one, more important than that which ought
to be allowed to the other. What is written with the pen is neither
clearer, truer, nor more self-convincing than what is written with the
pencil or the chisel. On the contrary, the latter will often have the
advantage. But when the two are brought to bear upon each other, as
here, reflecting mutual lights, supplying alternate deficiencies, and sup-
porting each other by the interchange of corresponding evidence, it is
then that the pictorial description becomes truly valuable as the best
PREFACE. ix
possible means for producing accurate perceptions, and elucidating
points of difficulty by a process which gains conviction at once. Take,
for example, the expressions hasta amentata and hasta ansata, which are
met with as descriptive of some peculiar kind of spears ; and both of
which are set down as synonymous terms in the dictionaries, although the
elementary notions contained in the respective adjectives are entirely
distinct. the substantive amentum implying something in the nature of
a straight thong ; the other, ansa, something bent in the form of a loop
or handle. Consequently, the language itself indicates that the two
objects are not identical ; but the distinction could not have been posi-
tively established, and probably might never have been ascertained, but
for the discovery of two ancient designs, the one upon a Greek vase,
which exhibits a spear with a straight thong (amentuni) attached to the
shaft, as shown by the wood-cut, p. 25 ; the other, on the walls of a
tomb at Paestum, which exhibits a spear with a semicircular or looped
handle (ansa) affixed to its shaft, through which the hand is inserted, as
shown by the wood-cut, p. 38. Again, to mark the affinities between
allied terms and the objects they represent, in both languages, but which,
without a knowledge of the ancient forms possessed by those objects,
would be liable to receive an erroneous, or at least imperfect, inter-
pretation; take the Latin words, ancon, ansa, ancile, anquina, and the
Greek, O^K&V, cty/cuAr?, ajKoivr]. All these contain the same elementary
notion, that of a bend or hollow, such as is produced by the elbow-joint ;
and it will be perceived by referring to the different objects represented
under each of those words, that this peculiar property constitutes a
leading feature in all of them, however varied in other respects their
general forms and uses may be. In the language of poetry, more
especially, which frequently receives its charm from some illustrative
epithet suggested by the productions of art, it is obvious that the par-
ticular beauty of many expressions will be lost or imperfectly appre-
ciated, unless we too possess a just knowledge of the forms which the
poet had in his mind, when he penned the passage.
With respect to the illustrations, which form the distinguishing feature
of the book, the main conditions required are, that they shall be derived
from authentic originals, executed with fidelity, and sufficiently distinct
in detail to exhibit without confusion the peculiar points which they are
intended to exemplify.
With regard to the authenticity of the illustrations, I may state
that there are few of which I have not myself personally inspected
the originals. But in every case where a drawing has been copied
at second hand, that is, from an old book or engraving, or whenever
there has appeared to be a possibility that the copy from which
it is taken might have been incorrectly executed, or made up in
any way ; whenever, in short, I had not the means within my own know-
X PREFACE.
ledge of vouching for its truthfulness, I have quoted the work from which
my illustration is taken, so as to afford at least a responsible authority for
the design. In other cases I have thought it sufficient merely to men-
tion the nature of the production which furnished an original for each
illustration, whether a painting, statue, engraved gem, &c. ; as it has
been a constant object throughout to keep the volume within the smallest
possible limits consistent with a due execution of the task undertaken.
Of the whole number of wood-cuts, representing nearly two thousand
different objects, only fifty are selected from other than Greek or Roman
originals. One-half of these are drawn from the antiquities of Egypt,
and are produced without hesitation because they establish the familiar
use of certain articles long before the historical commencement of authen-
tic history in Europe ; but, as we know how much the Greeks borrowed
from Egypt, and the intercourse which took place between the Romans
and that people, they may be safely appealed to as inventions handed
down to the classic ages from a more remote period. Twelve are from
originals still met with in actual use, chiefly in Asia, Greece, or Italy,
countries all of which have retained much of their primitive manners, and
many of the identical forms employed by their early ancestors almost with-
out variation. Three are of Chinese original ; inserted because they serve
to explain certain terms not otherwise easily intelligible, nor correctly
understood. But it may be remarked that many customs and articles
now peculiar to that primitive people, as seen in the drawings made by
travellers, and by collections exhibited in this country, bear a marked
resemblance to the practice and forms in use amongst the classic
inhabitants of Greece and Italy ; while the fact that real porcelain bottles
with Chinese letters upon them have been found in several of the
oldest tombs in Egypt, testifies that an early intercourse must have
existed, in some shape or other, between those countries. Nine only of
the engravings are not copied from any actual original, but are composed
in accordance with written texts, for the purpose of giving a clear and
definite notion of certain terms more readily explained by a diagram
than by a description a kind of knowledge which it is one of the prin-
cipal objects of these pages to supply ; but, to prevent misapprehension,
the circumstance of their being compositions is mentioned, together with
the name of the scholar or editor who designed them.
As regards fidelity of execution, an essential requisite in matters of
this nature, no pains have been spared to attain the end. Many of the
drawings were made upon the wood from designs or tracings executed
by myself; all have been corrected on the block by the draughtsman
under my directions, or by my own hand, when necessary ; and by the
engraver, after cutting, from proofs retouched by myself, or under my
orders.
As regards precision and clearness of detail, some allowance must
PREFACE. Xi
be made in consideration of the very reduced size of the drawings,
which in a work intended for utility not luxury, and so copiously
illustrated as the present, becomes a law of necessity. Small, however,
as they are, if the reader will only take the trouble of examining closely
the particulars pointed out by the text to his attention, he will find that
they seldom fail in telling their own tale if not at the first casual glance,
at all events after a little practice, and when his mind has become fami-
liarised with the precise points and distinctions intended to be conveyed.
But, wherever it has struck me that any indistinctness prevailed, either
in conse'quence of want of precision in the drawing, or confusion from
the crowding of unnecessary lines, I have cited some other instance where
a larger or more perfect representation of the object is engraved, and
which would show it more distinctly.
In selecting illustrations, it has been my constant aim to produce such
as are least common or hacknied, rather than those which may be seen,
or are usually referred to, in other works which touch upon similar sub-
jects ; for by this means the aggregate amount of pictorial authorities
forming a common stock of available reference, is both varied and
increased. But in cases where only a single specimen is known to exist,
there is no alternative but to reproduce it ; or where, amongst several,
one is so much more complete and definite in details, that it furnishes
a better and more satisfactory illustration than any of the rest, like
what is termed a locus classicus in literature, I have felt it right to insert
that one, since every design is used as a practical commentary upon the
meaning of words, addressed to the mind through the eyesight, and not
as a pretty picture for the mere embellishment of a printed page.
It only remains to explain the marks of accentuation inserted for the
purpose of distinguishing the correct pronunciation of the Latin words
for those who might require such assistance, though it must be acknow-
ledged that every attempt of the kind will be liable to some objection or
other. In the commencement I placed a mark after an open vowel,
or after the consonant which follows a close one, according to our ordi-
nary manner of pronunciation. But it subsequently occurred to me that
the prosody might be indicated, as well as the pronunciation at the same
time, by always placing the mark after a long vowel, as li'niger, li'nea,
lori'ca, and after the consonant which follows a short one, as lan'ius, lit'uus,
litficen ; which method has been systematically adopted throughout the
latter half of the volume.
December, 1848.
COMPANION
THE LATIN DICTIONARY,
AB AC'ULUS (&<?a/Wos). A small
tile or die of glass, or a composition
in imitation of stone, stained of various
colours, and used for inlaying pat-
terns in mosaic pavements. (Plin. H. N.
xxxvi. 67. Moschusap. Athen. v. 41.)
The illustration represents part of the
ancient mosaic pavement in the church
of & Croce in Gerusalemme, at Rome.
AB'ACUS(g<). In its general
signification, a rectangular slab of
stone, marble, earthenware, &c. ;
whence it is applied in a more special
sense to various other objects, which
possess the characteristic form of a
level tablet.
1. A tablet employed in making
arithmetical calculations, on the plan
IllUlil
of reckoning by decads ; similar to
that still in use amongst the Chinese
(Davis, China, chap. 19.), and com-
monly called the Pythagorean multi-
plication table. The illustration re-
presents an original first published
by Velser. (Histor. Augustan. ) It is
divided into compartments by parallel
channels cut through it, into each of
which is inserted a certain number
of pins with a button at each end, in
order that they might be moved up
and down the channels without falling
out. The numbers represented by
the pins in each channel are marked
on it ; the longer ones at the bottom
are for units ; the shorter, at the top,
for decimals.
A tray covered with sand was like-
wise employed for the same purpose,
the lines being drawn out in a similar
manner in the sand, and pebbles used,
instead of pins, for making the calcu-
lations (Pers. Sat. i. 131.); this was
still designated by the same name, as
was also the tray of the same kind
which geometricians used for describ-
ing their diagrams. Apul. Apol. p.
429. Varior.
2. A play-board, divided in like
manner into com-
partments, for one
of the ancient
games of chance
and skill ; probably
the one nearest al-
lied to our " back-
gammon ," the Indus
duodecim scripto-
rum, or the game
of the twelve lines.
Caryst. ap. Athen.
x. 46.
The illustration is copied from an
ABACUS.
original of marble belonging to the
Christian era, which was excavated in
a vineyard at Rome. It will be ob-
served that it is divided, like our
back-gammon boards, into four sepa-
rate tables by the cross lines at each
side ; and each side into twelve com-
partments by the same number of lines,
the duodecim scripta. The inequality
of the lines upon which the pieces
moved, and of the intervals between
them, arose from the necessity of leav-
ing room for a Greek inscription,
which, in the original, runs down the
centre, but has been omitted for con-
venience in the wood-cut ; the mean-
ing of it, according to the translation
of Salmasius, is as follows : " In
Slaying thus at the throws of the dice,
esus Christ gives victory and assist-
ance to those who write his name
and play with dice."
That the board here figured was
actually used in a mixed game of
chance and skill, such as our back-
gammon, is proved by the lines upon
its surface, forming the points upon
which the counters moved, and the
inscription which implies that the
moves were first determined by a
chance throw of the dice ; and that
the name abacus was most appro-
priately given to the board used at
such a game, is testified by the nature
of its surface divided into parallel
lines, so closely resembling in appear-
ance the counting-board, as well as
the circumstance that it was, in fact,
a table upon which numbers were
reckoned, the numbers cast up on
the dice being added together to de-
cide the move. See the Greek Epi-
gram, quoted by Dr. Hyde, and I
Christie (Ancient Greek Games, p. 42.), j
in which a game of this description ]
is described in detail.
3. Also the play -board used in I
another ancient game of skill, the
Indus latrunculorum, having a closer
resemblance to our chess and draught
boards. (Macrob. Sat. i. 5.) Although
games of this description were of very
great antiquity, and are represented
both by the Egyptian and Greek
artists, yet the precise manner in which
the surface of the board was divided
has not been ascertained, because it
is always expressed in profile, which
only shows the men but not the face
of the board. See LATRUNCULI, TA-
BULA LATRUNCULARIA.
4. A " side-board " for setting out
the plate, drinking vessels, and table
utensils in the tricJinium, or dining
room. (Cic. Verr. iv. 16. Juv. iii. 204.
Plin. H. N. xxxvii. 6.) The illustra-
tion, copied from a fictile lamp, shows
one of these sideboards with the plate
set out upon it. It consists of two
slabs, the lower one supported upon
two feet, and the upper by a bracket
leg, which rests upon the one below.
The simplest kinds were made of
marble, the more costly of bronze ;
and the surface was sometimes perfo-
rated into holes, in order to receive
such vessels as were made with sharp
or narrow bottoms, and, consequently,
not adapted to stand alone. This ap-
pears the most natural interpretation of
the multiplices cavernce (Sidon. Apoll.
Carm. xvii. 7, 8.), for the term used to
express the setting out of plate upon
a side-board is exponere (Pet. Sat.
Ixxiii. 5.), which would be ill applied,
if, according to the common accepta-
tion, these cavernce were partitions,
like the pigeon holes in a cabinet,
in which the plate would rather
be hidden than displayed.
5. A slab of marble used for coat-
ing the walls of a room. (Plin. H. N.
xxxv. 1.) Sometimes the whole sur-
ABACUS.
ABOLLA.
face of the wall was covered with these
slabs, as in the example, which repre-
sents an apartment in Dido's palace
from the Vatican Virgil ; sometimes
coffers or pannels only were inserted,
as an ornament ; and as extravagance
is commonly accompanied by bad taste,
the marble itself was occasionally
painted upon (Plin. H. JY. xxxiii. 56.) ;
and sometimes the coating of stucco
or hard white cement, which was
capable of receiving a very high
polish, was sawed from the wall of an
old house, and inserted as an abacus
instead of marble. See Vitruv. vii. 3.
10., a passage which Becker, in his
Gallus, p. 23. n. 11. Transl., is clearly
mistaken in referring to sideboards.
6. A square tablet which the early
builders placed upon the head of their
wooden columns in order to provide a
broad flat surface for the superin-
cumbent beam which supported the
roof, to lie upon, and thus constituted
the first step in the formation of an
architectural capital . Vitruv. iv. 1. 11.
It is credible that this simple tablet
remained for a long period as the only
capital ; and in the Doric, the oldest
and simplest of the Greek orders, it
never lost its original character, but
still continued with only the addition
of one other and smaller member (the
echinus) as the most prominent and
imposing portion of the capital. With
the invention of the richer orders the
size, form, and character of the abacus
were materially altered, though the
name was still retained, and applied
to the crowning member of any capi-
tal. These varieties are fully ex-
plained and illustrated under the
word CAPITULUM.
The illustration represents one of
the tombs sculptured in the rock at
Beni-Hassan, which are supposed by
Sir G. Wilkinson to be as old as 1740
B. c. It is highly curious for the early
traces it affords of that style of build-
ing, which the labour, skill, and re-
finement of the Greeks gradually im-
proved and embellished until it even-
tuated in the most perfect of all struc-
tures, the Greek Doric temple. There
is no base, nor plinth ; the columns
are fluted ; the capital consists of a
mere abacus ; a single beam or archi-
trave forms the entablature, and sup-
ports a sort of sculptural cornice in-
tended to imitate a thatching of reeds ;
and as there is no frieze (zophorus)
between it and the architrave, we
may infer that it is illustrative of a
period when buildings were merely
covered by an outer roof (tectum)
without any soffit or ceiling (cceluni),
for the beams which formed the
ceiling or under roof were shown
externally by the member subse-
I quently termed a frieze. [ZoFHORUS.]
ABOLLA. A cloak or mantle made
of cloth doubled (Serv. ad Virg. Mn.
v. 421.) and fastened by a brooch
under the neck or upon the top of the
shoulder. It was originally worn by
the military, as in the example from
Trajan's column, and therefore was
put on by the inhabitants of the city,
instead of the toga, the costume of
civilians, during periods of turbulence
tj 2
ABS1S.
ACATIUM.
or foreign invasion (Varro, ap. Non.s. v.
p. 538. Mercer) ; but subsequently it
came to be used more
commonly, and by all
classes, as an article ,/
of the ordinary attire. \\
(Juv.iv.76. Suet. Cal \
35.) It does not differ
very materially from
the sagum; but was
made of finer material,
and somewhat small-
er dimensions, whence
Martial recommends
persons addicted to
thieving not to wear an abolla, be-
cause it was not large enough to con-
ceal the stolen articles beneath it.
Mart. Ep. viii. 48.
2. Abolla major. The large wrap-
ping blanket of the Greek philoso-
phers, more especially
of the Cynics, who, as
they wore no under
clothing, enveloped
themselves for the
sake of decency in a
wrapper of very ample
dimensions (Mart. Ep.
iv. 53.). Hence the
expression facinus ma-
joris abolla (Juv. Sat.
iii. 115.) means a
crime committed by a
Greek philosopher, the garment being
put for the person who wears it, as we
apply our phrase " the long robe " to
members of the legal profession. The
illustration represents Heraclitus from
an engraved gem.
ABSIS or APSIS. The semicir-
cular termination of any rectangular
chamber, forming what is commonly
termed in English " an alcove.
Ep. ii. 17. 8.) A form of this kind
was commonly employed in courts of
justice (basilica:) in order to make a
convenient place for the judges' seats ;
and sometimes in temples to form a
recess for the statue of the deity to
whom the edifice was consecrated ; as
in the illustration, which shows the
absis, as it now remains, of the temple
of Rome and Venus, built by the Em-
peror Hadrian. Compare also the illus-
tration to ADYTUM, where the ground-
plan of a similar member is seen.
ACAPNA, sc. Ligna (&Kairva, poet.
Savd, Kdyicava). A word adopted from
the Greek language and employed to
designate fire- wood which had under-
gone a preparation to prevent it from
smoking when placed upon the fire.
Smokeless wood of this description
was prepared in three different ways :
1st. by peeling off the bark, then
soaking it a long time in water, and
finally suffering it to dry thoroughly
before it was used. (Theophrast. Hist.
Plant, xv. 10.) The effect of this
process is now well known, as it has
been found that wood conveyed by
water in floats burns more briskly
and throws out less smoke than that
which has been transported by land
carriage merely : 2d. by soaking it in
oil, or oil-lees, or by pouring oil over
it (Cato, R. K 130. Plin. H.N. xv.
8.): 3d. by hardening and scorching
it over the fire until it lost the greater
i part of its moisture, without being
| entirely reduced to charcoal ; this last
was also designated by a special name
Cocta or Coctilia. Mart. Ep. xiii. 15.
2. Acapnon mel Honey taken from
the hive without smoking the bees,
which was considered the best kind of
honey. Columell. vi. 33. 2. Plin. H.N.
xi. 15.
ACAT'IUM (oKOTtoi/). A small,
but fast-sailing vessel, belonging to
the class termed actuaries, viz. which
were worked with oars as well as
sails. It was more especially used
by the Greek pirates (Thucyd.iv.67.),
was furnished with an armed beak
(rostrum}, and had the stern rounded
ACATIUM.
and bent inwards (inflexa, Plin. H. N.
ix. 49.), a very common form in the
marine of the ancients, as will be
shown by many illustrations in the
course of these pages. (See ACTU-
ARIUS, APHRACTUS.) It is therefore
highly probable that the distinctive
characteristics of these vessels con-
sisted more in the style of their rigging
(see No. 2.) than in the form of the
hull.
2. The same word is also used in
connection with the rigging of a ves-
sel, being sometimes applied to desig-
nate a sail, and sometimes a mast ;
but which of the sails or which of
the masts is nowise apparent. Xeno-
phon (Hellen. vi. 2. 27.) speaks of the
acatia as sails, but contradistinct to
the larger sails ; Hesychius and Isi-
dorus (Orig. xix. 3. 3.) on the contrary
assert that the acatium was the largest
sail on the ship, and attached to the
main mast; while Julius Pollux (i.
91.) and Hesychius in another pas-
sage affirm that it was not a sail at all,
but a mast, and that one the largest or
main mast. Amidst all this apparent
contradiction only one thing is certain,
that the acatium was especially in-
vented for fast sailing with light winds.
If a conjecture might be hazarded all
the difficulty would be got over by
assuming that it meant both the mast
and the sail belonging to it ; and that
it was a mast rigged after the fashion
of the pirate vessels, to which the
name properly belonged ; a taller and
lighter mast for instance than those
usually employed, fitted also with
smaller sails, probably with a top-sail
over the main-sail, which would
be handier for working and better for
sailing in fair weather than the ordi-
nary heavy mast, with its cumbrous
yard. Thus Iphicrates, in the passage
of Xenophon already referred to, be-
fore commencing his voyage, trimmed
his vessels so as to be ready for any
emergency. He left behind him the
ordinary large set of sails (TO. fMeyd\a
iaria), and consequently the heavy
masts to which they belonged, and
ACCENSUS. 5
fitted the ships with masts and sails
(a/m($), such as the pirates used in
their vessels, for the rapidity they af-
forded in sailing, and the fewer hands
they required for working, in case he
should be forced to an engagement.
ACCENSUS. A civil officer at-
tached to the service of several Ro-
man magistrates, the consuls, prse-
tors, and governors of provinces.
(Varro, L.L. vii. 58. Liv. iii. 33.)
He was generally the freedman of
the person whom he served (Cic.
ad Q. Fr. i. 1. 4.), and it was his duty
to summon the people to the assem-
blies, to call the parties engaged in
law-suits into court, and preserve
order in it (Cic. I. c. 7.), and to pro-
claim the hour at sunrise, mid-day,
and sunset. Plin. H.N. vii. 60.
2. The military ACCENSI were
originally a body of supernumeraries
enlisted for the purpose of supplying
any vacancies which might occur in
the legions by death or otherwise
(Festus s. v. Adcensi), but subse-
quently they were formed into a sepa-
rate corps, belonging to the levis arma-
tura, or light-armed troops, amongst
whom they occupied the lowest
rank of all. They were selected from
the fifth class of the Servian census
(Liv. i. 43.), had no body armour
nor weapons of attack, properly so
called, but fought, as they best could,
with nothing but their fists and stones
(puyniset lapidibus depugnabant, Varro
ap. Non. s. Decuriones, p. 520. Mercer),
precisely as shown in the annexed
ACC1NCTUS.
ACCUBO.
figure, which is copied from the Co-
lumn of Trajan. On the battle-field
they were posted in the rear of the
whole army, being drawn up in the
last line of all, behind the Rorarii,
from whence they could be advanced
to assist in desultory attacks as occa-
sion required. Liv. viii. 8 and 10.
ACCINCTUS. In a general sense,
girded, equipped, or provided with
anything. But the word is more es-
pecially applied to the military, and
then implies that the soldier has his
sword girded on, or, in other words,
that he is accoutred as a soldier on
duty ought to be ; like the right-hand
figure in the illustration, from Tra-
jan's Column. Hence, miles non ac-
cinctus, means a soldier without his
sword, or, as we should say, without
his " side-arms," which, under a lax
system of discipline, the men took off
when employed upon field works, for-
tifications, &c., and piled with their
shields and helmets on the ground
beside them, like the left-hand figure
in the illustration, also from the Co-
lumn of Trajan. Under a strict sys-
tem, this was not allowed ; the shield
and helmet only were laid aside, but
the soldier was always accinctus, or
had his sword on. Tac. Ann. xi.
18. Veget. Mil. iii. 8.
ACCUBITA'LIA. Things which
belong to a sofa or couch ; particu-
larly the furniture of a bed, or a
dining couch, including the cushions
or pillows, mattress, and coverlet ; as
seen in the two next illustrations.
Valerian, ap. Trebell. Claud. 14.
ACCUBIT'IO. The act of re-
clining at table (Cic. Senect. 13.), as
described under ACCUBO.
ACCU'BITUM. A particular kind
of couch used to recline upon at meals,
which was substituted under the em-
pire for the lectus tricliniaris. (Schol.
Vet. ap. Juv. Sat. v. 17. Lamprid.
Elagab. 19.) The precise form and
character of this piece of furniture is
nowhere described ; but as the words
accubo, accumbo, accubitus, in their
strict sense refer to the act of a single
person, it is but reasonable to con-
clude that the accubitum was a sofa
intended for the reception of one per-
son only : the more so as the annexed
illustration from an ancient Roman
marble (Symeoni, Epitaffi Antichi,
p. 51. Lione, 1558) shows that sofas
of such a character were actually used
at meals ; while the interpretation
given explains at the same time the
object of their introduction, in order
that any number of guests might be
accommodated at an entertainment by
the addition of extra sofas (Lamprid.
Alex. Sev. 34.); whereas the accom-
modation afforded by a tricliniary
couch was limited to nine.
ACCU'BITUS. Same as Accu-
BITIO. Stat. Ach. i. 109.
AC'CUBO (KaTOKPuVo/xat). To re-
cline at table, an attitude usually
adopted by the ancients at their meals,
ACCUMBO.
ACERSECOMES.
instead of our habit of sitting. The
posture of reclining, as clearly shown
in the illustration, from the Vatican
Virgil, was one between lying and
sitting, the legs and lower part of the
body being stretched out at full length
on a sofa, whilst the upper part was
slightly raised and supported upon the
left elbow, which rested on a pillow,
the right arm and hand being left free
to reach out and take the food.
The usual method of arranging the
sofas, the etiquette of precedence, and
position of the different places, is ex-
plained under the word LECTUS TRI-
CLINIARIS.
During the later periods of Ro-
man history, the men and women
reclined together at their repasts ;
but the Greeks considered such a
posture to be indecorous for females ;
their women, therefore, either sat at a
separate table, or upon one end of the
couch on which the men only re-
clined, as shown in the illustration
copied from a Greek marble in the
museum of Verona, representing a
funeral repast (ccena feralis). The
same practice was also observed by
the Romans, before the corruption
of manners incident upon wealth and
conquest had ensued.
ACCUM'BO. Properly denotes the
taking a place on a dining couch, in
contradistinction to Accubo, which re-
fers to a person already reclining ; and
in allusion to a single person, as distin-
guished from Discumbo, which has
reference to several persons or the
whole company. But these distinc-
tions are not always observed.
ACERRA (AtgweoTpis). A small
square box with a lid to it (area tu-
ralis. Serv.
ad Virg. JEn.
v. 745.), in
which the
incense used
at a sacrifice
was contain-
ed. (Acerra
turis custos.
Ovid. Met. xiii. 703. Hor. Od. iii.
8. 2.) The illustration is copied from
a bas-relief in the museum of the
Capitol at Rome, on which various im-
plements employed at the sacrifice are
sculptured.
The incense itself was not burnt in
the acerra, but the box was carried
to the altar by an at-
tendant of the priest-
hood, as shown by
the annexed figure,
copied from a bas-
relief at Rome. The
box is carried in his
left hand, a jug for
pouring out libations
of wine (capis) in his
right, and the skin of
a victim over the left
arm. The incense,
when used, was taken
out of the box, and sprinkled upon
the burning altar, for which the expres-
sion is libare acerra, Ov. Pont. iv. 8.
39. Pers. Sat. ii. 5.
2. According to Festus (s. v.), the
same name was also given to a small
portable altar placed before the dead,
and on which incense was burnt.
See the illustration to ARA TURI-
CREMA, and compare Cic. Leg. ii. 24.
ACERSEC'OMES (a/cepo-eK^O-
Literally, with long and flowing hair,
and thence, by implication, a young
or effeminate person (Juv. Sat. viii.
128.) ; for the habit of wearing the
hair unshorn was regarded as unmanly
ACETABULUM.
ACL1S.
by the civilized Romans,
among whom it was
only adopted for young
slaves who waited at
table, an instance of
which is given in PIN-
CERNA ; or for the boys
(Camilli) who acted as
attendants upon the
priesthood at the altar,
as in the illustration an-
nexed, which is copied
from the Vatican Virgil,
and represents one of
these attendants.
ACETAB'ULUM (o'#a<j>oi>). A
vinegar cruet, or rather cup, which
the ancients used to
place upon their tables
at dinner, to dip their
bread in. (Isidor. Orig.
xx. 4. 12. Apic. viii. 7.
Ulp. Dig. xxxiv. 2.
20.) We have no direct testimony
of its being so employed, beyond the
inference drawn from the Greek
name of the vessel, which means
literally a vinegar dipper. The origi-
nal, of fine red clay, here figured,
is in the Museum at Naples, and is
an undoubted example of these cups,
as the name o^va<f>ov is inscribed un-
derneath it. Panof ka, Recherches sur
les veritables Noms des Vases Grecs. .
2. The cup used by jugglers of the
class now called " thimble-riggers,"
joueurs de gobelets, in playing the trick
of the " little pea " (Seneca, Ep. 45.).
This was a very common piece of
jugglery both amongst the Greeks
and Romans, and was played exactly
in the same way as now (Alciphron,
Ep. iii. 20., where the process is
circumstantially detailed). The
" thimble-rigger " was called ty-nQo-
K\eirT7js or ^-ntyoiraittT-ris by .the Greeks
(Athen. i. 34. Suidas.) ; the Romans
have left no specific name, except the
common one for all jugglers, prces-
tigiator. Seneca, I. c.
3t A dry measure of capacity, con-
taining the fourth part of a Hemina.
Plin. H. N. xxi. 109.
ACIC'ULA. A diminutive of
Acus ; but as the word is applied to
the bodkin which women wore in
their hair (Acus, 2.), the diminutive
must be understood as expressing in-
feriority of material, rather than
smallness of size, for such ornaments
were made of wood and bone, as well
as ivory and the precious metals.
Cod. Theodos. iii. 16. 1.
ACFNACES (<XK/CKT/S). A short,
straight poniard, peculiar to the Per-
sians, Medes, and Scythians (Hor.
Od. i. 27. 5. Curt. iii. 3. 18.), which
was worn suspended ,
from a belt round the
waist, so as to hang
against the. right thigh
(Val. Flacc. vi. 701.
Floras, iv. 11. 3), as
seen in the illustration
from a bas-relief found
amongst the ruins of
Persepolis. The aci-
naces was not a sword, but a dagger ;
for it was worn together with the
sword, but on the opposite side of the
body, as may be seen on the wounded
Persian in the celebrated Pompeian
Mosaic, inserted under ERACM ; from
the reduced scale of the drawing, it
is not very prominent; but the handle
of it is apparent on the right side, the
sword being suspended by a belt (bal-
teus) on the left.
ACIS'CULUS. A small "pick,"
used chiefly by builders and stone
masons, having a bluff end
like a hammer at one extre-
mity, and a curved point, or
pick, at the other. It is re-
presented on several coins
of the Valerian family, with the name
inscribed below it, from one of which
the example is taken. Quint, vi. 3. 53.
AC'LIS or ACLYS. A massive
weapon used by the Osci, and some
foreign nations, but not by the Greeks
or Romans (Virg. JEn. vii. 730. Sil.
Ital. iii. 363.). It appears to have
been a sort of harpoon ; for it con-
sisted of a short thick stock set with
spikes, and attached to a line, so that
ACRATOPHORUM.
ACTUARIUS.
it might he recovered again after it
had been launched (Serv. ad Virg.
I. c.) ; but it was only known to
Servius by tradition, having fallen into
disuse long before his time.
ACRATOPH'ORUM (dxparo-
<p6pov). Properly a Greek term,
but familiarized in the Latin lan-
guage as early as the time of Varro
(Varro, R.E. i. 8. 5. Cic. Fin. iii.
4.), and employed to designate the
vessel in which pure or unmixed
wine was placed upon the table (Pol-
lux, vi. 99.)- It was, therefore, in
some measure, an
opposite to the
Crater, a larger
vessel, used for a
similar purpose,
but containing wine and water mixed
together. The illustration is copied
from a marble vase (Buonarotti, Vasi
di Vetro. p. 31.), bearing an inscrip-
tion dedicated to Silvanus, and orna-
mented with a wreath [of vine leaves.
It corresponds exactly in form with
two others delineated by the Pompeian
artists, one of which is placed at the
feet of a statue of Bacchus (Mus.
Borb. vii. 56.), and the other in the
hands of the god Acratus (Mus.
Borb. vii. 62.), which, taken together,
are quite sufficient to identify the form.
ACROPOD'IUM. A word coined
from the Greek, though
not found in any Greek
author ; the exact mean-
ing of which is open to
some doubts ; but the
most probable interpre-
tation seems to be, the
low square plinth com-
monly seen under the
feet of a marble statue
(Hygin. Fab. 88.), as in
the illustration, which
represents the statue of
Juno, placed in front of
a temple, from the Vati-
can Virgil. This aero-
podium formed a component part of
the statue itself ; but it also served as
a sort of upper basement or podium
(&Kpov jroStov') for the figure to rest on,
when it was placed in an elevated
position, or upon a regular base con-
structed for the purpose, as in the il-
lustration.
ACROTE'RIA (a/cpor^o). The
pedestals placed on the summit and
angles of a pediment for the purpose
of supporting statues. (Vitruv. iii. 5.
12.) They were frequently made
without bases or cornices, as in the
illustration.
ACTUA'RIOLUM. Diminutive of
ACTUARIUS. A small vessel, or open
boat, propelled chiefly by oars, never
exceeding eighteen in number; the
one which transported Cicero (Ep. ad
Att. xvi. 3.) had ten ; but they were
sometimes assisted by a sail when the
wind served. (Scheffer, Mil. Nav.
ii. 2.) The example is copied from
a miniature in the Vatican Virgil.
ACTUA'RIUS. Naves actuaries,
or simply Actuaries. A large class of
open vessels worked by sweeps and
sails, in contradistinction to the mer-
chantmen, or sailing vessels (onerarioe).
10
ACUS.
ADMISSARIUS.
(Sisenna. ap. Non. s. v. p. 535. Cic.
Att. v. 9.) Properly speaking, these
were not ships of war, that is of the
line, but were employed for all pur-
poses requiring expedition, as packet
boats, transports (Liv. xxv. 30.), for
keeping a look-out, and by pirates
(Sallust. Fragm. ap. Non. I. c.), and
were never fitted with less than
eighteen oars. (Scheffer, Mil. Nav.
ii. 2.) The illustration is from the Va-
tican Virgil.
2. Actuarii. Short-hand writers,
who took down the speeches delivered
in the senate or public assemblies.
Suet. Jul. 55.
3. Under the empire, officers who
kept the commissariat accounts, re-
ceived the supplies for the use of the
army from the contractors, and dis-
pensed them in rations to the troops.
Ammian, xx. 5. 9. Id. xxv. 10. 17.
Aurel. Viet. p. 293.
ACUS (d/ceVrpa, &e\6vr], a<Jn's).
Seems to have designated in the Latin
language both a pin for fastening, and
a needle for sewing ; as the specific
senses in which
the word is ap-
plied are some-
times character-
istic of the former,
and sometimes
the latter of these
two implements, which we distinguish
by separate names. (Cic. Milo, 24.
Celsus, vii. 16. Ovid. Met. vi. 23.)
The illustration represents a box of
pins found at Pompeii, and a sewing
needle an inch and a half long, from
the same city.
2. Acus comatoria, or crinalis. A
large bodkin or pin several inches
long, made of gold,
silver, bronze, ivory,
or wood, which the
women used to pass
through their back
hair after it had been
plaited or turned up,
in order to keep it
neatly arranged, a fashion still retained
in many parts of Italy. (Pet. Sat. xxi.
1. Mart. Ep. ii. 66. Id. xiv. 24. Apul.
Met. viii. p. 161. Varior.} The illus-
tration is taken from the fragment of
a statue in the Ducal Gallery at Flo-
rence, which shows the mode of wear-
ing these hair-pins ; but a great va-
riety of originals have been discovered
at Pompeii and elsewhere, of different
materials and fancy designs, which
are engraved in the Museo Borbonico
(ix. 15.), and in Guasco (Dette Orna-
trici, p. 46.).
3. The tongue of a brooch, or of a
buckle formed precisely in the same
manner as our own, as seen in the
illustrations, which are all copied from
ancient originals. Valerian, ap. Tre-
bell. Claud. 14.
4. A needle used for trimming oil-
lamps, and usually suspended by a
chain to the lamp, as is still
the common practice in Italy.
The illustration is copied from
an original bronze lamp exca-
vated in Pompeii, and a part
of the chain by which it hangs
is shown. The use of it was
to draw up and lengthen the
wick as it burnt down in the
socket ; et producit acu stupas
humore carentes. Virg. Morel. 11.
5. A dibble for planting vines.
Pallad. i. 43. 2.
6. A surgeon's probe (Furnaletti,
s. v.) ; but he does not quote any an-
cient authority, and the proper term
for that instrument was SPECILLUM.
ADMISSA'RIUS, sc. equus (dva-
CTT?S). A stallion kept especially for
the purpose of breeding ; for as the
ancients mostly rode and drove entire
horses, none but those especially kept
for the purpose were allowed to have
intercourse with the mares. Varro,
R. R. ii. 7. 1. Columell. vi. 27. 3.
2. Also used of other animals, as
ADORATIO.
ADYTUM.
11
of asses. Varro, R. R. ii. 8. 3. Pal-
lad, iv. 14. 2.
ADORA'TIO (irpoffnvvriffis, Soph.
Electr. 1374). The act of adoration,
a mark of reverence exhibited by
passers-by to any person or object to-
wards which they wished to show ex-
treme reverence and respect. This
action was expressed by the following
attitude and movements: the body
was inclined slightly forwards and the
knees gently bent, whilst the right
hand touched the object of reverence,
an altar, statue, &c. ; the left was
raised up to the mouth {ad os, from
whence the term is.derived), kissed,
and then waved towards the object
intended to be honoured. (Plin. H. N.
xxviii. 5. xxix. 20. Apul. Met. iv.
p. 83. Varior. Id. Apol p. 496.) The
chief motions in this pantomime are
clearly shown in the illustration, which
is copied from an engraved gem in
Gorlseus (Dactyliothec., p. ii. No. 63. ).
ADULA'TIO (irpoffKvvytris, Herod,
i. 134). The most abject manner of
doing an act of reverence, as practised
by the Persians and other Oriental
races by prostration of the body and
bowing the head upon the ground
(Liv. ix. 18. Id. xxx. 16. Suet. Vi-
tell 2. Curt. viii. 5.), as represented
in the annexed gem (Gorlseus, Dac-
tyliothec. ii. 396.), in which a wor-
shipper is performing adulation to the
god Anubis. The Latin poets also
designated this act by such expressions
as procumbere (Tibull. i. 2. 85.), or
pronus adorare (Juv. Sat. vi. 48.).
ADVERSA'RIA, sc. scripta. A
day-book, or common-place book, in
which accounts or memorandums
were put down at the moment to be
subsequently transcribed into a ledger,
or into a regular journal. Cic. pro
Rose. Com. 2.
AD'YTUM (ttvrov). A private or
secret chamber in a temple, from
which every person but the officiating
priests were strictly excluded. (Cses.
B. C. \i\. 105. Virg. Mn. vi. 98.)
That the adytum was distinct from
the cella, is clear from a passage of
Lucan (Phars. v. 141 161.), in which
the priestess, dreading the violent
exertions she would have to undergo
from the stimulants applied in the
secret chamber to produce an effect
like prophetic inspiration pavens
adyti penetrale remotiFatidicum stops
short in the body of the temple and
refuses to advance into the adytum, or
den (antrum) as it is there termed,
until she is compelled by force. A
chamber of this kind is represented in
that portion of the annexed illustra-
tion, which lies behind the circular
absis, marked in a stronger tint than
the rest, and which communicates with
the body of the edifice by two doors,
one on each side. The whole repre-
sents the ground-plan of a small Doric
temple, formerly existing near the
theatre of Marcellus, at Rome on the
c 2
12
ADYTUM.
^EDITUUS.
site of which the church of S. Niccola
in Carcere now stands. It is copied
from the work of Labacco, who sur-
veyed it in the 1 6th century, Libro
dell' Architettura, Roma, 1558.
Apartments of this description were
constructed for the purpose of en-
abling the priesthood to delude their
votaries by the delivery of oracular
responses, the exhibition of miracles,
or any sort of preternatural effects,
and at the same time conceal the
agency by which they were produced.
They consequently were not attached
to all temples, but only to those in
which oracles were uttered, or where
the particular form of worship was
connected with mysteries-, which
explains why such contrivances are
so seldom met with in the ground-
plans of ancient temples still existing.
But the remains of another ancient
temple at Alba Fucentis, in the coun-
try of the Marsi, now Alba, on the
Lake of Fucino, afford ample con-
firmation that the illustration intro-
duced may be regarded as a true
specimen of the ancient adytum. The
interior of that edifice retained its
pristine form, and was in a complete
state of preservation when visited by
the writer. It differs only slightly
in construction from the example in
the cut ; for the secret chamber is
not placed behind the absis, but is
constructed underneath it, part being
sunk lower than the general floor of
the main body of the temple (cello)
and part raised above it, so that the
portion above would appear to the
worshippers in the temple merely as a
raised basement, occupying the lower
portion of the absis, and intended to
support in an elevated position the
statue of the deity to whom the edifice
was dedicated ; nor has it any door or
visible communication into the body
of the temple ; the only entrance into
' it being afforded by a postern gate
within a walled enclosure at the
back of the premises, through which
the priests introduced themselves and
their machinery unseen and unknown.
But the one remarkable feature of the
whole, and that which proves to con-
viction the purpose to which it has
been applied, consists in a number of
tubes or hollow passages formed in
the walls, which communicate from
this hidden recess into the interior of
the temple, opening upon different
parts of the main walls of the cella,
and thus enable a voice to be conveyed
into any part of the temple, whilst the
person and place from whence it
comes remain concealed.
jEDES. [DOMUS, TEMPLUM.]
^EDIC'ULA. A shrine, taber-
nacle, or canopy, with a frontispiece
supported by columns, constructed
within the cella of a
temple, and under
which the statue of |*
the divinity was placed
quadrigce inauratte
in Capitolio positfe in
cella Jovis supra fas-
tigium cediculte. (Liv.
xxxv. 41.) The illustration repre-
sents the statue of Jupiter under a
tabernacle in the Capitoline temple,
as described by Livy in the passage
quoted, and is taken from a medal
struck in honour of the Vestal virgin,
jElia Quirina.
2. A small cabinet made of wood
after the model of a temple, in which
the family busts or images
of a man's ancestors (ima-
gines majorum*), the Lares,
and tutelar deities of a
house were preserved, and
placed in large cases round
the atrium. (Pet. Sat.
xxix. 8.) The illustration is copied
from a bas-relief in the British Mu-
seum, and represents an cedicula, in
which the bust of Protesilaus is de-
posited. Compare Ovid. Her. xiii.
150158.
^DIT'UUS, ^DIT'IMUS, or
jEDIT'UMUS (vao$v\a^ !epo<pv\a,
vea>K6pos). A sacristan, or guardian, to
whose surveillance the care of a tem-
ple was committed. Varro. L. L. viii.
12. Gell. xii. 10. He kept the keys,
13
opened it at the appointed hours (Liv.
xxx. 17.), attended to the sweeping
and cleaning (Eurip.
Ion. 80 150.), and
acted as a guide to
strangers by ex-
plaining the rarities
and works of art
it contained. Plin.
xxxvi. 4. 10. The
appointment was an
honourable one (Serv.
ad Virg. JEn. ix.
648.), for it was a
place of trust and re-
sponsibility ; as may
also be inferred from the style and
dress of the figure annexed, which
affords a rare example of the Greek
cedituus, from a bas-relief at Dres-
den, whose office is indicated by the
broom of laurel leaves, which was
used for sweeping the temple at Delphi.
Eurip. Ion. II. cc.
JEGIS (aryfr). In its primary
sense a goafs skin, which the pri-
mitive inhabitants of Greece used, as
well as the skins of other animals, as
an article of clothing and defence.
This would be naturally put on over
the back, and tied by the front legs
over the chest, so as to protect both
the back and breast of the wearer, as
seen in the statue of Juno Lanuvina
in the Vatican Museum (Visconti,
Mus. Pio Clem. ii. tav. 21.). It thus
formed the original type of the segis,
as worn by Jupiter and Minerva,
which was made out of the goat
Amalthea, which suckled Jupiter in
his infancy. Hygin. Astron. ii. 13.
The illustration exhibits a figure of
Minerva on a fictile lamp (but imi-
tated from a very ancient type),
wearing the segis as described above,
which covers the breast, and falls down
behind the back as low as the knees.
The snakes of the Gorgon's head
placed upon it form a fringe round
the edges in the same manner as
Homer (//. ii. 448.) describes the
tassels on the segis of Jove.
2. As such a mantle formed a
cumbrous appendage to a statue in
the ideal style of Greek sculpture,
it was transformed by the artists
of that country
into a small and
elegantly formed
breast-plate, co-
vered with scales, to
imitate armour, and
decorated with the
Gorgon's head in
the centre, as in the
figure of Minerva
here given, also
from a fictile lamp,
word jEgis was subsequently used to
designate the breast-plate of a divinity,
but more especially of Jupiter and
Minerva, as contradistinguished from
Lorica, the breast-plate of mortals.
Ovid. Met. vi. 79. Id. ii. 755. Serv.
ad Virg. JEn. viii. 435.
3. At a still later period the same
word was used
to designate the
ordinary cuirass
worn by persons
of distinction,
such as the Ma-
cedonian kings
and Roman em-
perors, when de-
corated with an
image of the
Gorgon's head in
front (Mart. Ep.
vii. 1.), which
they adopted amongst its other or-
naments in token of the divine cha-
From this the
14
^ENEATOR.
racter and authority they assumed,
as in the example, from a statue at
Rome.
4. The translation of aegis, a shield,
conveys an idea quite remote from
the original and true meaning of
the word ; for almost every figure in
the works of ancient art with a goat-
skin on the breast, is also furnished
with a shield apart ; and the passages
where a defence in the nature of a
shield is supposed to be referred to,
are either equivocal, or may be under-
stood with equal truth as descriptive
of the large mantle of goat-skin shown
in the first wood-cut ; which could
easily be drawn forward over the left
arm, to protect it like a shield in the
same manner as the Athenians used
their chlamys (see CLIPEATUS CHLA-
MYDE), and as represented by the
figure annexed, which is copied from
a very ancient statue of Minerva in
the Royal Museum at Naples.
^ENEA'TOR. A collective name
for one who belonged to a brass band,
and played upon any of the different
wind instruments used in the army, at
the public games, or religious cere-
monies, including the Buccinatores,
Comicines, and Tubicines. Suet. Jul.
32. Amm. Marc. xxiv. 4. 22.
Metal vases with a very small orifice,
which were filled with water and
placed on the fire to elucidate the
origin and nature of wind by the
effect of steam engendered within
them. (Vitruv. i. 6. 2.).
jEQUIPON'DIUM (a-h-
The equipoise or
moveable weight attached
to a steel-yard (statera),
and balance (libra, Vitruv. x.
3, 4.). A great many of these
have been found at Pompeii
and elsewhere, mostly made
of bronze, and of some fan-
ciful device, such as the ex-
ample produced, which is
taken from a Pompeian ori-
ginal.
^RA'RIUM. The public treasury
of the Roman -state, as distinguished
from the exchequer, or private trea-
sury of the emperors (Jiscus) ; in
which the produce of the yearly re-
venue, the public accounts, the decrees
of the senate, and the standards of the
legions, were deposited. (Cic. Leg.
iii. 4. Tac. Ann. iii. 51. Liv. iii. 69.)
During the republic the temple of
Saturn was used as the treasury.
2. jZErarium sanctius. A private
department of the same, in which
were kept the monies and treasures
acquired by foreign conquest, and the
fees paid by slaves for their manu-
mission (aurum vicesimariurn), and
which was never opened but upon
great emergencies. Liv. xxvii. 10.
Compare Quint, x. 3. 3.
3. jErarium militare. The army
pay-office, a separate treasury esta-
blished by Augustus to provide for
the expenses of the army, for which
purpose some new taxes were im-
posed. Suet. Octav. 49.
JERO. A sand-basket made of
oziers, rushes, or sedge (Plin. H. N.
xxvi. 21. Vitruv. v.
12. 15.), which is fre-
quently represented
as used by the sol-
diers employed in
excavations, forti-
fications, and ordi-
nary field works,
on the Column of
Trajan, from whi
the annexed illustration is taken.
The word, however, is only a collo-
AGGER.
15
quial term employed by the common
people, or in familiar language. Do-
nat. ap. Terent. Phorm. i. 2. 72.
jERU'CA. A bright green colour
artificially made to imitate the natural
verdigris (cerugo) which bronze ac-
quires by age. Vitruv. vii. 12. Com-
pare Plin. H. JY. xxxiv. 26., who de-
scribes the different processes for
making this colour, but which he
terms cerugo.
jERU'GO (tbs xa^ou). The
bright green rust which bronze ac-
quires from age, as distinguished from
the brown rust of iron (jerrugo, ru-
biyo, Cic. Tusc. iv. 14.). The older
the bronze, the more bright and beau-
tiful the colour becomes, which is
considered to enhance its value ; and
on that account a statue of high an-
tiquity was prized by the ancients far
beyond one of more recent casting.
Wink. Storia delleArti, vii. 2. 10.
jERUSCA'TOR. A charlatan,
begging impostor, or one who raises
the wind by imposing upon the cre-
dulity of others. Aul. Gell. xiv. 1, 2.
Comp. ix. 2. 2.
MS THERMA'RUM. A metal
bell or gong, which was suspended in
the public baths, in order to notify to
the public by its sounds when the hot
water for the baths was ready. Mart.
Ep. xiv. 163.
are there suspended at the windows.
Blanchini, Instrument. Mus. Vet. tav.
vii. No. 8.
AGA / SO(t7T7roK:oVos). A slave at-
tached to the stables, who dressed the
horses, led them out, and held them
till his master mounted ; a groom,
ostler, or stable boy (Liv. xliii. 5.
The illustration shows two of these
implements, from an ancient painting
representing a set of baths, and which
Plin. H. N. xxxv. 40. 29.), as seen in
the example from the Vatican Virgil.
2. Sometimes also applied to those
who have the charge of other animals,
such as donkeys (Apul. Met. vi. p.
121., Varior.\ and in a more general
sense transferred to any of the lower
class of slaves. Hor. Sat. ii. 8. 72.
AGATHOD^EMON (dyaeoSal-
fj.wv). The Greek name for a good
spirit or guardian angel, for which the
Latin term is GENIUS, q. v. Lamprid.
Elagab. 28. Inscript. ap. Visconti,
Mus. Pio Clem. torn. i. p. 153.
AGE' A. The passage or gangway
by which the boatswain (Jwrtator) ap-
proached the rowers (Isidor. Orig.
xix. 2. 4. Ennius, ap. Isidor. /. c.);
also termed aditus in less technical
language. Ovid. Met. iii. 623.
AGGER (xoyia). Generally any
thing which is thrown together
quod adgeritur to fill up a void, or
raise a mound, whether of earth,
wood, or rubbish, whence the fol-
lowing more special senses are de-
rived.
1. An artificial mound or rampart
with which the Romans surrounded
their camps, or any position intended
to be occupied for a certain period
during the campaign. It was most
commonly a large embankment of
earth, surmounted on the top by
16
AGGER.
palisades (vallum\ and protected on
the outside by a trench (fossa), formed
by the excavation of the earth dug
out of it to form the agger. But in
situations where the nature of the
soil would not admit of an embank-
ment of earth, other materials of ready
and easy access were had recourse to,
and it was then frequently constructed
out of the trunks of trees filled in with
brushwood, &c., as in the illustration
from the Column of Trajan. The top
of it is covered by a vallum or pali-
sade, and a boarded gallery over head
for the protection of the soldiery.
The example will at once explain the
meaning of those passages in which it
is mentioned that the agger was set
on fire. Cses. Bell Civ.il 14.
2. Agger murorum. (Virg. JEn. x.
24.) An embankment upon which the
walls and towers of a fortified city
were built, and which served as a
rampart upon which the garrison were
stationed to defend the place. It was
constructed of earth thrown up in the
manner last described, but was more-
over cased with masonry, and as-
cended from the inside by a flight of
steps, as seen in the cut, which is a
section of the agger and walls still re-
maining at Pompeii, with an elevation
of one of its towers partially restored.
3. A temporary mound of earth,
wood, or any other materials ready
at hand, thrown up against the walls
of a besieged city, on which the bat-
tering train (tormenta bellica') was
placed, and for the purpose of raising
the assaulting parties to a level with
the ramparts. Like the parallels in
modern warfare, it was commenced at
some distance from the city walls, and
then gradually widened on the inside
until it met them, which is implied by
such expressions as agger promotus ad
urbem, Liv. v. 7.
4. Agger vice, properly the road,
that is, the central part of a street or
highway intended for the traffic of
carriages and cattle (Virg. Mn. v. 273.)
which was paved with stones imbedded
in cement laid upon several strata of
broken rubbish (compare VIA), and
slightly raised in the centre, so that
the section formed an elliptical outline,
as seen in the annexed plan, which is a
section between the curb stones of the
Via Sacra, leading up to the temple
of Jupiter Latialis. The plan upon
which it was constructed explains why
this part of a road was called the
agger (Serv. ad Virg. I. c. Isidor. Orig.
xv. 16. 7.), though the name is some-
times used in a more general sense, as
synonymous with VIA, as Aurelius
agger instead of Via Aurelia. Rutil.
Itiner. 39.
6. An artificial embankment or
dyke upon the sides of a river to pro-
tect the country from inundations
(Virg. A2n. ii. 496.), and also a mar-
gin of masonry, forming the quay of
AGINA.
AGITATRIX.
17
a port, to which the vessels were made
fast. (Ovid. Met. xv. 690. Id. Trist.
iii. 9. 13.) The illustration represents
a dyke of rough stones formed at the
confluence of two rivers from the
Column of Trajan.
AGFNA. The socket or eye, to
which the beam of a balance is pinned,
and in which the upright index
(examen, ligula) oscillates to show that
the object weighed corresponds ex-
actly with the weight in the opposite
scale. (Festus. s. v. Tertull. ad Her-
a chariot of war or not. (Virg. jEn.
ii. 476.) The illustration is from a
mog. 41.) Both the agina and the in-
dex affixed perpendicularly on the
centre of the beam are shown in the
illustration, which is taken from an
original of bronze. Caylus. iv. 96. 4.
AGITA'TOR. Generally one who
puts any thing in motion ; but more
especially applied to those who drive
cattle ; and in the following special
cases.
1. Agitator aselli (oj/TjAarrjs). A
donkey boy, or donkey driver (Virg.
Georg. i. 273.). From a fictile lamp
formerly in the possession of Fabretti
(Co/. Tr. Addend, p. ult).
2. Agitator equorum (r\vioxos). A
coachman, or charioteer, who drove
another person in a carriage, whether
terra cotta, representing Paris carry-
ing away Helen. Wink. Mon. Ined.
117.)
3. When used by itself and without
any other word to modify or distin-
guish it, a driver at the chariot- races
of the Circus (Plaut. Men. i. 2. 50.
Suet. Nero, 22.) Compare AURIGA.
The illustration is from a terra cotta
lamp, formerly in the possession of
Bartoli.
AGITA'TRIX. A female who
sets any thing in motion ; hence, syl-
18
AGMINALIS.
AHENUM.
varum agitatrix, a huntress, who beats
up the woods and covers (Arnob. iv.
p. 141.), particularly applied to Diana,
the goddess of the chase ; in which
character she appears in the illustra-
tion from a terra cotta lamp, formerly
in the collection of Bartoli.
AGMINA'LIS, sc.equus. A sump-
ter horse, which follows an army for
the purpose of carrying the arms,
accoutrements, and baggage, as in the
example from the Column of Trajan,
which shows one of these animals
laden with the shields and helmets of
the Roman soldiers. Dig. 50. 4. 18.
.21. Cod. Theodos. 8. 5. 6.
AG'OLUM. A long tapering stick
used by the Roman drovers and
herdsmen, for driving their cattle.
(Festus. s. v.) The drovers of the
Roman Campagna make use of a si-
milar instrument at the present day,
formed by a long straight shoot of
the prickly pear, precisely like the
example here given, which is from a
painting at Pompeii.
AGONOTH'ETA (dya^e'T^)-
The president at the public games in
Greece, always a person of distinc-
tion, whose office it was to decide
disputes, declare the victors, and
award the prizes. Spart. Hadr. 13.
AGRIMENSO'RES. Land sur-
veyors. (Amm. Marc. xix. 11. 8.) A
body formed into a college by the
Roman emperors, and paid by the
state.
AHE'NUM. Properly a copper or
boiler for heating water, which was sus-
pended over the fire, in
centra-distinction to
the saucepan (caca-
bus) for boiling meat
or vegetables, and
which was placed
upon it (Paul. Dig.
33. 7. 18. Serv. ad
Virg. JEn. i. 213.) ; the distinction
however is not always observed. The
example is copied from an original of
bronze found at Pompeii ; the eye
at the top of the handle is to receive
the hook by which it was suspended.
2. The coppers which contained
the water for supplying a bath
(Vitruv. v. 10. 1.).
These were always
three in number, ar-
ranged with a nice
regard to economy of
fuel. The largest,
which contained the
hot water (caldarium),
was placed imme- -'
diately over the fur-
nace, the mouth of
which is shown by the square aper-
ture at the bottom of the annexed
woodcut; over that was placed a
second (tepidarium), which only re-
ceived a mitigated heat from the
greater distance of the fire, and
which, therefore, contained water of
a lower temperature ; the uppermost
of all (frigidariuni) received the cold
water direct from the cistern ; thus,
when the hot water was drawn off
from the lowest copper, the empty
space was immediately filled up with
fluid which had already acquired a
certain degree of heat, and the second
ALA.
19
was again replenished with cold
water from above. All this is made
very clear by the illustration, which
shows the three boilers used in the
baths at Pompeii, as restored by Sir
W. Gell from the impressions which
their figures have left in the mortar
of the wall behind them in which
they were set.
A'LA. The wing of a bird, and
thence, from the resemblance in use,
the feather affixed to the shaft of an
arrow to guide and steady its course
through the air. (Virg. JEn. ix. 578.)
The example shows a Greek arrow
found in Attica.
2. A large recess in Roman houses
of any size and splendour, of which
there were generally two, one on
each side of the atrium (Vitruv. vi.
3. 4.), furnished with seats, and
closed in front with curtains; and
which, if we may judge from the
analogy afforded by the houses of
modern Turkey, (which have two
precisely similar recesses on their
galleries, closed with curtains, and
fitted with divans,) were intended for
the master of the house to receive
his visitors, and enjoy the conver-
sation of his acquaintance. The
position of the Alee is shown on the
ground-plan of the house of Pansa
[see DOMUS], where they are marked
c. c ; their internal elevation in the
engraving above, which is a restor-
ation of the atrium of the house of
Sallust at Pompeii, and in which the
entrance to the ala3 is formed by the
two large doorways with the curtains
drawn aside at the furthest angle of
the chamber, on the right and left
hand.
3. In large buildings, such as a
basilica or Etruscan temple, which
were divided by rows of columns into
a centre nave and two side aisles,
like our churches (a distribution, of
which the great temple at Psestum
affords an existing specimen ; see
also the illustration to BASILICA),
these side aisles appear to be termed
Alee by Vitruvius (iv. 7. 2.) ; and,
in consequence, Professor Becker
(Gallus, p. 107. Transl) wishes to
establish that the alee of private
houses were not the apartments de-
scribed above, but merely two side-
aisles, separated in like manner by
rows of columns from the centre of
the atrium. But, to support this
position, he is under the necessity of
inventing an imaginary atrium of his
own, unlike any which has yet been
discovered either at Pompeii or else-
where of separating the caveedium
from the atrium, and of composing
a Roman house upon a plan entirely
conjectural, which he, therefore, dis-
tributes into the three separate divi-
sions the atrium first, next the
cavsedium, and the peristyle beyond ;
all which, though plausible enough
in theory, receives no corroboration
from anything yet brought to light ;
and, therefore, in the absence of posi-
tive authority, the interpretation
given under No. 2. seems most en-
titled to confidence.
4. The wing of an army, which, in
the Latin writers, is equivalent to
saying the division or contingent
furnished by the allies ; for these
were always stationed on the flanks,
to cover the legions consisting of
Roman citizens, who always occupied
the centre of the battle array. Veget.
Mil. 2. 14.
5. For a similar reason, also ap-
plied to a brigade of cavalry con-
taining 300 men and upwards, fur-
nished by the allies, and in like
D 2
20
ALABASTER.
ALEXANDRINUM OPUS.
manner posted upon the flanks. Cin-
cius ap. Gell. xvi. 4. 4.
ALABASTER or ALABAS-
TRUM (d\daarrpos and -ov). A
small vase for holding oint-
ments of a choice de-
scription (Cic. Fragm. ap.
Non. s. v. p. 545. Mercer.
Pet. Sat. Ix. 3.) ; mostly
made out of an onyx stone
(Pliri. H.N. xxxvi. 12.), or
sometimes of gold (Theocr.
Idyl. xv. 114.), but of a
peculiar form, like the shape of a
pear, a pearl drop, or a rose bud, to
all of which it is likened. (Plin.
H. N. ix. 56. Id. xxi. 10.) The
example is from an original formerly
in the possession of the Roman anti-
quary Pietro Ciacconi. Fortunatus
Schackius, Myriothec. i. 47.
ALA'RII. The troops stationed
on the wings of a Roman army, in-
cluding both infantry and cavalry,
which were always formed out of the
contingents furnished by the allies,
and consequently varied in their arms
and accoutrements, according to the
customs of the different nations by
whom they were supplied. (Cic. Fam.
ii. 17. Cses. B. G. i. 51.) Bodies of j
such troops are represented in several ;
battles on the Column of Trajan, as i
of the German auxiliaries, and Sar- |
matian cavalry, &c., each in the |
costume of their respective countries, j
ALBA'RIUM or OPUS ALB.
(Kovlafia). Stucco or cement, with
which brick walls were covered,
made out of sandstone, brick, and
marble, powdered and ground toge-
ther for an outside coating ; or of gyp-
sum and plaster of Paris, for the finer
kinds used in the interior. Vitruv.
vii. 2. Plin. H.N. xxxvi. 55. ib. 59.
ALBA'RIUS (jeowarfc). A plas-
terer, whose trade it was to cover the
walls with cement, and make orna-
mental cornices, friezes, and reliefs
in stucco. Inscript. ap. Gruter. 642.
Compare Plin. H.N. xxxvi. 59.
albatus (Plin. H.N. viii. 65.), a driver
who wore the white colour, or be-
longed to the white company (factio
albatd).
ALBO-GALE'RUS. The fur cap
worn by the Flamen Dialis, which
was made of the
skin of a white
victim which had
been sacrificed to
Jupiter, with a
spike of olive
wood projecting
from the top, pre-
cisely as seen in
the illustration taken from a medal
struck in honour of Marcus Anto-
ninus. Festus. s. v. Varro. ap. Gell.
x. 15. 4.
ALBUM (\evKufjLa). A space or
patch covered with white plaster
against the walls of a building, upon
which public announcements or ad-
vertisements to the public were
11.
ALBA'TUS. Clothed in white.
Thus in the Circensian games, auriga
written ; and thence the name is
given to any sort of white tablet
bearing an inscription, such as a list
of the senators, the praetor's edicts, or
things of a like nature. (Paul. Sen-
tent. 1. i. t 14. Seneca. Ep. 48. Cic.
Orat ii. 12.) The illustration is a
facsimile, upon a reduced scale, of an
album written against one of the
houses in Pompeii, which appears to
have been equivalent to a modern
announcement, such as : " Patron-
ized by the Royal Family," or " By
appointment." The words of it
are MARCUM . CERRINIUM . VATIAM .
AEDILEM . ORAT . UT . FAVEAT .
SCRIBA . ISSUS . DIGNTJS . EST. i.e..
Issus, the scribe, solicits the pa-
tronage of M. Cerrinius Vatia, the
sedile ; he is a fit person.
ALEXANDRI'NUM OPUS. A
particular kind of mosaic work,
ALICULA.
AL1PTES.
21
especially used for the flooring of
rooms, and belonging to the class of
pavements termed sectilia, the dis-
tinctive character of which consisted
in this, that the frets or patterns
forming the designs, were composed by
the conjunction of only two colours,
red and black for instance, on a white
ground, as in the example, which re-
presents a portion of a pavement in a
house at Pompeii. (Lamprid. Alex.
Sev. 25.) The words of Lampridius
seem to imply that this description of
mosaic was first introduced by Seve-
rus ; but such a notion is rendered
untenable by the numerous specimens
of it in the Pompeian houses. We
must, therefore, understand that
Severus merely introduced the cus-
tom of forming such pavements by
the contrast of two sorts of marble
different in colour and quality from
those which had been previously em-
ployed for the purpose, viz. porphyry
and Lacedaemonian marble.
ALIC'ULA. A short cloak or
mantle resembling the chlamys in
form, but of smaller dimensions,
fastened by a brooch in front, and
worn by persons of humble means
(Mart. Ep. xii. 82.), by sportsmen
(Pet. Sat. xl. 5.), and by young
persons. (Ulp. Dig, 34. 2. 24.) It is
often seen in works of ancient art,
like the example, which is from a
painting at Pompeii, in all of which
the designation is clearly explained
by the resemblance it bears to a pair
of little wings, as the wind or motions
of the wearer raise it floating from
his shoulders.
A.'LIPES(irTp6irovs). Having wings
on the feet, an epithet especially given
to the god Mercury, as in the ex-
ample from a terra cotta lamp. Ovid.
Fast. v. 100. Id. Met. iv. 753.
ALIP'ILUS^apcmATpios). A slave
attached to the baths, or kept by
private persons for the purpose of
plucking out the straggling hairs from
any parts of the body, or under the
arm-pits. Both males and females
were employed for this purpose.
Seneca, Ep. 56. Compare Juv. Sat.
xi. 157. Cratin. 'Op. 2.
ALIPTES or ALIPTA (aAe/Wr/s).
Properly a Greek word, but used by
the Romans in the same sense as by
the Greeks, to designate a person who
combined in himself the several duties
and authority of a lanista and unctor.
It was his business to anoint and rub
the bodies of the Athletae with oil
and fine sand mixed together before
and after a contest in the Palaestra,
or of young persons in the gymnastic
schools ; as well as to direct and pre-
side over their training and exercises
(Aristot. Eth. N. 2. 6. 7. Pindar,
Olymp. viii. 54 71.); and also to
give them advice respecting their
22
ALLIGATI.
ALTARE.
diet and mode of living, which he
was enabled to do from the knowledge
he possessed of their muscular con-
formation, and general state of bodily
health. Cic. Fam. i. 9. Celsus, i. 1.
2. A slave attached to the baths,
for whom the genuine Latin term is
unctor, whose business it was to rub the
bather dry, scrape off the perspiration
with the strigil, and then anoint the
body with unguents. (Seneca, Ep. 56.
Juv. Sat. vi.422.) The illustration is
taken from a fresco which represents
a bathing room painted on the walls of
a sepulchral chamber on the Appian
Way, discovered in the last century
(Ficoroni, La Bolla d'Oro, p. 45.). It
was undoubtedly copied from some
celebrated original, for Juvenal must
have had a similar one in his mind's
eye when he wrote the passage above
referred to.
ALLIGA'TI. In a special sense, a
captive or prisoner of war with the
soldier who had
charge of him ;
i. e. the two to-
gether were called
alligati, because it
was the Roman
practice to chain
the prisoner to his
captor, the mana-
cle being fastened
to the right wrist
of the former, and
to the left of the
soldier to whose custody he was com-
mitted ; whence the allusion of Seneca
( Tranquill. i. 10.), alligati sunt qui al-
ligaverunt. (Compare Stat. Theb. xii.
460.) The illustration from the arch
dedicated by the silversmiths of Rome
to Septimius Severus, represents a
Roman soldier with his prisoner, the
latter with both his hands chained
together behind his back, while the
soldier is preparing to fasten the chain
to his own arm : the ring which
forms the manacle is seen at the end
of the chain.
ALLOCU'TIO. An address or ha-
rangue ; especially such as the Roman
generals were in the custom of de-
livering to their soldiery. Allocutions
of this kind are frequently repre-
sented on medals, triumphal arches,
and columns, at which the com-
manders appear upon a raised plat-
form (suggestuni), attended by their
chief officers, with the standards and
body of the troops arranged in front,
as here shown from a medal of An-
toninus, which also bears the inscrip-
tion ADLOCUTIO AUGUST. S. C.
ALTA'RE. According to the gram-
marians, a high altar (quasi alia ara),
which was dedicated only to the gods
above (Serv. ad Virg. Eel v. 66.
Festus, s. i\), whilst the Ara was both
lower, and employed in sacrificing to
the gods below as well as those above.
Such an interpretation may possibly
acquire authority from the engraved
gem here figured (Agostini, Gemme,
142.), in which two altars, both with
incense burning on them, but one
much more elevated than the other,
are seen ; a similar example occurs in
the miniatures of the Vatican Virgil,
in which four square altars are
depicted, two tall and two lower
ALT ART UM.
ALVEOLUS.
23
ones, and which seem to illustrate
such a passage as inter aras et
altar la (Plin. Paneg. i. 5. Compare
Plin. H. N. xv. 40.), and other
places in which the two words are
distinguished. The interpretation that
altare means that which is placed on
the altar (ara) is scarcely so satis-
factory; for in the passage of Quin-
tilian (Declam. xii. 26.) arls altaria
imponere, the reading is doubtful ;
and that of Justin (xxiv. 2.), sumptis
in manus altaribus, will bear a very
different interpretation.
ALTA'RIUM, i. q. ALTARE. Sulp.
Sev. i. 19.
ALTICINCTUS (fytfrvos): Hav-
ing the tunic drawn high up through
the girdle, and above the knees in
order to allow free action to the limbs,
*as was usual with rustics, labourers,
or persons engaged in hard work or
active exercise. (Phaedr. ii. 5. 11.)
The example is copied from the Vati-
can Virgil.
ALU'TA. Leather dressed with
alum (alumeri) in order to render it
soft and pliable ; whence the word is
often used by the poets for a boot,
shoe, purse, &c., made of such leather.
Mart. xii. 26. Juv. Sat. xiv. 282.
2. A patch, or beauty spot for the
face. Ovid. Art. Am. iii. 202.
ALVEA'RE (ffpnvos, (ri/m\os). A
beehive, in which the bees make their
combs and deposit their
honey. (Columell. ix.
11. 1.) Amongst the
ancients these were
sometimes made of me-
tal, of which an ex-
ample is introduced
(s. FORT) from an original found at
Pompeii ; also of earthenware, but
they were not approved, as being most
affected by the vicissitudes of heat
and cold. The best were made from
strips of cork, or of the fennel-plant
(ferula) sewed together; and the next
best of basket-work (Columell. ix.
6. 1. Virg. Georg. iv. 33.), as in the
example, which is taken from a Ro-
man bas-relief, in which it is intro-
duced as an emblem accompanying the
figure of Hope. Montfauc. Anliq.
Expl i. 204.
ALVEA'RIUM (cr/ojwfo). A row
of beehives, or place where beehives
stand. Varro. R.R. iii. 16. 12.
ALVE'OLUS. A diminutive of
ALVEUS, generally ; but in a special
sense of its own, a weaver's shuttle,
which was used for conveying the
threads of the woof (subtemen) through
the warp (stamen). (Hieron. Ep.
130. ad Demetr. n. 15. ad torquenda
subtemina in alveolis fusa volvantur.)
From this passage, and the name by
which the instrument was called, we
may safely infer that it was a flat
piece of wood rounded or pointed off
at each end, and scooped into the
shape of a boat, with a cavity in the
24
ALVEUS.
centre, into which the pin of the bob-
bin was inserted ; precisely like the
figure here introduced which repre-
sents a common kind of shuttle used
in some parts of this and other coun-
tries, but which corresponds so ex-
actly with the words above quoted,
, that it may be justly looked upon as
an ancient model unchanged by time.
There is a small hole in its side,
through which the thread is drawn,
and as the shuttle is thrown, the
bobbin and pin revolve (fusa volvan-
tur) and deliver out the thread.
AL'VEUS. From alvus, the belly ;
whence it is applied in several special
senses to a variety of objects which
possess a real or imaginary resem-
blance in form to that part of the
human body.
1. A long shallow wooden vessel
answering to our notion of the words
trough or tray, either
for holding liquids
or any other arti-
cles ; like the figure in the cut, which
is used by a carpenter for his tools and
necessaries in a Pompeian painting.
Plin. H. N. xvi. 22. Liv. i. 4.
2. A small boat or canoe used
upon rivers, of very primitive con-
struction, being hollowed out of a
single tree ( Veil. ii. 107). Theexample
here given represents a log canoe
discovered in the bog which forms the
bank of the old river at the junction of
the Nen, at Horsey near Peterborough
(Artis. Durobriv. pi. 57.), which, if
not of Roman origin, is certainly of
very great antiquity ; and, as it re-
sembles in every respect the canoes
represented on medals which com-
memorate the foundation of Rome,
it may be received as a model of the
alveus.
3. The hull of a ship ; and thence
used by the poets for the ship itself.
Sail. Jug. 21. Propert in. 7. 16.
4. A particular kind of dish or
small tray, in which certain sorts of
fruit, such as olives, were handed
round to the guests at table. Pet. Sat.
Ixvi. 7.
5. A board used by the Romans
for one of their games of skill. The
circumstance of dice as well as coun-
ters being mentioned in connection
with the game played upon the alveus
(Plin. xxxvii. 6. Val. Max. viii. 8. 2.),
implies that that game was the ludus
duodecim scriptorum, in which, as in
our back-gammon, the move was de-
cided by a throw of the dice. The
alveus, therefore, must have resembled
in some respects our back-gammon
board, and been divided in the same
manner as the abacus (see ABACUS,
No. 2.), or if any difference really
existed between the meaning of these
two words, it is possible that the lat-
ter term was strictly used when the
board consisted of a marble slab ; the
former when made like a wooden tray
with raised edges, as indeed the ori-
ginal notions of the two words of
themselves indicate.
6. A hot-water bath, constructed
in the floor of a bathing- room at the
opposite extremity to that which
contained the Labrum (Vitruv. v. 10.
4. Marquez, Case degli Antichi Ro-
mani, 317.), and furnished with a step
at the bottom, which formed a seat
for the bather when he descended into
it. (Auctor. ad Herenn. iv. 10.) The
illustration here given is a section of
the alveus in the public baths at Pom-
peii. The tinted part is the flooring
of the room formed of brickwork, in
which the flues through which the
hot air circulated are observable, one
under the bath itself, and four others
under the general flooring. A is the
alveus ; B the seat on which the bather
sat (gradus, Vitr. /. c.) ; c a low para-
ALVUS.
AMENTUM.
25
pet wall forming the upper part of the
bath (pluteus, Vitr. /. c.), from which
two steps on the outside lead down
to the floor of the room. The general
plan of the apartment in which it is
placed, and relative situation with
respect to the other members of the
same, will be understood by referring
to the first wood-cut under BALINEAE,
letters D, h, i.
7. From this the word is sometimes
transferred in a more general sense to
any sort of vessel or convenience for
washing in. Ovid. Met. viii. 652.
8. A bee -hive. (Plin. H. N. vii.
13.) [ALVEARE.]!
ALVUS, i. q. ALVEARE. Varro,
Columell. Plin.
AMANUENSIS (fcroypo^s). A
slave or a freedman employed as a
secretary or amanuensis, to write
letters which his principal dictated
aloud. Suet. Tit. 3.
AM A/ZON CAW**). An. Amazon,
a female warrior of Scythian race,
whose armour consisted of a helmet,
a shield of peculiar form called pelta,
a bow and arrows, a sword, and double
axe (bipennis), all of which acces-
sories are shown in the illustration
which is copied from a sarcophagus
in the Museum of the Capitol at Rome.
Amazons are also frequently re-
presented on horse-back, in which
The common derivation of the name
from /uoCds, because they were said to
have destroyed the right breast in
order that it might not interfere with
the use of their weapons, is a mere
fiction invented by the grammarians ;
for they are always represented in
works of ancient art as perfect as other
women. See the next cut.
case they are armed with a spear, like
the ordinary cavalry of other nations ;
as in the example from a fictile vase.
AMBIV'IUM (*Af>o5os). Any road
or street that leads round a place.
Varro. ap. Non. s. Equisones, p. 450.
Mercer. Aristoph. Fragm. 304.
AM'BRICES. The cross laths (re-
gulce) inserted between the rafters and
tiles of a roof. (Festus. s. v.)
AMBUBAF^. Female musicians
and ballad singers of Syrian extrac-
tion, who frequented the Circus and
places of public resort, and sup-
ported themselves by their music and
prostitution. Suet. Nero, 27. Hor. Sat.
i. 2. 1. Compare Juv. iii. 62, 65.
AMEN'TO. To hurl a spear or
javelin by the assistance of a thong
(amentum) attached to it, which from
the passages cited below appears to
have been executed by inserting the
fingers between the ends of the thong,
and thus giving the missile a rapid
rotatory motion before it was dis-
charged ; but there is no known work
of antiquity in which this action is
represented. Lucan. vi. 221. Com-
pare Ovid. Met. xii. 321, Cic. de
Orat. i. 57.
AMEN'TUM (<rb &HM r>v &KOV-
T-iwv, Beier. ad Cic. Amic. xxvii. 7.).
A thong fastened to the shaft of a
spear or javelin at the centre of
gravity, in order to give it a greater
i impetus when thrown. (Liv. xxxvii.
E
26
AMITES.
41. Ovid. Met. xii. 221. Sil. Ital. iv.
14.) This illustration is taken from
one of Sir W. Hamilton's fictile vases;
but in the celebrated mosaic of Pom-
peii, believed to represent the battle
of Issus, a broken spear provided with
a similar appendage is seen lying on
the ground.
2. The thong or strap by which
the soleae, crepidae, and similar kinds
of shoes were fastened on the foot
(Festus, s. t>.) as in the example from
a marble statue at Rome, where the
amentum is shown by the broad flat
thong which passes over the instep,
and through the loops (ansae) affixed
to the sides of the sole. Pliny men-
tions a sitting statue of Cornelia, the
mother of the Gracchi, which was
remarkable for having a mere sole
under the foot without any thong to
fasten it (soleis sine amento insignis,
H.N. xxxiv. 14.) ; and similar omis-
sions are not unfrequently observable
in the Pompeian paintings, only to
be accounted for by the caprice or
inadvertence of the artists.
AM'ITES. K pair of shafts, and par-
ticularly applied to the two long poles,
like those of a sedan-chair, which
projected from the front and back of
a BASTERNA, so as to form a double
pair of shafts for the beasts which bore
it. (Pallad. vii.2.3.) The illustra-
tion represents a conveyance common
in many parts of Europe during the
middle ages, which, though not from
any known Greek or Roman model,
is introduced because it represents to
the eye a precisely similar contrivance
to what is mentioned by Palladius.
Compare BASTERNA.
2. Strong poles of timber inserted
horizontally between two upright
posts, for the purpose of making a
fence to confine cattle within their en-
closures. ColumelLix. 1.3.
3. The two parallel rods upon
which each side of a clap-net is
stretched when laid flat upon the
ground, and by which they are made
to rise up and fall over the bird which
has alighted between them ; from
which it may also be applied to the
net itself. Pallad. viii. 12. Hor.
Epod. 2. 33.
That the ancients were acquainted
with clap-nets there is no doubt ; for
they are represented in the Egyptian
tombs, and constructed precisely upon
the same principles as those now used
by our bird-catchers. (Wilkinson's
Ancient Egyptians, vol. iii. p. 37.)
They are distinctly alluded to by
Plautus (As. i. 3. 61 72.) ; and by Ma-
nilius (Astr. v. 371 373.), where he
describes the various ways of taking
birds: Aut nido capture suo, ramove
sedentem, Pascentemve super sur-
gentia ducere Una : in which passage
the last words graphically depict the
rising up of the clap-nets over the bird
that is feeding on the seeds which
the fowler has thrown down on the
ground (area) between them, as de-
scribed by Plautus. Lastly, Palla-
dius (/. c.) says that an owl was em-
ployed together with the amites, as a
call bird, to which use it is still put by
the modern Italians. All these cir-
cumstances seem sufficient to autho-
rise the interpretation given ; though
it should not be concealed that Festus
(s. u.) and the scholiast on Horace
(I. c.) make the word synonymous
with ancones, or varae, and explain it
by the gloss furculae aucupatoriae,
which is received by Doering, Orelli,
and the commentators generally. But
it is not probable that the Romans
AMICTUS.
would have invented three different
words to express one and the same
thing ; nor is it easy to conceive how
birds could be caught by nets erected
upon poles, which they could so easily
fly over ; and the general analogy of
the word, by a comparison with its
other meanings, should not be neg-
lected, both of which apply to poles
placed in a horizontal and parallel po-
sition, as distinct from those which
are set upright, or stuck in the ground.
AMIC'TUS. A general term ex-
pressive of all the various articles of
outer clothing, which were in fact
wrapped round the person (from
amicire), as distinguished from those
of the inner apparel, which were
drawn on (from induere) ; including,
therefore, the Toga, Pallium, Sagum,
Abolla, Paludamentum, &c. (Virg.
JEn.v. 421. Quint, xi. 3. 137. Com-
pare INDUTUS.) The two figures
here represented, both from Etruscan
AMPHIPROSTYLOS.
27
works, will explain distinctly what is
meant by the term. The one stand-
ing is just beginning to put on his
amictus, a loose piece of cloth, one side
of which is already passed from be-
hind over the left arm and shoulder,
whilst he is in the act of slipping his
right elbow under the other side, in
order to pull it up to the neck, so that
both the ends will depend in front of
the person in the manner represented
by the left-hand figure, in the illus-
tration to ANABOLIUM. He will then
take up the right side, draw it across
the chest, and turn the end over his
left shoulder, so as completely to en-
velope the upper part of the body in
the manner seen on the sitting figure,
who is then amictus pallio. Cic. de
Orat. iii. 32.
AMIC'ULUM. Diminutive of
AMICTUS, and including all the
smaller and finer kinds of outside
wraps, both of male and female attire,
which were disposed upon the person
in the manner explained under the
preceding word, such for instance as
the Chlamys, Sagulum, and also the
bridal Flammeum. Festus s. v. Co-
rolla.
AMPHIMAL'LUM (4*feirtAor>
A very thick and coarse description
of woollen cloth,
having a long
nap on both sides
of the fabric,
from which the
name was taken ;
it was used for
carpetting, out-
side coverings in
very cold weather,
and seems to have
been, originally at y '
least, of foreign
manufacture, for
it was not known at Rome until the
time of the elder Pliny (Plin. H. N.
viii. 73.), and was probably intro-
duced there from Germany, for it
is represented in one of the trophies
erected by the soldiers of Antoninus
over the Germans on the column of
that emperor ; from which the illus-
tration is taken. It will be observed
that the long nap is seen on the
inside, where the edges turn over, the
same as on the outside.
AMPHIPROS'TYLOS
o-TuAos). Ap-
plied to temples,
or to any other
edifices, which
have an open
porch or portico projecting beyond
the cella or main body of the building
at both extremities, the front and
rear, as shown on the accompanying
ground-plan. Vitruv. iii. 2. 4,
E 2
28
AMPHITAPUS.
AMPH1THEATRUM.
AMPHIT'APUS (dj^frairos). De-
signates a particular kind of cloth,
which, like the amphimallum, had
a nap on both sides, but was of
a finer texture (Athen. v. 26.), and
probably of Oriental manufacture.
There was certainly a distinction be-
tween the two ; for amphimalla were
not known at Rome till the time of
Pliny, whereas amphitapa are men-
tioned by Lucilius and Varro ap.
Non. s. v. p 540. Mercer.
AMPHITHEA'TRUM (a/^tfleo-
rpov). An amphitheatre ; a build-
ing originally constructed for the
exhibition of gladiatorial combats,
but occasionally used for other kinds
of spectacles.
The exterior was always formed
by an oval wall, divided into one or
more stories of arcades, according to
the size of the building, and deco-
rated with columns, pilasters, &c.,
according to the taste of the architect,
as shown by the illustration intro-
duced, which represents the external
wall of an amphitheatre still remain-
ing in a high state of preservation at
Pola in Istria.
The interior formed an elliptical
cup or hollow (cavea), set round with
seats for the spectators, rising in
steps one above the other, and was
distributed into the following prin-
cipal parts : the arena, a flat and oval
space at the bottom, and in the centre
of the edifice, where the combatants
fought ; the podium, an elevated
gallery immediately encircling the
arena, reserved for the senators and
persons of distinction ; gradus, the
circles of seats occupied by the public,
which, when the building was lofty,
were divided into two or more flights,
termed maeniana, by broad land-
ing places (praecinctiones) and raised
walls (baltei) ; and, vertically, into
compartments in the form of an in-
verted triangle or wedge (cunei) by a
number of stair-cases (sca/<e), which
communicated with the avenues of
ingress and egress (vomitorid) within
the shell of the building. On the
top of all was a covered gallery, ap-
propriated to the women. All of
these points are discernible in the
following illustration, which repre-
sents the interior of the amphitheatre
at Pompeii in its existing state ; but,
as the drawing is necessarily made
upon a very reduced scale, and is
indistinct in parts from the dilapi-
dations it has suffered, the whole
plan and construction of these edifices
will be better understood by comparing
it with the plan subjoined in the fol-
lowing page, which is a restored sec-
tion, and elevation of a portion of the
AMPITITHEATRUM.
AMPHORA.
29
amphitheatre at Pola, by the Canonico,
Pietro Stancovich (Anfiteatro di
Pola, tab. 4.), in which all the parts
are detailed more perfectly. The
company entered the theatre through
the arches on the ground-floor at the
left hand side of the engraving. A is
the podium, which is approached by
a short staircase, springing from the
third or inner corridor, in the centre
of the cut ; it is raised above the
arena by a blank wall, surmounted by
a balustrade, under which is seen one
of the doorways through which the
wild beasts or combatants emerged
upon the arena. The staircase,
which commences immediately from
the ground entrance, leads directly to
the first mcenianum (1), which the
spectator entered through the door-
ways (vomitoria) B, and descended
the flights of stairs which divide the
rows of seats between them into a
wedge-shaped compartment (cuneus},
until he came to the particular row
where his seat was reserved. The
high blank wall into which the en-
trance (B) opens, is the balteus,
and its object was to separate the
different mceniana, and prevent the
classes who were only entitled to a
seat in the upper ones from descend-
ing into those below. A branch
staircase, diverging to the left, leads
up to the corridor formed by the
arcades of the outer wall ; from
whence it turns to the right, and con-
ducts to the second mcenianum (2),
which is entered, and distributed in
the same way as the lower one, and
separated from the one above by
another balteus (c). Other stair-
cases, but which cannot be shown on
one section, conduct in like manner
to the third mcenianum (3) and to
the covered gallery for the women
above (D). The three solid arches
in the centre of the engraving, con-
structed in the main brickwork of the
building, form a succession of cor-
ridors encircling the whole edifice,
from which the different staircases
spring, while at the same time they
support the seats of the cavea, and
the flights of stairs by which the
company entered or left the amphi-
theatre.
AM'PHOR A (aV/>opefo). A large
earthenware vessel, with a handle on
each side of its neck, and terminating
in a point at bottom, so that it would
stand upright if planted in the
ground, or remain stationary if
merely leaned against a wall ; chiefly
used for containing wine in store,
for which the smallness of its dia-
meter, as compared with the height,
shows it was invented, in order to
30
AMPULLA.
AMUSSIUM.
contain a large quantity, and only
occupy a small space. The illus-
tration represents two amphorae of
the most usual form, the one stuck in
the ground, and the other leaning
against a wall, as they were found at
Pompeii, and also shows the manner
in which they were transported from
place to place, from a terra-cotta bas-
relief, which formed the sign of a
wine shop in the same town.
AMPUL'LA. A bottle; like our
own word, a general term for any
form or material, but more accurately
for a vessel made of glass, with a
narrow neck and swelling body, like
a bladder ; whence the word is used
figuratively to signify turgid or inflated
language. (Hor. A P. 97.) The illus-
tration affords an example of various
originals excavated at Rome.
2. Ampulla olearia. An oil flask,
such as was used for carrying oil to
the baths for pouring
over the strigil to
prevent it from
scraping too sharply,
and for other general
purposes. It is described by Apu-
leius (Flor. ii. 9. 2.), exactly as re-
presented in the cut, from an original
formerly in the possession of Lorenzo
Pignori (De Serv. p. 84.), as shaped
like a lentil, with a narrow neck and
flattish sides, lenticular i forma, tereti
ambitu, pressula rotunditate.
3. Ampulla rubida. A flask co-
vered with leather, like our hunting
flasks, and used by persons on a jour-
ney to hold wine, vinegar, or oil
(Plaut. Stick, ii. 1. 77. Festus. s. v.
Kubida).
AMPULLA'RIUS. One who fol-
lowed the trade of covering glass
bottles with leather. Plaut. Hud. iii.
4. 51.
AMUS'SIS. An instrument em-
ployed by masons and builders for
testing the evenness, accuracy, and
regularity of their work, as the rule,
the square, and the plummet is by
carpenters. The exact meaning is
somewhat doubtful; for, from the
different passages where the word
occurs, it appears to have been
equally applied to a level for testing
the uniform evenness in the surface
of a wall or course of masonry (Fes-
tus. s. v. Amussim and Examussim.
Varro. ap. Non. s. v. Examussim, p. 5.
Mercer) ; the square for proving a
right angle (Auson. Edyll xvi. 10.) ;
and the line and plummet for pre-
serving an exact perpendicular
(Sisenna ap. Charis. ii. p. 178.); but
in each case the same general use and
notion is preserved, that in whatever
way applied, it is always for the
purpose of proving that the work
is accurately and regularly done:
whence the expression adamussim or
examussim is equivalent to accurately,
i. e. according to line and rule.
Macrob. Sat. i. 4. Aul. Gell. i. 4. 1.
AMUSSITA'TUS. Made with ac-
curacy and p^cision, as tested by
the instrument amussis ; hence, figu-
ratively, in Plautus (Mil. iii. 1. 37.),
accurate, precise.
AMUS'SIUM. A marble slab, the
surface of which was exactly levelled,
and proved by the instrument amussis,
and upon which the direction of the
winds was marked. It was then
ANABATHRUM.
ANACLINTERIUM.
31
fixed against the external wall of a
house, as a dial, to show the point
from which the wind blew. Vitruv.
i. 6. 6. Marini, ad I
ANABATH'RUM (dvteatipov).
Generally any row of seats rising one
above another like a flight of stairs,
as was the usual arrangement in all
buildings constructed for the accommo-
dation of a numerous company, such
as the theatres, Circus, &c. (See the
illustrations under AMPHITHEATRUM.)
But the more accurate and strict
meaning of the word implies some-
thing more definite ; viz. a temporary
set of wooden seats, constructed upon
the same principle, but which were
hired for any special occasion, as a
concert, recitation, &c., and placed
round the sides of the room for the
accommodation of a numerous audi-
ence, in the same manner as is still
common at the present day for a
similar purpose. Juv. Sat vii. 46.
A N A BO L' I U M (toa86*auov).
Properly a Greek word, which has,
therefore, a more especial reference
to the customs of that people ;
though, being a general term, it
might be equally well applied to the
Romans, when descriptive of similar
habits. (Inscript. ap. Don. cl. 1.
n. 91.) It is derived from the Greek
avad\\(a, " to cast up," and used to
designate a particular
wearing the pallium, or any similar
males and females, when the end
was thrown up so as to cover the
shoulder (Isidor. Orig. xix. 25. 7.)
in the manner represented by the
female figure of the preceding en-
graving, which is taken from a statue
of the Villa Pamfili at Rome. The
male figure, from a fictile vase, shows
the simplest mode of arrange-
ment; and is introduced here only
for the purpose of explaining more
clearly how the other was produced ;
viz. by taking up the side which
hangs down behind the right arm,
passing it across the breast, and then
throwing it over the top of the left
shoulder, so that the end will hang
down behind, instead of in front,
both the arms be covered, and
the whole person more completely
protected from the weather. In such
an arrangement, the brooch at the
throat would be first unclasped, to
make the drapery set closer, and the
whole blanket drawn more on to the
right side than in our figure, in order
to aflbrd a greater length for casting
over the shoulder. It may be re-
marked that the people of Italy adjust
their cloaks at the present day in
both of these ways, accordingly as
the external temperature is more or
less inclement.
ANACLINTE'RIUM (waKXiv-
rflpiov). The head-board of a sofa
or sleeping couch, upon which the
squab and pillow for the support of
object of the outward attire, both of Meleager.
the head rested. (Spart. Ael. Ver. 5.)
The example is from a bas-relief at
Rome, which represents the death of
32
ANADEMA.
ANCILE.
ANADE'MA (e^dS^a). A band
for the head; but more particularly
one which was used as a mere orna-
ment, such as those worn by women
and young persons of the male sex
amongst the Greeks, in contradis-
tinction to the diadema, vitta, or other
head-bands, which were the insignia
of regal, religious, or honorary dis-
tinctions. (Eur. Hippol. 83. Lucret.
iv. 1126. Paul. Dig. 34. 2. 27.) The
example is from a Pompeian painting.
ANAGLYP'TA or ANAG'LY-
PHA (avdy\vTTTa, avdy\v<t>a). Objects
cast in low relief; a bas-relief in
marble, metal, ivory, &c. Mart. iv.
39. Plin. H.N. xxxiii. 49.
ANAGNOS'TES (fcwywS<rnjf> A
slave, whose duty it was to read aloud
to his master in his study, or to the
guests at table. (Cic. Att. i. 12. Ne-
pos, Att. 14. Aul. Gell. iii. 19.) Also
a person who read out passages from
the favourite poets in the theatre or
public places (Aul. Gell. xviii. 5. 1.),
like the recitatori, or spiegatori of
modern Naples.
ANALEM7MA (cu/dAT^a). Pro-
perly a Greek word, used to designate
any thing which serves as an under-
prop ; and especially a wall, pier, or
buttress constituting the substructure
of a building (Dion. Hal.
iii. 69.), for which the
proper Latin term is Sub-
structio. The Romans
adopted it to signify the
pedestal upon which a sun-
dial was erected, often
seen in pictures and bas-
reliefs as a square pillar,
or short column ( Winkelm. Mon. Ant.
Ined. No. 157. 185.); but Vitruvius,
who uses the word, applies it incor-
rectly to the dial itself. (Vitruv. ix.
1.1. Schneider ad /.) In the illus-
tration, copied from a silver cup found
at Porto d'Anzio, only a portion of
the analemma is drawn; but that is
sufficient to show what is meant : the
whole consists of a square pilaster
about five feet high, with a base at
the bottom corresponding with the
cornice at the top.
ANANCjE'UM. A vessel for
holding liquids (Varro. ap. Non. s. v.
Creterra, p. 547. Mercer), but of what
precise character is very uncertain.
It is usually interpreted a wine cup
of great capacity, employed in drink-
ing bouts, which it was compul-
sory to empty at a draught, upon
the authority of Plautus (Rud. ii. 3.
33.) ; but the reading of the passage
is doubtful. Weise has avayKaiws.
ANATHE'MA (&m%to). Pro-
perly a Greek word, which includes
any thing that is set up as a votive
offering in a temple, such as a tripod,
statue, &c., used in a Latin form by
Prudent. Psychom. 540.
ANCPLE (rb ayKvXiov). The sa-
cred shield found, according to tra-
dition, in the palace of Nu-
ma, and supposed to have
fallen from heaven. Accord-
ing to the grammarians, it
was made of bronze, and of
an oblong oval shape, but
with a semicircular incava-
tion on each side, similar to
that on the top of the pelta (Varro,
L. L. vii. 43. Festus. s. v. Mamur."),
as seen in the illustration from a
medal of Augustus, which also has a
representation of the Salian apex by
its side. The name ancile is evi-
dently formed from the Greek nynitX^
the bend of the arm, which the gram-
marians above cited refer to the in-
cision on the sides of the shield ; but
it is clearly referable to the semi-
circular handle (compare ANSA and
ANSATUS), affixed to the top for the
purpose of suspending it on the
rod by which it was carried through
ANCLABRIS.
ANCON.
33
the city by the Salii, as seen in
the annexed woodcut from an en-
graved gem, in which the curvature
of the sides is much less pronounced,
and the general form more consonant
with the language of Ovid (Fast. iii.
377.): Idque ancile vocat, quod ab
omni parte recisum est ; Quaque notes
oculis, angulus omnis abest, which can
scarcely be taken as a description of
the figure on the medal of Augustus ;
a figure which it is probable was
invented by the designer of the
medal, in conformity with the received
derivation of the Roman antiquaries;
or perhaps the effects of age have
modified the form, and made the
indentures appear more prominent and
decisive than they were in its early
state.
ANCL A'BRIS. A small table made
use of as an altar at the sacrifice, upon
which the sacrificial implements were
placed, as well as the entrails of the
victim, for the inspection of the di-
viners. (Festus s. v. Id. s. Escarice.}
The example represents a small
bronze table found at Pompeii, which
from its diminutive size, and the hol-
low form of its top, is believed to
have been employed in the manner
stated. It is rather more than eight
inches high, rather less than eight
long, and about seven wide. In one
of the Pompeian paintings a priest
is represented carrying one of these
tables to the sacrifice. Pitture di Er-
colan. iv. tav. 1.
ANCON (kyict&v). Literally an el-
bow ; i. e. the bend or angle formed by
the two bones of the arm when bent
at the elbow joint ; from this it is
transferred to several other things
which partake of the same form, or
have a resemblance to it ; and, as this
flexure consists of two separate parts
or sides, the word is generally applied
in the plural.
1. The arms or branches of a
stone-mason's or carpenter's square
(worma), which is employed
in measuring right angles ;
and was formed of two flat
rules mitred together like
an elbow joint. (Vitruv. iii.
5. 14.) The example represents a
square thus formed, which is carved
upon a sepulchral marble amongst
many other implements of a carpenter's
trade. Fabretti. ^9. 73.
2. (Trapwris ovs ry virepOvpcp. In-
script. in Elgin collection of Mus.
Brit.) The trusses or consoles which
support an ornamental cornice Qiyper-
thyruni) over a doorway ; which are
usually made in the form of the letter
S, and are affixed under each ex-
tremity of the cornice, at right angles
with it. (Vitruv. iv. 6. 4.) The small
figure on the left hand of the engrav-
ing gives a side view of one of these
consoles, from the temple of the " Dio
Redicolo," as it is now called, near
Rome ; the other represents the cor-
nice over the doorway to the temple
of Hercules, at Cora, and gives a
front view of the ancones depending
on each side of the cornice.
34
ANCON.
ANDABAT^E.
3. Cramps of bronze or iron em-
ployed in building, for connecting
together large blocks, or courses of
masonry. (Vitruv. x. 13. 21.) These
were used instead of mortar, in all
structures of great size, and account
for the number of holes observable in
the masonry of many ancient build-
ings, from which the cramps have
been removed during the middle ages
in order to get possession of the metal.
The top figure in the illustration
shows the form of a bronze ancon
from the Coliseum, and the lower one
the manner in which it was applied
to cramp together two blocks of
stone in the same edifice.
4. The arms of an arm-chair, which
are attached to the
uprights forming the
back, and thus with
them constitute a
right angle like the
carpenter's square.
(Coel. Aur. Tard. ii.
I.) The illustration
is copied from a
marble chair in a
bas-relief formerly in
the palace of the Cardinal Mazzarini
at Rome.
5. The prongs or forks at the end
of the props (yar&\ which the an-
cient sportsmen used to hang v
their nets upon. (Grat. Cyneg. 87.) \J
These were stuck by their sharp
ends into the ground, and at
short intervals from one another,
around any spot which it was
wished to enclose, and the nets
then hung upon the fork. Com-
pare VARA, where the manner of
setting up the net is shown.
6. A particular kind of bottle or
vessel for holding wine used in the
Roman taverns (Paul. Dig. 33. 7. 13.),
and which, from its denomination, is
not unreasonably supposed to have
been made with a bent neck, some-
thing like a retort. An example
alone is wanting to confirm the con-
jecture.
AN' COR A (ajKvpa). An anchor.
The ancient anchors were sometimes
made with only one arm or fluke, but
the most perfect kinds had two, made
of iron, and in form closely resembled
those still in use. They were usually
carried over the bows of the vessel
(Virg. Aen. iii. 277.), as in the ex-
ample from Trajan's Column ; but
large ships had two, and sometimes
more, according to their size. Athen.
v.43.
ANCORA'LE. The cable of an
anchor, Liv. xxii. 19. Id. xxxvii. 30.
See the preceding woodcut.
2. The buoy-rope. (Plin. H. N. xvi.
16.) The buoy itself (ff-n^ov ayitvpas.
Paus. viii. 12. 1.) was made of cork,
and was attached by means of the
ancorale to a ring, which is seen at
the bottom of the shank in the pre-
ceding illustration. While the buoy
indicated the spot where the anchor
lay, the rope which held it also served
to draw the fluke out of the ground,
when the anchor had to be raised.
ANDAB'AT^E. A class of gla-
diators who fought hoodwinked, or
with a close helmet which had no
opening in the vizor to see through.
(Hieron. adv. Jov. i. 36. Cic. Fam.
vii. 10, but here the reading is doubt-
ful.) According to Turnebus (Ad-
vers. ii. 10.) they exhibited in the
Circus after the races in a sort of lu-
dicrous contest, both the driver and
Andabata being blindfolded.
ANDKON.
ANGU1S.
35
ANDRON (Mp&v). Properly
speaking a Greek word, and therefore
in its strict sense having reference to
the customs of that nation. It de-
signates the first of the two principal
divisions into which the ground-plan
of a Greek house was distributed, ap-
propriated to the sole and exclusive
use of the male portion of the esta-
blishment. (Vitruv. vi. 7. 4. Festus,
s. r.) It consisted of an open court
surrounded by colonnades
(marked c on the plan), round which
were arranged the various sets of
chambers required for the service of
the proprietor and his dependants
(Nos. 1 to 9), and was separated from
the other division containing the
women's apartments by a passage and
door (marked d) between the two.
2. The Latin writers applied the
word in a very different sense, to de-
signate a mere passage which di-
vides one house, or one part of the
same house, from another; as for
instance, the passage between the ex-
ternal wall of a house and garden ad-
joining (Plin. Ep. ii. 17. 22.) ; and the
Roman architects made use of the
same term most inaccurately to de-
signate the corridor in a Greek house,
which separated the men's and wo-
men's apartments from one another
(marked d in the preceding plan), but
for which the proper name was
Mesaulce.
ANDRONI'TIS (toSpuriru). Sy-
nonymous with ANDRON, No. 1.
ANGIPORTUS or ANGIPOR-
TUM ((TTcvcoWs). A narrow or
back street, whether in the nature of
a court which had no thoroughfare
(Terent. Adelph. iv. 2. 40.), and
which was then properly termed fun -
dula ; or merely a small back street
leading from any of the principal
ones to the less frequented parts of
the city. (Hor. Carm. i. 25. 10. Plaut.
Pseud, iv. 2. 6.) These back streets
in Pompeii are so narrow that a
person can step across them from
kirb stone to kirb stone at one stride.
ANGUIL'LA. A whip made of
eel-skin, which was used by the
Roman schoolmasters to punish their
scholars, (Plin. H. N. ix. 39. Isidor.
Orig. v. 27. 15.) The illustration is
copied from a painting at Hercu-
laneum, which represents the interior
of a school-room.
ANGCJIS. 1. A serpent, or snake,
which amongst the Romans was em-
ployed as a symbolical representation
of the genius loci, or presiding spirit
of a place. (Serv. ad Virg. Mn. v.
F 2
ANGUSTICLAVIUS.
ANSA.
85. ) Figures of serpents were there-
fore painted against a wall, in the
same way as the cross is in modern
Italy, to deter the public from con-
taminating the spot, and answered
the same purpose as our injunction
" Commit no nuisance." Pers. Sat.
i. 113.
These signs are frequently met with
in the houses
of Pompeii, in
kitchens, bake-
houses, and
such places,
where cleanli-
ness is particu-
larly desirable ;
and generally
with an altar
between them,
as seen in the
annexed illustration, which was co-
pied by the writer from one of the
corridors leading into the Thermae of
Trajan at Rome. It, is painted in
fresco, and has the following inscrip-
tion underneath :
IOVEM ET JDNONEM ET DUODECIM
DEOS IRATOS HABEAT QUISQUIS HIC
MINXERIT AUT CACARIT.
2. A military ensign made in imi-
tation of the figure of
a serpent, and which
was adopted in the
Roman armies for
the ensign of a co-
hort. (Claud. inRu-
fin.il 5. 177. Sidon.
A poll. 5. 40.) It
was more common-
ly termed DRACO,
under which name the materials, cha-
racter, and uses are more fully de-
scribed. The illustration is copied
from the Column of Trajan.
ANGUSTICLA'VIUS. One who is
entitled to wear upon his tunic the
ornament called clavus anguatus, a
distinctive badge of the equestrian
order. Suet. Otho, 10. [CLAVCS.]
ANQUI'NA (a 7 /c<nVa). The collar
by which the yard-arm of a vessel is
fastened to the mast, technically called
the " truss" by our sailors. Isidor.
Orig. xix. 4. 7. Helvius Cinna ap.
Isidor. I. c.
In the illustration, which is copied
from a fictile lamp, the anquina ap-
pears as a semicircular ring, or band
of wood, or of metal, but it was
usually made of rope. It received its
appellation from the primary sense of
the Greek word, which means a bent
arm. The ayKoiva StirA^, which is
spoken of amongst the Greeks as
employed for vessels of a large class,
such as Quadriremes, &c., does not
mean that the yard was fitted with
two trusses, but that the truss was
made of a double thickness of rope to
bear the wear and tear proportional
to the size of the yard.
ANSA (&JKOS, ay/c^). That by
which we take hold of any thing ;
whence it is specially applied, in the
same way as our own word "handle,"
to many objects which differ essen-
tially from one another in form and
character, though all are employed
for the same general purpose, as a
handle to hold by. Of these the most
important are the following :
1. (Aog?? TO dira). The handle of
any vessel for containing liquids, as
cups, jugs, amphorae, &c.
These of course varied in
form, according to the
taste of the artist who de-
signed them, and are in-
differently placed upon the
neck, one or both sides, or
from top to bottom of the vessel, as best
suited the beauty of the whole out-
line, of which the ancient artists
always made them a component part,
so as not to have the appearance of
being stuck on afterwards, as mere
accessories or afterthoughts. The
illustration is taken from a bronze
jug found at Pompeii, with a single
ANSA.
ANSATUS.
37
handle, of a very beautiful, though
simple character ; but a great variety
of other forms will be shown in the
course of the work. Cato, JR. It.
113. Virg. Eel iii. 45. Ov. Her. xiv.
252. Id. Met. viii. 653.
2. Ansa ostii (eTnoTrao-Hjp, Kopuvn,
^oTTTpoi/). The handle of a door by
which it is pulled open or shut to,
and which also served as a knocker.
(Pet. Sat. 96. 1.) These are fre-
quently represented as simple rings
attached to a hold-fast ; in other cases
they are more elaborately designed and
ornamented, as in the illustration an-
nexed, which is copied from an original
of bronze, and formerly belonged to
the door of a house at Pompeii.
3. Ansa crepidce (ay/wAy. The
loop or eye
on the side
leather of the
Greek shoe,
called crepida,
through which
the thong or lace was passed and
crossed over the instep to bind it on the
foot. (Tibull. i. 8. 14.) There were
the same number of these on each side
of the shoe, as may be collected from
the well-known story of Apelles, who
was reproved by a cobbler for having
omitted one of the ansce in a work
which he had exposed to public view.
(Plin. H.N. xxxv. 36. 12.) The
form and character is clearly seen in
the illustration, from a marble foot
of Greek sculpture.
4. Ansa statera. The eye or handle
it is suspended, and which formed its
centre of libration, being fixed to the
shortest half of the beam, nearest the
end on which the scale or object to
be weighed was attached. (Vitruv. x.
3, 4. ) The illustration is copied from
a bronze steel-yard found at Pompeii.
5. Ansa gubernaculi (ofa|). The
handle of a rudder (Vitruv. x. 3.
5. ), which was the top of the rudder
pole (A A in the illustration), which
the helmsman held with both his
hands, when the rudder consisted of a
mere oar without any tiller (^c/auws),
as in the right-hand cut. But in
on the top of a steel-yard, by which
large vessels, when the addition of a
tiller was necessary, he placed one
hand on the ansa (at A, left-hand
cut), and the other on the clavus
(B), which enabled him to move his
helm with much greater facility. The
right-hand figure is copied from the
Column of Trajan ; the left-hand one
from a painting at Pompeii.
6. Ansa ferrea. An iron cramp
by which the large blocks of stone
were fastened together in ancient
buildings, when mortar was not used.
Vitruv. ii. 8. 4. same as ANCON (6),
where an illustration is given.
ANSA'TUS. Furnished with a
handle or handles, as explained in the
preceding word.
2. Ansata hasta, Ansatum telum
(ayKv\d)T6s, ayKv\r]T6v, fj.taa.-yitvXov). A
spear or javelin, which was furnished
with a semicircular rest for the hand,
attached like a handle to the shaft,
These handles were not permanent
fixtures, but were put on to their
38
ANSULA.
ANTECESSORES.
weapons by the soldiers before going
into battle, or upon an emergency, as
occasion required (Plutarch. 2. p. 180.
C. ed. Xylandr. Compare Xen. Anab.
iv. 2. 28.), and they served a double
purpose, to assist in hurling them,
when employed as missiles ansatas
mittunt de turribus hastas (Ennius ap.
Non. s. v. Ansatce, p. 556.) ; or as a
stay for the hand which gave force to
the thrust when used at close quar-
ters, ansatis concurrunt telis (Ennius,
ap. Macrob. Sat. vi. 1.). Both of
these uses are indicated by the illus-
tration, copied from a painting on the
walls of a warrior's tomb at Psestum
(Nicolai, Antichita di Pesto, tav. vi.) ;
and which is valuable for the autho-
rity it affords respecting the true
meaning of a word, hitherto only
guessed at, or misunderstood. But
this picture proves the characteristic
difference between the ansa and
amentum of a javelin ; the latter, as is
well known, being a mere thong ; the
former, as here shown, and in ac-
cordance with the primary and other
notions of the word, both in Latin
and Greek, a handle either of an
angular or curved form attached to
some other object.
AN'SULA. Diminutive of ANSA ;
applied in all the senses illustrated
under that word. Valerius Maximus
(viii. 12. 3.), in relating the story
about Apelles and the cobbler, uses the
diminutive ansulce instead of ansce
employed by Pliny (H.N. xxxv. 36.
12.) ; and in the illustration to
ANSA (3) it will be observed that there
are in reality a number of smaller
loop-holes under the larger ones.
That wood-cut will, therefore, afford
an example both of the ansa and
ansula strictly taken.
ANT^E (7rapa<rTa5es). Square
pilasters (Non. s. v. p. 30.), which
are used as a termi-
nation to the side
walls of a temple,
when those side walls
are projected beyond
the face of the cella,
or main body of the
building. (Vitruv. iv.
4. 1.) As one of
these pilasters is re-
quired on each side to form a cor-
responding support, the word is
always used in the plural ; and thus a
temple is said to be in antis or Iv
irapaffrdo-t (Vitruv. iii. 2. 2.), when
the porch is formed by the projection
of the side walls, terminated, as de-
scribed, by two square pilasters,
which have two columns between
them.
ANTA'RIUS. Funes antarii ;
ropes employed in the erection of a
mast, column, or any other object of
great weight and height. (Vitruv. x.
2. 3.) They were fastened to the
head of the column, and to the ground
on each side of it at proper distances,
in order to keep it steady, and prevent
its inclining either way, whilst being
erected.
ANTEAM'BULO. A slave whose
duty it was to precede the lectica
of his master or mistress, and clear
the way through a crowd (Suet. Vesp.
2.) ; hence the same name is also
applied to the freedman or client
who performed the obsequious office
of walking before his patron when
he went abroad. Mart. Ep. ii. 18.
ANTECESSO'RES. Light ca-
valry soldiers who formed the ad-
vanced guard of an army on the
march ; they cleared the way for the
main body, and selected the positions
ANTECURSORES.
ANTENNA.
39
for a halt or a camp. Hirt. Bell.
Afr. 12. Suet. Vit. 17.
ANTECURSO'RES. Same as
ANTECESSORES. Cses. Bell. Civ. 1.
16.
ANTEFIX'A. Ornaments in
terra- cotta, invented by the Etruscan
architects, from whom they were j
borrowed by the Romans, and used
to decorate various parts of an edifice
externally as well as internally, to
cover a flat surface, or conceal the
junctures between two blocks of
masonry, or to make an ornamental
finish to any rough or inelegant con- j
tour. Hence the name is specially !
applied to the following distinct
objects.
1. Long flat slabs of terra-cotta
with designs in relief, which were
design, and most frequently formed
by the mask of a lion's head, in
allusion to the inundation of the
Nile, which takes place when the
sun is in the sign of Leo. The illus-
tration is taken from an original
found at Rome, which shows a round
hole in the mouth, where a leaden
tube was inserted to form a spout for
the discharge of the water.
3. Upright ornaments placed along
the top of an entablature, above the
nailed along the whole surface of a
frieze (zophorus\ in order to enrich
the entablature, and give to the part
a finished and ornamental effect. The
Greek artists sculptured the marble
itself, and held such a contrivance
for concealing defects in supreme
contempt. (Liv. xxxiv. 4.) The il-
lustration represents an original ante-
fix found at Rome, which had once
been used for the purpose described.
The holes for the nails by which it
was fastened up are perceivable on
the surface.
2. Ornaments of the same material
which were affixed to the cornice of
an entablature, for the
purpose of affording a
vent for the rain water to
discharge itself from the
roof into the street. (Fest.
s. y.) They represent
the "gurgoils" of Gothic archi-
tecture, but are of a more simple
upper member of the cornice, to con-
ceal the ends of the ridge tiles (im-
brices), and the juncture of the flat
ones. The illustration represents a
front and side view of two originals
found at Rome ; the upper figure, in
the centre, shows the ends of the tiles
as they appear without the antefix,
the one beneath it with the antefixes
attached ; the right-hand figure also
shows the shoulder at the back, which
was inserted under the imbrex, to fix
it up ; and the left-hand one, which
has an image of Victory on its face,
thus presents a graphic commentary
to the passage of Livy (xxvi. 23.),
where he mentions that the statue of
Victory on the top of the temple of
Concord, fell down, and was caught
by the Victories in the antefixes :
Victoria, quce in culmine erat, fulmine
icta decussctque, ad Victorias, quce in
antefixis erant, hcesit, &c.
ANTEN'NA (M K piov). The
yard-arm of a ship ; which was made
of a single piece of fir when the
vessel was a small one, but of two
pieces braced together for those of a
larger size. Hence the word is often
met with in the plural number, while
the sail attached to it is at the same
time expressed by the singular an-
tennis totum subnectite velum (Ovid,
Met. xi. 483.). Small yards of a
single piece are represented in several
40
ANTEPAGMENTUM.
ANTERIDES.
of the wood-cuts, illustrative of ancient
shipping in different parts of this
work ; and the yard introduced at
p. 36. s. v. ANQUINA shows distinctly
the manner in which the two pieces
were joined together for the larger
kinds. The yard itself is taken from
a bas-relief on a tomb at Pompeii ;
the details of the sail and truss by
which it is fixed to the mast, from
two terra-cotta lamps of Bartoli.
ANTEPAGMEN'TUM. The
jamb of a door-case ; especially so
termed when the jamb was made
with an ornamental moulding which
projected before the upright pillar
(scapus cardinalis) that formed the
pivot on which the door turned, and
concealed it entirely from view on
the outside. Vitruv. iv. 6. Festus,
s. v. Cato. R. E. xiv. 4.
This will be readily understood by
the illustration, which represents an
elevation and ground-plan of the
ancient door and door-case still re-
maining to the church of S. Theodore
at Rome, formerly the temple of
Remus. On the right side the ante-
pagmentum is cut away in order to
expose the shaft and socket, while
the left side and the ground-plan
show the manner in which those parts
were concealed by the antepagmentum,
and explain the real meaning of the
word. It will also be observed that
a door so constructed could only open
inwards ; the style of the door, to
which the pivot was affixed, and the
socket in which it turned, being
placed behind a projecting part of
the jamb, which was hollowed to re-
ceive it, and thus formed a sort of
frame lapping over the edges of the
door on the outside, so as to exclude
the external air from the interior.
2. Antepagmentum superius. Vitruv.
iv. 6. 1. The lintel of a door-case ;
especially when the door opened
inwards, and the moulding of the
lintel lapped over its upper edge, in
the same manner as just described
with respect to the jambs on the
sides, a construction commonly
adopted in the houses at Pompeii,
where the doors are usually placed
entirely behind the door case.
ANTEPILA'NI. The men who,
in the battle array of the Roman
legion, were drawn up before the
Pilani or Triarii, who were posted
in the third line. Thus it is a general
term, comprising the soldiers of the
two first lines, and including both the
Hastati and Principes, as they were
respectively called. Liv. viii. 8.
ANTE' RIDES (epetV^aro). But-
tresses built up against the outside of
a wall to support it if weak (Vitruv.
vi. 8. 6.), seldom employed by the
Greek or Roman architects, except
to strengthen a foundation. The
illustration shows the construction of
the Cloaca Maxima at Rome, with
external buttresses on each side of
the masonry, as seen in an excavation
superintended by Piranesi. These
buttresses, however, are formed of a
different stone from the rest of the
work, and were not part of the original
ANTESIGNANI.
ANTLIA.
41
construction, but may be regarded
as vestiges of the repairs which the
sewers underwent upon the occasion
alluded to by Dionysius (iii. 67.),
when a sum of not less than 200,000/.
of our money was laid out upon them.
ANTESIGNA'NI. A body of
the boldest and best men of the
legion, who were stationed imme-
diately before the standards to pre-
vent their being captured by the
enemy. Cses. B.C. i. 57. Liv. xxii. 5.
Id. ix. 39.
ANTES'TOR. To summon a per-
son, or ask him to become witness
that a defendant refuses to come into
court. On such occasions the plaintiff
asked any of the bystanders to bear
witness of the defendant's contempt,
by the words licet antestari ; upon re-
ceiving his assent, he touched the ear
of his witness, then seized upon the
person of his opponent, and dragged
him forcibly into the court. Plaut.
Pers. iv. 9. 10. Hor. Sat. i. 9. 78.
Plin. H. N. xi. 103.
ANTLE. The ringlets of a
woman's head of hair, which hang
down to the ears from the temples
(Festus, s.v. Isidor. Orig. xix. 31. 8.),
and likewise the side locks of males,
when studiously arranged in the same
way from the temples down the sides
of the face (Apul. Flor. i. 3. 3.) ; as
in the example, from a small bronze
figure found at Herculaneum. The
illustration to ANADEMA shows these
ringlets as worn by females, from a
Pompeian painting.
ANTILE'NA. A breast strap
attached to the pack saddles of a
beast of burden,
in order to keep
the saddle from
sliding back-
wards. (Isidor.
Orig. xx. 16.)
It was fastened
to the front of the
saddle on both
sides, and passed across the chest of
the animal, as in the illustration from
a painting at Herculaneum ; and was
a necessary appendage to the pack-
saddle in all mountainous countries,
where the ascents are steep.
ANTIQUA'RIUS. A term used
under the empire, and distinct from
Librarius, to designate a person em-
ployed in copying old books (Isidor.
Orig. vi. 14. 1.), and who wrote in
the old uncial character after the
running letters had come into general
use. Becker, Gallus. i. p. 164. Transl.
ANTLIA (dvrXta). A pump, or
other machine for raising water, in-
cluding all the various contrivances
adopted by the ancients for that pur-
pose ; and not indicating any par-
ticular construction ; the word being
used by Martial (Ep. ix. 19. 4.) to
designate the pole and bucket ; by
Suetonius (Tib. 51.), the water tread-
wheel ; and by - Callixenus (op.
Athen. v. 43.), the Archimedean
screw. The different machines thus
comprised under the general term
Antlia are described and illustrated
under their own specific names, and
are as follows : 1. ROTA AQUARIA ;
2. TYMPANUM ; 3. TOLLENO ; 4. GIR-
G
42
ANULARIUS.
ANULUS.
GILLUS; 5. CTESIBICA MACHINA
and SIPHO ; 6. COCHLEA.
ANULA'RIUS and ANNUL A'-
RIUS. One who follows the trade
of making rings. (Cic, Acad. ii. 46.)
The ring makers formed a distinct
collegium or company at Rome. In-
script. ap. Murat. 2015. 5.
ANULA'TUS and ANNULA'-
TUS. In general, having or being
furnished with rings ; whence
1. Anulati pedes, having fetters on
the feet, in the manner of the farming
slaves amongst the Romans, who
worked in chains (Apul. Met. ix.
p. 184.), as in the example, from an
engraved gem.
2. Anulatoe aures. Ears with rings
in them (Plaut. Pcen. v. 2. 20.), as
in the example, from a Pompeian
painting.
A'NULUS or AN'NULUS (5a-
rvAios, fftypayis). A
ring for the finger ;
originally made of iron,
and used as a signet for
sealing. Subsequently,
however, golden rings
were adopted instead of iron, but the
use of that metal at Rome was restricted
to the senators, chief magistrates, and
equites. (Plin. H.N. xxxiii. 4.) The
example represents an original from
the Dactyliotheca of Gorlaeus. The
signet ring was
worn on the fourth
finger of the left
hand both by the
Greeks and Ro-
mans (Aul. Gell.
x. 10.) ; see the right-hand figure in
the cut, which represents the hand of
Jupiter, from a Pompeian painting ;
and thence the expression, sedere ad
anulos alicui (Bum. Paneg. ad Const.
15.), means to sit on the right hand
of any one. But under the empire
the fashion of wearing rings of various
kinds, and degrees of value, as mere
ornaments, became prevalent amongst
all classes, and were worn on different
fingers of both hands, as well as
several at a time (Mart. Ep. v. 61.
Id. xi. 59.); see the left-hand figure
from a Pompeian painting, which
shows a female hand with three
rings, two on the fourth, and one on
the little finger.
2. Anulus bigemmis. A ring which
has two precious stones set in it.
(Valerian, in Epist.
ap. Trebell. Claud.
14.) The illustra-
tion exhibits an
original from the
Dactyliotheca of
Gorlaeus (Part i.
No. 68) with two
engraved gems set in it ; one, a large
signet, with the figure of Mars, and
the other a smaller one, with a dove
and myrtle branch.
3. Anulus velaris. A curtain ring,
made like our own, to run upon a
rod for the purpose of drawing or
withdrawing the curtain. Amongst
the Romans these rings were usually
made of hard wood. (Plin. H.N.
xiii. 18.) In a house excavated
at Herculaneum in 1828 (an ele-
vation of which is given as an illus-
tration to the article DOMUS), the
iron rods upon which they ran be-
ANULUS,
APHRACTUS.
43
tween the columns of the Atrium
were found entire,
and similarly placed
to the example
annexed, which is
from a miniature
of the Vatican
Virgil, and exem-
plifies their object
and use, though
from the minute-
ness of the design
not discernible
upon the rod.
4. A ring set round the circle of a
boy's hoop, for
the purpose of
creating a jing-
ling noise as the
hoop performed
its revolutions. (Mart. Epigr. xiv.
169.) Several of these were placed
on the same hoop, as shown by the
example, which is copied from a
sepulchral bas-relief on a tomb still
remaining near Tivoli.
5. A plait of long hair, arranged
in circles, like
rings, round the
back part of the
head (Mart.
Epigr. ii. 66.), as
seen in the illus-
tration annexed,
which represents
Plotina, the wife
of the emperor Trajan, from an
engraved gem. The female pea-
santry in many parts of the Roman
and Neapolitan states still continue to
arrange their hair in a similar manner.
6. In architecture, annulets ; which
consist of a series .
of rings or cir-
cular fillets, vary-
ing in ancient
examples from
three to four in number, which are
placed immediately below the echinus
of a Doric capital, and fall off per-
pendicularly under one another like
an inverted flight of steps. Vitruv.
iv. 3. 4.
APALA'RE or APPLA'RE.
description of
ladle or spoon, c
more particularly
intended for
cooking or handing round soft boiled
or perhaps poached eggs (Gloss.
Isid.) ; though it was also employed
for other purposes. (Auson, Epist.
xxi.) The illustration is copied from
an original of bronze found in a kit-
chen at Pompeii, which, it is be-
lieved, affords a specimen of one of
these implements.
APEX. Literally a pointed piece
of olive wood, set in a flock of
wool, which was worn on the
top of the head
by the Flamines
and Salii (Festus,
s. v. Albogalerus.
Serv. ad Virg. A.
x. 270.). It was
fastened by a fil-
let on each side, or to a cap which
fitted the head, as in the example,
from a Roman bas-relief; whence
the word apex is often put for the
cap itself. Fabius Pictor ap. Gell. x.
15. 3. Liv. vi. 41.
2. (KWJ/OS). The ridge on the top
of a helmet to which the crest of
horsehair was affixed. (Isidor. Orig.
xviii. 14. 2. Virg. JEn. xii. 492.) The
apex itself is prominently shown in
the annexed example, which is copied
from a bronze original found at
Pompeii; but a specimen, with the
horse-hair crest attached, is given
under the article GALEA.
APHRAC'TUS or APHRAC'-
TUM (&$pa.KTov). A ship without a
deck, or only partially covered fore
and aft, in the manner which we
G 2
44
APIARIUM.
APOSPHRAGISMA.
term half -decked. (Cic. Att. v. 13.)
The illustration is copied from the
Vatican Virgil, and shows by the
relative height of the men that it has
no deck in the centre ; by comparing
the decked ship (s. v. NAVIS CON-
STRATA), the different construction
of the two will be readily apparent.
APIA'RIUM (fj.\ia-<r<av, /ieAitnro-
rpo(f)f'iov). An apiary, or place
where a number of beehives are kept.
Columell. ix. 5. 6.
APIA'RIUS G*eArcrefo _ ovpy6s).
One who tends and keeps bees. Plin.
H.N. xxi. 31.
APICA'TUS. Wearing the apex
or pointed cap of the Flamen Dialis.
(Ovid. Fast. iii. 397.) See the en-
graving in the preceding column, and
article FLAMEN.
APLUS'TRE and APLUS'-
TRUM (&Aa<TToi/). An ornament
made of wooden
planks, somewhat
resembling the fea-
thers of a bird's
wing, which was
commonly placed on
the stern of a ship.
(Lucan. iii. 586. Lu-
cret. iv. 439.) The
illustration repre-
sents an aplustre in
detail from an ancient bas-relief, of
which there is a cast in the British
Museum ; the situation which it oc-
cupied upon the vessel is shown in
the preceding wood-cut.
APODYTE'RIUM (dirotivrfyiov).
An undressing-room ; especially a
chamber in the baths (Cic. Q. Fr.
iii. 1. . 1. Plin. Ep. v. 6. 25.), where
the visitors undressed, and left their
clothes while bathing ; for in the
public establishments every person
was compelled by law to strip himself
before he passed into the interior
apartments, as a check to robbery,
and to prevent the concealment of
stolen articles about the person. (Cic.
Coel. 26.) The illustration repre-
sents the interior of the Apodyterium
in the baths at Pompeii ; its relative
position with regard to the other
apartments of the establishment may
be seen on the ground-plan of
BALINE.E, on which it is marked
A. It is furnished with three doors :
the one on the left hand, at the
further end of the engraving, is
the general entrance from the out-
side ; that on the right of it opens
into the cold bath ; and the nearest
one on the right gives access to the
warm bath. Seats for dressing and
undressing upon run along three sides
of the room ; and holes are seen in
the walls, in which wooden pegs were
fixed for hanging up the clothes. The
small dark niche under the window
served to contain a lamp.
APOPHORE'TA (
Presents which a host gave to his guests
at the conclusion of an entertainment,
to be carried home with them. Com-
pliments of this kind were more espe-
cially customary during the fete of
the Saturnalia. Suet. Cal. 55. Id.
Vesp. 19.
APOSPHRAGIS'MA (dirofffpd-
yiff/j.a'). The device or impression
upon a signet ring. (Plin. Epist. x.
55. 3.) See the illustrations s. v.
ANULUS.
APOTHECA.
AQUARIUS.
45
APOTHE'CA (tiroes). A
store-room or repository for any de-
scription of stock. (Cic. Vatin. 5. Id.
Phil. ii. 27.) This word contains
the elements of the Italian bottega,
and French boutique, a shop ; but that
is a perversion of the original sense ;
which did not mean a store in which
goods were kept for sale, but only for
the private use of the owner. Com-
pare TABERNA.
2. In a more special sense by the
Romans, a store room for wine in the
upper part of the house (whence
Horace, Od. iii. 21. 7. descende testa;
Plin. Ep. ii. 17. 13. Plin. H.N. xiv. 14.
6. and 7.), where it was kept to ripen
in amphorae, or, as we might say, " in
bottle ; " whereas the new wine in
dolia and cupce, or, according to our
expression " in the wood," was placed
below in the cella vinaria. [CELLA.]
APOTHEO'SIS (d 0e(rw). A
word borrowed from the Greek lan-
guage, but only used at a late period
(Tertull. Apol 34.), for which the
Latin term is CONSECRATIO, which
see.
APPARITO'RES. A collective
name given to the public officers
attached to the service of the Roman
magistrates, including the ACCENSI,
LICTORES, PR^CONES, SCRIBE, VIA-
TORES, &c. Cic. Q. Fr. 1. 1. 4. Suet.
Tib. 11.
2. In the army, the servants who
waited upon the military tribunes.
Hirt. B. Afr. 37. Lamprid. Alex.
Sev. 52.
above another ; and others were built
with two or three tiers of arches,
AQU^DUCTUS
An aqueduct; an artificial channel,
frequently of many miles in length,
for the purpose of conveying a pure
stream of water from its source to
any determinate point. (Cic. Att. xiii.
6. Frontinus de Aquceduct.') The
illustration represents a portion of
the aqueduct constructed by the em-
peror Claudius, which is built of tra-
vertine stone, and upon a single tier
of arches ; but some aqueducts con-
veyed as many as three separate
streams in distinct channels, one
according to the nature of the sites
over which they passed. The channel
(specus), through which the water
flowed, is seen, uncovered at the top.
AQUA'GIUM. A water course
or stream of water which was com-
mon property, and could only be
diverted in small portions by the pro-
prietors through whose lands it
passed. Pomp. Dig. 43. 20. 3.
AQUA'LIS. Any vessel which
contains water for drinking ; a water
can, or water jug. Plaut. Cure. ii. 3.
33. Id. Mil. iii. 2. 39.
2. The same as Matula (Varro,
L. L. v. 119.); to which the joke
contained in the passage of Plautus
(Mil. iii. 2. 39.) probably alludes.
AQUA'RIUS (%o04w>s). A
water carrier. Cic. Fam viii. 6.
2. A slave employed in the baths,
who brought in the water, poured it
over the bather, and filled the labra,
which latter duty is shown by the
46
AQUILA.
ARA.
figure in the illustration, copied from
a fictile vase. These men were noted
for their licentious habits. Juv. vi.
332. compared with Festus, s. v.
3. An officer at Rome attached to
the service of the aqueducts, whose
duty it was to see that not more than
the quantity allowed by law to each in-
dividual, or public establishment, was
laid on from the main. Front. Aq.
AQUILA. The eagle, the prin-
cipal ensign of the Roman legion
(Plin. H.N. x. 5.),
made of silver or
bronze, and with ex-
panded wings, as
shown in the ex-
ample, from an ori-
ginal published by
La Chausse (Recueil
cTAntiq. Romaines, v.
15.). The manner
in which it was carried is shown by
the illustration to the following word.
2. (cue-nfc, derds, dercqua). In archi-
tecture the triangular face included
by the horizontal and sloping cornices
of a pediment, to which latter it
formed, as it were, a support (sus-
tinentis jastigium aquilce. Tac. Hist.
iii. 71.). The term is properly Greek
(Pausan. i. 24. 5. Id. v. 10. 20.), and
corresponds to the Latin TYMPANUM ;
unless the latter word was employed
when the part consisted of a mere
naked face unadorned with sculpture ;
and the former, when the surface was
broken by bas-reliefs ; for the name
originated in a very early Greek
practice of carving an eagle in the
pediment of a temple, especially of
those which were dedicated to Jupi-
ter, as in the example from a bas-
relief of the Villa Mattel at Rome.
In Etruscan or other edifices of arseo-
style construction, the aquila was
formed of wood, in order to lighten
the pressure upon the architrave ; a
circumstance which caused the con-
flagration of the temple of Jupiter
Capitolinus, when the Capitol was
besieged by Vespasian. Tac. Hist. I. c.
AQUIL'IFER. The principal
ensign of a Roman
legion, who carried
the eagle. (Cses.
B. G. v. 37. Suet.
Aug. 10.). There
was but one aquilifer
to each legion, though
there were many
signiferi, or standard
bearers. (VegetJftt
ii. 13. Compare Tac.
Ann. i. 39. and 61.)
The example is taken
from the Column of
Trajan, on which an
ensign carrying the
eagle is several times
represented, with the
skin of a wild beast
over his head and back, in the same
manner as here shown.
AQUIMINA'RIUM, AQUIMI-
NA'LE, or AQU^MANA'LIS. A
jug from which water was poured
over the hands before and after meals,
It was accompanied by a basin to
receive the water as it fell from the
hands, so that the two together would
answer to our "basin and ewer."
Varro, ap. Non. s. v. p. 547. Ulp.
Dig. 34. 2. leg. 19. n. 12.
ARA (frvrhpiov, f}o)n6s). An altar ;
i. e. any structure raised above the
ground, either of turf, stones, brick,
or sculptured marble, upon which
the offerings made to the gods were
placed or burned. Altars were either
circular or square, with a cavity
at the top, in which the fire was
ARA.
47
kindled, and an orifice at the side
or bottom, through which the libations
of wine, or juices of the burnt offering,
exuded. The cavity for the fire is
shown at the top, and the orifice for
the outflow of liquids at the bottom, of
the right-hand figure in the cut, which
is copied from a Pompeian painting ;
the left-hand figure is from a fictile
vase, and shows the liquid streaming
out from a vent-hole placed higher
up. These parts are essential to
every altar, on which victims were
burnt, or libations poured ; where
they are wanting, though the marble
bears a general resemblance to an
altar, it is only a cippus, not an ara,
a fact which archaeologists too often
lose sight of.
2. Altars were erected in the fol-
lowing situations. In the lucus, or
sacred grove, before the statue of the
divinity to whom it was consecrated
(Horn. //. ii. 305.), as in the illus-
tration from the arch of Trajan, in
which the trees represent the sacred
grove surrounding a statue of Diana,
before which the altar is placed.
3. On the steps under the entrance
porch, or in front, of a temple ; as in
the annexed engraving, which repre-
sents the remains of the temple of
Fortune at Pompeii, where the altar
is seen at the bottom of the steps
which lead up to the entrance door.
4. In the streets of a town (Plaut.
Aul. iv. i. 20. Id. Most. v. i. 45.), and
against the walls of a house, in front
of a picture or image of the Lares
Viales: as in the annexed street view
at Pompeii. The top compartment
of the bas-relief above the altar con-
tains the figures of two LARES, ex-
actly similar to the one used as an
illustration for that word ; and the
two snakes below are a sign to warn
the public against the commission of
a " nuisance," as explained under
ANGUIS.
5. Lastly, they were placed near
or upon the impluvium of private
houses ; and on these the family
sacrifices were offered to the Penates.
The engraving represents a resto-
ration of part of the atrium in the
house of the Dioscuri, at Pompeii, in
which the impluvium is seen in the
foreground, with the altar on its
margin, traces of which were dis-
48
ARA.
ARATOR.
when
excavation was
covered
made.
6. Ara turicrema. An altar on
which frankincense was sprinkled
and burnt. (Lucret. ii. 353. Virg.
jEn. iv. 453.) The illustration, from
an ancient painting discovered at the
foot of the Palatine hill, shows a
female engaged in the duty of sprink-
ling incense upon a burning altar,
which, from its di-
minutive size, ap-
pears to have been
intended solely for
such offerings ; but
the passages of Lu-
cretius and Virgil,
above referred to,
seem to indicate
that the epithet
turicrema was also
applied very gene-
rally to every kind
of altar, because the
incense was commonly used with all..
7. Ara sepulcri or arafuneris. The
funeral pile upon which a dead body
**
--
-*-
lustration is from a bas-relief repre-
senting the story of the Iliad, supposed
to have been executed in the age of
Nero, and represents the burning of
Patroclus.
ARACH'NE. A particular kind
of sun-dial, which is naturally be-
lieved to have received its name from
a resemblance to the spider's web
produced by the hour lines inter-
secting the circles of the equator and
tropics, described upon it ; but of
which no ancient specimen has been
discovered. Vitruv. ix. 8.
AR.fEOSTY'LOS (apaioortiAoy).
ArcBostyle; applied to a building or
colonnade in which the
columns are situated at
wide intervals, of not
less than 3\ or 4 of their
own diameters apart & -&
from each other ; as in 4-
the lowest line of the an-
nexed diagram, which shows the re-
lative width of the five different kinds
of intercolumniations adopted by the
ancients. The arseostyle construc-
tion was particularly employed in the
Tuscan order, and for localities fre-
quented by a large concourse of
people, in order not to occupy too
much room by a multitude of columns.
It required an architrave of wood, as
stone or marble could not support a
superincumbent weight upon supports
placed so far apart. The colonnade
surrounding the Forum of Pompeii is
of this construction, in which vestiges
of the wooden architraves were found
at the period when it was excavated.
Vitruv. iii. 2.
ARA'TOR (oporrjp). One who
ploughs ; a ploughman (Plin. H. N.
was burned (Virg. JEn. vi. 177. Ov.
Trist. iii. 13. 21.), so termed because ,
it was built up of logs of wood in a _
square form, like an altar. The il-
ARATRUM.
ARCA.
49
xviii. 49. 2.). Also a ploughing
ox, for the word is equally applied to
animals (Ovid. Fast. i. 698.). Both
are shown by the illustration, from a
Roman bas-relief.
2. A tenant farmer upon a large
scale, who cultivated extensive tracts
of the public lands for a tenth part of
the produce ; generally persons of
the equestrian order, and spoken of
by Cicero as a useful and excellent
class of men. Cic. Agr. ii. 31. 2.
Verr. iii. 55.
ARA'TRUM (Uporpov). A plough.
The plough most commonly repre-
sented on ancient monuments is a
very simple machine, consisting of
the branch of an elm tree either
naturally or artificially bent into a
crook (buris) at one end, which when
sharpened to a point, and cased with
iron, answered the purpose of a share
(vomer) ; another branch growing
out from the main one in a direction
contrary to the crooked end, served
for a plough tail (stiva) or handle to
guide the machine, and press the
share to a sufficient depth into the
ground. The whole of these parts
and details are distinctly shown by
the preceding wood-cut.
2. The next illustration represents
a plough of improved construction,
from a bas-relief discovered in the
island of Magnesia. With the ex-
ception of not being furnished with a
coulter, it possessed all the component
parts enumerated by the Greek and
Latin authors : viz. A A, buris (7t5r?s),
the plough-tail, the opposite end of
which forms the pole (temo, iffro-
; B, dentale (eAu/ua), the share
beam ; c, vomer (tWts), the plough-
share ; D is a truss which binds the
share-beam more firmly to the pole
and plough-tail, and which some
archaeologists distinguish by the name
fulcrum, but without quoting their
authority; EE, aures Orepci), the
earth boards ; F, stiva (exeVArj), the
handle by which the ploughman
directed the plough.
3. The next example represents a
wheeled plough (currus) from Caylus,
which, besides the parts above enu-
merated, is likewise furnished with
a coulter (cutter), like the blade of
a knife, attached to the pole in front
of the share.
4. Aratrum auritum. A plough
furnished with mould-boards. Pallad.
i. 43. 1. Wood-cut, No. 2. EE.
5. Aratrum simplex. A plough
without mould-boards. Pallad. I.e.
Woodcut s. ARATOR.
ARBUS'CUL.E (o^uae^oSey).
Strong wooden collars, or rings
fastened underneath a cart (plamtrum)
or under an engine of war, for the
purpose of receiving the axle, which
revolved together with its wheels in
these collars, in the same manner as
now seen in a child's go-cart (Vitruv.
x. 14. 1. Ginzrot, Wagen und Fahr-
werke, i. 91. 3.). When the wheels
revolved upon their axle, as was usual
for carriages (currus), the axle was of
course a fixture, and arbuseulce were
not necessary.
ARCA (Kifomfc). Any large and
strong box or chest in which clothes,
money, or any kind of property was
kept (Cato, E. R. ii. 3. Cic. Farad.
50
ARCA.
ARCERA.
vi. 1. Juv. xi. 26. Suet Cal 49) ; a
clothes trunk, money chest, &c. The
example here introduced is a very
remarkable specimen of a money
chest, discovered in the atrium of a
house at Pompeii; and which, with
great apparent reason, is believed to
have been a chest in which the
quaestor kept the public monies. It
stands upon raised pedestals coated
with marble ; the frame is of wood,
lined inside with bronze, and plated
outside with iron. It is described in
detail in Gell's Pompeiana, vol. ii.
pp.30 31.
2. A common wooden box in which
the remains of such persons as could
not afford the expense of a funeral
and regular coffin were carried to the
place of sepulture. Hor. Sat. i. 8.
9. Lucan. viii. 736. Caii Dig. ii.
7. 7.
3. A coffin in which a corpse was
deposited entire, in the earth or in a
tomb, when not reduced to ashes on
the funeral pile (Plin. H.N. xiii. 27.
bottom, sunk into the ground, from
the interior of which the water was
pumped out, the void being then filled
in with stone or other materials, of
which the foundation was composed.
Vitruv. v. 12. 3.
ARCA'RII. Officers who kept
the accounts of the emperor's privy
purse (fiscus), whence they were
termed Coesariani ; their offices were
situated in the Forum of Trajan.
Lamprid. Alex. Sev. 43. Fragment, jur.
ante Justinean. a Maio edita, p. 38.
2. In private families, cashiers or
servants who kept the accounts, and
superintended the receipts and dis-
bursements of their master's property.
Inscript. ap. Grut. 641. 7, 8. Scsev.
Dig. 40. 5. 41.
AR'CERA. A close covered cart
boarded all over, so as to resemble a
! large chest (area), which was used
at Rome for the transport of invalids
or aged and infirm persons, before
the invention of litters and other
more luxurious contrivances (Varro,
Val. Max. i. 1. 12.). The illustration
shows the plan and elevation of an
original coffin of baked clay (Uggeri,
Capo di Bove, pi. 19.). The shaded
part in the plan is a raised sill for the
head of the corpse, and the round
hole in it is a cavity for receiving
aromatic balsams, which were poured
in through a corresponding orifice
seen on the side of the shell in the
upper figure. The whole was covered
by a lid.
4. A dungeon cell in a private
house where slaves were confined.
Cic. Milo, 22.
5. A wooden caisson, employed
when laying foundations under water.
It was a square box without top or
L. L. v. 140.). The inmate reclined
in it at full length, for which purpose
it was furnished with cushions and
pillows inside ; and the exterior was
usually covered over with loose dra-
pery to give it a mqre sightly ap-
pearance, and conceal the rough
boarding of which it was made (Gell.
xx. 1. 8.). The illustration is from a
sepulchral marble preserved in the
Museum at Baden, published by
Ginzrot (Wagen und Fahrwerke,
tab. 19. 2.), and may be regarded as
the only known example of this pri-
mitive conveyance, the great antiquity
of which is authenticated by the men-
tion of it in the Twelve Tables. (Gell.
ARCHIM1MUS.
ARCULUM.
51
/. c.) The original also shows a j
bundle of drapery placed on the roof
in a heap, intended to be spread over
the whole carriage, as mentioned
above.
ARCHIMI'MUS (dpx//M/*0*). The
leader of a company of buffoons, who
were engaged at funerals to dance and
play the merry-andrew in the pro-
cession, the leader of the party enact-
ing a mock representation of the
person and character of the deceased.
Suet. Vesp. 19. See also MIMUS, 2.
ARCUA'RIUS. One who makes
bows and arrows. Aur. Arc. Dig.
50. 6. 6. Compare Veget. Mil. ii.
11.
ARCUA'TIO. A substruction of
arches for the support of any super-
structure, as a roadway, bridge, or
aqueduct. Frontinus, 18 and 21.
Cut of AQU^DUCTUS.
ARCUA'TUS. In general arched,
or built upon arches. Plin. JEp. x.
47. 2. See cut of AQU^DUCTUS.
2. Arcuatus currus. A two-
wheeled carriage with an arched
awning over head. (Liv. i. 21.) The
example is from a painting in an
Etruscan tomb, published by Micali
(Italia avanti il Dominio de' Roinani).
ARCUBALLIS'TA. An instru-
ment for shooting arrows, combining
the properties of the bow and ballista.
The name points to a weapon in the
nature of the modern cross-bow ; but
it is impossible to define it precisely,
as the exact character of the BAL-
LISTA is not sufficiently understood.
Veget. Mil ii. 15.
ARCUBALLISTA'RIUS. One
who manages the Arcuballista. Ve-
get. Mil. iv. 21.
AR'CULA (/tiftfiTKw). Diminutive
of A RCA, in its general senses; but
also specially applied as follows :
1. A painter's colour box, divided
into a number of separate compart-
ments ; more espe-
cially used by en-
caustic painters, in
which they kept
distinct the diffe-
rent coloured waxes used in their
art. (Varro, R. R. iii. 17. 4.) The
illustration is from a Roman bas-
relief, which represents Painting in-
ducing M. Varro to illustrate his
book with portraits.
2. A small sepulchre or stone
coffin, such as was used by the Chris-
tianized Romans, and deposited in
their catacombs, when the bodies
were buried, without being burnt.
(Inscript. ap. Grut. (1031. 4.) The
illustration represents one of these
coffins in the catacombs at Rome, a
portion only being removed in the
drawing to show the skeleton.
ARCULA'RIUS. A maker of
arculce, caskets, little boxes, jewel
cases, &c. Plaut. Aul. iii. 5. 45.
AR'CULUM. A chaplet made
from the branch of the pomegranate
tree bent into a circle, and fastened
at the ends by a fillet of white wool,
which was worn by the Flaminica
Dialis at all sacrifices, and on certain
occasions likewise by the wife of the
Rex sacrificulus. Serv. ad Virg. JEn.
iv. 137.
2. Or Arculus. A porter's knot;
especially the linen cloth rolled up
and twisted into a circle which the
young women placed on the top
of their heads in the same way as
is still practised by the Italian pea-
santry, as a support for the baskets
(canestrcp, cistce) which they carried
H 2
52
ARCUMA.
ARCUS.
in the Panathenaic and other fes-
tivals. (Festus, s. v.}
This contrivance is
frequently represented
in sculpture upon figures
carrying any sort of
burden on their heads,
such as the Canephorce,
Cayatides, Telamones, of
which latter the figure
in the cut presents an
example from the baths
of Pompeii ; and is fre-
quently mistaken for the
modius, -which it resembles indeed in
appearance, but would be a most inap-
propriate ornament for such a position.
AR'CUMA. A small cart (plaus-
trum) or truck, in which a single
person could be conveyed. (Festus,
*. v.) The illustration, from a se-
tile vase ; the other, when unbent,
had a circular form, like a bay (sinus),
pulchral bas-relief at Rome, agrees
so precisely with the definition of
Festus as to leave no doubt of its real
name.
ARCUS (jBufe, roV). A bow for
shooting arrows, the use of which
amongst the Greeks was chiefly con-
fined to the sports of the field and
contests of skill, with some partial
exceptions during the Homeric age
(//. xii. 350.), after which it never
appears as a military weapon. The
Romans employed it in like manner
as a hunting and fowling piece ; but
it was never introduced into their
armies, excepting by auxiliaries from
countries where it was the national
weapon.
The Greek bows were constructed
on two different plans ; the one con-
sisting of two horns joined together
by a straight stock in the centre, like
the top figure in the cut, from a fic-
as shown by the bottom figure, also
from a fictile vase ; and when strung,
was bent backwards against the
curve, which must have given it tre-
mendous power, and will explain the
true meaning of Homer's epithet TTO-
\ivrovov (IL viii. 266.). The two
forms are also distinguished by the
Latin writers with the epithets pa-
tulus (Ov. Met. viii. 30.), and sinu-
osus or sinuatus (Id. Met. viii. 380.
Am. i. 1. 23.).
2. The Roman bow, as shown in
their paintings, did not differ from
the Greek one.
3. Arcus Scythicus. The Scythian
bow mentioned by the Greek and
Latin authors, possessed a very dif-
ferent form from either of the two
preceding examples, as will be per-
ceived by the illustration copied
from the base
of a candela-
brum in the
Villa Albani,
which repre-
sents Hercules
carrying off the
sacred tripod
from the temple
of Apollo (see
Hygin. Fab.
32.). A bow
of similar form
is seen in the
hands of Hercules on a gem in the
Florence Gallery ; on one of the
Stosch Cabinet ; and on the base of a
candelabrum at Dresden, representing
ARCUS.
53
the same quarrel between Hercules
and Apollo.
The lunated figure in the first
woodcut has often been cited by
philologists as a specimen of the
Scythian bow, but the following par-
ticulars will satisfactorily prove that
such a supposition is not supported
by authority: 1. Hercules made
use of two bows (Herod, iv. 10.) ; one
of which, as he received it from
Apollo (Apollodor. ii. 4. 11.), was
necessarily a Greek one ; the other,
which he had from Teutarus, a Scy-
thian shepherd (Lycophr. 56. Tzetz.
ad Lycophr. 50. Compare Theocr. Id.
xiii. 55.), was necessarily one of those
used by the natives of that country.
2. Lycophron (917.) assimilates the
Scythian bow to a serpent; and
Becker, in describing the figure on
the candelabrum of Dresden (Augus-
teum, pi. 5.), singularly enough mis-
takes it for a serpent, though the
quiver at his side is clearly indica-
tive of its real character. 3. Strabo
(ii. p. 332. Siebenk. Compare Am-
mian. xxii. 8. 5.) compares the
outline of the Pontus Euxinus to
that of a Scythian bow ; one side,
which is nearly straight, forming
the chord ; the other, which, as he
says, is recessed into two bays, one
larger and more circular, the other
smaller, and receding less, the bow
itself. 4. Euripides (ap. Athen. x.
80.) introduces a countryman who had
seen the name of Theseus, which he
could not read, somewhere inscribed,
endeavouring to explain the charac-
ters of which it was composed by
some familiar image ; and he com-
pares the fourth letter, the Greek
Sigma, to a lock of hair twisted into
curls like the tendrils of a vine,
fidffrpvxos fiXiy/Afvos. 5. Whilst
Agathon (ap. Athen. I. c.), in re-
lating the same story, makes his
rustic assimilate the same letter
to the form of a Scythian bow.
6. Now the earliest character used
to express the Greek Sigma was
written thus , or thus J, as shown
by the Sigean marbles, a monument
of very high antiquity (Chishul.
Inscr. Sig. p. 4. and 41.), and not
like the letter C, which is a more
modern form. 7. Thus the bow
carried by the figure in our en-
graving corresponds exactly with
every one of the images to which
the Scythian bow is compared a
serpent, the contour of the Euxine
sea, the tendril of a parasitical plant,
and the Greek Sigma; whereas the
lunated form has no aifinity with any
one of them, except indeed the letter
C ; but if that were admitted, all the
rest would be utterly inappropriate.
4. An arch, a mechanical arrange-
ment by which tiles, bricks, or blocks
of stone are disposed in the form of a
curve, which enables them to support
one another by their mutual pressure,
and bear any superincumbent weight,
such as a bridge, aqueduct, upper
story of a building, &c. &c. Ovid.
Met. iii. 169. Juv. Sat. iii. 11.
Though the principle upon which
an arch is constructed was not
entirely unknown to the Greeks, yet
their universal adoption of the co-
lumnar style of architecture, and
general deficiency of roads, aque-
ducts, and bridges, rendered its use
unnecessary to them ; but the Ro-
mans employed it extensively in all
their great works, as will be seen
by numerous examples throughout
these pages, and at a very early
period, as shown by the illustration
annexed, which is an elevation of the
wall called the pidcrum littus on the
54
AREA.
banks of the Tiber, and the three
concentric arches which formed the
Cloaca Maxima, a structure belong-
ing to the fabulous age of the elder
Tarquin.
5. An archway, or triumphal arch
(Suet. Claud. 1., and with the epi-
thet triumphalis, Cenotaph. Pisan. C.
Ccesaris. August. JP.). During the
republican period these were tem-
porary structures of wood thrown
across a street through which a tri-
umph passed, and removed after the
show ; for the permanent archways
recorded under the republic (Liv.
xxxiii. 27. Id. xxxvii. 3.) are termed
fornices, and were not erected to com-
memorate the honours of a triumph.
(See FORNIX.) But under the em-
pire they were converted into per-
manent edifices, built of marble, and
erected in various parts of the city, as
well at Rome as in the provincial
towns ; small and unostentatious at
first, with a single gang-way, but
subsequently increased in size, and
elaborately covered with sculpture
and statues, as in the illustration,
which presents an elevation of the
triumphal arch of Septimius Severus,
now standing at Rome, to which the
statues only on the top have been
restored, as they originally existed,
from the design on a medal of that
emperor.
A'REA. In its original sense, is
used to designate any vacant plot of
ground in a city, affording a site for
a building (Varro, Z. L. \. 38. Hor.
Epist. i. 10. 13.), and from that it is
also transferred to the open space
upon which a house that had been
pulled down had formerly stood
(Liv. iv. 16.); whence the following
more special significations are de-
duced :
1. A large open space in a town,
like the French place, the Italian
piazza, and the English parade, left
free and unencumbered by buildings
for the exercise and recreation of the
townspeople, (Vitruv. i. 7. 1. Hor.
Od. i. 9. 18.) These areas were
often embellished by statues and
works of art ; sometimes surrounded
by posts and rails to define their
extent, and prevent private indivi-
duals from building on the public
property (Inscript. ap. Bellori, Fragm.
Urb. Earn. p. 70.) ; and still further
to preclude all attempts at encroach-
ment or appropriation, they were
consecrated to some deity who had
his altar erected in the centre; and
hence they were distinguished from
one another by the name of the deity
under whose protection they were
placed, as the area of Mercury, the
area of Pollux, the area of Apollo,
which latter is represented in the il-
lustration from the ancient marble
plan of Rome, now preserved in the
Capitol, but which originally formed
the pavement to the temple of Ro-
mulus and Remus. The altar, as-
cended on each side by a flight of
steps, is seen in the centre ; the open
space around is sufficiently apparent,
and its extent may be guessed by
completing the mutilated inscription,
which was AREA APOLLINIS.
2. The open space of ground in
front of a Roman house, temple, or
other edifice, which forms the area
AREA.
ARENARIUS.
55
of the vestibule (VESTIBULUM, Plin.
Paneg. 52. 3. Inscript. ap. Nardini,
present day, and clearly shown by the
example from a painting in the
Rom. Ant. iii. 4.), as in the example
(copied from an ancient painting, in
which some of the principal edifices
of Rome are depicted), where it lies
between the two projecting wings in
front of the building.
3. An open space in front of a
cemetery, around which the sepul-
chres were ranged, and which served
as an Ustrinum, where the funeral
pyre was raised, and the body burnt.
(Stat. Theb. vi. 57. Tertull. ad
Scapul. 3. Marini, Inscriz. Alb. p.
118.) The illustration represents an
area of this description, with the
tombs built round it, which was ex-
cavated in the Villa Corsini at Rome.
4. (aAwrj.) A tlireshing-floor ; or
more accurately a flat circular area in
the open fields, paved with flints, and
then covered over with clay or chalk,
and levelled by the roller, in which
the grains of corn were trodden out
of the ear by cattle driven round it
(Virg. G. i. 178. Hor. Sat. i. 1. 45.
Cato, Columell. Pallad.), a mode
of threshing commonly adopted in
Egypt, Greece, and Italy, even at the
Egyptian tombs.
5. The square open space between
the two wings of a "clap net" when
they are spread on the ground, upon
which the fowler sprinkled his seed
to induce the birds to alight between
them. Plaut. Asin. i. 3. 64.
6. A bed or border in a flower or
a kitchen garden. Columell. xi. 3. 13.
Pallad. i. 34. 7.
7. In Martial (x. 24. 9,), appa-
rently used for the race-course in a
circus, round which the chariots ran,
more usually called spatium ; but the
reading is doubtful.
ARE'NA. The flat oval floor in
the interior of an amphitheatre, where
the wild beasts and gladiators fought,
so called because it was sprinkled
over with sand to prevent the feet
from slipping (Suet. Nero, 53. Juv.
Sat. iv. 100.) ; see the second wood-
cut s. AMPHITHEATRUM, which re-
presents the amphitheatre at Pompeii,
in its present state ; the arena is the
flat space in the centre, where the
two small figures are standing.
AREN A'RIA or ARENA'RIUM,
A sand-pit. Cic. Varro. Vitruv.
ARENA'RITJS. A general term
for any one who contended in the
arena of an amphitheatre either
against his fellow-men, or with wild
beasts, including therefore the GLA-
DIATOR and BESTIARIUS. Pet. Sat.
cxxvi. 6.
2. A teacher of arithmetic or geo-
metry, so called because he marked
56
AREOLA.
ARMAK1UM.
out his calculations or diagrams
upon a tray covered with sand. Ter-
tull. Pall. 6. ABACUS, 1.
A RE'OL A. Diminutive of AREA ;
a small open square or place (Plin. Ep.
v. 6. 20.) ; a small bed for flowers or
vegetables, &c. in a garden. Colu-
mell. xi. 2. 30.
ARETAL'OGUS. A personage
introduced at dinner time amongst
the Romans to amuse the company,
but in what character or by what
means is not clearly ascertained, per-
haps as a sort of court jester or
buffoon. Juv. Sat. xv. 16. Ruperti
ad I Suet. Aug. 74. Casaub. ad I.
ARGE'I. Certain sites in the
city of Rome, twenty-seven in num-
ber, with small chapels attached to
them (Varro, L. L. v. 45.), conse-
crated by Numa for the performance
of religious rites (Liv. i. 22.), and
visited, it would appear, in succession
(Ov. Fast. iii. 791. Aul. Gell. x. 16.
4.), upon certain festivals, like the
Slazioni of modern Italy.
2. Images or Guy Fawkeses, made \
of bullrushes, thirty in number, which '
were annually cast into the Tiber
from the Sublician bridge, on the Ides
of May, by the pontifices and Vestals,- j
the origin and meaning of which !
custom are involved in obscurity. I
Varro, L.L. vii. 44. Ov. Fast. v. '
621. Festus. s. v.
ARGENTA'RIA, sc. Taberna.
A silversmith, banker, or money-
changer's booth or shop, generally
situated under the colonnade which
surrounded the forum. Plaut. Epid.
ii. 2. 17. Liv. xxvi. 27.
ARGENTA'RIUS. A private
banker, as contradistinguished from
the public banker (Mensarius) ; he
received deposits, and allowed interest
upon them, acted as a money-changer
for foreigners, and attended public
sales as a broker or commissioner, to
bid for his employers. Cic. Ccecin. 6.
Plaut. Aul. iii. 5. 54. Suet. Nero, 5.
AR'IES (/cpi(fc). A battering-ram ;
an instrument composed of a powerful
wooden beam, furnished at one extre-
mity with a mass of iron moulded
into the form of a ram's head, which
was driven with violence against the
walls of a fortified place, in order to
effect a breach in them. Cic. Off. i.
11. Virg. Mn. xii. 706.
In the primitive manner of using
this instrument, it was carried by a
number of men in their arms, and
thrust without any other assistance
than their united energies, against the
opposing walls (Vitruv. x. 13. \.\ in
the same way as here employed by
the Dacians, on the Column of Trajan.
The next improvement was to sus-
pend the ram from a beam placed
upon uprights, by which means it
was swung to and fro, with less
manual labour, but much greater
mechanical force (Vitruv. x. 13. 2.) ;
and, lastly, it was fixed upon a frame
which moved upon wheels, and was
covered over by a shed and siding of
boards, to protect the soldiers who
worked it from the missiles of the
enemy (Vitruv. /. r .), as here shown,
from the triumphal arch of Septimius
Severus.
ARMA'RIUM. An armoire,
cabinet, or cupboard, for keeping do-
mestic utensils, clothes, money, cu-
riosities, or any of the articles in
daily use. It was a large piece of
ARMENTARIUS.
ARMILLA.
57
furniture, usually fixed against the
walls of a room, divided by shelves
into compartments, and closed in front
by doors. (Cic. Cluerd. 64. Plaut.
Capt. iv. 4. 10. Pet. Sat. xxix. 8.
Plin. H. N. xxix. 32.) The example
here given represents one of these
cup-boards exactly as described,
which forms part of the furniture
belonging to a shoemaker's room in a
Pompeian painting. It is filled with
lasts and boots.
2. A book-case in a library ; also a
sort of fixture, and sometimes let into
the walls of a room. (Plin. Ep. ii.
17. 8.) These were divided into a
number of separate compartments by
shelves and upright divisions, and
each division was distinguished by a
number, as the first, second, and third
case. Vitruv. vii. Prcpf. 7. Vopisc.
Tac. 8.
ARMENTA'RIUS. A herdsman
of any kind, who had the charge of a
drove of oxen, for instance, or of brood
mares (Appul. Met. vii. p. 142.),
and under whose care and superinten-
dence they were driven up from the
plains into the mountains, and kept
there at pasture during the hot
months of summer. Lucret. vi. 1250.
Varro, R.R. ii. 5. 18. Virg. G. iii.
344.
ARMILLA ($4\\iov or tyeKiov*).
An armlet for men, consisting of
three or four massive coils of gold
or bronze, so as to cover a con-
siderable portion of the arm (Fes-
tus, s. v. Isidor. Orig. xix. 31.
16.), generally worn by the Medes
and Persians, and also by the Gauls
(Claud. Quadrigar. ap. Gell. ix.
13. 2.) as an ordinary part of their
dress, and indi-
cation of rank
and power. The
armlet belonged
likewise to the
national costume
of the early Sa-
bines(Liv.i. 11.);
and was frequently given as a reward
of valour to the Roman soldier who had
distinguished himself, to be preserved
as a record, or worn as a decoration
upon solemn occasions. (Liv. x. 44.)
The example here given is from a
bronze original which was discovered
in a tomb at Ripatransona upon the
arm of a skeleton.
2. (ajU<i'8ea, xA.tScfo', irepiKapiriov,
irepiatyvpiov'). In a more general
sense, any circle of gold, or orna-
mental ring, which females, and,
more especially, the women of Greece,
wore upon various parts of their per-
sons, round the wrists, on the fleshy
part of the arm, or above the ankle,
all of which fashions are exemplified
in the annexed figure of Ariadne,
from a Pompeian painting. The
Greek language had an appropriate
term for each of these ornaments ;
but the Latin, which is not equally
copious, includes all under the same
name. (Plaut. Men. iii. 3. 3. Pet
Sat. Ixvii. 6.) Where they are
ascribed to men, as in Pet. Sat.
xxxii. 4. and Mart. Ep. xi. 21. 7., it
is to ridicule in the first instance the
vulgar ostentation of a parvenu, and
in the latter to characterise a womanly
effeminacy of manner.
58
ARMILLATUS.
ARTOPTIC1US.
3. An iron ring fastened upon the
head of a beam, to prevent it from
splitting. Vitruv. x. 2. 11.
ARMILLA'TUS. Wearing an
armlet (armilla), an ornament espe-
cially characteristic of the Asiatic and
some other foreign races; hence a
notion of disparagement is commonly
conveyed by the word, even when
used with reference to those nations
(Suet, Nero. 30.), and of severe cen-
sure when applied to the Romans, as
indicating an unmanly imitation of
foreign customs. Suet. Cat. 52.
Compare ARMILLA.
2. Arm Hiatus canis. A dog with
an armilla or collar round his neck,
as in the example, from a mosaic at
Pompeii. Propert. iv. 8. 24.
ARMILLUM. A vessel for wine,
which Varro (ap. Non. s. v. p. 547.)
describes as a kind of urceolus, and
Festus (s. y.) enumerates amongst
the sacrificial vessels. It must, how-
ever, have been in very common use,
as may be inferred from the proverb
anus ad armillum (Lucil. Sat. p. 60.
10. ed. Gerlach. Apul. Met. ix. p. 197.),
which is said of persons when they
recur to their accustomed tricks or
habits, as " old women to their wine
cups."
ARQUITES. An old form from
arquus, instead of arcus , bowmen, for
whom the more usual name is SAGIT-
TARII. Festus, s. v.
AR'TEMON (fyrfaw, N. T.\
One of the sails on a ship, but which
one, or where placed, is extremely
doubtful. Isidorus (Orig. xix. 3. 3.)
says, that it was used more for the
purpose of assisting the steerage of
a vessel than for accelerating her
speed dirigendce potius navis causa,
quam celeritatis which would seem to
indicate a sail attached to a low mast,
slanting over the stern, like that
which is frequently used in our
fishing boats, and in the small crafts
of the Mediterranean, which the
sailors there call the trinchetto. This
is probably the true interpretation,
for it distinguishes the sail by a par-
ticular use and locality, entirely
distinct from the various other sails
of which the position and nature
are sufficiently ascertained. Bay-
fius, however (R. Nav. p. 121.) con-
siders it to be the mainsail, which
the Italians of his day called arte-
mone; and Scheffer (Mil. Nav. v. 2.)
a topsail hoisted above the main-
sail.
2. The principal pulley in a system
comprising several others (poly-
spaston), which was attached to a
contrivance for raising heavy weights.
Vitruv. x. 2. 9.
ARTOLAG'ANUS (dpTo\dyavov\
A very delicate and savoury kind of
bread cake, flavoured with wine,
milk, oil, and pepper. Athen. iii.
79. Cic. Fam. ix. 20. Plin. H. N.
xviii. 27.
ARTOP'TA (dprmmi). A mould
in which pastry and bread were
sometimes baked.
Plaut. AuL ii. 9.
4. Compare Juv.
Sat. v. 72., but
most of the com-
mentators refer this passage to the
person who made this kind of bread.
The example represents two originals
from Pompeii of the simplest kind,
but others of more elaborate patterns
have been found in the same city.
ARTOPTIC'IUS, sc. panis. A
roll, cake, or small loaf of bread
baked in a mould. ( Plin.
H. N. xviii. 27.) The_
example is from an ori-
ginal, which was discovered with
several others in a baker's shop at
Pompeii, hardened but uninjured by
the lapse of so many centuries.
ARULA.
ARUNDO.
59
A'RULA. Diminutive of ARA.
ARUN'DO. A reed or cane; a
plant very generally used by the
ancients in the manufacture of many
articles for which the long, light,
elastic, and tapering form of its stalk
was peculiarly suitable ; whence the
word is used both by prose writers
and poets to designate the object
formed out of it. (Plin. H.N. xvi.
66.) Of these the most important are
as follows :
1. A bow, made of cane, particu-
larly employed by the Parthians and
Oriental races. Sil. Ital. x. 12.
2. An arrow made of cane, em-
ployed by the Egyptians and Oriental
races, as well as the Greeks. (Virg.
2En. iv. 73. Ovid. Met. i. 471.) The
example represents an original
Egyptian arrow of this description.
3. A fishing rod made of cane,
which is shown in the annexed en-
graving from a painting at Pompeii.
Plaut. Hud. ii. 1. 5. Ov. Met. xiii.
923.
4. A cane rod tipped with bird-
lime, employed by the ancient fowlers
for catching birds. The example
here given is from a terra-cotta lamp,
on which a fowler is represented
going out for his sport, with this rod
over his shoulder ; the call bird sits
on one end of it, and a cage or a trap
is suspended from the other. It was
applied in the following manner.
The sportsman first hung the cage
with his call bird on the bough of a
tree, under which, or at some conve-
nient distance from it, he contrived
to conceal himself,
and when a bird,
attracted by the
singing of its com-
panion, perched on
the branches, he
quietly inserted
his rod amongst
the boughs, until
it reached his prey, which stuck to
the lime, and was thus drawn to the
ground. When the tree was very
high, or the fowler under the neces-
sity of taking up his position at a
distance from it, the rod was made
in separate joints, like our fishing
rods, so that he could gradually
lengthen it out until it reached the
object of his pursuit, whence it is
termed arundo crescens or texta.
(Mart. Ep. ix. 55. Id. xiv. 218. Sil.
Ital. vii. 674677. Pet. Sat. 109. 7.
Bion, Id.\\. 5.) The last illustration
is from an engraved gem, and shows
the process clearly.
5. A reed -pen, for writing upon
paper or papyrus, one of which, by
the side of an inkstand, is here repre-
sented from a Pompeian painting.
I 2
60
AKX.
AS.
Pers. Sat. iii. 11. Auson. Epist. vii.
50. .
6. A pandean pipe, which -was
made of several stalks of
the reed or cane, of un-
equal length and bore,
fastened together and ce-
mented with wax; hence
termed arundo cerata
(Ovid. Met. xi. 154. Suet.
Jul 32.), as shown by the example
from a Pompeian marble.
7. A rod employed in weaving,
for the purpose of separating the
threads of the warp
{stamen) before the
" leashes " (licia) were
attached, and passed
alternately in and out,
before and behind
each alternate thread,
in order to separate
the whole into two
distinct parcels, which,
when decussated,
formed a " shed " for the passage of
the shuttle, as represented in the
centre of the loom here engraved,
which is copied from the Vatican
Virgil. Ovid. Met vi. 55., and
consult TELA, TEXO.
8. A long cane with a sponge, or
other appropriate material, affixed to
the end of it, which thus served as a
broom for sweeping and cleansing
the ceilings of a room. Plaut. Stick.
ii. 3. 23. Compare Mart. Ep. xii.
48. and the broom in the hands of
the JEDITUUS, s. v.
9. A cane rod for measuring.
Prudent. Psych. 826.
10. A stick or cudgel made of
cane. Pet. Sat. 134. 4. ; but this is
probably the same as No. 8.
11. An espalier of canes for train-
ing vines. Varro, E. R. i. 8. 2.
ARX (o/cpdTroAzs). The fortress
or citadel of an ancient town. These
were always formed upon the top of
a steep hill, or an abrupt and pre-
cipitous rock, rising out of the
general level of the plain upon which
the habitable parts of the city were
built. They required, therefore, but
little artificial fortification, in addition
to the natural difficulties of the site,
beyond that of a wall at the top, and of
a gate and tower to command the prin-
cipal access. Many of these citadels
are still to be traced in various parts
of Greece and Italy, all of which are
constructed in the manner described.
They are not fortified upon any regu-
lar plan, nor have they any precise
shape, but merely follow the outline
of the summit on which they stand.
The illustration here inserted is from
a sketch of the Acropolis at Athens,
as it now remains, with some columns
of the temple of Jupiter Olympius in
the plain below, which will serve to
convey a general notion of the com-
mon appearance of these fortresses.
Like the Arx of Rome, it contains
the principal temples of the deities
who presided over the city, which
were placed within the enclosure for
the sake of protection.
2. Of the ARX at Rome no positive
traces now remain, the site upon
which it formerly stood being en-
tirely covered with modern buildings.
It occupied, however, the most
northern and lofty of the two
summits into which the crown of the
Capitoline hill was divided, facing
toward the Via Flaminia and Mons
Esquilinus, and upon the area of
which the church of Ara-celi (sup--
posed to be a corruption of Arce)
now stands. Niebuhr, Hist. Rom.
i. p. 502. transl.
AS (from els, pronounced &s by
the Tarentines). A piece of money,
which represented the unit of value
in the Roman and early Italian coin-
ASCAULES.
ASC1A.
61
age. Originally it weighed one pound,
hence called as libralis; and was
composed of a mixture of copper
and tin (s), hence also called ces
grave ; but the value was much re-
duced in after times. In the age
of Cicero, it was worth about three
farthings of our money. In its
earliest state it bore the impress of a
bull, ram, boar, or sow, emblematic
of the flocks and herds (pecus, whence
the word pecunia), which constitute
the wealth of all primitive ages ;
afterwards the more usual device was
a double-headed Janus on one side
with the prow of a vessel (see SE-
MISSIS), or of Mercury, the god of
traffic, on the other, as shown by the
example introduced above, drawn
one-third the size of the original,
which weighs in its present state
10 oz. 10 gr.
ASC AU'LES (AneofaTjs). A word
coined from the Greek, signifying
Y&&
a bag-piper. (Mart.
Epigramm. x. 3. 8.)
These men are
scarcely to be rec-
koned amongst the
class of professed
musicians ; for the
instrument that they
played was peculiar
to the peasantry and
common people, as is
clearly to be in-
ferred from the pas-
sage of Martial (I. c.),
and from the style
and dress of the
figure here introduced, which is
copied from a small bronze figure
formerly in the possession of Dr.
Middleton, evidently intended to re-
present a person of the lower
classes. The ancient marbles and
gems afford other specimens of the
same subject.
AS' CIA. The name given to
several different implements em-
ployed in separate trades, and for
distinct purposes, all of which were
classed under the same term, because
they possessed a general resemblance
in form, or the manner in which
they were handled. They are as
follows :
1. cr/feTrapj/oi'. An instrument
said to have been invented by Dse-
dalus (Plin. H. N. vii. 57.), of com-
mon use amongst all workers in
wood, such as carpenters, wheel-
wrights, shipwrights, &c. (XII. Tab.
ap. Cic. Leg. ii. 23. Pet. Sat.74. 16.),
and corresponding in some respects
with the adze or addice of our day ;
but with these important distinctions
that it was used for chopping sur-
faces placed in an upright, instead of
horizontal, position (see the illus-
tration s. Ascio) ; had a shorter
handle, so as to be used with one
hand ; and was formed with a bluff
head, like a hammer, at one extre-
mity of the blade, whilst the opposite
end, which formed the cutting edge,
was slightly hollow, and curved over
for the convenience of chopping into
the hollow side of a piece of wood,
or for scooping out flat surfaces, all
which characteristics are distinctly
shown by the example, which repre-
sents two specimens, slightly dif-
fering from one another, both copied
from sepulchral marbles.
2. (ru/cosandruxos)- An instrument
of nearly similar
form, employed
by masons and
builders, to which allusion is often made
62
ASCIO.
ASPERSIO.
in sepulchral inscriptions. It had a
hammer at one end, and a blade, like
a bird's bill, at the other (Aristoph.
Av. 1138. Schol. ad Z.), as seen in
the illustration, which is copied from
an original found, with several other
building implements, at Pompeii.
3. An instrument used by brick-
layers for chopping lime and mixing
mortar (Vitruv. vii. 7. Pallad. i. 14.),
as in the example from Trajan's
Column, which represents part of a
figure employed in the process de-
scribed.
4. A short-handled hoe, used by
gardeners, agricultural labourers, &c.
for breaking up r^
the ground, ex- rTf^n ! ,
cavating earth, Jnt^ ~S*1!5
and similar pur- I / " \
poses. (Pallad. v X j
i. 43.) The il-
lustration is from the Column of
Trajan, and resembles both in use
and form the zappa, or short hoe of
the modern Italian peasant.
AS'CIO (ffKeirapvifa). When ap-
plied to wood-workers, to chop,
form, or fashion with a carpenter's
adze (ascia), an operation which the
ancients performed with one hand,
and upon surfaces placed in an
upright position, as shown by the
cut, which represents one of the
workmen of Daedalus employed in
this manner, from a bas-relief of the
Villa Albani.
2. When applied to builders, to
stir up and mix mortar with a plas-
terer's hoe, as in the illustration to
ASCIA, No. 3.
ASCOPE'RA (oo-KOTrV)- A
large bag, or knapsack, made of un-
dressed leather, in which foot-tra-
vellers carried their necessaries, as
contradistinguished from hippopera,
the horseman's saddlebags. (Suet.
Nero, 45.) The illustration is se-
lected from an ancient fresco paint-
ing, representing a landscape scene.
ASINA'RIUS. A farm servant
who had the charge of feeding,
driving, and tending the asses be-
longing to the farm. Varro, R. R.
i. 18. 1.
ASPERGIL'LUM (irept^ar-Hj-
ptov}. See the next word.
ASPER'SIO. The act of sprink-
ling with water, as a purification,
before making sacrifice to the gods
below (Cic. Leg, ii. 10. Compare
Ov. Fast, v.679. Virg. JEn. iv. 635.);
whereas the whole body, or the hands
and face, were immersed previous to
a sacrifice offered to the gods above.
(Broiier, de Adorat. cap. 12.) This
ceremony was performed either with
ASSER.
ASSERCULUM.
63
a branch of laurel ; as in the example
from a medal, which represents La-
under a thong (lorum, struppus) at-
tached to these shafts, like the back-
cilia, the daughter of M. Aurelius,
breaking off a branch to sprinkle the
young children, whilst a priestess
is drawing water from the river ; or
with a whisk made expressly for the
purpose, as in the annexed engraving,
i-
also from a medal, and which the
Greeks termed TTep^pavT^ptov or
pdvTLffrpov. The corresponding Latin
term is unknown ; for the word
aspergillum, employed by modern
philologists, is not supported by any
ancient authority.
ASSER. In general, a small
wooden beam, pole or post fixed in
or upon anything (Liv. Cses. Tac. ) ;
whence the following more special
meanings are deduced :
1. The pole by which a palanquin
(lecticd) was carried on the shoulders
of its bearers. (Suet. Cal 58. Juv.
iii. 245. Id. vii. 132. Mart. ix. 23. 9.)
It was entirely separate from the con-
veyance, and must not be confounded
with the shafts (amites), which were
permanently affixed to the body of the
carriage, or at least only removeable
upon occasion. The asser was passed
band in single harness, and then
raised upon the shoulders of the
bearers (lecticarii), so that the whole
weight of the carriage was sus-
pended upon it. The subjoined en-
graving, which represents a Chinese
sedan, from Staunton, will make the
matter perfectly clear, in the absence
of any known ancient example. It is
assumed to coincide with the Roman
model, from the light it throws upon
the different terms employed in con-
nection with these conveyances, and
the simple and natural explanation it
affords upon those points which
scholars have failed to reconcile ;
besides that a moment's reflection
will convince any one that a sedan
could not be carried by six or eight
men, as was frequently the case
(hexaphoros, octaphoros), by any de-
vice so convenient as the one de-
picted.
2. An iron-headed beam suspended
and worked like a ram on board
ship, to damage the enemy's rigging.
Veget. Mil. iv. 44.
3. Asser falcatus. A long pole,
with a sharp and crooked iron head,
used in sieges to mow down the gar-
rison on the walls. Liv. xxxviii. 5.
4. Asseres. In architecture, the
common rafters of a timber roof, over
which the tiles are laid ; marked
h h in the plan which illustrates
the word MATERIATIO. Externally
they are represented by the orna-
ments called dentils (DENTICULUS, 2.)
in Ionic and Corinthian elevations.
Vitruv. iv. 2. 1. and 5.
ASSER'CULUM and ASSER'-
64
ASSIS.
ASTRAGALUS.
CULUS. Diminutive of Asser ; any
small pole or stake, and so used for
a broom-handle. Cato, R. R. 152.
Wood-CUt S. JEDITUUS.
ASSIS (ffavis). A flat board or
plank. Csss. Plin. Columell. Vitruv.
2. A valve in a water-pipe, or
water-cock, by the turning of which
the liquid is drawn
off from, or re-
tained in, the pipe.
(Vitruv. x. 7. 1.)
The example re-
presents an original
bronze cock, discovered in the island
of Capri ; the contrivance for turning
the valve is distinctly apparent at the
top.
ASSUS. Literally roasted ; hence,
in the neuter gender, assum ; a cham-
ber in a set of baths heated with
warm air, with the object of pro-
moting violent perspiration. Cic. Q.
Fr. iii. 1.1. See SUDATIO, SUDA-
TORIUM.
2. Assa tibia. A solo on the pipe,
without any vocal accompaniment.
Serv. ad Virg. G. ii. 417.
3. Assa nutrix. A dry nurse.
Schol. Vet. ad Juv. Sat. xiv. 208.
4. Assi lapides. Stones laid with-
out mortar (Serv. ad Virg. G. ii.
417.), in which way the finest of the
Greek and Roman buildings were
constructed.
ASTR AG ALIZONTES (affrpaya-
Aioi/Tes). A Greek name used to
designate persons engaged
in playing with the knuckle-
bones of animals (arrrpa-
70X01, Latin Tali), one of
which is here shown from an original
of bronze, a very favourite subject
with the sculptors and painters of
Greece. (Plin. H. N. xxxiv. 19.
2. Pausan. x. 30. 1.) Both sexes
amused themselves in this way, and
employed the knuckle-bones for
many different games -, but the sim-
plest and commonest, which appears
to be represented in the annexed
engraving, from a Greek painting
discovered at Resina, resembled what
our school-boys call "dibs," and
consisted merely in throwing the
bones up into the air, and catching
them again on the back of the hand
as they fall down. In many others,
which were purely gambling games,
the bones were marked with numbers,
and used as dice. Jul. Poll. ix.
100104. Bust. Od. i. p. 1397. 34. sq.
and TALUS.
ASTRA G'ALUS (ton-photos).
The Greek name for one of the ver-
tebral bones, the ball of the ankle-joint
and the knuckle-bone of animals,
which was used instead of dice for
games of chance and skill, but is not
employed in any of these senses by
the Latin writers.
2. By the Roman architects, an
astragal , a small moulding of semi-
circular profile, so termed by the
ancients from a certain resemblance
j which it bears, in its alternation of
j round and angular forms, to a row of
knuckle-bones (ao-TpdyaXos, and last
i cut but one), placed side by side ;
and called a bead or baguette by the
moderns, because it closely resembles
a string of beads or berries. It is
more especially characteristic of the
Ionic order, in which it is employed
to form the lowermost member of the
capital immediately under the echi-
nus, to divide the faces of an archi-
trave, or in the base, where it is a
ASTURCO.
ATRIUM.
65
plain moulding, similar to the torus,
but of smaller dimensions. (Vitruv. iv.
1. 11. Id. iii. 4. 7. Id. iii. 5. 3.)
The first of the two specimens here
given is from a capital of the temple
of Apollo, near Miletus ; the lower
one from the temple of Minerva at
Priene.
ASTUR'CO. A small horse of
the Spanish Asturian breed ; highly
valued by the Romans on account of
its showy action and easy paces.
Plin. H.N. viii. 67. Mart. xiv. 199.
ATHLE'TvE (dex-nrai). A gene-
ral name for the combatants who con-
tended for a prize (50Aoi/), in the
public games of Greece and Italy ; of
whom there were five kinds, each dis-
tinguished by an appropriate name,
viz. CURSOR, LUCTATOR, PUGIL,
QUINQUERTIO, PANCRATIASTES.
ATLANTES C ArAai/Te O- Pro-
perly a Greek term (to which the
Latin TELAMONES corresponds), used
to designate human figures, when em-
ployed as architectural supports to an
entablature or cornice, instead of
columns, and so termed in allusion to
the story of Atlas, who bore the
heavens on his shoulders. (Vitruv.
vi. 10.) One of these figures is
given under ARCULUS, from a spe-
cimen at Pompeii.
ATRAMENTA'RIUM (^Aar-
SoXl)- A vessel for holding atra-
mentum, a black liquid employed for
various purposes, as varnish, by
painters (Plin. H. N. xxxv. 36.
n. 18.) ; by shoemakers for dyeing
their leather (Plin. H. N. xxxiv.
32.) ; and also for writing ink (Cic.
Q. Fr. ii. 15.), in reference to which
last use the term answers to our
ink-stand (Gloss. Philox. Vulgat.
Ezech. ix. 2.), one of which is shown
in ARUNDO 5.
ATRIEN'SIS. A domestic slave,
or one who belonged to ihefamilia ur-
bana in all the great Roman houses, to
whose especial charge the care of the
Atrium was committed. He occupied
a position not unlike that of maitre
d*hotfl in the present day ; for he exer-
cised a control over all the other slaves
of the household, took charge of the
busts, statues, and valuables exposed in
the atrium, set out and arranged the
furniture, and saw that it was kept
clean, and nothing damaged. Plaut.
Asin. passim, and especially Act. ii.
Sc. 2. and 4. Cic. Farad, v. 2.
ATRI'OLUM. Diminutive of
Atrium, and thus, in a general sense,
any small atrium ; but the word has
also a more special application, and
designates a distinct member in the
large Roman palaces, which might be
styled the second or back atrium ; for
it was disposed with sleeping rooms
and other members all round it,
similar to those of the principal one,
from which it chiefly differed in size,
and perhaps in splendour. Cic. Q.
Fr. iii. 1. 1. Id. Ait. i. 10.
A'TRIUM. A large apartment,
constituting the first of the two prin-
cipal parts into which the ground-
plan of a Roman house was divided.
It was approached directly from the
entrance hall or passage (prothyrum),
and in early times served the family
as the common place of reunion, or
public room of the house, in which
the women worked at their looms,
the family statues and ancestral
images were displayed, the household
gods and their altar, as well as the
kitchen hearth (focus), were situated.
Its relative position with regard to the
rest of the mansion is shown in the
two first ground-plans which illus-
trate the word DOMUS, on which it is
marked B.
As regards the internal structure,
it consisted of a rectangular apart-
ment, the sides of which were covered
over with a roof, having in most cases
an aperture in the centre (complu-
vium), and a corresponding basin in
the floor (impluvium), to receive the
rain water which flowed in through the
opening (see the next wood-cut). The
roof itself was frequently supported
upon columns, which thus formed a
colonnade or open cloister round its
sides (see wood-cut No. 3.). But as
66
ATRIUM.
the roof was constructed and sup-
ported in several different ways,
each of which gave a different cha-
racter to the interior, these varieties
were classed under the following
separate names, to distinguish the
different styles adopted in their con-
struction :
1. Atrium Tuscanicum. The Tus-
can atrium ; the simplest and pro-
bably most ancient of all, which
was adopted at Rome from the
Etruscans, and could only be em-
ployed for an apartment of small
dimensions. Its peculiarity consisted
in not having any columns to support
the roof, which ran round its sides,
and was carried upon two beams
placed lengthwise from wall to wall,
into which two shorter ones were
mortized at equal distances from the
wall, so as to form a square opening
trastyle atrium, so termed because
its roof was supported upon four
columns, one at each angle of the
impluvium. The illustration affords
a specimen of this style from a house
at Pompeii, excavated by General
Championet; from the preceding
example, it is easy to imagine a
restoration of the roof, which, when
it rests upon the four columns, will
form a covered gallery round the
sides of the room, with an opening in
the centre between them, similar to
the one there shown, but with the
decoration of a column at each of its
corners.
3. Atrium Corinthium. The Co-
rinthian atrium, which was of the
same description as the last, but of
greater size and magnificence, inas-
much as the columns which supported
in the centre between them (Vitruv.
i. 6. 2.), as seen in the engraving
above, which presents a restoration
of the Etruscan atrium to the house
of Sallust at Pompeii.
2. Atrium Tetrastylum. The te-
its roof were more numerous, and
placed at a distance back from the
impluvium. The central part was
also open to the sky, as in the ex-
ample, from a Corinthian atrium at
Pompeii, restored after the pattern of
a house which was discovered with
its upper story entire at Herculaneum,
and an elevation of which is intro-
duced in the article DOMUS. In this
style of construction, one end of
every beam which bore the roof, and
formed a ceiling to the colonnade
round the room, rested upon the head
of each column, the other one upon
the side wall, instead of being placed
parallel to it, as in the Tuscan and
tetrastyle ; they are thus arranged at
ATTEGIA.
AUGUR.
67
right angles to the walls, or in other !
words, recede from them, which is j
what is meant hy the expression of
Vitruvius, a parietibus recedunt.
4. Atrium displuviatum. An
atrium, the roof of which was formed
in a shelving di-
rection, with the
slant turned out-
wards from the
compluvium, in-
stead of towards
it, and which,
therefore, shot off
the water from
the house into gutters on the outside,
instead of conducting it into the im-
pluvium, as in the three preceding
instances. Such a plan of construc-
tion is clearly shown in the diagram
annexed, from the marble plan of
Rome, where the opening in the cen-
tre and the outward shelve of the roof
is very cleverly expressed.
5. Atrium testudinatum. The tes-
tudinated or covered atrium, which
had no compluvium, the
whole apartment being
entirely covered over
by a roof of the kind
termed testudo (Vitruv.
v. 1.), which is also
cleverly expressed by
the artist who executed
the marble plan of
Rome, from which the illustration is
selected. It is probable that an
atrium of this description consisted of
two stories, and that it received its
light from windows in the upper one.
Compare also CAVAEDIUM.
ATTEG'IA. A Moorish hut or
wigwam made of reeds and thatch.
Juv. Sat. xiv. 196.
AUCEPS O'leuTTjs, opvieevr-fjs'). In
a general sense, a fowler or any
person who amuses himself with the
sport of snaring, netting, and killing
birds ; but in a more special sense,
a slave belonging to the familia
rustica, something like our " game-
keeper," whose employment consisted
in taking and selling game for the profit
of his owner ; the principal sources of
income on some estates
being derived from the
produce of the woods
and fisheries. (Ov. A.
Am. iii. 669. Plaut.
Trin. ii. 4. 7. Pignorius
de Serv. p. 560.) The
illustration, from a small
marble statue at Naples,
represents one of these
fowlers returning with
his game. He wears
a sportsman's hat and ^^ --
boots, a tunic and cloak of skin with
the fur on, carries a hunting knife in
his right hand, two doves slung to the
girdle round his waist, a hare on his
left arm, and the end of the noose in
which it was caught appears between
the fingers. The instruments em-
ployed by the ancient fowlers in the
pursuit of their sport were gins and
snares (laquei, pedicts), a rod tipped
with bird lime (arundo, calamus), traps
(transennae), clap-nets (amites), a call-
bird (avis illex), and cage for the same
(caved) ; the manner of using all
which is described, and illustrated
under each head.
AUDITORIUM, Any place in
which orators, poets, and authors
generally, assembled an audience to
hear their compositions recited.
Quint, ii. 11. 3. Id. x. i. 36.
2. A lecture-room, in which philo-
sophers and professors delivered their
lectures. Suet. Tib. 11.
3. A court of justice where trials
were heard. Paul. Dig. 49. 9. 1.
Ulp. Dig. 4. 4. 18.
4. Auditorium Principis. The
court or chamber in which the em-
peror sat to hear and decide causes.
Paul. Dig. 42. 1. 54.
AUGUR (ojWoo-Koiros). An
augur, a Roman priest, who inter-
preted the will of the gods, or re-
vealed future events from observa-
tions taken on the flight and singing
of birds. (Liv. i. 36. Cic. Div. i.
17.) They were formed into a
college or corporation ; and are
K 2
68
AUGURALE.
AUL^EA.
principally distinguished from other
classes of the priesthood,
on coins and medals, by
a crooked wand (lituus),
like a crozier, which
they carried in the right
hand, and sometimes with
the sacred bird, and the
waterjug (capis) by their
side or on the reverse.
The example is from a
medal of Marcus Anto-
ninus.
AUGURA'LE. A space on the
right side of the general's tent (prce-
torium) in a Roman camp, where the
auspices were taken. Tac. Ann. xv.
30. Compare Quint, viii. 2. 8.
AUGUSTA'LES. An order of
priests instituted by Augustus, and
selected from the class of freed-men,
whose duty it was to superintend the
religious ceremonies connected with
the worship of the Lares Compi-
tales, deities who presided over the
cross roads, to whom it was customary
to erect a shrine at the spot where
these roads met. Pet. Sat. 30. 2.
Orelli, Inscr. 3959. Schol. Vet. ad
Hor. Sat. ii. 3. 281.
2. Sodales Augustales, or simply
Augustales. An order of priests in-
stituted by Tiberius, to superintend
the divine honours paid to Augustus
and the Julian family. The body
consisted of twenty-one persons se-
lected from the principal Roman
families. Tac. Ann. i. 15. and 54.
Reines. Inscr. i. 12.
AULA CauA^). Properly a Greek
word, which in early times designated
an open court or court-yard in front
of a house, around which the stables,
stalls for cattle, and farming out-
houses were situated ; hence the
Roman poets adopted the word to
express a dog-kennel (Grat. Cyneg.
167.), a sheep pen (Prop. iii. 2. 39),
or a den for wild animals. Pet. Sat.
119. 17.
2. Subsequently to the age of
Homer, the Greek aula was an open
peristyle in the interior of a house,
of which there were two in every
mansion (Vitruv. vi. 7. 5.) ; one
round which the men's apartments
were disposed, and the other for the
exclusive use of the females. In
other respects, they corresponded in
general arrangement and distribution
to the atrium and peristylium of a
Roman house: see the plan of the
Greek house s.v. DOMUS, on which the
two aulce are marked respectively c
and E. In allusion to this sense of
the word, Virgil uses it for the cell of
the queen bee. JEn. iii. 353.
3. Aula regia. The central por-
tion of the scene in the Greek and
Roman theatres, especially for tragic
performances, representing a noble
mansion (Vitruv. v. 6. 8.), near or in
which the action was supposed to
take place. The illustration repre-
sents a view of the great theatre at
Pompeii, with the scene at the
further end, from which the general
character of this part of the building
may be readily imagined, though the
whole of its upper portion has de-
cayed.
4. An old form of spelling (Cato,
R. R. 85.) for OLLA, which see.
AUL^'A or AUL^'UM
(auAoto). A piece of tapestry or arras
hangings used to decorate the walls of
a dining room (Hor. Sat. ii. 8. 54.), or
as a screen against the sun between
the pillars of a colonnade (Prop. ii.
32. 12.), or to close in the open
galleries round an atrium or peristy-
lium of private houses, as shown in the
elevation of the Herculanean house
(s. v. DOMUS), in which the rods and
rings for suspending them were found
AUL^SA.
AUREUS.
in their places, when the excavation
was made. In the illustration, from
a bas-relief in the British Museum,
the aulceum forms the background to
a tricliniary chamber ; and similar
ones are of very common occurrence
both in sculpture and paintings,
where they are introduced by the
artist as a conventional sign to indicate
that the scene in which they appear
is not laid in the open air, but takes
place in an interior.
2. A large coverlet of tapestry or
embroidered work, which it was cus-
tomary to spread over the mattress of
a sofa or dining couch (Virg. JEn. i.
697.), and which hung down to the
ground all round it ; whence also
termed Peristroma. It is seen in the
preceding wood-cut, but more dis-
tinctly in the annexed one from the
Vatican Virgil.
3. A piece of tapestry, or curtain
ornamented with figures embroi-
dered on it (Virg. G. iii. 25.), em-
ployed in the Greek and Roman
theatres, for the same purpose as our
drop-scene, to conceal the stage before
the commencement of the play, and
between the acts. This curtain, how-
ever, was not suspended like ours,
and let down from above ; but, on the
contrary, was rolled round a cy-
linder let into a recess in the brick-
work fronting the stage, as is clearly
seen on the left hand of the annexed en-
graving, which represents a perspec-
tive view of the small theatre at Pom-
peii looking across the stage, and the
orchestra which lies on the right hand.
When the play commenced, the curtain
was let down, and consequently after
an act it was drawn up (Ovid. Met. iii.
Ill 114.); whence the expression
aulcea premuntur (Hor. Epist. ii. 1.
189. Compare Apul. Met. x. p. 232.),
" the drop scene is let down," implies
that the play is about to commence ;
and avlcea tolluntur (Ov. Met. I. c.),
" the scene is raised up," that the act
or play was ended.
AUL(E'DUS(adAp8<k). One who
sings to the accompaniment of a flute
or pipe. Cic. Mur. 13.
AURES. The earth or mould
boards of a plough, placed on each
side of the share-beam, and inclining
outwards, in order to throw off the
earth turned up by the share into a
ridge on each side of the furrow.
(Virg. G. i. 172.) They are shown
in the engraving s. v. ARATRUM 2. by
the letters EE.
AU'REUS. Called also nummus
aureus, or denarius aureus ; a
guilder, or golden denarius, the stand-
ard gold coin of the Romans, which
passed for twenty -five denarii, or
1 7s. 8^d. ; but the intrinsic value, as
compared with our gold coinage at
70
AURIGA.
the present day, would nearly equal
I/. Is. Ifd. (Plin. H.N. xxxiii. 13.
Suet. Cal. 42. Id. Dom. 8. Hussey
on ancient Weights and Money.). The
illustration is from an original in its
actual state.
AURFGA (fyioxos). In general
any person who acted as a coachman
or charioteer, as shown by the ex-
ample from a terra-cotta bas-relief.
the ordinary style, shown in the first
cut, as will be perceived by the
annexed example, which is copied
Virg. Mn. xii. 624. Ovid. Met. ii. 327.
2. But, more especially, the driver
of a racing car in the Circus at the
Circensian games.
(Suet. Cal 54.)
The example here
given is from a
statue in the Vati-
can, which, if com-
pared with the next
illustration, will af-
ford a perfect notion
of the costume worn
by these drivers.
The palm branch
in the right hand is
the emblem of vic-
tory ; the purse
in the left contains the sum of money
which formed the prize. The man-
ner in which these men drove was
peculiar, and differed materially from
from a consular diptych ; and as the
original is the work of a late period,
when the arts were at a low ebb, it is
to be regarded as a more faithful
representation of the actual truth un-
adorned by any attempts at artistic
effect or ideal portraiture. The
driver here passes the reins round
his back, or actually stands within
them ; the object of which was to
give him more command over his
horses, by leaning his whole weight
back against the reins, and to prevent
the chance of their falling from his
hands in case of any sudden shock or
collision. But as this practice ex-
posed him to the danger of being
dragged in his reins in case of an
upset, he carried a crooked knife
fixed to the thongs which braced his
body, as seen in front of the left side
in the preceding figure, in order to
cut them on the emergency. The
last example also shows the skull cap
which he wore on his head, as well as
the bandages round the legs, and on
the back of the hands ; the horses' legs
are also bandaged, their tails are tied
up, their manes are hogged, and a
mask is placed over the front of their
faces.
3. By poets the word is also ap-
plied less specially, for a groom who
brought out a carriage or war car,
and stood at the horses' heads till the
driver mounted (Virg. ^En. xii. 85.) ;
for a helmsman (Ovid. Trist. i. 4.
16.) ; and generally for a horseman
or rider. (Auct. Paneg. ad Pison.
49.)
AUR1GARIUS.
AXICIA.
71
AURIGA'RIUS. Same as
AURIGA. Suet, Nero. 5.
AURIG A'TOR. Same as AURIGA.
Inscript. ap. Grut. 340. 3.
AURI'GO and AURI'GOR. To
drive a chariot in the races of the
Circus, as described under AURIGA.
Suet. Nero. 24. Plin. H. N. xxxiii.
27,
AURISCALP'IUM (t>roy\v<t>i s ).
An ear-pick (Mart. Ep. xiv. 23.) ;
also a surgeon's probe for the ear.
(Scribon. Compos. 230.) The ex-
ample represents an original found at
Pompeii.
AUS'PEX. One who takes the
auspices, or in other words, who
observes the flight, singing, or feeding
of birds, in order to discover there-
from the secrets of futurity. Cic.
Att. ii. 7. Hor. Od. iii. 27. 8.
AUTHEP'SA (aMetoO- A word
coined from the Greek, meaning in its
literal sense a self -boiler (Cic. Rose.
Am. 46. Lamprid. Elag. 19.), from
which it is reasonably inferred to
have been an apparatus which con-
tained its own fire and heaters for
water, so as to be adapted for cook-
ing in any part of a house ; and con-
sequently of the same description as
the specimen here introduced, from a
bronze original found at Pompeii. The
sides, which are of considerable thick-
ness, and hollow, contained water ;
and a small cock projects from one of
them (the left hand in the engraving)
to draw it off ; the four towers at the
angles are provided with moveable
lids ; the centre received the lighted
charcoal; and if a trivet or other
vessel was placed over it, such an
apparatus would admit of many pro-
cesses in cooking, with great economy
of trouble and expense. Many other
contrivances of the same sort have
been discovered at Pompeii, similar
in regard to the principle upon which
they are constructed, and only dif-
fering in the pattern or design.
AUTOPY'ROS^-nJTTvpos). Brown-
bread, made of coarse flour with the
bran in it. Plin. H.N. xxii. 68.
Petr. Sat. 66. 2. Celsus, ii. 18.
AVE'NA. A Pandean pipe made
with the stalk of the wild oat, such
as was used by the peasantry. Virg.
Tibull. Ov. Met. viii. 192. ARUNDO.
No. 6.
AVER'TA. A saddle-bag, which
was probably placed on the rump of
an animal, as now commonly prac-
tised in Italy. Acron. ad Hor. Sat.
i. 6. 106.
AVERTA'RIUS. A beast of
burden, which carries the averta, or
saddle-bag, upon his rump. Impp.
Valent. et Valens. Cod. Theodos. 8.
5. 22
' A~VIA'RIUM. A poultry yard.
Varro, R. R. iii. 3. 7.
2. An aviary, in which birds of
choice kinds, and rare breeds were
kept. Varro, I. c.
3. A decoy or preserve for aquatic
birds. Columell. viii. 1. 4.
AVIA'RIUS. A slave who had
the charge of breeding, feeding, and
fattening poultry. Columell. viii. 3,
' AVICULA'RIUS. Apic. viii. 7.
Same as preceding.
AXICIA. A word only met with
in a single passage of Plautus (Cure.
iv. 4. 21.), which the dictionaries
and commentators interpret, a pair of
scissors. But the reading or the in-
terpretation seems very doubtful ; for
the instrument used by the ancients
for the same purposes as our scissors,
was termed FORFEX by the Romans ;
and in the passage of Plautus, the
axicia is enumerated as an article of
the toilet, with the comb, tweezers,
looking-glass, curling-irons, and
towel ; but a pair of scissors, though
useful enough on a modern dressing
table, would be far less appropriate to
72
AXIS.
BACILLUM.
the Roman toilet, if regard is had to
the difference of ancient habits.
AXIS ({v). The axle-tree of a
carriage to which the pole is affixed,
and round which the wheels revolve
(Ov. Met. ii. 317.), which is clearly
seen in the illustration from an
ancient bronze car preserved in the
Vatican ; but in waggons of the kind
called plaustra, the axle tree was not
a fixture, but revolved together with
the wheels in nuts or sockets screwed
on to the bottom of the cart ; see
ARTEMON.
2. Axis versatilis. A revolving
cylinder, such as is worked by a
windlass for drawing
up weights, by twist-
ing the cord round
about itself, like the
roller and windlass
by which a bucket is
drawn out of a well,
as illustrated by the
annexed engraving
from a marble sarco-
phagus in the Vatican
cemetery. Vitruv. ix. 8. 8.
3. The upright axis of a door,
which worked in sockets let into the
upper and lower lintel, and so formed
a pivot upon which the door turned
when opened or shut. Stat. Theb. i.349.
See ANTEPAGMENTUM and CARDO.
4. The valve of a water pipe or
cock ; in which sense the proper
reading is Assis.
5. A plank ; also properly written
Assis.
B.
BABYLON'ICUM. A shawl of
Babylonian manufacture, which was
highly prized amongst the Romans
for its fine texture and brilliant
colours. Lucret. iv. 1027. P. Syrus
ap. Petr. Sat 55. 6.
BACCHA (Bcfox*?). A Bac-
chante ; a female who celebrates the
mysteries of Bacchus. (Ovid. Her.
x. 48.) They are frequently repre-
sented in works of art, and described
by the poets (Ov. Met vi. 591.), as
in the illustration, with a wreath of
vine leaves or ivy round the head,
loose flowing hair, a mantle made of
kid-skin, on the left side, and the
thyrsus in the right hand, running like
madwomen through the streets. The
figure here introduced, which is from
a bas-relief of the Villa Borghese, in-
stead of the skin on her person, car-
ries part of a kid in her left hand.
BACILLUM (frucrtipior). A
small staff, stick, or cane ; a walking-
stick, sometimes as with us artificially
BACULUS.
BALINE^E.
73
bent into form. (Cic. Fin. ii. 11.
Juv. Sat iii. 28.) The example is
from a painting at Pompeii, and
represents Ulysses.
2. Varro, R. R. 50. 2. See FALX
DENTICULATA.
BAC'ULUS and BAC'ULUM
(jScS/tT/joi'). A long stick or staff,
such as was com-
monly carried by
travellers, rustics,
shepherds, and goat-
herds (whence
termed agreste. Ov.
Met. xv. 654.); by
infirm or aged per-
sons of both sexes
(Ov. Met. vi. 27.);
and also, out of af-
fectation, by the
Greek philosophers. (Mart. Ep. iv.
53.) The illustration, from a MS.
of Virgil in the Vatican library,
represents one of the shepherds of
the Eclogues leaning on his staff,
precisely as described by Ovid, in-
cumbens or innitens baculo (Met. xiv.
655. Fast. i. 177.) ; an attitude also
of daily occurrence amongst the
peasants of the Roman Campagna.
2. (o-KTjTTTpo*'.) A long staff, which,
in early times, was carried by kings
and persons in authority, both as a
mark of distinction and a defensive
weapon. In works of art it is always
represented of greater length than
the rustic staff, as may be seen by the
annexed figure of Agamemnon, from a
marble vase of Greek sculpture, and
it is sometimes described as being
ornamented with gold and silver.
(Florus, iv. 11. 3. Id. iii. 19. 10.)
It was the original of the regal
sceptre; and in consequence was used
on the tragic stage by actors who
personated kingly characters. (Suet.
Nero, 24.) But the word, when
used in this sense by the Latin
writers, is mostly adopted in order
to characterise, and to ridicule, fo-
reign, and especially Asiatic, manners.
Florus. //. cc.
BAJULATO'RIUS. Which
serves or is adapted for carrying.
Sella bajulatoria. See SELLA.
BAJ'ULUS (ywTo<p6f>os, Qopr-nyts').
A porter, or any person who carries
burdens on his back, as shown in the
illustration from a painting in a
sepulchral chamber at Rome. Plaut.
Pcen. v. 6. 17. Cic. Par. iii. 2.
2. In the Roman household, a
slave who performed the same duties
as the porter of a modern establish-
ment, such as carrying parcels,
letters, &c. Hieron. Ep. 6. ad
Julian, n. 1.
BALIN'E^E or BAL'NE^. A
set of public baths, including conve-
niences for warm and cold bathing,
as well as sudorific or vapour baths,
and provided with a double set of
apartments for the male and the
female sex. Varro, L. L. viii. 48.
Id. ix. 64.
The system upon which the bathing
74
BALINE^E.
establishments of the Romans were
arranged, and the ingenious method
of their construction, will be best
understood by the annexed ground-
plan and description of the double
set of baths at Pompeii. Views and
elevations of the various apartments
in detail are given separately under
each of their respective names. They
had six distinct entrances, 1, 2, 3, 4,
5, 6, from the street ; of which the
three first were for visitors ; 4 and 5
for the slaves and purposes connected
with the business of the establish-
ment ; and the last gave access to the
women's baths, which have no inter-
communication with the larger set.
To commence the circuit by the first
door (1), at the bottom of the plan
on the left hand.
-. Latrina, a privy.
b. An open court, surrounded by a
colonnade on three of its sides, which
formed a sort of Atrium to the rest of
the edifice.
cc. Stone seats along one side of
the court for the slaves who were
awaiting the return of their masters
from the interior, or for the accommo-
dation of the citizens, in like manner
expecting the return of their friends.
d. A recessed chamber, either in-
tended as a waiting- room for visitors ;
or probably appropriated to the use
of the superintendant of the baths.
e. Another latrina, near the second
principal entrance (2), from which a
corridor, turning sharp to the right,
leads into
A. The apodyterium, or undressing-
room, which has a communication
with each of the principal entrances,
and with each of the apartments
destined for the various purposes of
hot and cold bathing.
ff. Seats of masonry on each side
of the room, for the bathers to dress
and undress upon.
B. The friyidarium, or chamber
containing the cold water bath (bap-
tisteriurn).
ff. A room for the use of the
garde-robe, who took charge of the
wearing apparel, kept for its owners
while bathing.
c. The tepidarium, or tepid cham-
ber; the atmosphere of which was kept
at an agreeable warmth by means of a
brazier, found in it. It was intended
to break the sudden change of tempe-
rature from heat to cold, as the bather
returned from the thermal chamber to
the open air. This apartment served
also in the present instance as a
place for being scraped with the
strigil, and anointed after bathing
(see the illustration to ALIPTES) ;
for the convenience of which it was
furnished with two bronze seats
found in the room, and the walls were
likewise divided all round into small
recesses, forming so many closets or
lockers, which might contain the
strigils, oils, unguents, and other
necessaries for the use of those who
did not bring their own with them.
A door from this department con-
ducted the bather into
D. The caldarium, or thermal
chamber ; which contains (A) a hot
water bath (alveus) at one extremity,
and the Laconicum, with its basin or
labrum (), at the other. The flooring
of the room is hollow underneath,
being suspended upon low brick
pillars, and the walls are also fitted
with flues, so that the whole apart-
ment was surrounded by hot air,
supplied from an adjoining furnace.
BALINE^E.
BALINEUM.
75
See the illustration to SUSPENSURA
and HYPOCAUSTUM.
/. The furnace, which, besides the
use above mentioned, also heated the
coppers containing the water for the
baths ; viz.
m. The caldarium, or copper for
hot water ; and
n. The tepidarium, or copper for
tepid water.
o. The cold water cistern.
p. A room for the slaves who had
charge of the furnace and its appen-
dages, furnished with a separate en-
trance from the street (4), and two
staircases, one of which led up to the
roof, and the other down to the fur-
nace.
q. A small passage, connecting
the last-named apartment with
r. The yard, where all the things
necessary for the service of this part
of the establishment, such as wood,
charcoal, &c., were kept. It has
also its own separate entrance from
the street (5), and the remains of two
pillars, which originally supported a
roof or a shed, are still visible.
The remaining portion of the
plan is occupied by another set of
baths, appropriated for females,
which are more confined in point of
space, but arranged upon a similar
principle. They have but one en-
trance (6), which gives access to a
small waiting-room (s), with seats
for the same use and purposes as
those marked cc in the larger set.
E. The apodyterium, with seats on
two of its sides (t *), and which, like
the one first described, communicates
with the frigidarium, or cold water
bath (F), and with the tepidarium, or
tepid chamber (o), through which
the bather passes on, as he did in the
preceding case, to the thermal cham-
ber (H), provided in the same manner
with its Laconicum and labrum (u) at
one end, and its alveus, or hot water
bath (M>), on the side contiguous to
the furnace and boilers, which are
thus conveniently situated, so as to
supply both sets of baths with hot
air and warm water by a single ap-
paratus. In these baths for the
women, the tepidarium has a sus-
pended floor and walls fitted with
flues, which is not the case in the
corresponding apartment of the larger
set.
2. Vitruvius (vi. 5. 1.) used the
same term to designate a private bath
in a man's own house ; but this,
according to Varro (I c.), is not a
strictly accurate usage. See the
following word.
BALIN'EUM or BAL'NEUM.
A private bath, or the suite of
bathing rooms belonging to a private
house (Varro, L. L. ix. 68. Cic.
Fam. xiv. 20.) ; as contradistin-
guished from the plural Balineoe,
applied to the public establishments,
which commonly comprised two sets
of baths, with distinct and separate
accommodation for both sexes, and
consequently more extensive and
numerous dependencies. In other
respects the distribution and arrange-
ments of the several apartments were
upon a similar principle in both
cases, as will be seen by comparing
the members in the annexed wood-
cut, which presents the ground-plan
of the baths belonging to the sub-
urban villa of Arrius Diomedes at
Pompeii, with those of the public
baths described and illustrated in the
preceding article. The baths and
heir appurtenances occupied an
ngle at one extremity of the whole
L 2
76
BA.LINEUM.
BALNEARIS.
pile of building, and were entered
from the atrium through a door at a.
Immediately on the right of the
entrance is a small room (6), perhaps
used as a waiting-room, or intended
for the slaves attached to this de-
partment of the household. Beyond
this is the apodyterium, or undressing-
room (A), situated between the cold
and hot baths, and having a separate
entrance into both of them.
B is a small triangular court, par-
tially covered by a colonnade on two
of its sides ; in the centre of which
and in the open air, excepting that it
had a roof over head, supported upon
two columns at opposite angles, was
the cold water bath (c) piscina in
area. Plin. Ep. v. 6. 26.
c is the tepid chamber (tepidarium),
with a seat in one corner, upon
which the bather sat to be scraped
and anointed after the bath.
D. The caldarium, or thermal
chamber, arranged exactly as in the
public baths, with the Laconicum at the
circular end, and an alveus, or hot
water bath, at the opposite extremity.
d is the reservoir, which contained
a general supply of water from the
aqueduct ; e, a room for the use of the
slaves who served the furnaces, which
had a stone table in it (e), and a stair-
case leading to an upper story, or to
the roof; /, the cistern for cold
water ; g, the boiler for tepid water ;
h, the boiler for hot water; i, the
furnace ; all of which are disposed in
the same manner as those of the
public establishments, and with the
same regard for the saving of fuel
and water. See CALDARIUM, TEPI-
DARIUM, FRIGIDARIUM.
2. Sometimes the same word is
used in a more confined sense for the
hot water bath (alveus) ; seen at the
square end of the room D in the last
wood-cut, and at the letter h in the
preceding one. Cic. Att. ii. 3. Pet.
Sat. 72. Celsus, iii. 24.
BALL'ISTA or BAL'ISTA
(Ai0og<J\oy, or -oi/). An engine used
at sieges for hurling ponderous masses
of stone. (Lucil. Sat. xxviii. p. 61.
23. Gerlach. Cic. Tusc. ii. 24. Tacit.
Hist. iv. 23.) Neither the descrip-
tions of the Latin authors, nor the
monuments of art enable us to form a
distinct notion of the manner in
which these machines were con-
structed ; and the different attempts
of modern antiquaries to restore a
specimen from the words of Vitru-
vius (x. 11.) and of Ammianus
(xxiii. 4. 1 3.), must be regarded
as too uncertain and conjectural to
be invested with any degree of
authority. They were, however,
made of different dimensions, called
majores and minores (Liv. xxvi. 47.) ;
and some were used as field engines,
being placed upon carriages and
drawn by horses or mules, so that
they could be readily transported to
any position on the field of battle,
thence termed CARROBALLISTM;, one
of which is represented on the
column of Antoninus. We have sub-
sequently introduced it as an illus-
tration to that word ; and it may serve
to convey a general notion as to what
these machines were like ; but is
far too imperfect and deficient in
detail to afford any approximation
towards a distinct understanding of
the exact principle upon which they
were constructed.
BALLISTA'RIUM or BALIST.
An arsenal or magazine in which
ballistcB are kept. Plaut. Pcen. i. 1. 74.
BALLISTA'RIUS or BALIST.
A soldier who worked or discharged
a ballista ; ranked amongst the light-
armed troops. Ammian. 16. 2. 5.
Veget. Mil. ii. 2.
BALNEA. See BALINEJS.
BALNEA'RIA. Used absolutely
to express collectively all the imple-
ments, vessels, and necessaries used
in the bath, such as strigils, oil, per-
fumes, towels, &c. Apul. Met. iii.
p. 51. Compare Lamprid. Alex. Sev.
42. Paul. Dig. 34. 2. 33.
BALNEA'RIS, sc. fur. Catull.
xxxiii. 1. A fellow who made a
livelihood by stealing the clothes of
BALNEARIA.
BALTEUS.
77
poor people, who had no slaves of their
own to take care of them, from the
public baths while their owners were
bathing ; for at Rome every one was
compelled by law to strip himself in
the undressing-room before he was
permitted to enter the bathing apart-
ments (Cic. Ccel. 26.), the object of
which was to prevent the property or
utensils of the establishment from
being purloined, and concealed under
the dress.
BALNEA'RIA. Absolutely, for
a set of baths, or bathing chambers.
Cic. Q. Fr. iii. ].l. See BALINE.E
and BALINEUM.
BALNEA'TOR. The keeper of
a set of baths. Cic. Ccel 26.
BALNEA'TRIX. The mistress
of a set of baths, or who has charge
of the women's department of the
same. Petr. ap. Serv. JEn. xii. 159.
BAL'NEUM. See BALINEUM.
BALTEA'RIUS. The master
or keeper of the belts (baltei\ an
officer in the Imperial household,
whose duty it was to provide and
keep in the wardrobe those articles
of use and ornament. In script, ap.
Reines. cl. 8. n. 69. Spon. Miscell
Erud. Ant. p. 253.
BALTE'OLUS. Diminutive of
BALTEUS.
BAL'TEUS or BAL'TEUM
(reXafji&v). A baldric or shoulder
belt, passed over
one shoulder,
and under the
other, for the
purpose of sus-
pending the
sword, in the
same manner as
our soldiers
carry their side-
arms. (Quint.
xi. 3. 140.) It
was fastened in front by a buckle
(Virg. Mn. v. 314.), and frequently
enriched with studs (bullce) of gold or
precious stones (Virg. /. c.), both
of which particulars are distinctly
illustration, from a
visible in the
trophy at Rome, commonly known as
" the trophies of Marius," but in
reality belonging to the age of Trajan.
2. The Greek soldiers of the
Homeric age also used a similar belt
to carry their shields by ; and, conse-
quently, wore two of them at the
same time. Horn. 77. xiv. 404.
3. A similar kind of belt, also de-
signated by the same term, was used
in like manner for suspending a
quiver from the shoulders (Virg. ^En.
v. 313. Nemes. Cyneg. 91.), and a
musical instrument, like the lyre or
guitar from the neck. (Apul. Flor.
ii. 15. 2.) See the illustrations to
PHARETRATUS, 3. and LYRISTRIA,
which afford examples of a belt ap-
plied in both of these ways.
4. An ornamental belt or band,
sometimes decorated with gold and sil-
ver studs, or with
embroidery, which
was placed round
a horse's neck and
breast, below the
mantle or throat-
band, and from
which bells were
often suspended.
( Apul. Met. x.
p. 224.) The illustration is from a
fictile vase : compare the example
under TINTINNABULATUS, which is
plain, and with a bell hanging from it.
5. Less accurately, and particu-
larly by the poets, a girdle round
the waist (Lucan. ii. 361. Sil. Ital.
x. 181. CINGULUM), and a horse's
girth round the body. Claud. Ep.
xxi. and xx. See CINGULA.
6. The broad flat belt in the
sphere, which
contains the
twelve signs of
the Zodiac, and
represents the
sun's course
through them
(Manilius, iii.
334.), as shown
by the engraving, which is copied
from a painting at Pompeii.
78
BALTEUS.
BAPTISTERIUM.
7. The band which encircles the
bolster or cushion on the side of an
Ionic capital ; in technical language,
the band or girdle of the bolsters.
(Vitruv. xi. 5. 7.) It is often covered
with sculpture, as in the example,
which represents a side view of a
capital belonging to the temple of
Minerva Polias.
8. In a theatre or amphitheatre,
a wall or belt, which formed a line of
demarcation between one tier of
(Manianum) and another.
(Calpurn. Eel vi. 47.) The object
of this was to prevent the different
classes of spectators from passing
over from the places assigned to
their respective orders into other
parts of the building where they were
not entitled to sit; as for instance,
from an upper circle into a lower
one. The illustration presents a
view in the larger theatre at Pom-
peii, and shows a portion of two
nueniana, or tiers of seats, separated
by the balteus between them. It
will be understood that this belt,
which here is only a fragment, ran
uninterruptedly round the entire
range of seats. The visitors, upon
entering the theatre, walked round
the covered gallery shown by the
large dark arch on the right hand,
until they came to either of the small
doors (vomitoria), through which
they passed into the interior, and
descended the staircases in front of
them until they came to the row or
step (gradus} in which their respec-
tive places were situate. Another
balteus is seen above, also with two
of its doors, which separated the
second mcenianum from the seats
above. It will also be observed that
the covered passage which encircles
the first mcenianum has no commu-
nication with the one above, which
was approached by a separate cor-
ridor of its own, connected with a
distinct set of staircases in the ex-
ternal shell of the building.
BAPHI'UM (0o(/>eToj/). A dyer's
establishment. Inscript. ap. Carli,
Antich. Ital torn. 3. p. 14. Procu-
ratori Baphii Cissce Histrice. Lam-
prid. Alex. Sev. 40. Strabo, xvi. 2.
23.
BAPTISTE'RIUM (0*^-
piov). Properly a Greek word (Si-
don. Ep. ii. 2.), though not extant
in any Greek author. A cold plung-
ing bath, constructed in the cella
BARBATULUS.
BARB1TOS.
79
friyidaria. (Plin. Ep. ii. 17. 11.
Id. v. 6. 25.) The illustration pre-
sents a view of the cold bath, and
room which contains it, as now re-
maining at Pompeii. The bath
itself (baptisterium) is a circular
marble basin, of 12 feet 9 inches
diameter, indented with two steps,
and having a short low seat at the
bottom (on the left hand in the
engraving), upon which the bather
might sit and wash.
2. Amongst the ecclesiastical
writers, or subsequently to the es-
tablishment of Christianity ; a building
distinct from the church in which the
baptismal font was placed (Sidon.
Ep. iv. 15.) ; of which the baptistery
built by Constantine near the church
of S. Giovanni Laterano, at Rome,
affords an actual example. A view
of the interior of this edifice may be
seen in Gaily Knight's " Eccle-
siastical Architecture of Italy."
BARBA'TULUS. Having a
youthful beard growing just round
the chin, without being shortened or
trimmed into shape by the barber
(Cic. Alt. i. 14.), as it was worn by
the youth of Rome before the custom
of shaving had obtained ; and, subse-
quently, until the age of manhood,
when its ample growth required to
be artificially trimmed into form.
The illustration is taken from a
statue of Drusus, the son of Tiberius,
found at Pompeii.
BARBA'TUS (irwycavtas'). Wear-
ing the beard of its natural length, as
was frequently practised by the
Greeks, until the age of Alexander,
Having
and universally by the Romans, until
the year B. c. 300
(Plin. H. N. vii.
59. Compare Liv.
v. 41. and Cic. Ccel
14.), whence the
Latin writers com-
monly use the word
to describe the
rude and unpolished
manners of the
early ages (Cic.
Mur. 12. Id. Sext.
8.), when beards were worn like that
in the example from an engraved
gem, supposed to represent Numa
Pompilius, from the resemblance it
bears to the profile upon some coins
which have the name of Numa in-
scribed upon them.
2. Barbatus bene.
beard neatly clip-
ped and trimmed,
so as to give it an
artificial kind of
beauty ; a practice
which came into
fashion amongst
the young exquisites
towards the latter
days of the republic
(Cic. Cat. ii. 10.),
and was generally adopted by the
emperors from the time of Hadrian,
as in the annexed bust of Antoninus
Pius, from an engraved gem.
BAR'BITOS and BAR'BITON
v, and
Jul. Poll.
iv. 59.). A stringed
instrument belonging
to the class of lyres ;
but which was of a
larger size and had
thicker strings (Pol-
lux, Z.c.), and, therefore,
produced louder and
fuller notes than the
usual instruments of
that kind. In other
respects, it was played
in the same manner as
they were, with the fin-
80
BARCA.
BASILICA.
gers and the plectrum, or quill (Claud.
Proem, ad Epith. in Nupt. Hon. et
Mar. 9. Auson. Epigr. 44.) ; and
thus it may be regarded as an in-
strument which bore the same ana-
logy to the lyre as our violoncello
does to the violin. All these par-
ticulars make it highly probable
that the figure here introduced af-
fords an authentic specimen of the
ancient barbitos. It is copied from a
Pompeian painting, where it stands
by the side of Apollo, resting on a
knob, like our bass viol, upon the
ground, and reaching as high as half
way up the figure.
BAR/CA. A boat employed for
discharging a cargo, and transport-
ing it to the shore. When the vessel
put to sea, it was shipped on board,
and only lowered down again when
its services were required. Isidor.
Orig. xix. 1.19. Not. Tir. p. 77.
BARDOCUCUL'LUS. A hood
or cowl (cucullus), which, if we
might judge from the name, was
peculiar to the Bardaei, a people of
Illyria (compare Capitol. Pertin. 8.) ;
but Mart. (Ep. i. 54., compare Juv.
Sat viii. 145.) attributes it to the
Gauls, and in another passage {Ep.
xiv. 128.) he clearly indicates that it
was an outer garment worn by the
common people of that country, and
bearing some sort of resemblance to
the Roman pcenula. Thus it was
probably a cloak of coarse materials,
with a hood to it, which covered the
whole body, like the one worn by
the carter in the annexed engraving,
which is copied from a sepulchral
bas-relief found at Langres, in
France. It has sleeves, which the
pcenula had not ; but there is a slit
at the side (just near the right foot),
the same as in the pcenula, only not
so long ; and it is precisely these re-
semblances and discrepancies which
account for the juxtaposition of the
two words in Martial.
BA'RIS (frapis). Aflat-bottomed
boat used upon the Nile, for the
transport of merchandise, and more
especially for conveying a dead body
across the river to the place of se-
pulture, in the funeral procession.
(Herod, ii. 96. Diodor. i. 96.) The
illustration shows one of these boats
with a mummy placed in it, from an
Egyptian painting. When Proper-
tius (iii. 11. 44.) applies the name to
the war vessels of Antony and Cleo-
patra, it is to be understood in a
sense of extreme irony and con-
tempt.
BASCAU'DA. The Welsh
"basgawd," and English "basket."
These articles of ancient British
manufacture were imported, together
with their name, into Rome (Mart.
Ep. xiv. 99.), where they were em-
ployed amongst the table utensils
and held in much esteem. Juv. Sat.
xii. 46. Schol. Vet. ad I
BASIL'ICA. A spacious public
building erected in, or contiguous to
the forum or market place, for the
merchants and people of business
to meet in, as well as for a court of
justice ; thus answering in many
respects to our " Town Hall " and
Exchange." Cic. Verr. ii. 5. 58.
Id. Att. ii. 14.
The internal construction of a
basilica bore a very close resemblance
BASILICA.
BASTERNA.
81
to most of our old English churches.
It consisted of a central nave and
two side aisles, divided from it by a
row of columns on each side, as
shown on the annexed ground-plan
of the Basilica at Pompeii. In this
part of the building, the merchants
and people of business congregated
and transacted their affairs. At the
further extremity of the principal
nave, a portion was railed off (see
the right hand of the preceding cut),
like the chancel of a church, or a
tribune was thrown out (see the next
wood-cut), so as to form a recess
apart from the noise and activity of
the traffickers in the body of the
building ; and in these the judges sat,
and the council pleaded. The whole
of the interior was further surrounded
by an upper gallery raised upon the
columns which divided the aisles
below, as represented in the annexed
engraving, which shows a longitudinal
section and elevation down the centre
of the ancient Basilica at Verona, as
restored from its remains by the
Count Arnaldi. These upper galle-
ries were mainly intended for the
accommodation of spectators and idle
loungers ; who were thus enabled to
watch the proceedings going on with-
out creating confusion, or disturbing
the real business below. Vitr. v. 1 .
2. After the introduction and
establishment of Christianity by
Constantine, many of the ancient
basilica were converted by him into
places for religious worship, for which
purpose their plan of construction
was so well adapted ; hence, amongst
the ecclesiastical writers, after that
period, the word is commonly used
to designate a church (Sulp. Sev.
Hist. Sacr. ii. 33. and 38. ). Five
of these edifices at Rome still retain
their ancient name of basilica ; and,
moreover, preserve a record of their
original purpose, by being kept
open, like a court of justice, the
whole day, instead of being shut
at certain hours, like all the other
churches.
BASIL'ICUS, sc. jactus. The
name given to one of the throws on
the dice. What combination of
numbers was required to turn up
the throw is not ascertained ; but it
was evidently a good cast, from the
name, though below the Venus,
which was the best of all. Plaut.
Cure. ii. 3. 80. Becker, Gallus,
p. 393. Transl.
B ASTER' N A. A sort of palan-
quin, more especially appropriated
to the use of females. (Poet. Incert.
m Anthol. Lat. Ep. iii. 183.) It
was a close carriage (Ammian. xiv.
6. 16.) ; and was borne by two
mules, one before and one behind,
82
EASTERN ARIUS.
BES.
each harnessed to a separate pair of
shafts. (Pallad. vii. 2. 3.) The
whole of this description corresponds
so precisely with the annexed draw-
ing, from an old wood-cut of the
15th century, and with similar con-
veyances still in use in various
countries, as to leave no doubt that
the ancient basterna was formed upon
a similar model.
BASTERNA'RIUS. A slave
who drove the mules, which carried a
palanquin or basterna. Symm. Ep.
vi. 15.
BATIL'LUM or BATIL'LUS.
A small shovel or fire pan, used
as a chafing-dish, in which lighted
charcoal was carried for the purpose
of burning odoriferous herbs and
frankincense. (Hor. Sat. i. 5. 36.)
The example is from an original of
bronze found at Pompeii.
2. A common shovel, or scoop for
removing filth, rubbish, &c. ; some-
times made of wood (Varro, R. E.
i. 50. 2.), and sometimes of iron.
Varro, R. R. iii. 6. 5.
3. A small and flattish pan, or
dish, with a handle to it, employed as
a crucible for assaying silver. (Plin.
H. N. xxxiii. 44.) The example is
copied from a bas-relief found on the
Via Appia, the use of which is
clearly identified in the original, by
the representation of a bag of money
beside it.
BATI'OLA. A sort of drinking
cup of large dimensions and valuable
materials ; but of which the precise
form and capacity are not known.
Plaut. Stick, v. 4. 12.
BAX'A and BAX'EA. A light
sort of slipper, or sandal, or shoe,
made of fibres, leaves, or willow
strips platted together by the Ro-
mans (Isidor. Orig. xix. 34. 6. and
13.), and of the palm leaf, or the
papyrus, by the Egyptians. (Apul.
Met. ii. 39.) They were worn on
the Comic stage (Plaut. Men. ii. 3.
40.), and by philosophers who af-
fected simplicity of dress. (Apul.
Met. xi. p. 244.) The example is
from an original of papyrus in the
Berlin collection. They are some-
times indicated on the feet of Egyp-
tian statues, and many originals have
been discovered in the Egyptian
tombs ; some made with close sides
and upper leather, like a shoe;
others with a leaf forming a mere
strap, like a clog, across the instep ;
and others, like the specimen here
engraved, with a band across the
instep, and another smaller leaf in
the fore part of the sole, intended to
pass the great toe through.
BEN'NA. A Gaulish word, used
to designate a four-wheeled cart or
carriage made of wicker-work, and
capable of holding several persons, as
seen in the example copied from the
Column of Antoninus. Festus, *. v.
Scheffer, Re Vehic. ii. 21. Compare
Cato, R.R. 23. 2. where, however,
Schneider reads Mcena.
BES. Eight-twelfths, or two-
thirds of anything ; as, for instance,
one of the fractional parts of the As ;
but not used in actual coinage as a
piece of money. Varro, L.L. v. 172.
BESTIARIUS.
BICLIN1UM.
83
BESTIA'RIUS (diptotidxiit). One
who was trained and hired to fight
with wild beasts at the Circensian
games, in the Roman amphitheatre,
or upon any particular occasion when
shows of this nature were exhibited
to the people. (Cic. Sext. 64. Id.
Q. Fr. ii. 6.) The Bestiarii were
distinct from the gladiators, and
altogether regarded as an inferior
class of combatants (Pet. Sat. 45.
11.) ; nevertheless, they were at
first fully protected, like them, with
defensive and offensive armour ; viz.
a helmet, shield, knife or sword, and
defences for the legs ; most of which
particulars are shown in the illus-
tration, forming part of a bas-relief
let into the wall of the Palazzo
Savelli, now Orsini, at Rome, and
which is built upon the ruins of the
theatre of Marcellus; at the dedi-
cation of which 600 wild beasts were
killed, a slaughter commemorated,
no doubt, by the bas-relief here in-
troduced. But latterly they became
more distinct in their accoutrements
and mode of fighting, having no body
armour beyond
legs and arms ; and for offensive
weapons, carrying only a spear or a
sword in one hand, and a piece of
coloured cloth, like the Spanish
matador, in the other ; as shown by
the annexed example, from a tomb
at Pompeii. This custom was first
introduced in the reign of Claudius.
Plin. H.N. viii. 21.
BIBLIOPO'LA (j8tgAioirc$Ar/s).
A bookseller; whose trade consisted
in collecting MSS. (Mart. Ep. iv.
72.); advertising them by catalogues
affixed to the outside of his shop
(Mart. Ep. i. 118. 11. Hor. Sat. i.
4.71. Id. A. P. 373.); multiplying
copies by the employment of various
hands to transcribe them (Mart. Ep.
ii. 8. Compare Ep. vii. 11.); and
disposing of the same by sale. (Plin.
i Ep. ix. 11.)
BIBLIOTHE'CA (frgAto0VO.
I A library ; i. e. the apartment or
I building in which a collection of
books is preserved. (Cic. Fam. vii.
28.) A room fitted up as a library
was discovered in one of the houses
at Herculaneum, in the year 1753,
which contained 1756 MSS. exclu-
sive of many destroyed by the work-
men before their value was known.
They were arranged in shelves, or
presses, round the room, to the height
of nearly six feet ; and in its centre,
there was also an isolated case,
formed by a rectangular column,
which fronted each way, and was
filled in the same manner as the
other shelves. lorio, Officina de'
Papiri.
2. A library ; i. e. the collection of
books contained in a library. Cic.
Fam. xiii. 77. Festus, *. v.
3. A book-case, or set of book
shelves. Paul. Dig. 30. 1. 41. Ulp.
Dig. 32. 3. 52. 8.
BIBLIOTHE'CULA. A small
library. Symm. Ep. iv. 18.
BICLIN'IUM. A sofa, or couch,
adapted for two persons to recline on
at their meals, &c. (Plaut. Bacch.
iv. 3. 84. and 117.) It is a hybrid
word, half Latin and half Greek,
M 2
84 BIDENS. BIFRONS.
(Quint, i. 5. 68.) The example is lustration affords a view of the re-
from a Roman bas-relief.
BIDENS (5f/ceAAo, ffiuvbf). A
strong and heavy two-pronged hoe
(Ov. Fast. iv. 927), employed in vari-
ous agricultural purposes ; such as, for
hoeing up the soil instead of plough-
ing ; for breaking the clods of earth
turned up by the plough ; for loosen-
ing and clearing the earth about the
roots of the vine, &c. (Virg. G. ii.
355. 400. Tibull. ii. 3. 6. Columell.
iv. 17. 8.) The example is from an
engraved gem, which represents
Saturn in the character of an agri-
cultural slave, in allusion to the
Saturnalian festival.
2. As an adjective, it is descriptive
of things which are formed with two
prongs, blades, or teeth ; as forfex or
ferrum bidens (Virg. Cat. 8. Id. Cir.
213.), a pair of shears (cut of FOR-
FEX) ; bidens ancora (Plin. vii. 57.),
an anchor with a double fluke, for in
early times they were only made
with a single one. Cut of ANCORA.
BIDEN'TAL. A small temple or
shrine, consecrated by the augurs,
and enclosing an altar erected upon
any spot which had been struck with
lightning (puteal) ; so called because
it was customary to sacrifice a sheep
of two years' old (bidens) at such
places. (Festus s.v. Hor. A. P. 471.
Apul. Deo Socr. p. 677.) The il-
mains of a bidental at Pompeii. The
altar is seen in the centre, and parts
of the columns which enclosed it are
standing in their places; the roof
and superstructure may be easily
imagined.
BIF'ORIS and BIF'ORUS (8i'0u-
pos). Bivalve ; applied to windows
and doors, to indicate those which
open in two leaves, instead of all in
one piece, similar to what we call
French windows and folding-doors.
(Ovid. Pont. iii. 3. 5. Vitruv. iv. 6.
6.) See the illustration to ANTE-
PAGMENTUM.
BIF'RONS (Si/ieVonroy). Having
two fronts or faces looking both
ways; a type attri-
buted to Janus, as il-
lustrative of his great
sagacity, and emblem-
atic of his knowledge of
the past and future,
the known, which, as
it were, lies okfore, and
the unknown, which is
behind. (Virg. Mn.' vii. 180.) Busts
of this kind, with the likenesses of
different persons turned back to
back, were much used by the ancients
to ornament their libraries and pic-
ture galleries; they were frequently
placed on the top of a square pillar at
1 the meeting of cross-roads ; and very
generally as a termination for the
top of a post forming the upright to
a garden railing, or other ornamental
enclosure; for which purposes an
object presenting a front or complete
view all round is especially adapted.
The illustration is from the Capitol
at Rome ; it presents two female
busts, of the same likeness, a rare
coincidence ; for busts of this kind
BIGA.
BILYCHNIS.
85
mostly represent male heads of dif-
ferent persons, very generally philo-
sophers, or of the Indian Bacchus,
united with some mythological or
other personage.
BI'GA (ffvwpis). A pair ot
horses yoked together; which was
effected by a cross-bar resting on
their withers, like our curricle-bar,
as is very plainly shown by the illus-
tration, from a Pompeian painting.
In this sense the plural, bigce, is
generally and most appropriately
used. Plin. H.N. vii. 57. Virg. ^En.
ii. 272. Catull. Iv. 26.
2. In the singular, more accu-
rately, though the plural is also used,
a car drawn by a pair of horses ; a
two-horsed carriage (Suet. Tib. 26.
Tac. Hist. i. 86.), and equally ap-
plied to a war-car, or racing chariot,
which latter is represented by the
engraving, from a fictile lamp.
BIGA'TUS, sc. nummus, or argen-
tum bigatum. (Liv. xxxiii. 23.) A
silver denarius ; one of the earliest
Roman coins (Liv. xxiii. 15. Tac.
Germ. 5.), which bore the device of a
biga, or two-horse car, on the re-
The
verse (Plin. H. N.
xxxiii. 13.), from
which it received
its name. The ex-
ample is from an
original in the Bri-
tish Museum, and
drawn of the actual size.
BIJ'UGIS and BIJ'UGUS.
same as BIGA, in both senses.
B FLA NX. With two scales.
Marc. Capell. ii. 180. p. 42. See LIBRA.
B I' L I X (SfctTos). Literally,
made with two threads, or by a
double set of leashes (licia), in refer-
ence to cloth woven like our " twill "
or "dimity" (Virg. ^En. xii. 375.),
the peculiarity of which depends
upon the manner in which the threads
of the warp and woof are interlaced.
In a piece of common " calico," the
threads cross each other at right
angles, every thread of the woof
(subtemen) passing alternately over
and under one of the threads of the
warp (stamen), for which a single set
of leashes is sufficient ; but in twilled
fabrics a thread of the woof is passed
over one, and then under two or more
threads of the warp, which gives a
ribbed appearance in the pattern.
Thus, when the twill is formed by
passing over one thread and under
two, it requires two sets of leashes,
and was distinguished by the epithet
bilix ; when over one, and under
three, trilix; and so on.
BILYCH'NIS, sc. luc.erna. A
lamp furnished with two nozzles and
wicks, so as to give out two sepa-
rate flames (Pet. Sat. 30. 2.), as in
86
BIPALIUM.
lilREMIS.
the example, from an original of
bronze.
BIPA'LIUM. A particular kind
of spade, fitted with a cross-bar at a
certain height above the blade, upon
which the labourer pressed his foot
in digging, and thus drove the blade
two spits deep, or twice the depth of
the common spade (pa/a). The
usual reach of this instrument was
two feet, but that could be increased
or diminished, by placing the cross-
bar either further from, or nearer to,
the blade. (Cato, R.R. 45. 2. Varro,
R.R. i. 37. 5. Columell. xi. 3. 11.)
The example is from a sepulchral
bas-relief.
BIFEDA. A large tile, two feet
long, used for making pavements in
the open air. Pallad. i. 40. 2. Id. i.
19. 1.
BIPEN'NIFER. Bearing, or
armed with, the double-bladed axe
(bipennis\ a weapon especially cha-
racteristic of the Amazons, as seen in
the illustration, from a
Greek bas-relief, but
also attributed to other
persons, as to the
Thracian king, Lycur-
gus (Ov. Met. iv. 22-),
and to Areas, the son
of Jupiter and Callisto.
Ov. Met. viii. 391.
BIPEN'NIS (5/(pro-
juos irfXeicvs, a^ivi)). An
axe with a double edge
or blade (Isidor. Orig.
xix. 19. 1 1.) ; used as a chip axe (Hor.
Od. iv. 4. 57.), and more com-
monly as a weapon of war. ^Virg.
&n. v. 307. Plin. H.N. viii. 8.)
See the illustration and preceding
word.
BIPRO'RUS (StVpwpos). Having
a double prow (Hygin. Fab. 168.
277.) ; which probably means a
vessel built sharp fore and aft, like
the fast-sailing "proas" of the In-
dian seas, so that it could sail either
way without tacking or going about.
Compare Tac. Ann. ii. 6.
BIRE'MIS (SiWroy). Literally,
furnished with a pair of oars or
sculls ; and thence used, both adjec-
tively with scapha, and absolutely,
for a small boat rowed by one man,
who handles a pair of sculls, as in
the engraving, from an ancient fresco
painting. Hor. Od. iii. 29. 62.
Lucan. viii. 562. Compare 565. and
611., where the same is designated
parva ratis, and alnus.
2. (Si/c/JOTos). Furnished with two
banks of oars (prdines) ; which is the
more common application, and de-
signates a bireme or vessel of war,
which has two lines of oars on each
side, placed in a diagonal position
one above the other, as in the ex-
ample, from a marble bas-relief of
the Villa Albani, each oar being
worked by a single rower. (Plin.
H.N. vii. 57. Cses. B.C. iii. 40. Tac.
Hist. v. 23.) That such was the
arrangement adopted in the construc-
tion of a bireme, is sufficiently evident
from the figure in the cut; by the
sculptures on Trajan's Column (23,
B1ROTUS.
BOLJE.
87
24. 59. 61. ed. Bartoli), where a
similar disposition is indicated ; and
by the passage of Tacitus (/. c,\
which distinguishes a vessel which
has its oars placed in a single file
(moneris) from the bireme, which,
therefore, had them distributed in
two compkt quod biremium, quceque
simplici ordine agebantur.
BIRO'TUS, and BIRO'TA sub-
stantively. Having two wheels,
and thus designating any description
of carriage so constructed ; all of
which are enumerated in the Ana-
lytical Index. Non. Marc. s. v. Cisium,
p. 86. Cod. Theodos. 8. 5. 8.
BIR'RUS. A capote, or cape,
with a hood to it (Schol. Vet. ad
128.) ; though there is every reason
to believe that it was only used by
Juv. Sat. viii. 145.), which was in
very common use amongst all classes
under the later emperors, as an out-
door covering for the head and shoul-
ders. It had a long nap, like beaver
(Claud. Epigr. 42.), and from the
thickness of its texture is designated
as stiff (rigens, Sulp. Sev. Dial 14.),
both of which qualities are clearly
recognizable in the illustration, from
a statue found at Pompeii, which re-
presents a young fisherman asleep in
his capote.
BIS AC'CIUM. A pair of saddle-
bags made of coarse sacking ; the
original of the Italian bisacce, and
Sicrdiciov of the modern Greeks.
Pet. Sat. 31. 9. Anton, ad I.
BISELLA'RIUS. A person to
whom the privilege was accorded of
using a bisellium. Inscript. op.
Grut. 1099. 2.
BISEL'LIUM. A state chair of
large dimensions, sufficient for hold-
ing two persons (Varro, L.L. v.
one ; as the several specimens found
or represented at Pompeii are usually
accompanied by a single foot-stool
(suppedaneum) placed in the centre,
similar to the example here given,
which is from a Pompeian bas-relief,
and has its name, bisellium, inscribed
above it. These chairs were used
by persons of distinction, especially
the Augustals, in the provinces,
at the theatre and other public
places, in the same manner as the
sella curulis was at Rome. Inscript.
ap. Mazois. Ruines de Pomp. vol. i.
p. 24. ap. Fabretti, c. 3. n. 324. ap.
Grut. 475. 3.
BIV'IUM. A road, or street,
which branches into two forks (Plin.
H. N. vi. 32.); hence, in bivio (Virg.
JEn. ix. 238. ), at the point of diver-
gence between two such roads or
streets, and which in the town of
Pompeii is always furnished with a
fountain, as in the example, which
presents a street view in that city.
BOI'^E. Probably identical with
the Greek K\oiot, which was a large
wooden collar, put round the neck of
mischievous dogs (Xen. Hell ii. 4.
41.); whence the Romans applied
the word, in a similar sense, to a
collar of wood or iron put round the
neck of slaves and criminals. Plaut.
88
BOLETAR.
BRAC^E.
As. m. 2. 5. Id. Capt. iv. 2. 109.
Prudent. Prcsf. Psych. 34. Hieron.
5. in Hierem. 27.
BOLE' TAR. Properly a dish
for serving mushrooms (boleti) upon
(Mart. Ep. xiv. 101.); and thence
transferred to any kind of dish.
A pic. ii. 1. v. 2. viii. 7.
BOTEL/LUS. Diminutive of
botulus. Mart. v. 78.
BOTULA'RIUS. A maker and
vendor of botuli, black puddings, or
sausage meat. Sen. Ep. 56.
BOT'ULUS OWT/CTJ). A sort of
sausage meat or black pudding, for it
was prepared with the blood of the
animal (Tertull. Apol. 9.), which
appears to have been prized more
especially by the common people,
and such gentry as Trimalchio of
Petronius. Mart. xiv. 72. Gell. xvi.
7. 3. Petr. Sat. xlix. 10.
BOVI'LE. (Veget. iv. 1. 3.) The
same as BUBILE, which is the more
usual form.
BRABE'UM, BRABI'UM, or
BRAVI'UM (j8pager OJ /). The prize
given to the victor at the public
games. (Prudent. Ile/u 2re</). v.
538. ) The exclamation bravo ! as a
sign of approval, refers its origin to
this word.
BRABEU'TA (fyaeeurfc). The
judge who declared the victors, and
awarded the prizes at the public
games of Greece. Suet. Nero, 53.
BRAC'^E or BRAC'C^E (a/a-
fvp/5es). An article of dress which
entirely covered the lower part of the
person from the waist (see cut 2.)
to the ankles, and was either made to
fit the figure nearly tight, like our
pantaloons, or to sit more loosely
round the legs, like trowsers. The
word contains the elements of the
Scotch breefis, and English breeches;
but answers more closely to the
pantaloons and trowsers of the present
day. The Romans included both
kinds under the general term of
braces ; but the Greeks distinguished
each particular form by a character-
istic name ; as follows :
1. &vavpi8s. A pair of tight
trowsers or pantaloons, more espe-
cially proper to the Eastern nations,
and amongst these the Amazons
and Persians (Ovid. Trist. v. 10. 34.
Herod, i. 71.), as shown by the en-
graving annexed, which represents a
Persian prince at the battle of Issus,
from the great mosaic at Pompeii.
2. Bracce laxce (duAewcoi). A pair
of loose trowsers, worn in the same
manner as the preceding, but more
generally characteristic of the north-
ern nations (Ovid. Trist. v. 7. 49.
Lucan. i. 430.), as seen in the an-
nexed figure, representing one of the
German auxiliaries in the army of
Trajan ; and of the Phrygians,
amongst the Asiatics (Eur. Cycl.
182) ; consequently the usual costume
of Paris.
3. Braces virgata (Proper! iv. 10.
43.), orpictce. (Val. Place, vi. 227.)
Striped, checked, and embroidered
trowsers, which were much worn by
the inhabitants of Asia. See the
next illustration.
BRACARIUS.
BRACHIALE.
89
BRACA'RIUS. Strictly a trowser-
maker (Lamprid. Alex. Sev. 24.) ; but
in the Edict of Diocletian (p. 20.), a
tailor in general, who made any kind
of vest.
BRACA'TUS or BRACCA'TUS.
In general, a person who wears trow-
sers or pantaloons ; more especially
intended to characterise the Asiatic
or northern races (Cic. Fam. ix. 15.
Pers. Sat. iii. 53.), as distinguished
from the Greeks, by whom they were
never worn ; and from the Romans,
by whom they were only adopted at a
late period of the Empire, or by per-
sons who affected a foreign style.
Tac. Hist. ii. 20.
2. Bracatus totum corpus, breeched
from head to foot. An expression
intended to describe a peculiar sort
of costume commonly worn by the
races who inhabited the shores of the
Palus Mseotis (Mela, ii. 1.), and
often seen on the figures of Amazons
on the Greek fictile vases, from one
of which the illustration here intro-
duced is taken. It was a dress
which formed a pair of pantaloons
below, and a sort of waistcoat or
jacket above ; but was made all in
one length, as the phrase indicates,
and as is clearly shown by a figure
in Winkelman (Mon. Ined. No. 149.),
which leaves exposed the portion
here concealed by the kilt.
3. Bracatus miles. A trowsered
soldier; which means, when the
phrase is used with reference to the
republican or early Imperial period,
a foreign soldier or auxiliary (Pro-
pert. iii. 4. 17.) from any of the
nations who wore long trowsers as
their national costume (see the cut of
BraccB 2. and many other examples
on the Column of Trajan) ; but from
the days of Alexander Severus, and
subsequently, these articles of apparel
were also adopted by the Roman
soldiers (Lamprid. Alex. Sev. 40.),
and may be seen on those figures of
the arch of Constantine, which were
executed at the period when the arch
was built, and not taken from the
works of Trajan, one of which is
here introduced ; consequently, in any
writings of this period the phrase
is equally characteristic of the Ro-
mans themselves.
4. Bracata Gallia. A department of
Gaul, so called from the long breeches
or trowsers worn .by its inhabitants.
It was subsequently termed Gallia
Narbonensis. Mela, ii. 59. Plin.
H. N. iii. 5.
BRACHIA'LE (irepiSpax^iov-).
A piece of defensive armour which
covered the brachium,
or part of the arm be-
tween the wrist and
elbow. It is distinctly
mentioned by Xenophon
(Cyrop. vi. 4. 2.) as
part of the accoutre-
ments worn by the Per-
sians, and is sometimes
seen on figures of Ro-
man gladiators, though the Latin
name does not occur in this sense,
except, perhaps, Trebell. Claud. 14.,
N
90
BREPHOTROPH EUM.
BUCCULA.
where, however, it may mean a
bracelet. The example here intro-
duced is from an original of bronze,
which was found, with other pieces
of armour, at Pompeii, and probably
belonged to a gladiator. The rings
by which it was fastened on the
front of the arm are seen at the side.
BREPHOTROPHE'UM and
BREPHOTROPHl'UM (fyetj>o-
rpocpfiov). A foundling-hospital ; both
words, however, the Latin as well as
Greek, are of a late date, not occurring
before the age of the Christian empe-
rors, when foundlings were declared to
be free, and those who received or
educated them were forbidden by law
to detain, or sell them as slaves (Imp.
Justin. Cod. i. 2. 19.); for while the
exposure, sale, or giving in pawn
of children was commonly permitted
and practised, it is not likely that any
establishment of this kind would be
maintained at the public expense.
BUBI'LE (&6av\os or -<w). A
cow-shed, cow-house, or stall for oxen.
CPhsedr. ii. 8. Cato, J?.T?. 4. Colu-
mell. i. 6. 4.) The illustration, which
might almost have been sketched
from a modern farm-yard, is copied
from a miniature of the Vatican Virgil.
BUB'SEQUA. A cow-boy, who
drives the cattle to and from their
pastures, &c. (Apul. Met. viii.
p. 152. Sidon. Ep. i. 6.) The ex-
ample is from the Vatican Virgil.
BUBUL'CUS OwcrfAos). In a
general sense, a cow-herd, neat-herd,
or herdsman (Virg. Eel. x. 9.), who
tends, manages, and has the general
care of the cattle on a farm ; in
which sense the term pastor is more
common. The illustration is from
an engraved gem.
2. More especially and frequently,
a countryman who drives a team of
oxen at the plough (Columell. ii. 5.
2. ii. 13. 1. ii. 2. 25.), as shown in
the illustration s. ARATOR; or in a
waggon of any kind. Ovid, Trist.
iii. 12. 30.
BUCCELLA'TUM. A hard sol-
dier's biscuit, which was distributed
for rations upon a march. Spart.
Pescenn. Nig. 10. Ammian. xvii. 8. 2.
B U C' C U L A (Trapayvaeis). The
cheek-piece of a helmet, which was
furnished with one on each of its
sides, attached by hinges, so as to
be lifted up and down at pleasure.
In active exercise the bucculce were
fastened under the
chin ; when the
wearer was " at
ease," they were
frequently tied up
over the top of
the skull cap. (See
the illustrations s.
GALEA. Liv. xliv.
34. Juv. x. 134.) The engraving
shows one side of an original bronze
helmet found in a tomb at Psestum,
BUCCULARIUS.
BULLA.
91
with the cheek piece depending
from it.
BTJCCULA'RIUS. One who
made, or affixed cheek-pieces (buc-
culce) to helmets. Aurel. Arcad. Dig.
50. 6. 6.
BU'CINA and BUC'CINA
(jSy/cavr;), A particular kind of horn,
formed in spiral twists (Ovid, Met i.
,336.), like the shell of the fish out of
which it was originally made, as
shown by the annexed engraving,
from a small bronze figure once be-
longing to Blanchini. In this, its
earliest form, it was commonly used
by swine and neat-herds to collect
their droves from the woods (Varro,
^.7?. ii. 4. 20. Id. iii. 13. 1. Prop,
iv. 10. 29.) ; by the night watch, and
the Accensi, to give notice of the
hours by night or day (Prop. iv. 4.
6. Seneca, Thyest. 798.) ; and in
early times, to summon the Quirites
to the assembly, or collect them upon
any emergency. Prop. iv. i. 13.
2. The bucina was also employed
as one of the three wind instruments
with which signals were made, or
the word of command given to the
soldiery (Polyb. xv. *12. 2. Virg.
^En. xi. 475. Veget. Mil. iii. 5.);
but the military instrument was then
of a diiferent form, having a larger
mouth made of metal, and bent round
underneath (quce in semetipsam cereo
circulojtectitur, Veget. I c.), of which
kind a specimen is here given, from
a' marble bas-relief, published by
Burney, Hist, of Music, vol. i. pi. 6.
BUCINA'TOR or BUCCINA'-
TOR (&vKavr)T-ris, or /Su/ccu/to-r^s).
One who blows the horn, called
bucina (Polyb. ii. 29. 6. Id. xxx. 13.
11. Cffis. B. C. ii. 35.), which in
addition to the uses mentioned in the
last article, was also employed for
making signals on board ship, as in
the example, from a terra-cotta lamp,
which represents a ship coming into
port ; the sailors are furling the sails,
while the master signalizes its arrival
by sounding the bucina.
BUL'GA. A small leathern bag,
which was carried on the arm (Non.
s. v. p. 78. ed. Mer-'
cer), in the same
manner as the mo-
dern reticule, by
travellers, who used
it as a money bag
(Lucil. Sat. vi. p. 20.
1. ed. Gerlach. Varro
ap. Non. I.e.} ; and
by agriculturists, as a pouch, con-
taining the seed at sowing time (the
TT-flpa a-jrpfj.o<f)6pos of the Greek An-
thology), to which use the example
here given was applied; it is borne
by a figure furnished with various
implements of husbandry on a beauti-
ful silver tazza of the Neapolitan
Museum. Mus. Borb. xii. 47.
BUI/ LA. Literally a water
bubble; whence the word is applied
to various ornaments of a globular
form, or which possess some affinity
in shape to a bubble ; viz.
N 2
92
BULLA.
BURA.
1. The head of a nail ; made of
rich and elaborate designs in bronze,
or sometimes gold
(Cic. Verr. v. 57.),
and used for orna-
menting the external
panels of a door.
The example is from
an original of bronze, and represents
one of the nail heads which decorate
the ancient bronze doors of the Pan-
theon at Rome.
2. A boss or stud of the precious
metals or other valuable material,
affixed as an orna-
ment to other objects ;
as, for instance, to a
girdle, shoulder belt,
sword sheath, &c.
(Virg. JSn. ix. 359.)
The example is from an original in
ivory found in the catacombs at Rome.
3. Sulla aurea. A golden orna-
ment, worn by the Roman children
of noble families. (Plin. H. N.
xxxiii. 4.) It consisted of two con-
cave plates of gold fastened together
by an elastic brace of the same
material, so as to form a complete
globe, within which an amulet was
contained. (Macrob. Sat i. 6.)
The illustration represents an original
which was found at Roma Vecchia
(Ficoroni, Bolla d' Oro, p. 8.), and is
drawn of one-third the actual size.
4. Sulla scortea. An ornament of
a similar description, only made of
leather, instead of gold, which was
worn attached to a thong of the same
material (lorum, Juv. v. 165.), by
the children of freedmen and of the
(f
lower classes. (Ascon. in Cic. Verr.
v. 58.) The example is from a
small bronze statue found at Perugia,
in which the details of the band by
which it was fastened round the neck
clearly indicate that it was made of a
leather plat.
BULLA'TUS. Wearing the
bulla ; which was suspended by a
fastening round the neck, so as to
hang in front of the breast. It was
so worn by Roman children, until
they attained the age
of puberty, when it
was laid aside, toge-
ther with the prce-
texta, and dedicated
to the tutelary dei-
ties of their house.
(Scipio Afr. ap. Ma-
crob. Sat. ii. 10. Pers.
Sat. v. 31.) The il-
lustration is from a
bas-relief in terra-
cotta, and represents
a youth with his tablet at school.
B U L' L U L A. Diminutive of
BULLA. An ornament, worn by
females round their necks, of similar
character to the last, but of smaller
dimensions, and made of gold, silver,
bronze, or of precious stones. In-
script. ap. Ficoroni, Bolla d'Oro,
p. 26. Hieron. in IsaL ii. 3. 18.
BU'RA or BU'RIS (ybis'). The
plough tail (Varro, R. R. i. 19. 2.) ;
i. e. the hinder part of an ancient
plough formed out of the branch of a
tree, or a single piece of timber, bent
at one end into a curve (Virg. Ge.org.
i. 169.), like an ox's tail (0obs
BUSTUARIUS.
BUXUM.
93
from which resemblance the Latin
name originated. (Serv. ad Virg.
I.e. Isidor. Orig. xx. 14. 2.) The
illustration represents an ancient
plough, from an engraved gem; the
bent part on the left hand is the
bum ; the short hook under it, shod
with iron, acted as the share (yomer} ;
the upright stock, formed by a
natural branch growing out in an
opposite direction, the handle (stiva\
by which the ploughman guided his
machine ; and the straight end, pro-
ceeding horizontally from the curve,
a pole (fewio), to which the oxen were
attached. Compare also ARATRUM,
2., where the same part is shown
upon a Greek plough of improved
construction at the letters A A.
BUSTUA'RIUS. A gladiator
who engaged in mortal combat round
the funeral pyre at the burning of a
body ; a custom which originated in
the notion that the manes were ap-
peased with blood, and the conse-
quent practice of killing prisoners
taken in war over the graves of those
who were slain in battle. (Serv. ad
Virg. &n. x. 519. Cic. Pis. 9. Com-
pare Horn. //. xxi. 26. Florus, iii.
20. 9.) The illustration is from an
engraved gem ; the character of the
figure is indicated by the sepulchral
pyramid in the back ground.
BUS'TUM (rvp.Gos). A vacant
space of ground, on which a funeral
pile was raised, and the corpse burnt ;
but expressly so termed when this
area was contained within the sepul-
chral enclosure, and contiguous to
the tomb in which the ashes were
afterwards deposited. It is, therefore,
to be considered in the light of a
private or family burning ground, in
contradistinction to the Ustrinum,
or public one. Festus, s. v. Lucret.
iii. 919. Cic. Leg. ii. 26. Suet. Nero,
38.
BU'TYRUM (pobrvpov). Butter;
an article which does not appear to
have been either of Greek or Roman
invention, but to have come to the
former people from the Scythians,
Thracians, and Phrygians, and to
the latter from the nations of Ger-
many. After they had become ac-
quainted with the manner of making
it, it was only used as a medicine, or
as an ointment in the baths, but not
as an article of food, nor in cookery ;
and it would moreover appear that
they were unable to make it of the
same firmness and consistency as we
do, or to work it beyond an oily or
almost liquid state, for in all the
passages in which the word occurs it
is spoken of as something fluid and
to be poured out. Columell. vi. 12.
5. Plin. H. N. xi. 96. Id. xxviii.
35. Beckman, History of Inventions,
vol.i. p. 504 7. London, 1846.
BUXUM (TTU'IOS). Box-wood; an
article much employed by the an-
cients, as it is with us, on account of
its consistency and fitness for work-
ing ; whence the word is commonly
used to signify any of the various
articles made of such wood ; for
example :
1. A boy's whipping-top. Virg.
;En. vii. 382. Pers. Sat. iii. 51.
2. A box- wood flute or pipe.
(Ovid. Met. xiv. 537. Prop. iv. 8.
42. ) A pair of box- wood pipes from
Greece are preserved in the British
Museum. See TIBIA.
3. A box-wood comb. (Ov. Fast
vi. 229. Juv. xiv. 194.) See PECTEN.
4. A box-wood tablet, covered
94
CACABULUS.
CADUS.
with wax, for writing on. (Prop,
iii. 23. 8. ) See CERA, TABELLA.
c.
CACAB'ULUS or CACAB'-
TJLTJM (/ca/c/cctgiop). Diminutive of
CACABUS. Apic. iv. 1.
CA'CABUS or CAC'CABUS
(Ko/c/cag??, KaKKa(s, Ka/CKaos). A
pot for boiling meat,
vegetables, fyc. (Varro,
L.L. v. 127.), which
was placed immedi-
ately upon the fire, or on
a trivet (tripus~) stand-
ing over it. (Compare
AHENUM.) The com-
mon sorts were made of earthenware ;
whence, when other kinds are re-
commended, the material is always
specified by a characteristic epithet,
as a tin pot (stagneus, Columell. xii.
42. 1.) ; a bronze pot (ceneus, Id.
xii. 48. 1.) ; a silver pot (argenteus,
Ulp. Dig. 34. 2. 20.) The example re-
presents a bronze original, from Pom-
peii ; a specimen in use, and upon
a trivet, is given under TRIPUS 1.
CADUCEA'TOR. A general
name for any person who was sent
out from one belligerent party to
another, carrying the wand of peace
(caduceus} ; or, as we should express
it, the bearer of a flag of truce. The
persons of those employed upon such
missions were at all times held
sacred and inviolable. Liv. xxxii.
32. Cato, ap. Fest. s. v. See also
CERYX and FETIALIS.
CADU'CEUS or CADU'CEUM
(KTipvKeiov , KrjpvKiov*). In general, a
herald's wand (Cic. de Orat.
i. 46.), which consisted of a
simple olive stick, ornamented
with garlands (Miiller, Archao-
logie der JKunst, p. 504. and
the illustration to CERYX 2.) ;
but the word is more specially
applied to the wand assigned
by ancient artists and poets
to Mercury (caduceus Mercurialis,
Apul. Met. xi. p. 245.), in his ca-
pacity of herald or messenger of the
gods. In this, the place of the gar-
lands is occupied by snakes ; in
allusion to the fable which states that
Mercury, observing two snakes
fighting with one another, separated
them with his staff ; whence a stick
thus decorated came to be adopted
as the emblem of peace. (Hygin.
Astron. ii. 7. Macrob. Sat. i. 19.)
Both these characteristics, the olive
stick and the snakes for garlands,
are clearly represented in the ex-
ample, which is copied from a se-
pulchral urn. Sometimes a pair of
wings are added on the top, as in the
next illustration.
CADU'CIFER. In general, one
who carries the caduceus, but more
especially used as a characteristic
epithet of Mercury, by which it is
implied that he is the messenger of
heaven. (Ov. Met. viii. 627. Id.
Fast. v. 449.) The illustration is
from a Roman marble.
CADUS (/caSos). A large earthen-
ware jar, used chiefly for holding
wine (Mart. iv. 66. 8. Virg.
JEn. i. 195. Id. Cop. 11.);
but also employed for other
purposes to contain oil,
honey, dried fruits, salted
fish, meats, &c. (Mart. i.
44. 9. Id. i. 56. 10. Plin.
H.N. xv. 21. Id. xviii. 73.)
It had a narrowish neck and
mouth, which could be
closed with a stopper or cork bung
(Plin. H.N. xvi. 13.), and a body
which was pointed at bottom, and
C^ELUM.
(LESTUS.
95
possessing the general shape of a
boy's whipping-top (turbines cado~
rum, Plin. H. N. xxvii. 5.); all
which characteristic properties are
observable in the illustration, from
an original discovered amongst
various other sorts of vessels in an
ancient wine cellar, of which the plan
and elevation is introduced under
CELL A 2.
CJELUM (y\v(f>avov). The chisel
or graver used by persons who prac-
tise the art of chasing (ccelaturd)
in metals. Isidor. Orig. xx. 4. 7.
Quint, ii. 21. 24.
2. See COELUM.
C^EMENTA'RIUS. One who
builds rough walls of unhewn stones
(ccementa). Hieron. Ep. 53. 6.
CJEMENTFCIUS. Built of un-
hewn stones. The ancients adopted
two ways of building with rough
quarry stones ; one, in which very
large irregular masses were laid to-
gether without mortar, but having
the interstices filled in with the
smaller chippings, as shown in the
illustration above, which represents a
portion of the very ancient walls of
Tiryns ; this kind they termed cce-
menticia structura antiqua. (Vitruv.
ii. 8. Liv. xxi. 11.) The other, very
generally practised by the Romans,
consisted of small irregular pieces,
imbedded in mortar, so as to take
any architectural form, as shown by
the annexed illustration, which re-
presents a portion of the Villa of
Maecenas at Tivoli, the ancient
Tibur. This was called ccementicia
structura incerta (Vitruv. ii. 8.), and
was mostly intended to be covered
over by a coating of cement.
CjEMEN'TUM. Rough quarry
stones, which were used for building
walls in the manner described, and
illustrated under the preceding word ;
including the large irregular masses
employed for the walls of a citadel or
fortified town (Liv. xxi. 11. Vitruv.
i. 5. 8. and last cut but one), as well
as the smaller fragments or chip-
pings (AaryTrrj, ffKvpos), more gene-
rally adopted in domestic architec-
ture. Cic. Mil 27. Vitruv. ii. 7. 1.
Id. vi. 6. 1. and last illustration.
CJENA.. See CCENA.
C^ESAR'IES. Is nearly synony-
mous with COMA ; but implies also a
sense of beauty ; i. e. as we should
say, a becoming head of hair ; pro-
fuse and abundant when applied to
women (Ovid, Am. iii. 1. 32.) ;
thick, long, and waving, like the
Greek busts of Jupiter, Bacchus,
and Apollo, when applied to men
(Plaut. Mil i. 1. 64. Liv. xxviii.
35. Virg. JEn. i. 590.) ; whence the
same word is also used to designate
a grand and majestic beard. Ov.
Met. xv. 656.
C^ESTRUM. See CESTRUM.
C^STUS(i>a / /Tey, j uu>7?|). Box-
ing gauntlets worn by the ancient
prize fighters (Cic. Tusc. ii. 17.
Virg. JEn. v. 379.) ; which consisted
of leather thongs bound round the
hands and wrists (Prop. iii. 14. 9.),
96
C^ETRA.
CALANTICA.
and sometimes reached as high up as
the elbow (illustration s. PUGIL), and
armed with lead or metal bosses, as
in the examples, from an ancient
statue.
C^TRA. See CETRA.
CALAMA'RIUS. Theca cola-
mar ia (/caAajius). A pen- holder, or
case for carrying writing reeds.
(Suet. Claud. 35. Mart. Tit. in Ep.
xiv. 19.) It is probable that these
cases also contained an ink-bottle,
like those now used by our school-boys ;
whence the same word calamajo, in
the common language of Italy,
means an " ink-stand."
CALAMIS'TER, CALAMIS'-
TRUS, CALAMIS'TRUM (aAa-
/*fs). A pair of curling-irons;
so termed because the outside
was hollow like a reed (calamus),
though, like our own, they were
made of iron, and heated in the
fire, to produce artificial curls
in the hair. (Varro, L. L. v.
129. Cic. Post Eed. i. 7. Pet.
Sat. 102. 15.) The illustration
is copied from a sepulchral bas-
relief in the Florentine Gallery,
on which it appears amongst various
other articles of the toilet ; the curl-
ing part alone is indicated on the
marble, as here represented, but that is
sufficient to show that the instrument
was similar in character to the one
still employed for the same purpose.
CALAMISTRA'TUS. Having
the hair artificially curled with the
irons (calamister) ; a practice very
prevalent at Rome, both amongst
men and women, in the time of
Plautus, Varro, and Cicero. Plaut.
As. in. 3. 37. Cic. Post Red. i. 6.
CAL'AMUS (/caAa^os). Literally
the haulm or stalk of any tall plant,
but more especially of the reed or
cane ,- whence it is applied in the same
way as the word ARUNDO, and to de-
signate a similar class of objects ; as
1. An arrow. Hor. Od. i. 15.
17. ARUNDO 2.
2. Pan's pipes. Virg. Eel ii. 33.
ARUNDO 6.
3. A fishing-rod. Mart, accord-
ing to Riddle, s. v~ ARUNDO 3.
4. A fowler's lime-tipped rod.
Mart. Ep. xiv. 218. ARUNDO 4.
5. A writing-reed. Cic. Att. vi.
8. Hor. A. P. 447. ARUNDO 5.
6. Also a tall reed or cane, set up
as a sign-post in the sandy deserts of
Egypt. Plin. H. N. vi. 33.
CALANT'ICA, CALAUT'ICA,
or CALVAT'ICA (/c^Se^i/oy). A
cap fastened on by a ligature round
the head, with a kind of curtain or
lappets hanging down on both sides
as far as the tips of the shoulders
(Eustath. ad II. xiv. 184. ), so that they
might be drawn together at pleasure,
and made to conceal the whole face.
(Horn. Od. i.
334. II. xiv.
184.) It was
commonly worn
by the Egyp-
tians of both
sexes (Riddle,
s. v.), and is
consequently of
frequent occur-
rence in the paintings and sculp-
tures belonging to that nation, pre-
cisely similar to the example here
introduced, which is copied from a
statue of Isis in the Capitol at Rome.
When adopted by the Greeks and
Romans, its use was confined to the
female sex (Non. Marc. s.v. p. 537.),
or to persons who affected a foreign
or effeminate costume. Cic. Fragm.
Or. in Clod. p. 115. ed. Amed. Pey-
ron. Lips. 1824.
The affinity of the Greek and
Latin words, and their identity with
the figure in the engraving, may be
established thus. The Greek term
is derived from Kpds, and Sew or Seyuo,
meaning literally that which is fast-
ened by a ligature to the head, and
Nonius (Z. c.) gives a similar inter-
pretation to the Latin one quod
capiti innectitur : whilst Ausonius
(Perioch. Od. 5.), translates the
Kpf)8efji.vov of Homer by the Latin
calantica or calvatica. The illustra-
CALATIIISCUS.
CALCAR.
97
tion and derivation of the Greek
word also explain another of the
senses in which it is used (Horn. Od.
in. 392.) ; viz. a leather cap tied over
the mouth and bung of a vessel con-
taining wine or other liquids, which
the lexicographers erroneously trans-
late, "the lid of a vessel." The
illustration moreover will explain
why Cicero (1. c.) and Servius (ad
Virg. JEn. ix. 616.) use the words
calantica and mitra as nearly con-
vertible terms (compare the illustra-
tions to each word) ; and, at the same
time, account for one of the Latin
names, calvatica, which is probably
the only true one, because in Egypt
it really was used to cover the bald
heads of the priests of Isis (grege calvo,
Juv. Sat. vi. 533.), and at Rome by
old women who had lost their hair, as
in. the medal of Aurelia, the mother
of Julius Caesar (Guasco, Ornatrici,
p. 91.), which is fastened round the
head with a band, precisely like the
example introduced above.
CALATHIS'CUS (/coAa^V/cos).
Diminutive of CALATHUS. Catull.
Ixiv. 320.
CAL'ATHUS (/crfAaflos). A
woman's work-basket (Virg. JEn. vii.
805.), made of wicker-
work, and gradually
expanding upwards
towards the top (Plin.
H. N. xxi. 11.) j espe-
cially employed for
containing the wool
and materials for spinning (Juv. Sat.
ii. 54.), as in the example, which re-
presents Leda's work-basket, from a
Pompeian painting, with the balls of
wool and bobbins in it.
2. A basket of precisely the same
form and material, employed out of
doors for holding fruit, flowers,
cheese, &c., which is of very com-
mon occurrence in ancient works
of art. Virg. Ed. ii. 46. Id. Georg.
iii. 400. Ov. A. Am. ii. 264.
3. A drinking-cup, which we may
naturally infer to have been so termed,
because it resembled a woman's work-
basket in shape ; as shown by the
figure in the illustration, held
by a cupbearer in one of the
miniatures of the Vatican
Virgil. Virg. Eel. v. 71.
Mart. Ep. ix. 60. 15. Id. xiv. 107.
4. The modius, or bushel, which
was placed as an ornament upon the
top of the head of
Jupiter Serapis,
(Macrob. Sat. i.
20.), and which,
as seen in the ex-
ample, from an en-
graved gem, re-
presenting the
head of Serapis,
possessed the same
form as a woman's
work-basket.
CALA'TOR. A public crier;
particularly one who was attached to
the service of the priesthood (Suet.
Gramm. 12.), whose duty it was to
precede the high-priest on his way to
the sacrifice, and put a stop to any
kind of work, which it was considered
would pollute the ceremony on a fes-
tival or holy day. Serv. ad Virg.
Georg. i. 268.
2. A private servant or messenger.
Plaut. Merc. v. 2. 11. Id. Hud. ii.
3. 5.
CALAUT'ICA. See CALANTICA.
CALCAR. A horseman's spur
(Plaut. As. iii. 3. 118. Virg. &n. vi.
882.) ; so called, because it was affixed
to the heel (calx) of the rider (Isi-
dor. Orig. xx. 16. 6. compare Virg.
JEn. xi. 714.) ; whence the manner
of applying it is clearly illustrated by
the expression subdere equo calcaria.
(Curt. vii. 4. compare iv. 16.) The
98
CALCATOR.
CALCEOLARIUS.
right-hand figure in the annexed
engraving represents an original
from Caylus (Recueil d'Antiq. vol. iii.
pi. 59. No. 5.), and closely resembles
one found at Herculaneum, excepting
that the latter has its point formed
like a lance head, or lozenge shaped.
All the ancient spurs are like these,
with a simple goad, calcis aculeus
(Columell. viii. 2. 8., where it is
applied to poultry), and not rowelled.
The left-hand figures present a side
and back view of the left foot of a
statue in the Vatican, representing
an Amazon, and show the straps and
fastenings by which the spur was
fixed to the foot ; the goad itself is
broken off, but the place from which
it projected is clearly seen. The right
foot of the statue is not equipped in
the same way ; from which circum-
stance some antiquaries incline to the
belief that the ancients only rode
with one spur, and that one on the
left leg.
2. In like manner, the spur which
grows out from the heel of a cock.
Columell. viii. 2. 8.
CALCA'TOR (Aifro&fT^j). One
who crushes grapes for making wine,
by treading them out with the naked
feet, as is still the practice in Italy.
(Calpurn. Ed. iv. 124.) In the il-
lustration, from a bas-relief in the
Library of St. Mark at Venice, the
operation is performed by two per-
sons only, represented as Fauns;
but in other ancient works of art, as
many as seven persons are seen in
the vat at the same time, sometimes
supporting themselves by ropes over
head, but more commonly with
crutch-handled sticks, like those in
the annexed engraving.
CALCATO'RIUM. A raised
platform of masonry in the cellar
attached to a vineyard (cella vinaria),
which was ascended by two or three
steps, and intended to form a gang-
way on a level with the tops of the
large vessels (dolia, cupoe), in which
the wine was kept in bulk, for the
convenience of the persons who su-
perintended its manufacture and sale.
(Pallad. L 18. 1.) It was so called
a calcando, or ab opere calcato ; and
is incorrectly explained in the dic-
tionaries, where it is taken for a vat
in which the grapes were trodden
out (see the preceding wood-cut) ;
for a contrivance of that description
belongs clearly to the press-room
(torcularium), in which the wine was
made, and not to the cellar (cella
vinaria), in which it was stored.
Cato designates the same thing by
the term suggestion. H. R. 154.
CALCEA'MEN. Same as CAL-
CEUS.
CALCEAMEN'TUM. A gene-
ral term, expressive of all kinds of
covering for the feet ; including the
various descriptions of boots and
shoes enumerated in the classed
Index.
CALCEOLA'RIUS. A shoe-
maker. (Plaut, Aul iii. 5. 38.) The
illustration is from a painting exca-
vated at Resina, representing the
interior of a shoe-maker's shop, in
which the two genii here figured
are employed at their trade.
CALCEOLUS.
CALCEUS.
99
CALCE'OLUS
Diminutive of CALCEUS ; a small
shoe or boot ; and thence more espe-
cially applied to those worn by
women. (Cic. N.D. i. 29.) The en-
graving represents three specimens
of women's shoes from the Pompeian
paintings, of the most usual descrip-
tions. It will be observed that all of
them reach as high as the ankle, are
made with soles and low heels, and
with or without ties ; but those
which are tied are either fastened by
a cord drawn in a hem round the
top, or have merely a slit over the
instep, through the sides of which
the lace is passed, and not lappets, as
was more usual in men's shoes. (See
the next illustration.) There does
not appear to have been any material
difference between the shoes of the
Greek and Roman females; for the
latter took their fashions from Greece,
as ours do from France.
CAL'CEUS (fcr&itfia KoiXo*). A
shoe or boot, made upon a last, and
right and left (Suet. Aug. 92.), so
that it would completely cover the
foot, as contradistinguished from the
sandal, slipper, &c., which were only
partial coverings. (Cic Hor. Suet.
Plin.) The illustration represents a
lace-up or half boot, from a bronze
vase in the Collegio Romano, and
two men's shoes of the ordinary kind,
from paintings at Pompeii.
2. Calceus patricius. The shoe
worn by the Roman senators, which
was of a different character from that
worn by the rest of the citizens,
whence the expression calceos mutare
(Cic. Phil xiii. 13.) means, "to
become a senator." It was fastened
by straps crossing each other over
the instep (Isidor. Orig. xix. 34. 4.),
and then carried round the leg as far
as the bottom of the calf, as is fre-
quently seen on statues draped in the
toga, and in the manner represented
by the annexed figures, of which the
front view is taken from a bronze,
the side one from a marble statue.
A lunated ornament, called LUNULA,
was moreover attached to them, for
an account of which see that word.
3. Calceus repandus. A shoe
with a long pointed toe bent upwards
or backwards. (Cic.
Nat. Deor. i. 29., but
the diminutive is used
because applied to a
female.) This form
appears to have been of great anti-
quity, for it is frequently seen in
Egyptian and Etruscan monuments,
from which latter people it came, like
many other of their fashions, to the
Romans, and remained in common
use in many parts of Europe until a
late period of the middle ages. The
illustration here given is Etruscan
(Gori, Mus. Etrusc. tab. 3. and 47.),
but it resembles exactly the shoes
worn by a figure of Juno Lanuvina
on a Roman denarius (Visconti,
Mus. P. Clem. torn. 2. tav. A. vii.
No. 12.), which is draped in every
respect as Cicero (I. c.) describes her.
In a passage of Cato, quoted by Festus
(s. Mulleos), the epithet uncinatus is,
according to Scaliger's emendation,
applied to a shoe of this character ;
and the term uncipedes to the persons
who wore them, by Tertullian, de
Pall 5.
o 2
100
CALCULATOK.
CALDAR1UM.
CALCULATOR. An account-
ant (Mart. Ep. x. 62.) : so called
because the ancients
used to reckon with
small stones (calculi)
upon a board covered
with sand. (Isidor.
Orig. x. 43. ABA-
CUS.) The example
is from an Etruscan
gem, and represents an arithmetician
sitting at a table on which the peb-
bles for making his calculations are
seen, while the counting board, in-
scribed in Etruscan characters, which
are interpreted to mean " a calcu-
lator," is held in his left hand.
CAL/CULUS OJfifaos). Literally
a pebble, or small stone worn round
by friction, which was employed by
the ancients for several purposes, as
follows:
1. For mosaic work. Plin. H. N.
xxxvi. 67.
2. A counter for reckoning. Cic.
Amic. 16. preceding wood-cut, and
ABACUS.
3. A pebble used in voting, which
was thrown into the urn ; a white
one to acquit, and a black one to
condemn. Ovid. Met. xv. 41.
4. A counter employed in games of
chance or skill, for the same purpose
as our chess and draughtsmen; and
the term is applied indiscriminately
to the men employed in the Indus
duodecim scriptorum, or backgammon,
and in the ludus latrunculorum, or
draughts. Ov. Am. ii. 207. Val.
Max. viii. 8. 2. Aul. Gell. xiv. 1. 9.
CALDA'RIUM. The thermal
chamber in a set of baths. (Vitruv.
v. 10. Seneca, Ep. 86. Celsus, i. 4.)
In all the baths which have been
discovered, public as well as private,
this apartment is constantly arranged
upon a uniform plan, and consists of
three principal parts ; a semicircular
alcove (laconicum) at one end (the
right hand in the engraving), with a
labrum upon a raised stem in the
centre of it; a vacant space in the
centre of the room (sudatio, sudato-
rium) ; and a warm -water bath (alveus)
at the other extremity all which
parts were essential to the ancient
system of bathing. In the central
portion, the bather exercised himself
by lifting weights and performing
gymnastics, for the purpose of ex-
citing perspiration ; he then sat down
in the laconicum, and underwent a
profuse perspiration, superinduced by
the hot air proceeding from the flues
seen under the flooring of the room ;
or entered the warm water bath, if
preferred, instead. It is probable that
in the more magnificent and extensive
structures, such as the Roman Ther-
mae, separate apartments were appro-
priated for each of these operations ;
but in the smaller establishments,
such as the baths of Pompeii, and in
private houses, the thermal chamber,
in all the instances hitherto dis-
covered, and they are many, is uni-
formly arranged in the manner de-
scribed, and shown by the illustration,
which represents the section of a
bath-room attached to an ancient
Roman villa at Tusculum. The
relative situation and arrangement
of such chambers in connection with
the other parts of the establishment,
and the general ground- plan, will be
understood by referring to the illus-
trations, s. BALJNE.S:, letters D and
H ; and BALINEUM, letter D.
2. The boiler in which the warm
water for supplying a bath was
heated (Vitruv. v. 10.) as seen in the
preceding section over the furnace
(No. 2.), with a conduit tube into the
bath. See also AHENUM 2., where
CALENDAR1UM.
CALIGARIUS.
101
the principle upon which the ancients
constructed and arranged their coppers
is explained.
CALENDA'RIUM (rj/j.po\6yiot>').
An almanack or calendar; which,
like our own, contained the astrono-
mical, agricultural, and religious
notices of each month in the year ;
the name of the month, the number
of days it contained, and the length
of the day and night ; the sign of
the zodiac through which the sun
passes ; the various agricultural ope-
rations to be performed in the month ;
the divinity under whose guardian-
ship the month was placed ; and the
various religious festivals which fell
NON . QUINT .
DIES . HOR . VIIIIS .
NOX . ROR . XIIII .
SOL.
CAPRICORNO .
TUTKLA .
JUNONIS
PALUS
AQUITUR .
SALIX .
HAH UNDO
OSJDITUR
SACRmCAN .
CIS.
PBNATIBUS.
in it. The illustration represents an
original of marble, found at Pompeii,
with the inscription for the month of
January, printed at length, as a spe-
cimen of the whole, by its side.
2. A ledger in which bankers and
money lenders kept their accounts
with their customers ; so termed
because the interest became due on
the calendce, or first day of the month.
Seneca, Benef. vii. 10. Id. Ep. 87.
CALIC'ULUS (KvXtKiov). Dimin-
utive of CALIX.
CALIDA'RIUM. See OALDA-
RIUM.
CALIEN'DRUM. A sort of
covering which Roman women some-
times wore upon their heads, but the
exact nature of which it is not easy to
determine. (Hor. Sat. i. 8. 48. Varro,
teste Porphyr. Schol. ad Hor. I.e.
Acron. e'6.) It was, however, a kind
of head-dress, and probably in the
nature of a cap, like that shown by
the illustration, which is copied from
an engraved gem representing a por-
trait of Faustina the
younger; and might
be made in different
patterns ; for Ca-
nidia wore a high
one. (Hor. /. c.)
Some think that the
caliendrum was made
of hair, and was a
sort of wig.
CAL'IGA. The shoe worn by
the Roman soldiery of the rank and
file, including the centurions, but not
the superior officers. (Cic. Att. ii. 3.
Justin, xxxviii. 10. Juv. Sat. xvi. 24.
Suet. Cal. 52.) It
consisted of a close
shoe, which entirely
covered the foot (see
CALIGARIUS) ; had a
thick sole studded
with nails (CLAVUS
CALIGARIS), and was
bound by straps
across the instep and
round the bottom part of the leg, as
represented in the illustration, from
the arch of Trajan.
CALIGA'RIUS. One who fol-
lowed the trade of making soldiers'
shoes (caligce). (Lamprid. Alex.
Sev. 33. Inscript. ap. Grut. 649. 1 )
The example is from a sepulchral
marble at Milan, which bears the
inscription SuroR CALIGARIUS, thus
identifying the trade. It is of coarse
execution, and has suffered from age,
but is a valuable relic, because it
proves that the caliga was a close-
102
CALIGATUS.
CALONES.
fitting shoe, made upon a last, and
not a sandal, which left the toes
exposed, as has been generally in-
ferred from Bartoli's engravings of
the triumphal arches and columns.
The workman appears to hold the
handle of an awl in his right hand,
and in the left a caliga on the last,
while the fellow-shoe is on the table
before him.
CALIGA'TUS. Wearing the
caliga, or soldier's shoe (Juv. Sat. in.
322.), as seen in the last cut but one ;
and thence by implication, a common
soldier (Suet. Aug. 25. Id. Vitell 7.),
because its use was peculiar to the
rank and file.
CALIP'TRA or CALYFTRA
/caAuTrrpa, Kd\v/j.fji.a). A veil worn in
public by the young women of Greece
and Italy, for the purpose of conceal-
ing the features from the gaze of
strangers (Festus, s. v. Horn. Od. v.
232. Soph. Ag. 245.), very similar to
what the Turkish women still use.
It was placed on the
top of the head, and
wrapped round the
face in such a man-
ner as to conceal
every part of it ex-
cept the upper por-
tion of the nose and
one of the eyes
and fell down over
the shoulders to
about the middle of
the figure, precisely as seen in the
illustration, from a small terra-cotta
figure in the Collegio Romano. A
veil of this kind was also worn by
the brides of Greece (jEsch. Ag.
1149.), and the same costume is still
preserved at Rome for the young
women who receive a dowry from
the state on the festival of the An-
nunciation.
CALIX (icfai|). A shallow cir-
cular wine-goblet,
of Greek invention
(Macrob. Sat. v.
21.), with a low
stem, and two small handles, like
the example, from an original of
terra cotta ; frequently represented on
their fictile vases in carousals and
drinking scenes, and commonly met
with in every collection, sometimes
decorated with drawing, and at others
merely covered with an uniform coat
of lustrous black varnish.
2. A sort of soup plate or vegetable
dish, in which food of a liquid na-
ture, and vegetables
more especially, were
cooked and brought
to table. (Varro,
L.L. v. 127. Ovid,
Fast. v. 509.) The illustration an-
nexed is from an original of earthen-
ware found in the catacombs at
Rome. The edges of the platter on
which it stands, and which is in the
same piece as the top, have suffered
from time ; but the general form of
the whole seems sufficiently applicable
to the purposes described.
3. A water-meter: i.e. a copper
cap or tube of certain length and
capacity, attached to the end of a
main pipe at the part where it was
inserted into the reservoir of an
aqueduct (castellum), or to the end of
a branch pipe inserted in the main,
for the purpose of measuring the
quantity of water discharged into the
pipe. Every private house and public
establishment in the city of Rome
was by law entitled to the supply of
a certain quantity of water, and no
more than what the law allowed ;
it was measured out by means of
the calix, the length and diameter of
which being fixed, the number of
cubic feet of water passing through
it in a given time could be regulated
to a nicety. Frontin. Aq. 36.
CALO'NES. Slaves belonging
to the Roman soldiery (Festus, s. v.\
who followed their masters to the
field, waited upon them as servants,
attended at their exercises, and per-
formed all the duties required of a
menial, such as carrying the vallum,
&c. Cic. Nat. Deor. iii. 5. Serv. ad
CALPAK.
CAMINUS.
103
Virg. JEneid. vi. 1. and Nonius *. v.
p. 62.
2. A farm-servant (Hor. Sat. i. 6.
103.); a palanquin or sedan bearer
(Senec. Ep. 110.) ; and thus a menial
generally.
CALPAR. An antiquated name
for DOLIDM ; which had already
grown obsolete in the time of Varro,
De Vit. Pop. Ro. ap. Non. s. v. p.
546.
CAL'THULA. An article of
female attire which appears to have
been much in vogue at the time of
Plautus. (EpuL ii. 2. 49.) It is
supposed to have received its name
from the caltha (Non. Marc. s. v.
p. 548.), the calendula officinalis of
Linnaeus, which is a flower of a
yellow colour ; but it is impossible to
ascertain the exact nature of merely
local or temporary fashions.
CALVAT'ICA. See CALANTICA.
CALX. The same as LINEA
ALBA ; the chalked rope which
marked the commencement and
boundary of a race-course in the Cir-
cus ; but this term is mostly used in
a figurative sense, to indicate the end
of anything, especially of life, the
course and casualties of which are
often typified by the race, its chances,
changes, and accidents. Cic. Sen.
23. Id- Tusc. i. 8.
CAM'ARA, or CAM'ERA (KO-
Strictly speaking, is a Greek
word adopted into the Latin language
(Cic. Q. Fr. iii. 1. 1. Pallad. i. 13.
1.), and used by the Roman archi-
tects to designate the vaulted ceiling
of a chamber, when constructed in
wood and plaster (Vitruv. vii. 3. cf.
Propert. iii. 2. 10.), instead of a re-
gular arch of brickwork or masonry
formed of regular intrados and
voussoirs. This constitutes the real
distinction between the terms camara
and fornix ; but the former was also
transferred in a more general sense
to any kind of apartment or building
which had a vaulted ceiling. It con-
tains the elements of our word cham-
ber, through the modern Italian ca-
mara, their ordinary expression for a
room of any kind.
2. Camera vitrea. A. vaulted
ceiling, of which the surface was
lined with plates of glass. Plin.
H. N. xxxvi. 64. Compare Stat.
Sylv. i. 3. 53. and i. 5. 42.
3. A small vessel used by the
Greek pirates, capable of containing
from twenty-five to thirty men. It
was of a very peculiar construction,
being made sharp fore and aft. but
round, large, and full in the centre or
midship, with the ribs rising upwards
from the water, and converging to-
gether, so as to form a sort of roof
over the vessel, from which pecu-
liarity its name was derived, (Strabo,
xi. 2. 12. Tac. Hist. iii. 47. Aul.
Gell. x. 25. 3.) An old engraving
by F. Huiis after the elder Brengel,
and published by Jal (Archeologie
Navale, vol. ii. p. 255.), exhibits the
stern of a vessel constructed in the
manner described, and probably pre-
serves a trace of the ancient camara.
CAMEL'LA. A wooden bowl
for drinking out of, the form and
peculiarities of which are entirely
unknown. Ov. Fast. iv. 779. Pet.
Sat. 135. 3 and 4. Id. 64. 13.
CAMILLUS(KoSouAosorKo8Ao$).
An attendant who waited upon the
high priest while of-
ficiating at the sacri-
fice; as the CAMILLA
was a young female
who attended in like
manner upon his wife.
They were selected
from the children of
noble families (Ma-
crob. Sat. iii. 8. Fes-
tus, *. Flamininius),
and are frequently re-
presented in ancient
works of art, standing
at the side of the priest or priestess,
and bearing in their hands the vessels
employed in the sacred rite. The
example here introduced is from the
Vatican Virgil.
CAMI'NUS (K^J/OS). A smelling
104
CAMINUS.
furnace. (Plin. H. N. xxxiii. 21.)
The illustration represents the section
and plan of a Roman smelting-fur-
nace discovered near Wandsford in
Northamptonshire. (Artis, Duro-
briv. pi. 25.) A is the smelting pot,
below which the fire was kindled, as
shown in the illustration to FORNA-
CULA ; B, the slag lying about as it
ran from the furnace ; c, the channel
which conveyed the metal into the
moulds, D.
2. A blacksmith's forge (Virg. JEn.
vi. 630. Juv. Sat. xiv. 118.), which,
as shown by the annexed illustration,
from a sepulchral marble at Rome,
resembled in all respects those of our
own days. The centre figure holds
the iron on the anvil (incus) by a
pair of pincers (forceps") ; under the
anvil is a vessel with water, for
plunging the heated iron and instru-
ments into ; the fire is seen in the
back ground; and the bellows (fottis),
with a man working them, behind
the left-hand figure.
3. A hearth or fire-place in private
houses, for the purpose of warming
an apartment (Hor. Ep. i. 11. 19.
Id. Sat. i. 5. 81. Suet. Vitell 8.), or
for cooking, such as in early times
was constructed in the atrium, and
which consisted of a mere stone
hearth raised above the level of the
floor, and upon which the logs of
firewood were placed, but without a
flue to carry away the smoke.
4. It still remains a doubtful point,
whether caminus ever means a chim-
ney in our sense of that word, that
is, a flue intended to carry off smoke
through the different stories of a
house, and discharge it above the
roof ; as the passages which might
be cited for that purpose are not at
all conclusive, and the absence of any
thing like a chimney on the top of a
building in the numerous landscapes
pourtrayed by the Pompeian artists,
and of any positive traces of such a
contrivance in the public and private
edifices of that town, affords sufficient
evidence that, if known to the an-
cients, it must have been very rarely
applied; consequently, in most
houses, the smoke must have escaped
through a mere opening in the roof,
at the windows, or through the doors.
But contrivances for making a fire
in the centre of a room, accompanied
at least with a short flue, have been
discovered in several parts of Italy,
one at Baise, another near Perugia,
and a third at Civita Vecchia, the
plan of which is given
in the annexed wood-
cut, from a MS. by
Francesco di Giorgio,
preserved in the public
library at Siena. The
form is a parallelogram, entirely
enclosed by a wall of ten feet high
on three of its sides, but having an
opening or doorway on the other.
Within this shell are placed four
columns with an architrave over
them, which supported a small pyra-
midal cupola, underneath which the
fire was made on the hearth ; the
cupola served to collect the smoke as
it ascended, and allowed it to pass
CAMPESTRE.
CANALIS.
105
out through an aperture in its top.
If the edifices in which these stoves
were constructed were only one
story high, no flue, perhaps, was used ;
hut if, as is most probahle, there
were apartments above, it seems
almost certain that a small flue or
tube would have been placed over
the vent hole of the cupola, in the
same manner as it is in a baker's oven
at Pompeii, which is represented in
the annexed engraving; though the
original height cannot be determined,
as only a portion of the ground story
now remains.
CAMPES'TRE. A kilt, fastened
round the loins, and reaching about
two thirds down the thigh ; worn
for the sake of decency by gladiators
and soldiers while training, or by
persons taking violent exercise in
public, when otherwise divested of
clothing (Hor. Ep. i. 11. 18. Augus-
tin. Civ. Dei, xiv. 17.); so called
because these exercises were com-
monly performed in the Campus
Martius. In very hot weather it
was also worn by some persons,
instead of a tunic, under the toga.
(Ascon. in Cic. Orat. pro Scauro,)
The illustration represents a gladiator
with the campestre, from a terra -cotta
lamp.
CAMPICUR'SIO. A sort of re-
view, or exercise performed by the
Roman soldiery in the Campus Mar-
tius. Veget. Mil. iii. 4.
CAMPIDOC'TOR OAoStSa/c-Hjj).
A drill sergeant, who taught the re-
cruits their exercises in the Campus
Martius. Veget. Mil. iii. 6. and 8.
Ammian. xv. 3. 10.
CANALIC'ULA. Diminutive of
CANALIS ; a small drain, ditch, or
gutter. Varro, R. R. iii. 5.
CANALIC'ULUS. Diminutive of
CANALIS ; a small drain, ditch, or
gutter. Columell. viii. 15. 6. Vitruv.
x. 9. 7.
2. The channel or groove in-
cavated on the face of a triglyph
(Vitruv. iv. 3. 5.), marked by shading
in the example, from an ancient
Doric temple formerly existing in
the forum at Rome, as copied from
the original by Labacco.
CANA'LIS <rAtf>. An open
106
CANCELLARIUS.
CANDELA.
channel, artificially made, of wood or
brickwork, for the purpose of supply-
ing cattle with water in the meadows,
and thus serving as a drinking
trough, as seen in the illustration
from the Vatican Virgil. Virg. G.
iii. 330. Varro, R. E. iii. 5. 2. Vitruv.
viii. 5. 2. and 6. 1., where it is distin-
guished from TUBUS and FISTULA.
2. Canalis in Foro. Probably the
gutter or kennel, as we say, near the
centre of the Roman forum, from
which the rain waters were immedi-
ately discharged through an opening
into the Cloaca Maxima or main
sewer (Plaut. Cure. iv. 1. 15.);
whence the word canalicola was in-
vented as a nick-name for a lazy,
idle fellow, because such people used
to loiter and lounge away their time
about this spot. Festus, s. v.
3. A narrow alley or passage in a
town. Liv. xxiii. 31.
4. A splint, employed by surgeons
in setting broken bones. Celsus,
viii. 16.
5. In architecture, the channel in
an Ionic capital, which is a smooth
flat surface lying be-
tween the abacus
and cymatium or echi-
nus, and terminating
in the eye of the
volute. (Vitruv. iii. 5. 7.) It is
clearly shown in the engraving, which
represents a capital from the temple
of Fortuna Virilis at Rome.
CANCELLA'RIUS. A word
introduced at a late period of the
empire, and applied either to an
officer who kept guard before the
emperor's tent, or his sleeping apart-
ment, the approach to which was
closed by gratings (cancetti), as we
learn from Cassiodorus (Var. Ep. ii.
6.), whence the appellation : or to a
sort of chief clerk presiding over a
body of juniors who assisted the
judges in a court of law, the tribunes
of which, where the judges and their
officers sat, were in like manner
separated from the body of the court
by an iron railing. Hence we derive
our term of "chancellor." Vopisc.
Carin. 16. Cassiodor. I.e.
CANCELLI (Kiyxis, SpfyaKTov).
Iron gratings and trellis work ; in-
tended as an ornamental fence to
enclose or protect anything (Varro,
R. R. iii. 5. 4. Columell. viii. 1. 6.) ;
for instance, before the judges' tribune
in a court of law ; in front of the
rostrum in the forum (Cic. Sext.
58.), which by some writers is re-
cognized in the annexed scene, from
the arch of Constantine ; along the
top of the podium, and each distinct
tier of seats in an amphitheatre (Ov.
Am. iii. 2. 64.), as shown in the
restored section of the amphitheatre
of Pola (p. 29. A) ; and in short for
any situation requiring such an
object.
CANDE'LA. A candle made of
pitch, wax, or tallow, with the pith
of a bull-rush for the wick (Plin.
H.N. xvi. 70.), which was used in
early times before the invention of
the oil lamp. Mart. Ep. xiv. 43.
2. A sort of torch, made of the
fibres of the papyrus twisted together
like a rope, or of a rope itself coated
with wax (Serv. ad Virg. JEn. xi.
143. Varro, L.L. v. 119.), which
was anciently carried in funeral pro-
cessions ; and is represented in the
illustration, from a sepulchral marble
at Padua, which, according to the
tradition there preserved, is believed
to contain the remains of St. Luke.
3. A mere rope coated with wax
CANDELABRUM.
107
to preserve it from decay. Liv. xl.
29.
CANDELA'BRUM. A contri-
vance devised for the purpose of
supporting a light in a position suffi-
ciently elevated above the ground to
distribute the rays to a convenient
distance around it. Of these the
ancients had in use several kinds, viz.
1. (Aux^X 05 )' A candle-stick
for holding tapers or candles of wax
and tallow. These were either made
like our own, with a socket and
nozzle into which the end of the
candle was inserted (Varro, op.
Macrob. Sat. iii. 4. Festus, s. u.) ;
or with a sharp point at the end,
like those so commonly seen in the
churches of Italy, upon which the
bottom of the candle was stuck.
(Serv. ad Virg. JEn. i. 727.) An ex-
ample of the former kind is given in
the illustration, from an original found
at Pompeii; and an engraved gem
of the Worsley Museum affords a
specimen of the last sort, hi which
the sharp point is seen projecting
from the top.
2. (Avx^ouxos). A portable lamp-
stand, upon which an oil-lamp was
placed. These were
sometimes made of wood
(Pet. Sat. 95. 6.), but
mostly of metal (Cic.
Verr. ii. 4. 26), and
were either intended to
be placed upon some other piece of
furniture, like the annexed example,
which represents a bronze lamp and
stand found at Pompeii, of the kind
termed humile (Quint. Inst. vi. 3.
99.), which was meant to be placed
upon a table ; or they were made to
stand upon the ground ;
in which case they
were of considerable
height, and consisted
of a tall slender stem
(scapus\ generally imi-
tating the stalk of a
plant, or a tapering
column, and a round
flat dish or tray (super-
ficies) at the top, on
which the lamp was
placed, like the an-
nexed illustration from
a Pompeian original.
It is to candelabra of
this description that Vitruvius alludes
(vii. 5. 3.), when he reprehends the
practice adopted by the artists of his
own day, and of such frequent occur-
rence in the arabesque decorations of
the Pompeian houses, of introducing
them in the place of columns, as
architectural supports to architraves
and other superincumbent weights,
out of all proportion with such tall
and slender stems. Compare also
LYCHNUCHUS.
3. (Aa/iTTT^p). A tall stand, with
a hollow cup, instead of the flat
superficies, at the top,
in which pitch, rosin,
or other inflammable
materials were lighted.
These were not port-
able, but were perma-
nently fixed in their
situations ; and were
frequently made of
marble, and fastened
down to the ground;
not only in the interior
of temples and other
large buildings, but also
in the open air (Stat.
Sylv. i. 2. 231.), where
they served for illu-
minations on festivals
and occasions of rejoicing, precisely
as they are still used for similar pur-
poses in front of the cardinals' and
p 2
108
CANEPHORA.
CANO.
ambassadors' palaces at Rome in the
present day. The illustration is
taken from a bas-relief in the Villa
Borghese, and exemplifies this cus-
tom ; for it stands as an illumination
in front of an open colonnade, under
which a band of maidens are dancing,
upon the occasion of a marriage
festival. In the early or Homeric
times the Aa/tiTrr^p was a sort of grate
raised upon legs, or on a stand, in
which dried wood (jbcmntov) was
burnt, for the purpose of giving light
to a room, instead of torches, candles,
or lamps. Horn. Odyss. xviii. 306
310.
CANE'PHORA or CANE'PHO-
ROS (Kwntf>6pos). The basket-bearer;
a young Athenian
maiden, who walked
,in the procession at
the festivals of De-
meter, Bacchus, and
Athena, carrying a
flat basket (canum, or
canistrum, Festus, s.v.)
on her head, in which
were deposited the
sacred cake, chaplet,
frankincense, and knife
employed to slay the
victim. Young women
are frequently represented in this
capacity by the ancient artists, and
similarly described by classic authors,
with their arms raised up, and in the
exact attitude of the figure here en-
graved, from a statue at Dresden.
Cic. Verr. ii. 4. 3. Plin. H. N.
xxxvi. 4. n. 7. Compare Ovid, Met.
ii. 711713.
CANIC'ULA. Pers. Sat. iii. 49.
Same as CANIS 2.
C ANIS. A chain ; but whether of
any particular description is doubtful ;
though probably not, as the expression
may have originated in a play upon
the words catella, catellus. Plaut.
Cas. ii. 6. 37. Becker, Gallus, p. 232.
transl.
2. The worst throw upon the dice ;
i.e. when all aces were turned up.
Suet. Aug. 71.
CANISTEL'LUM. Diminu-
tive of CANISTRUM.
CANIS'TRUM and CANIS'TER
(tcdveov, KO.VTIS). A large, flat, open
basket, whence termed patulum (Ov.
Met. viii. 675.), and latum (Id. Fast.
ii. 650.), made of wicker-work (Pal-
lad, xii. 17.), and without handles, so
as to be adapted for carrying on the
head, as shown by the figure in the
opposite column; particularly em-
ployed as a bread-basket (Virg. Mn.
viii. 180.), in reference to which use
the example here introduced, from a
Pompeian painting, is carried by
Ceres, and filled with ears of corn.
CANO. To sing generally ; but
also to sound, or play upon, any mu-
sical instrument (Cic. Div. ii. 59.) ;
as lituo canere (Cic. Div. i. 17.),
to sound the lituus (see wood-cut
s. LITICEN) ; cornu canere (Varro,
L.L. v. 91.), to sound the horn (see
CORNICEN) ; tibiis canere (Quint,
i. 10. 14.), to play upon the pipes
(TIBICEN); cithara canere (Tac.
Ann. xiv. 14.), to play the guitar
(ClTHARISTA).
2. Intus et foris canere ; an ex-
pression descriptive of the peculiar
mode of playing upon the lyre,
which is represented
in the annexed en-
graving, from the
Aldobrandini fresco
in the Vatican. To
strike the chords
merely with the
plectrum held in the
right hand, was
foris canere ; to
thrum the chords
merely with the
fingers of the left
hand was intus ca-
nere ; but when the two were used to-
CANTERIUS.
gether, and both sides of the instru-
ment struck at once, as in the en-
graving, the musician was said to
play on the inside and out, intus et
foris canere. Ascon. ad Cic. Verr.
11. 1. 20.
CANTE'RIUS. A gelding.
Varro, R.R. ii. 7. 15. Festus, s. v.
2. A prop for vines. Columell. iv.
12. 1.
3. A machine used for suspending
horses with broken legs, to keep
their feet off the ground while the
bone is setting. Veget. Vet. iii. 47. 2.
4. In architecture, CANTERII (ct/uei-
OVTS, ffvarrdrai) are the canthers or
principal rafters in the timber work
of a roof (see MATERIATIO,^/!/!) ; their
upper ends meet together, and form
the apex of the pediment ; their
lower extremities rest upon the tie-
beams (tignd) ; and in the finished
building are represented externally
by mutules (mutuli\ which are,
therefore, carved to represent the
projecting extremities of a series of
rafters. Vitruv. iv. 2. 1. and 3.
CANTERFOLUS (o/cpteos). A
painter's easel; represented in the
annexed engraving,
with the picture on it,
from a Roman bas-re-
lief, precisely similar
to those still in use.
The Greek term for
this contrivance is well
authenticated ; but the
Latin one here given,
upon the authority of
Riddle's English-Latin
Dictionary, though sufficiently appro-
priate, wants a positive authority.
C ANTH'ARUS (/cckflapos). A gob-
let, or drinking cup, of Greek inven-
tion. It was furnished
with handles (Virg.
Eel. vi. 1 7.) ; and was
the cup particularly
sacred to Bacchus (Ma-
crob. Sat. v. 21.), as
the scyphus was to Hercules ; conse-
quently in works of art, both painting
and sculpture, a vessel of the form
CAPILLUS
109
here engraved, from a fictile original,
is constantly represented in the hands
of that divinity.
2. A vase into which the water of
an ornamental fountain is discharged,
formed in imitation of the drinking
cup. Paul. Dig. 30. 41.
3. A sort of boat, the peculiar
properties of which, however, are
unknown. Macrob. Sat. I. c. Aristoph.
Pac. 143.
CANTHE'RIUS. See CANTE-
RIUS.
CANTHUS (tTTiWrpoj/). The
tire of a wheel; a hoop of iron or
bronze fastened on to the felloe, to
preserve the wood from abrasion.
(Quint, i. 5. 8.) The Greek name
occurs in Homer (//. v. 725. ); the
Latin one, though used by Persius
(Sat. v. 71.), is noted as a barbarism
by Quintilian (/. c. ), who considers it
to be a Spanish, or an African, word.
CANTO. Used in the same
senses as CANO.
CANUM (KOTOW). A Greek
basket, made of reed or osiers, more
usually termed CANISTRUM in Latin.
Festus, s. v. Varro, L. L. v. 120.
CANUSINA'TUS. Wearing a
garment wove from the wool of Ca-
nusium, now Canosa. Suet. Nero, 30.
Mart. Ep. ix. 23. 9.
C APE'DO. An earthenware wine
jug, with a handle, such as was used
in early times at the sacrifice. (Cic.
Farad, i. 2. ) Same as CAPIS.
CAPEDUN'CULA. Diminutive
of the preceding. Cic. N. D. iii. 17.
CAPILLAMEN'TUM. A wig
of false hair ; but particularly one in
which the hair is very long and
abundant, like a woman's head of
hair. Suet. Cal. 11. Pet. Sat. 110.
5. Tertull. Cult. Fcem. 7. and GALE-
RUS 3.
CAPIL'LUS. The hair of the
head in general, and without refer-
ence to its quality or character ; i. e.
equally applied to any description of
hair, whether long or short, straight
or curly, dressed or undressed. Cic.
Ov. Hor. Cses. Nep., &c.
110
CAPIS.
CAPITAL.
2. Also applied to the hair of the
beard (Cic. Off. ii. 7. Suet. Nero,
1.) ; and to the fur of animals. Ca-
tull. 25. 1. Aul. Gell. xii. L 4.
CAPIS. A wine jug (Varro, ap.
Non. s. Armillum, p. 547.) of early
form and usage, made of earthenware,
and having a single handle, from which
circumstance the Roman gramma-
rians derive its name. (Varro, Z. Z.
v. 121. Festus, s. t>.) In the early
and simple ages of Roman
history, earthenware vessels
of this description were of
common use, both for re-
ligious and other purposes
(Liv. x.7. Pet Sa*. 52. 2.);
but with the increase of lux-
ury, they were relinquished for the
more elegant Greek forms, or were
made of more costly materials (Plin.
H.N. xxxvii. 7.), though still retained
for purposes of religion, which acquires
additional veneration and respect by
the preservation of ancient forms and
usages ; consequently, they are fre-
quently represented on coins and
medals struck in honour of persons
belonging to the priesthood, similar
to the figure here introduced, which
is copied from a bronze medal of the
emperor Marcus Aurelius Antoninus,
on which he is represented in the
character of an augur.
CAPISTE'RIUM. A vessel em-
ployed for cleansing the ears of corn
after they had been threshed out and
winnowed. It appears to have been
something in the nature of an alveus,
or wooden trough, into which the
corn was put and shaken up, so that
the heavy grains subsided to the
bottom, while the light ones and any
refuse admixture which might have
been left amongst them after the
winnowing, rose to the top, and
could be easily separated from the
rest. Possibly also water was em-
ployed in the operation. Columell.
ii. 9. 11. Compare Apul. Met. ix.
p. 193.
CAPIS' TRUM Opgcta'). A
halter or head-stall for horses, asses,
or oxen. (Varro, R. R. ii. 6. 4.
Ov. Met. x. 125.) The example is
from the Column of Trajan.
2. A nose piece, with spikes stick-
ing out from it, to prevent the young
of animals from sucking after they
had been weaned, such as is com-
monly used with calves at the present
day. Virg. Georg. iii. 399.
3. A ligature employed in training
vines, for fastening them to the up-
rights or cross bars of a trellis.
Columell, iv. 20. 3.
4. A rope employed for suspending
the end of the press beam (prelum) in
a wine or oil press. Cato, R. R- xii.
5. A broad leather band or cheek-
piece, with an opening for the mouth,
worn by pipers, like a halter, round
the head and face, in order to com-
press the lips and cheeks when blow-
ing their instruments, which enabled
them to produce a fuller, firmer, and
more even tone, as shown by the
annexed illustration, from a bas-relief
at Rome. It does not appear to have
been always used, for pipers are as
often represented in works of art
without such an appendage as with
it ; nor does the Latin name occur in
any of their classical writers, though
the Greek one is well authenticated.
Aristoph. Vesp. 582. Soph. TV. 753.
CAPITAL. A small kerchief of
CAPITELLUM.
CAP1TOLIUM.
Ill
woollen cloth (Varro, L. L. v. 130.),
worn in early times by the Roman
women round the head, to keep the
hair from flowing loose ; and subse-
quently retained as a peculiarity in
costume by young females attached
to the services of religion, such as
the Flaminica, or attendant upon the
wife of the Flamen Dialis. Varro,
/. c. Festus, s. v.
CAPITEL'LUM. Same as CAPI-
TULUM.
CAPIT'IUM. An article of
female attire, worn upon the upper
part of the person, and over the
bosom (Varro, L. L. v. 131. Id. de
Vit. Pop. Rom. ap. Non. p. 542.),
but whether in the nature of a spencer
or of a corset, it is difficult to deter-
mine. Aulus Gellius notes the word
as obsolete and peculiar to the com-
mon people ; but in a passage from
Laberius quoted by him (xvi. 7. 3.),
it is described as of gaudy colours,
and worn outside the tunic ; a de-
scription which agrees precisely with
the style, appearance, and manner in
which the peasant women of Italy
wear their corsets at the present day,
and with the figure here introduced,
from a sepulchral marble published
by Gori (Inscript. Antiq. Flor. p.
344.), evidently intended to represent
a female of the lower class, from the
rough stone which serves as a seat for
her toilet.
CAPITCXLIUM. The Capitol;
one of the seven hills of Rome, origi-
nally called Mons Saturnius, a name
which was subsequently changed into
Mons Tarpeius, in allusion to the
virgin Tarpeia, who was said to have
been killed and buried there by the
Sabines ; and finally, during the
legendary period, referred to as the
reign of Tarquinius Superbus, into
Mons Capitolinus or Capitolium, be-
cause a human head (caput) was
believed to have been found there
in digging the foundations for the
temple of Jupiter. ( Varro, Z. Z. v. 41,
42. Liv. i. 55.) The hill was ^divided
into two summits, with a level space
between them : the northern and
more elevated one of the two, on
which the church of Ara Cell now
stands, being made into a fortress,
was termed the Ara:, or citadel ; the
lower one on the south, now Monte
Caprino, being occupied by the fa-
mous Capitoline temple. Niebuhr,
Hist. Rom. vol. i. p. 502. transl.
2. The Capitoline temple; con-
structed by the last Tarquin upon the
southern summit of the Mons Capi-
tolinus, in honour of the three prin-
cipal Roman deities, Jupiter, Juno,
and Minerva. It comprised three
distinct cells (cellce') parallel to each
other, but enclosed by one roof, ter-
minating in a single pediment ; the
centre one was dedicated to Jupiter,
that on the right hand of his statue,
i. e. on the left of the spectator when
112
CAP1TOLIUM.
fronting the edifice, to Minerva, and
the other to Juno. The ground-plan
was a parallelogram, possessing only
a slight difference between its width
and length. A triple row of columns
supported the pediment in front, and
a double one formed a colonnade on
each of the flanks; but the rear,
which was turned from the city, had
no colonnade. (Dionys. iv. 61.) The
ground-plan above given is designed
in accordance with this description
from Dionysius, in order to convey a
clear notion of the internal arrange-
ment of this remarkable edifice, which
was constructed upon a plan so diffe-
rent from that usually adopted in
their religious buildings by the
Greeks and Romans. It is true that
the temple described by Dionysius
was the one existing in his own day,
which was built by Sylla, and dedi-
cated by Catulus ; but we have it
upon record, that, from a feeling of
religious veneration, the original
ground-plan was never altered. Tac.
Hist. iv. 53.
As regards the exterior elevation
of this famous temple, nothing but a
few blocks of large stones, which
formed the substruction, now remain
to give a faint idea of all its former
splendour ; and the representations of
it, which appear upon coins, medals,
and bas-reliefs, are too minute and
imperfect in respect of details to
afford a fair conception of its real
character and appearance. It was
thrice destroyed by fire, and three
times rebuilt, but always upon the
former site, and with the same
ground-plan. The first structure was
certainly of the Etruscan order de-
scribed by Vitruvius, for the archi-
tects who built it were sent for from
Etruriaforthe purpose. (Liv. i. 56.)
When rebuilt for the first time by
Sylla, the only difference made con-
sisted in changing the order into the
Corinthian, for the columns were
brought from the temple of Jupiter
Olympus at Athens ( Plin. H. N. xxxvi.
5.); which Vitruvius expressly says
(Proem, vii. 17.) were Corinthian,
and some of them are still remaining
there to prove the fact. The same
plan and architectural order were
still preserved under Vespasian (Tac.
Hist. iv. 53. ) ; and also in the fourth
structure raised by Domitian, as tes-
tified by the illustration here annexed,
I
taken from a bas-relief belonging to
the triumphal arch of Marcus Aure-
lius, on which that emperor is repre-
sented in the act of performing sacri-
fice in front of the Capitoline temple.
Although the sculpture does not pre-
sent a faithful representation of the
real elevation, it will be observed
that the principal characteristics are
sufficiently indicated the Corinthian
order of the columns, and the three
separate cells under one pediment,
which are expressed by the unusual
appearance of three entrance doors.
It is well known to those conversant
with the works of antiquity, that the
ancient artists, both Greek and Ro-
man, adopted as a constant practice
of their school, a certain conventional
manner of indicating, rather than
representing, the accessories and lo-
calities amongst which the action ex-
pressed took place ; instead of the
matter-of-fact custom now prevailing
of giving a perfect delineation, or, as
it were, portraiture, of the identical
spot and scene.
3. Capitolium vetus. The old Ca-
pitol; a small temple on the Quirinal
hill, dedicated to Jupiter, Juno, and
CAPITULUM.
113
Minerva, and supposed to have been
built by Numa. This name, how-
ever, was not given to it until after
the erection of the more famous edi-
fice on the Capitoline hill, when it
was adopted, in order to distinguish
the two ; which Martial distinctly
does in the following verse inde
novum, veterem prospicis inde Jovem.
Mart. Ep. vii. 73. Id. v. 22. Varro,
Z. Z. v. 158. Val. Max. iv. 4. 11.
CAPIT'ULUM (Mfcpavov, K iov6-
Kpavov). The capital of a column;
which, in the infancy of building as
an art, was nothing more than a
simple abacus, or square tablet of
wood, placed on the top of a wooden
trunk, the original column, to form
a broad bed for the architrave to
rest upon. (See the illustration and
article ABACUS 6.) From this sim-
ple beginning, it became eventually
the principal ornament of a column,
and a prominent feature by which
the different architectural orders are
distinguished ; being, like them, and
strictly speaking, divided into three
kinds, the Doric, Ionic, and Corin-
thian capitals, which, with the Roman
alterations, make five varieties in use
among the ancients ; for the Tuscan,
of which no example remains, is only
a species of Doric ; and the Compo-
site is formed by a union of the Ionic
and Corinthian, having the foliage of
the latter surmounted by the volutes
of the former a bastard capital in-
troduced in the Imperial age, when
the genius for invention was suc-
ceeded by a love for novelty and
splendour, and first employed in the
triumphal arches at Rome, where a
specimen is still to be seen on the
arch of Titus.
1. Capitulum Doricum. GREEK.
The Greek Doric capital, which is
the simplest of all, i i
being divided into ^ i
no more than three vyM T i i^n
principal parts: the
large square abacus at the top, re-
taining in this order its primitive
character to the last; the echinus or
quarter round, immediately below it ;
and the anuli, or anulets, just above
the neck of the shaft. The example
represents a Doric capital from the
Parthenon.
2. ROMAN. The Doric of the
Romans is more complicated and
varied in its parts.
Instead of the simple
abacus, they substi-
tuted a moulded cy-
matium and fillet ; in
place of the echinus, an ovolo, often
broken by carving, as in the exam-
ple ; instead of the anulets, either an
astragal (astragalus"), or a bead and
fillet. The example is from a Roman
temple near Albano.
3. Capitulum lonicum. GREEK.
The Greek Ionic capital consists of
two leading features :
the abacus, which is
smaller and lower
than in the Doric, but
still square in its plan,
though moulded on the exterior
faces ; and the volutes (valuta), or
spiral mouldings on each side of the
front, which are frequently connected
by a pendent hem or fold, as in the
example, and hang down much lower
than the sculptural echinus between
them. The example is from a
Greek temple near the Ilyssus.
4. ROMAN. The Roman Ionic
does not differ very materially, nor
in its essential parts, . ,
from the Greek spe-
cimens, excepting that
it is often elaborately
covered with carv-
ing ; the volutes are in general
smaller, and the tasteful hem which
hangs down between them in the
preceding engraving is never intro-
duced ; but that is not to be con-
sidered as an uniform characteristic
of the Greek order ; it does not occur
in the temple of Bacchus at Teos
(introduced s. DENTICULUS), nor in
other existing edifices. The exam-
ple is from the temple of Fortuna
Virilis at Rome.
114
CAPITULUM.
CAPREOLUS.
5. Capitulum Corinthium. The
Corinthian capital is the richest of
all the pure orders,
and the specimens
now remaining of it
in Greece and Italy
do not materially
differ in any charac-
teristic point. It
consists of an aba-
cus, not square, like that of the Doric
and Ionic capitals, but hollowed on
the sides, and having the angles cut
off, and a rosette (flos) or other
similar ornament in the middle.
Under the abacus are small volutes
(helices, Vitr. iv. 1. 12.), bending
downwards like stalks, two of which
meet under each angle of the abacus,
and two in the centre of each face of
the capital, where they sometimes
touch, and sometimes are interwoven
with each other. The whole is sur-
rounded by two circular rows of
leaves (folia), each leaf of the upper
row growing between and behind
those of the lower one, in such a
manner that a leaf of the upper row
falls in the centre of each of the four
faces of the capital. In the best
examples, these leaves are carved to
imitate the acanthus, or the olive
tree, which last is represented in the
engraving, from the portico of the
Pantheon at Rome.
6. A small circular head-piece, af-
fixed to the top of the tablets used by
the Roman children
at their schools.
(Varro, E. E. iii. 5.
10.) It had an eye
in its centre, through
which a thong or
cord was passed, and
by which it was
slung upon the arm when carried
(Hor. Sat i. 6. 74.), or hung up upon
a peg, when put by, as in the ex-
ample, from a Pompeian painting.
7. In military engines, such as the
ballista and catapulta, the capitulum
appears to have been a cross-bar with
holes in it, through which the cords
passed, by the tension of which the
missile was discharged (Vitruv. i. 1.
18. Id. x. 10. 2. Id. x, 12. 2.); but
as the mechanical construction of
these machines has not been ascer-
tained, any attempt to determine
their component parts would only be
conjectural and unsatisfactory.
CAPRA'RIUS (aiVrfAos, afye-
ACITTJS). A goat-herd, who drove out
a flock of goats to pasture ; of which
animals the ancients kept large flocks
upon their farms. (Varro, 11. E. ii.
3. 10.) The qualities required in
him were strength, activity, boldness,
and great powers of enduring fatigue,
as goats always scatter themselves to
browze, and the places which afford
their best pasturage are abrupt and
precipitous steeps in mountain dis-
tricts, which abound with brushwood,
wild herbs, and flowers. (Columell.
vii. 6. 9. Varro, E. E. ii. 3. 7.) The
illustration represents one of the
goat-herds of Virgil's Eclogues, from
a M S. in the Vatican.
CAPRE'OLUS Literally a roe-
buck or chamois; and thence an
instrument used in husbandry, for
raking up and loosening the
soil, formed with two iron
prongs (Columell. xi. 3. 46.),
converging together like the
horns of the chamois, as
shown by the annexed figure,
which is copied from an
ancient ivory carving in the
Florentine Gallery, where it
appears in the hands of a figure
standing, with a goat by its side, in
CAPRILE.
CAPRON^E.
115
the midst of a vineyard, thus identify-
ing its object and name.
2. (o-try/cyTmjs.) A brace or strut
in carpentry ; i. e. a piece of timber
placed in a slanting position in a
trussed partition, or in the frame of
a roof (E E in the illustration), in
order to form a triangle by which
the whole construction is made
stronger and firmer. In this sense,
the word is mostly used in the plural,
because they are generally inserted
in pairs, meeting together at bottom,
and diverging upwards, like the horns
of the chamois. Caes. B. C. ii. 10.
Vitruv. iv. 2. 1.
CAPRFLE. A goat- house. Co-
lumell, vii. 6. 6. Varro, R. E. ii. 3. 8.
CAPRIMUL'GUS. A milker of
goats ; the milk of which animals was
extensively used by the ancients.
(Catull. xxii. 10.) Properly speak-
ing, the caprimulgus was a slave be-
longing to the familia rustica, but in
the illustration, from a painting at
Pompeii, he is represented as a genius,
pursuant to the common practice of
the ancient schools in similar cases.
CAP'RIPES. Goat-footed; a
form commonly attributed by poets
and painters to Pan and the Satyrs,
in order to indicate their libidinous
and dissolute pro
iv. 583. Hor.
nsities. (Lucret.
ii. 19. 4.) The
illustration is taken from a Pompeian
painting.
CAPRO'N^E (*poic6mov). The
locks of hair which fall down over
the centre of the forehead from the
top of the head ; distinctly marked in
the illustration annexed, from a sup-
posed statue of Adonis found in ths
amphitheatre of Capua. Non. Marc.
5. v. p. 22. Apul. Flor. i. 3. 3.
2. The forelock of a horse ; when
it falls over the forehead, as in the
example, from an engraved gem,
instead of being tied up into a tuft
Q 2
116
CAPSA.
CAPULUS.
(cirrus), a very common practice.
Festus, s. v. Xen. Equest. v. 6.
CAPSA. A deep, circular
wooden box or case (Plin. H. N.
xvi. 84.), in which things are depo-
sited to be removed from place to
place, but more especially employed
for the transport of books. (Cic, in
Coel Div. 16. Hor. Sat. i. 4. 22. Ib.
10. 63.) The illustration represents
two of these boxes, one open with
the rolls or volumes inside it, from a
Pompeian painting ; the other, with
the lid shut down and locked, from a
MS. of Virgil in the Vatican. Both
have straps attached, for the conve-
nience of carrying them about.
CAPSA'RIUS. A slave who
carried his young master's capsa, or
box of books to and from school.
Suet. Nero, 36. Juv. Sat. x. 117.
2. A slave attached to the service
of the public baths, whose duty it
was to take charge of the wearing
apparel left by the bathers in the
undressing room, to prevent their
being stolen; a species of theft fre-
quently occurring at Rome. Paul.
Dig. i. 15. 3. Compare Ovid, Art.
Amat. iii. 639. Plaut. Rud. ii. 3. 51.
CAPSEL'LA. A double diminu-
tive of CAPSA ; a very small box, in
which were kept dried fruits (TJlp.
Dig. 33. 7. 12.), or women's trinkets;
sometimes suspended from a chain
round their necks. Pet. Sat. 67. 9.
CAFSULA. Diminutive of
CAPSA ; a small box for books or
other things (Catull. Ixviii. 36.) j
hence the expression homo totus de
capsula (Seneca, Ep. 115.), a fop, or,
as we also say, one who looks as if he
had just come out of a band-box.
CAPSUS. The body or interior
of a carriage ; like our expression,
the inside of a coach. (Vitruv. x. 9.
2.) See the illustrations to CAK-
PENTUM.
2. A cage or enclosure for con-
fining animals. Veil. i. 16.
CAFULA. Diminutive of CA-
PIS ; a small wine jug or drinking
cup, with a handle to
it, which was used with
the circular drinking
table termed cilibantum.
(Varro, L.L. v, 121.
Id. de Vit. Pop. Rom.
ap. Non. s. Armillum,
p. 547.) Vessels of
this form and character are frequently
represented upon round tables at
which parties are drinking, in the
paintings of Pompeii, from one of
which the annexed illustration is taken,
CAPULA'RIS. See CAPULUS 3.
CAPULA'TOR. A person em-
ployed in the process of oil making,
whose business it was to pass and
repass the oil from one vat to another,
or from the vat into jars, for the pur-
pose of refining it, which he did with
a sort of ladle or vessel with a handle,
similar in form and character to the
capis or capula, from which the name
originates. Cato, R. R. Ixvi. 1. Co-
lumell, xii. 52. 10.
CAFULUS (ictiirr)). The handle
or haft of any implement which has
a straight handle, such as a sickle
(Columell. iv. 25. 1. see FALX) ; of
a sceptre (Ovid. Met. vii. 506. see
SCEPTRUM), as contradistinguished
from ansa, which represents a curved
or bent one. More especially, the
hilt of a sword, which was made of
wood, bone, ivory, silver, or gold,
and sometimes inlaid with precious
stones, and mostly without a guard.
(Virg. &n. x. 506. Tac. Ann. ii. 21.
Spart. Hadr. 12. Claud, de Laud. Stil
ii. 91.) The illustration is copied
from an original found at Pompeii.
2. Poetical for stiva; the handle
of a plough, which the ploughman
CARABUS.
CARACALLA.
117
held in his hand to direct its course.
(Ov. Pont. i. 8. 57.) See STIVA,
and the illustration s. ARATOR.
3. The bier on which a dead body
was carried out. (Festus, s. v. Serv.
ad Virg. Mn. vi. 222, Lucilius and
Novius, ap. Non. s. v. p. 4.) ; whence
the epithet capularis is applied to de-
signate one who is near his death, or
ready for his bier. (Plant. Mil iii.
1. 33.) The illustration is from a
bas-relief on a marble sepulchre
near Rome.
CA'RABUS. A small boat made
of wicker-work, like the Welsh
3. Edict. Dioclet. 21. Compare Mart.
Ep. i. 93. 8., where it is termed palla
" coracle," and covered with raw
hides. (Isidor. Orig. xix. 1. 26.)
The illustration is given by Scheffer
(Mil Nav. p. 810.), from an old MS.
of Vitruvius. The lines down the
sides, which are more distinct in the
original, show the seams where the
hides are sewn together. The form
of the tiller and rudder, as well as its
position at the stern of the boat,
which is a very unusual one, but is
also seen on a sepulchral marble in
Boldetei (Cimiterj, p. 366.), indicates
a late period.
CARACAL'LA. An article of
dress worn by the Gauls, which
occupied the same relative position
in their attire as the \ITUV of the
Greeks and tunica of the Romans.
It differed, however, from them in
form and size ; for it was a tight
vest, with long sleeves, the skirts of
which reached about half way down
the thighs, and were slit up before
and behind as far as the fork, like a
modern frock-coat. (Strabo, iv. 4.
Gallica.) This explanation depends
mainly upon the passage of Strabo
cited above, who says, in describing
the costume of the Gauls, that they
left the hair to flow in its natural
profusion, and wore a sagum and long
trowsers ; but that, instead of tunics,
they wore a vest with long sleeves,
which was slit up before and behind
as far as the fork ami 8e x 1 ^'
vcav ffX"rTOvs xpi8a>Toi;s tyepovai p.*XP l
aifioiwv Kal yXowr&v a description
agreeing exactly with the costume
of the figures introduced above,
which are taken from two small
bronzes found at Lyons, and exhibit
all the characteristics here men-
tioned, as well as some others pecu-
liar to the ancient inhabitants of Gaul }
viz. the profusion of hair arranged
in the Gallic fashion (see the illus-
tration *. CIRRUS 1., where an ex-
ample is introduced upon a larger
scale), and not unlike the style
usually represented on the heads of
Jupiter and ^Esculapius, a circum-
stance which led the Count Caylus and
Montfaucon into the error of mis-
taking these figures for personations
of those deities, the shoes of the
particular character worn by the
Gauls (see GALLICS, where there is
another example upon a larger
scale), the sagum on the shoulders
of the right-hand figure, the torquis
round the neck of the other, and
the slit in front of the dress, which is
very plainly indicated in both. In a
118
CARBASUS.
CARCER.
Pompeian caricature (inserted s.
PICTOR) a corresponding slit is shown
at the back of a similar vest. The
trowsers alone are wanting to both
figures ; which may arise from the
caprice of the artist, or from the
markings by which they were indi-
cated in the originals having been lost
or overlooked from the effects of age.
The passage of Strabo has always
been interpreted as if it meant a
XtT(f>v of the kind called (rxurros (see
the article TUNICA), but which only
reached as far as the bottom of the
belly in front, and the hip behind ;
but it is clear that the word ax iffrr ^ s
has reference to the other two /*e%p*
alSoiwv Kal yXovruiv, for if it was so
very short, no slit would have been
required.
2. A dress of similar description
introduced at Rome by the emperor
Aurelius Antoninus Bassianus, whence
he received the nickname of Cara-
calla (Anton. Caracall. 9. Aurel.
Viet. Vit. CCES. 21. Id. Epit. 21.),
which only differed from its Gallic
original in being much longer, reach-
ing down to the ankles, and some-
times also furnished with a hood.
From this time it came into general use
amongst the common people, and was
subsequently adopted by the Roman
priesthood, amongst whom it is still
retained under the name of sottana,
a vest which precisely resembles the
Gaulish jerkin of the preceding cuts,
with the skirts lengthened to the
feet.
3. Caracalla Major. The long
caracalla of the Romans, last de-
scribed. Edict Dioclet. 21.
4. Caracalla Minor. The short
caracalla of the Gauls, first described.
Edict. Dioclet. /. c.
CAR'BASUS (wapTroo-os). A fine
sort of flax produced in Spain ; whence
the name is given to anything made
from it; as a linen garment (Virg.
2n. viii. 34.) ; the awning stretched
over the uncovered part of a theatre
or amphitheatre, as a shield against
the sun and rain (Lucret. vi. 109.
see VELUM) ; the sail of a ship (Virg.
JEn. iii. 357. VELUM) ; the Sibylline
books, which were made of linen.
Claud. B. Gil. 232., &c.
CARBAT'IN^ (/capgortvcu or
/capTTOTti/ot). The commonest of all
the kinds of coverings for the feet in
use amongst the ancients, and peculiar
to the peasantry of southern countries,
Asiatics, Greeks, and Italians. (Xen.
Anab. iv. 5. 14. Pollux, vii. 22.
Hesych. s. v.) They consisted of a
square piece of undressed oxhide,
placed under the foot, as a sole ; then
turned up at the sides and over the
toes, and fastened across the instep
and round the lower part of the leg
by thongs passing through holes on
the edges, in the same way as with
the crepida, on which account they
are also called by that name in Ca-
tullus (98. 4.). The single piece of
hide, which in fact constitutes the
whole shoe, serving both for sole and
upper leather, also explains the
meaning of the epithets by which
they are described in Hesychius
fj.ov6irs\fj.ov and uovoSep/jLov, i. e. having
the sole and upper leather all in one.
Foot coverings of this sort are almost
universally worn by the Italian pea-
santry at this day, as represented in
the illustration, from a sketch made
by the writer, which is introduced
here in preference to an ancient
example, on account of the clear idea
it gives of the material and manner
in which they were made ; but the
Greek vases and Pompeian paintings
afford many specimens of the same ;
as in Tischbein, 1. 14. Museo Bor-
bon. xi. 25. and the right-hand figure
at p. 31. of this work s. ANABOLIUM.
CARCER (KopKopoi/). A prison
or gaol. The Roman prisons were
divided into three stories, one above
the other, each of which was appro-
priated to distinct purposes. The
CARCER.
CARCHESIUM.
119
lowermost (career inferior, jopyvpi])
was a dark underground dungeon,
having no other access but a small
aperture through the floor of the cell
above, and was used not for deten-
tion, but as the place of execution,
into which the criminal was cast in
order to undergo his sentence, if con-
demned to death. The middle one
(career interior), constructed imme-
diately over the condemned cell, and
on a level with the ground, but
having, like the preceding, its only
access through an aperture in the
roof, served as a place of confinement
where the punishment of imprison-
ment in chains (custodia arcta) was
expiated, or until the sentence, if a
capital one, was about to be carried
into effect. The upper one, forming
a story above the ground, was pro-
vided as a place of detention for those
convicted of minor offences, or who
were only condemned to an ordinary
term of imprisonment (custodia corn-
munis), in which the confinement was
much less severe, the prisoners not
being chained, nor excluded from the
enjoyment of air and exercise. Thus
we may understand with precision
the sort of confinement to which
Dolabella was subjected by Otho
neque arcta custodia, neque obscura
(Tac. Hist. i. 88.) ; i. e. in the upper
chamber of all, not in the close con-
finement of the career interior (the
upper one in engraving), nor in the
dark underground dungeon below.
All these three divisions were appa-
rent in the gaol of Herculaneum,
when it was excavated ; and the
two lower ones still remain entire in
the prisons constructed by Ancus and
Servius, near the Roman Forum, a
section of which is introduced above,
showing their relative positions and
plan of construction. The wall at
the top, with the inscription, com-
memorating the person by whom it
was repaired, faced the forum, and
enclosed the upper story, now de-
cayed.
2. The stalls in the Circus where
the chariots were stationed before the
commencement of a race, and to
which they returned after its conclu-
sion. (Ovid, Her. xviii. 166. Auct.
ad Herenn. iv. 3.) These were
vaults closed in front by large wooden
gates, and usually twelve in number
(Cassiodor. Var. Ep. iii. 51.), whence
the word is mostly used in the plural
(Cic. Brut. 47. Virg. G. i. 512.) ;
one for each chariot, and situated at
the flat end of the race course under
the oppidum, six on each side of the
porta pompce, through which the pro-
cession entered. Their relative
position as regards the course is
shown on the ground-plan of the
CIRCUS (s. v.), on which they are
marked A. A, and an elevation of four
carceres, with their doors open (can-
cell^, is here given, from a bas-relief
in the British Museum.
CARCHE'SIUM (Kapxjfftov). A
drinking-cup of Greek invention,
having a tall figure, slightly contracted
at its sides, with slender handles which
reached from the rim to the bottom
(Macrob. Sat. v. 21.), and used as a
120
CARCHESIUM.
CARDO.
goblet for wine (Virg. Georg. iv.
380.), or milk. (Ovid, Met. vii.
247.) The figure in
the engraving is from
a painting in the tomb
of Caius Cestius, one of
the Epulones or citizens
who had the duty of
providing a sumptuous
banquet in honour of
Jupiter. The locality where it is re-
presented, and its perfect correspond-
ence with the description of Macro-
bius, seem quite sufficient to identify
the name and form.
2. An apparatus attached to the
mast of a ship, just above the yard
(Lucil. Sat. iii. 14. ed. Gerlach.
Lucan, v. 418.), in which part of the
tackle worked (Serv. ad. Virg.
v. 77. Non. s. v. p. 546.), and nto
which the seamen ascended to keep a
look out, manage the sails, and dis-
charge missiles, as seen in the il-
lustration, from a painting in the
Egyptian tombs. It thus answers in
some respects to what our seamen
call the " tops," but received its name
from a real or fancied resemblance to
the drinking-cup figured in the last
wood-cut.
3. Carchesium versatile. The same
apparatus, when made to revolve
round the mast, and act as a crane
for the loading and unloading of
merchant vessels, by means of cross-
bar or crane-neck inserted horizon-
tally into it. (Vitruv. x. 2. 10.
Schneider, ad 1} Our seamen make
use of the yard arm in a manner not
dissimilar.
CARDINA'LIS. See SCAPUS.
CARDINA'TUS. See CARDO 4.
CARDO. A pivot and socket,
forming an apparatus by means of
which the doors of the ancients were
fixed in their places, and made to
revolve in opening and shutting ;
thus answering the same purpose as
the hinges more commonly in use
amongst us, though the contrivance
was entirely different in its character.
(See GINGLYMTTS.) The Greeks dis-
tinguished each of these parts by
distinct names, using a'rp6<}>iyS t for the
pivot, and (rrpoQevs for the socket in
which the pivot worked ; but the
Latin writers commonly include the
whole apparatus under the term
cardo, though they sometimes apply
it to each of the parts separately, and
sometimes to the whole style of the
door-leaf (scapus cardinalis\ that
formed the axle by which the con-
trivance acted. (Plin. H. N. xvi. 77.
ib. 84. Id. xxxvi. 24. n. 8. Plaut.
Asin. ii. 3. 8. Virg. JEn. ii. 480.
Apul. Met. i. p. 9.) The figures in
the annexed engraving will explain
the nature of these objects, and
the manner in which they were ap-
plied. The two top ones on the right
hand exhibit a pair of bronze
shoes from Egyptian originals in the
British Museum, which were fast-
ened on to the top and bottom of a
door-leaf, to act as pivots (arrp6-
ycs), for the wooden axles were
cased with bronze to bear the wear
and tear (Virg. Cir. 222. ceratus
cardo} ; the two lower ones on the
same side are two boxes which were
CARENUM.
CARNIFICINA.
121
let into the sill and lintel of the door
case to act as sockets ((TTpo<f>e?s), in
which the pivots turned; the left-hand
one, which is Egyptian, and of very
hard stone, is now in the British Mu-
seum, and was actually used with the
pivot shoe drawn immediately above
it : the right-hand one is of bronze, and
was found in the sill of a door at
Pompeii ; the teeth or flutings round
the sides are to keep it firm in its
place, and prevent it from turning in
its setting with the working of the
door ; the left-hand figure is an Egyp-
tian door from Wilkinson, and shows
the manner in which the apparatus
was attached and worked. Compare
the illustration s. ANTEPAGMENTUM.
2. The pin or pivot at each extre-
mity of an axle in machinery, by
means of which the axle revolves in
the sockets which receive them, as in
a wheel-barrow, roller, and similar
contrivances. Vitruv. x. 14. 1.
3. A tenon in carpentry ; i. e. the
head of a timber cut into a particular
form for the purpose of fitting into a
cavity of the same size and shape in
another piece, and so forming a joint
(Vitruv. x. 14. 2.); hence cardo se-
curiculatus, a tenon in the form of an
axe, or as we call it "dove-tailed."
Vitruv. x. 10. 3.
CARE'NUM. The must of new
wine inspissated by boiling down to
two-thirds of its original quantity.
Pallad. Oct. 18.
CARI'NA (rprfirw). The keel, or
lowest piece of timber in the frame-
work of a ship, running the whole
length from stem to stern, and serv-
ing as a foundation for the entire
fabric (Cic. de Orat. iii. 46.) ; includ-
ing also the false keel or " keelson."
Liv. xxii. 20. Cses. B. G. iii. 13.
CARNA'RIUM. A frame sus-
pended from the ceiling, and fur-
nished with hooks and nails, for the
purpose of hanging up cured pro-
visions, dried fruits, herbs, &c.,
similar to those still used in our
kitchens. (Plaut. Capt. iv. 4. 6. Pet.
Sat. 135. 4. Id. 136. 1. Plin. H. N.
xviii. 60.) The illustration is from
a painting at Pompeii, in which it is
suspended from the ceiling of a
tavern, and shows sausages, vege-
tables, and such things hanging by
strings or in nets.
2. In a more general sense, a safe
or larder for the preservation of fresh
viands. Plaut. Cure. ii. 3. 45. Plin.
H.N. xix. 19. n. 3.
CAR'NIFEX. The public exe-
cutioner, who inflicted torture and
scourging upon criminals, and exe-
cuted the condemned by strangling
them with a rope. Plaut. Capt. v. 4.
22. Suet. Nero, 54.
CARNIFICFNA. The place in
which criminals were tortured and
executed (Liv. ii. 23. Suet. Tib. 62.) ;
viz. an underground dungeon beneath
all the other cells of the gaol. The
illustration represents the interior of
the camificina in the state prisons at
Rome, constructed by Servius Tul-
lius, after whom it was called the
Tullianum, and the identical spot in
which the friends and accomplices
of Catiline were executed by order of
Cicero. The criminal was let down
into it by a rope through the aper-
ture in the ceiling, and his body
dragged up again by an iron hook
(uncus) after the execution. The
small door-way on the left hand,
though ancient, does not belong to
]22
CARPENTUM.
CARROBALLISTA.
the original construction ; it gives
admission to a low subterranean gal-
lery, now filled with rubbish, but
which takes a direction towards the
Tiber, and was, perhaps, intended for
carrying the dead bodies to the river,
when they were not dragged out of
the prison for exposure on the Ge-
monian stairs.
CARPEN'TUM. A two-wheeled
carriage, with an awning over it,
and curtains by which it might be
closed in front (Prop. iv. 8. 23.
Apul. Met. x. p. 224.) ; capable of
containing two or three persons,
usually drawn by a pair of mules
(Lamprid. Heliog. 4.), and used by
the Roman matrons and ladies of dis-
tinction from remote antiquity. (Ov.
Fast. i. 619. Liv. v. 25.) The illus-
tration, which belongs to the earliest
times is copied from an Etruscan
painting (Micali, Italia avanti i Ro-
mani, tav. 27.), and represents a bride
and bridegroom, or a married pair,
as Livy describes Lucumo and his
wife on their arrival at Rome (sedens
carpento cum uxore. Liv. i. 34.).
2. Carpentum funebre, or pompa-
ticum. A state carpentum or carriage,
in which the urn containing the ashes
of the great, or their statues, were
carried in the funeral procession.
(Suet. Cal. 15. Id. Claud. 11. Isidor.
Orig. xx. 12. 3.) These were like-
wise covered carriages, constructed
upon the same principle as the pre-
ceding, but more showy and imposing
in character ; as may be seen by the
example, from a medal struck in
commemoration of one of the Roman
empresses, its use being further im-
plied by the form, which, it will be
observed, is made in imitation of a
tomb.
3. A cart employed for agricul-
tural purposes, and apparently of
very common and general use ; for
the same word is frequently applied
in the sense of a cart-load, as of dung,
&c., to indicate a certain quantity,
which every one would immediately
recognise, as in the English phrase,
"a load." (Pallad. x. 1. Veget.
Mul Med. iv. 3. Prof.) It was
probably built like the first of the
two specimens, but of coarser work-
manship, and without the awning.
CARPTOR. The carver ; a slave
whose duty it was to carve the dishes
at grand entertainments before they
were handed round to the guests,
Juv. Sat. ix. 110.
CARRA'GO. A species of forti-
fication adopted by many of the bar-
barous nations with whom the Romans
came into collision. It was effected
by drawing up their waggons and
war-chariots into a circle round the
positions which they occupied. Amm.
Marc. xxxi. 7. 7. Trebell. Gattien.
13. Veget, Mil iii. 10.
CARROBALLIS'TA. A ballista
mounted upon a carriage, and drawn
by horses or mules for the conve-
nience of transport from place to
place, or to different points in the
scene of action. (Veget. Mil iii.
CARRUCA.
CARTIBULTJM,
123
24. Id. ii. 25.) The illustration re-
presents an engine of this description,
as it is expressed on the Column of
Antonine ; but it is too imperfect in
point of detail, to give an adequate
idea of the constructive principle upon
which such machines acted.
CARRU'CA or CARRU'CHA.
A particular kind of carriage intro-
duced at Rome under the Empire
(at least mention of it first occurs
in Pliny, and it subsequently becomes
common in Suetonius, Martial, and
others). Its precise form and cha-
racter is a matter of mere conjecture ;
but it is clearly distinguished from
the covinus and essedum by Mar-
tial (Ep. xii. 24.), and from the
rheda by Lampridius. (Alex. Sev.
43.) It was at all times a vehicle of
costly description, and highly orna-
mented; at first, by carvings in
bronze and ivory (Aurel. Vopisc.
46.), and afterwards by chasings in
silver and gold. (Plin. H.N. xxxiii.
40. Mart. Ep. iii. 62.) This de-
scription agrees so far with the figure
in the annexed engraving, represent-
ing the carriage of the prsefect of
Rome from the Notitia Imperii, and
in which the metal ornaments are
very apparent. It may, therefore, by
a plausible conjecture, be regarded as
affording a type of these convey-
ances, but the Latin writers certainly
make use of the term at times in a
general sense, without intending
thereby to designate any particular
build (as in Suet. Nero, 30. and
Mart. Ep. iii. 47., where the same
vehicle is indiscriminately termed
carruca and rheda), and the word re-
tained this usage in after times, for it
contains the elements of the Italian
carrozza, and our carriage, both of
which are general expressions.
2. Carruca dormitoria. A close
carruca (Scsevol. Dig. 34. 2. 11.); the
carruca undique contecta of Isidorus,
Orig. xx. 12. 3.
CARRUCA'RIUS. Belonging to
a carruca; an epithet applied to the
coachman who drove it (Capitol.
Maxim, jun. 4.), and to the horses or
mules which drew it. (Ulp. Dig. 21.
1. 38.) See the preceding word and
illustration.
CARRUS. A small two-wheeled
cart with boarded sides all round,
used chiefly in the Roman armies
for a commissariat and baggage wag-
gon, as in the example, from the
Column of Trajan, on which such
vehicles are frequently represented.
The name is of Celtic origin, as was
the vehicle itself, having been ex-
tensively employed by the ancient
Britons, Gauls, Helvetii, &c. Sisenn.
ap. Non. s.v. p. 125. Liv. x. 28. Caes.
B. G. i. 3.
CARTIB'ULUM. A particular
kind of table, made of stone or mar-
ble, with an oblong square slab for
the top, and supported by a single
central pedestal, or after the manner
B 2
124
CARYATIDES.
CASA.
of those now called console tables by
our upholsterers. It was not used
as a dining-table, but as an orna-
mental slab or sideboard for holding
the plate and vases belonging to the
household, and used to stand on
one side of the atrium with the
vessels arranged upon it. (Varro,
L. L. v. 125.) This account from
Varro is accurately illustrated by the
engraving, which represents a marble
table of the kind, as it was discovered
on the margin of the impluvium in
the house of the Nereids at Pompeii.
Behind it is a fountain, and under-
neath it there is a sort of sink, divided
into two compartments, into which
the drainings or residue from the
vessels were emptied before they
were put upon the table.
CARYAT'IDES ( KapwmScs).
Female figures employed instead of
columns by the ancient architects to
support an entablature, as seen in the
annexed engraving, which represents
the portico attached to the temple of
Pandrosos at Athens. Vitruv. i. 1. 5.
CASA. Generally a cottage;
understood in the same latitude of
meaning which we apply to that
word in our own language ; for in-
stance :
1. A cottage proper (Vitruv. ii. 1.
3. and 5. Pet. Sat. 115. 6.); the first
regular effort in building of the
pastoral ages, and which continued
afterwards as the constant model for
the residence of a village population.
Of this description was the thatched
cottage of Romulus on the Capitoline
hill (casa JRomuli, Vitruv. ii. 1. Pet.
Fragm. 2 1 . 6.), and those of the abo-
riginal inhabitants of Latium, of
which the illustration here introduced
may be regarded as an authentic and
highly curious example. It is copied
from an earthenware vase, now pre-
served amongst the Egyptian and
other antiquities in the British Mu-
seum, but originally employed as a
sepulchral urn, which was discovered
in the year 1817 amongst several
others in the form of temples, hel-
mets, &c., at Marino, near the ancient
Alba Longa, imbedded in a sort of
white earth under a thick stratum of
volcanic lava (the Italian peperino),
which flowed from the Alban mount
before its eruptions became extinct ;
previously to which period these vases
must in consequence have been depo-
sited there, an irresistible proof of
their great antiquity. Visconti, Let-
tera al Sigr. Giuseppe Carnevali,
sopra alcuni Vasi sepolcrali rinvenuti
nella vicinanza della anticaAlba Longa.
Roma. 1817.
2. A small country-house (Mart.
Ep. vi. 43.) ; built, as we should say,
in cottage fashion, upon a far less
grand or magnificent scale than the
regular villa or country mansion, as
represented in the annexed engraving,
from a painting at Pompeii, which
CASEUS.
CASTELLUM.
125
affords a good idea of the small
Roman country-house, with its court-
yard, outbuildings, and live stock.
When Martial (Ep. xii. 66.) used the
words domus and casa as convertible
terms, it is purposely and pointedly,
in order to insinuate that the domus
or town-house was but a poor and ill-
built one ; i. e. no better than a casa
or cottage.
3. A bower or rustic arbour, made
of osiers and branches, and sometimes
covered with vines, as in the example
from the ancient mosaic of Prseneste.
Tibull. ii. 1. 24,
4. A sort of wigwam or hut which
the soldiery sometimes formed with
branches of trees, as a substitute for
a tent. Veget. Mil. ii. 10.
CA'SEUS (Typo's). Cheese (Varro,
Z. Z. v. 108.) ; which the ancients
made from the milk of cows, sheep,
and goats (Varro, R. R. ii. 11.), and
eat in a fresh state, like cream cheese,
or dried and hardened. (Id. ib.) It
was also pressed and made into orna-
mental shapes by boxwood moulds
(Columell. vii. 8. 7.). Pliny ( H. N.
xi. 97.) enumerates the different
places where the best cheeses were
made.
CASS'IDA. Same as CASSIS.
CASSIDA'RIUS. An armourer
who makes metal helmets Inscript.
ap. Muret. 959. 5.
2. An officer whose duty it was to
take charge of the metal helmets in
the Imperial armoury. Inscript. ap.
Reines. 8. 70.
CAS'SIS,-zY/w (/cd>s). A casque
or helmet made of metal, as contra-
distinguished from GALEA, a helmet
of leather (Isidor. Orig. xviii. 14.
compare Tac. Germ. 6.) ; but this
distinction is not always observed (Ov.
Met. viii. 25., where both names are
given to the same helmet) ; and as
the latter is the more common name,
the different kinds and forms are
described and illustrated under that
word.
CASSIS, -is (&PKVS). One of the
nets employed by the ancients in
hunting wild animals, such as boars
and deer. (Isidor. Orig. xix. 5. 4.
Ov. A. Am. i. 392. Mart. Ep. iii.
58. ) It was a sort of purse or tunnel
net, the mouth of which was kept
open by branches of trees, and so
deceived the animal who was driven
into it, when it was immediately
closed by a running rope (epidromus)
round the neck. Yates, Textrin.
Antiq. p. 422.
CASTELLA'RIUS. An officer
who had the charge of superintending
the public reservoir (castellum) of an
aqueduct. Frontin. Aq. 117. Inscript.
ap. Grut. 601. 7.
CASTEL'LUM. Diminutive of
CASTRUM. A small fortified place
or fortress in which a body of soldiers
was stationed, either in the open
country to protect the agricultural
population from the incursions of
hostile tribes, or on the frontiers, to
guard the boundaries of the state, or
in any other position which com-
manded the main road and lines of
intercommunication. (Sisenn. ap.
Non. s. Festinatim. p. 514. Cic. Fam.
126
CASTELLTJM.
CASTERIA.
xi. 4. Id. Phil v. 4.) The illus-
tration represents one of these for-
tified posts with its garrison, from the
Vatican Virgil.
2. A small fortified town ; so called
because many of the forts, originally
intended as mere military posts, grew
into towns and villages from the
neighbouring population flocking to
them, and building their cottages
about the fort, for the sake of pro-
tection ; just as the baronial castles of
the feudal ages formed a nucleus for
many of the towns in modern Europe.
Curt. v. 3.
3. The reservoir of an aqueduct;
formed at its city termination, or at
any part of the line, where a head
of water was required for the supply
of the locality ; and into which the
main pipes were inserted for the pur-
pose of distributing the water through
the various districts of a city.
(Vitruv. viii. 6. 1. Plin. H.N. xxxvi.
24. n. 9. Frontin. Aq. 35.) In ordi-
nary situations, these were plain
brick or stone towers containing a
deep cistern or reservoir within them,
but at the termination of the duct
when it reached the city walls, the
castellum was designed with a regard
to ornament as well as use, having a
grand architectural fagade of one or
more stories, decorated with columns
and statues, and forming with its waste
water a noble fountain which poured
its jets through many openings into
an ample basin below (Vitruv. I. c.) ;
as seen in the illustration here in-
serted, which is a restoration of the
castellum belonging to the Julian
aqueduct, still remaining, though in
a dilapidated state at Rome, near the
church of S. Eusebio ; but the details
here introduced are authorized by an
old drawing of the structure executed
in the 16th century, when the prin-
cipal ornaments were still in their
original situations, and the whole in
a much more perfect condition than
at present.
4. Castellum privatum. A reservoir
built at the expense of a certain
number of private individuals living
in the same district, and who had
obtained a grant of water from the
public duct, which was thus collected
into one head from the main reser-
voir, and thence distributed amongst
themselves by private pipes. Fron-
tin. 106. compare 27.
5. Castellum domesticnm. A cis-
tern which each person constructed
on his own property to receive the
water allotted to him from the public
reservoir. Frontin.
6. A cistern or receptacle, into
which the water raised by a water-
wheel was discharged from the
scoops, buckets, or troughs (modioli)
which collected it. (Vitruv. x. 4. 3.)
See ROTA AQUARIA.
CASTER'IA. A place in which
the oars, rudders, and moveable gear
of a vessel were laid up, when the ship
was not in commission ; or, as others
think, a particular compartment in
the vessel itself, to which the rowers
retired to rest themselves when re-
lieved from duty. Non. s. v. p. 85.
C ASTRA.
127
Plaut. Asin. iii. i. 16. Scheffer, Mil.
Nav. ii. 5.
CASTRA. Plural of CASTRUM.
An encampment, or fortified camp.
The arrangement of a Roman camp
was one of remarkable system and
skill. Its general form was square,
and the entire position was sur-
rounded by a ditch {fossa), and an
embankment (agger) on the inside of
it, the top of which was defended
by a strong fencing of palisades (val-
lum). Each of the four sides was
furnished with a wide gate for ingress
and egress ; the one furthest removed
from the enemy's position (A) was
styled porta decumana ; that immedi-
ately in front of it (B) porta prcetoria;
the one on the right hand (c), porta
principalis dextra; the other on the
left (D), porta principalis sinistra.
The whole of the interior was divided
2nd Legion I*' Legion
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into seven streets or gangways, of
which the broadest one, running in a
direct line between the two side
gates, and immediately in front of the
general's tent (prcetoriuni), was 100
feet wide, and called Via Principalis.
In advance of this, but parallel to it,
was another street, called Via Quin-
tana, 50 feet wide, which divided the
whole of the upper part of the camp
into two equal divisions ; and these
were again subdivided by five other
streets of the same width, intersecting
the Via Quintana at right angles. The
tents and quarters of the troops were
then arranged as follows: 1. The
prcetorium, or general's tent. 2. The
quastorium, a space allotted to the
quaestor, and the commissariat stores
under his charge. 3. The forum, a
sort of market place. 4. 4. The
tents of the select horse and volun-
teers. 5. 5. The tents of the select
foot and volunteers. 6. 6. The
Equites Extraordinarily or extraordi-
nary cavalry furnished by the allies.
7.7. The Pedites Extraordinarii, or
extraordinary infantry furnished by
128
CASTKA.
CASULA.
the allies. 8. 8. Places reserved for
occasional auxiliaries. 9. 9. The
tents of the tribunes, and of the prce-
fecti sociorum, or generals who com-
manded the allies. This completes
the upper portion of the camp. The
centre of the lower portion was
allotted to the two Roman legions
which constituted a consular army,
flanked on each side by the right and
left wings, composed of allied troops.
The manner in which these were
respectively quartered will be at once
understood by the names of each,
which are written in the engraving
over their respective positions. Fi-
nally, the whole of the interior was
surrounded by an open space, 200
feet wide, between the agger and the
tents, which protected them from fire
or missiles, and facilitated the move-
ments of the troops within. The plan,
drawn out after the description of
Polybius, when the Roman armies
were divided by maniples, is inserted
in order to illustrate the general
method upon which a Roman camp
was constructed, and not as an au-
thentic design from any ancient
monument. Some of the minor de-
tails were necessarily altered after the
custom of dividing the legions into
cohorts, instead of maniples, had ob-
tained ; but the general plan and prin-
cipal features of the interior distri-
bution, remained the same.
2. Castra Prcetoriana. The per-
manent camp on the skirts of the
city of Rome, in which the Praetorian
guards were stationed. (Suet. Claud.
21. Tac. Ann. iv. 2.) A portion of
the high brick wall which enclosed it,
with one of the gates, is still to be
seen standing near the Porta Pia,
where it forms a part of the present
city walls, into the general circuit of
which it was taken when they were
extended by Aurelian.
3. Castra navalia or nautica. A
naval encampment ; i. e. a line of
fortification formed round the ships
of a fleet, to protect them from the
enemy, when they were drawn up
fas-
ashore. Caes. B. G. v. 22. Nepos,
Alcib. 8.
CASTRUM. An augmentative
of CASA, meaning in its primary
sense a large or strongly-built hut,
and thence a fort or fortress ; though
the diminutive CASTELLUM was re-
tained in more common use. Nepos,
Alcib. 9. Virg. JEn. vi. 776.
CAS'TULA. A woman's petti-
coat; worn next the skin, and
tened under the
breast, which it left
exposed. (Varro,
de Vit. Pop. Rom.
ap. Non. *. v. Cal-
tula, p. 584.) In
early works of art,
it is often repre-
sented as the only
under garment, or
sole article of the
attire, similar to the
figure in the en-
graving, from a bas-relief on an
Etruscan tomb ; but the Roman
women mostly wore a tunic or some
other article of dress over the breast
and shoulders, so that the two
covered the person as much as an
upper and under tunic ; in which case
the upper part of the petticoat, as
well as the bosom, is concealed under
the skirts of the outer covering. In
this manner it is worn by Silvia in
the Vatican Virgil (p. 146.), and by
a female figure amongst the Pompeian
paintings. Mus. Barb. xiv. 2. com-
pare xii. 57., where the castula is put
on over a long-sleeved tunic, but fast-
ened over the shoulders and round the
waist in the same manner as above.
CA'SULA. Diminutive of CASA.
Any very small
cottage or humble
dwelling in gene-
ral ; but, more es-
pecially, a tempo-
rary hut or cabin
of a conical form,
which sheep and
goat herds erected 5
on the lands where
CATACLISTA.
CATAGRAPHA.
129
their flocks pastured ; and agricultural
peasants in the fields for their shelter
at harvest time. (Plin. H. N. xxxv.
37. Juv. Sat. xi. 153.) The ex-
ample is from a Pompeian painting
representing a rustic scene ; and the
illustration introduced in CAPRARIUS
shows a goat-herd's hut of similar
character. The second meaning be-
longing to this word is also an evi-
dence of the first.
2. A hooded cloak or capote ; such
as was worn by the country people,
and universally given to
Telesphorus, the attendant
of JEsculapius, as he is re-
presented in the annexed
example, from an engraved
gem. When the hood is
drawn over the head, as
here, the whole garment
presents an appearance very
similar to the cabin last
described, and from this resemblance
the term originated, being probably
a sort of nick-name, or familiar word
amongst the lower orders. Isidor.
Orig. xix. 24. 17.
CATACLIS'TA sc. vestis (Apul.
Met. xi. 245. ; but neither the read-
ing nor the meaning of the word is
free from uncertainty.) A term
which some have interpreted to mean
a dress kept shut up in the wardrobe,
and only taken out to be worn upon
great occasions as a holiday dress
(Salmas. ad Tertull. de Pall 3.);
others, with more apparent reason, a
garment without any opening, but fit-
ting tight and close to the person, like
those commonly seen on Egyptian
statues, Visconti, Mm. Pio-Clem.vi. 14.
CATAD'ROMUS. A rope ex-
tended in a slanting position from the
ground to some elevated point in
a theatre, upon which rope-dancers
ascended and descended ; a feat
which, however extraordinary it may
appear, is also recorded to have
been performed in the Roman amphi-
theatre by an elephant with a rider
on its back. (Suet. Nero, 11. com-
pare Galb. 6. and Plin. H. N. viii. 2.)
The illustration is from a medal of
Caracalla ; the slanting ropes and
the dancers on them are clearly in-
dicated, while the baskets and palm
branches on the top represent the
prizes for those who succeed in
reaching up to them.
CATAG'RAPHA ( /caTcfy>a<J>a).
Paintings in which the figures are
drawn in perspective, or, as the artists
have it, fore-shortened, so that, al-
though the whole figure is repre-
sented, only a portion of it is seen by
the spectator (Plin. H.N. xxxv. 34.);
a practice now considered as indi-
cating great skill on the part of the
artist, but which the ancient painters
seldom had recourse to. The il-
lustration here introduced is from a
Pompeian picture, which represents
Agamemnon conducting Chryseis on
board the vessel which was to con-
vey her to her father. The figure of
Agamemnon is slightly foreshortened
in its upper portion ; but, slight as
that is, it is the closest approximation
towards such a mode of treatment
discoverable in the whole of the
130
CATAPHRACTA.
CATAPULTA.
works executed by the artists of Pom-
peii. Even in the celebrated mosaic
which represents the battle of Issus,
the largest pictorial composition, and
richest in number of figures, which
has descended to us, the whole of
them are represented in full front
or side views, and in postures nearly
erect, though in the most energetic
action. But, with the exception of
some arms and legs, and one horse
which has his back turned to the
spectator, there is no attempt at fore-
shortening the figure in the sense
now understood, whereby an entire
figure is portrayed upon the canvass,
within a space which otherwise would
only admit a part of it. Even the
three men who are wounded, and
upon the ground, have their bodies
presented in profile, and at full length,
their legs and arms only being slightly
foreshortened. The same observa-
tions are equally applicable to the
designs on fictile vases.
CATAPHRAC'TA (KaraQpd-
/c-njs). A term employed by Vegetius
to designate generally any kind of
breast -plate worn by the Roman in-
fantry from the earliest period until
the reign of the Emperor Gratianus.
Veget. Mil. i. 20.
CATAPHRACTA'RIUS. Same
as CATAPHRACTTJS. Lamprid. Alex.
Sev. 56. Ammian. xvi. 2. 5. ib. 10.
8. and 12. 63.
CATAPHRAC'TUS (ar>pa-
KTOS). A heavy -armed cavalry sol-
dier (Sallust. ap. Non. s. v. p. 556.),
whose horse, as well as himself, was
covered with a complete suit of ar-
mour (Serv. ad Virg. jEn. xi. 770.),
like the scaled back of a crocodile
(Ammian. xxii. 15, 16.); more es-
pecially characteristic of some foreign
nations; the Parthians (Prop. iii. 12.
12.), Persians (Liv. xxxvii. 40.), and
Sarmatians (Tac. Hist. i. 79 ), as
shown by the illustration represent-
ing a Sarmatian cataphract, from the
Column of Trajan.
2. Sisenna (ap. Non. /. c.) applies
the same term to an infantry soldier,
by which it is to be understood that
he is armed cap-a-pie in heavy body
armour, consisting of helmet, cuirass,
cuisses, or thigh pieces, and greaves,
as seen in the illustration s. OCREATUS.
CATAPIRA'TES (jSoAiY). The
lead which sailors use for taking
soundings. It had tallow fixed to
the bottom, in the same way as now,
for the purpose of ascertaining the
nature of the ground, whether of
sand, rock, pebbles, or shells, and if
fit for anchorage or not. (Lucil.
Sat. p. 82. 11. ed. Gerlach. Isidor.
Orig. xix. 4. 10.) In the illustra-
tion, from a marble bas-relief, of
which there is a cast in the British
Museum, it is represented as hanging
from the head of a vessel.
CATAPUL'TA (wwoir&TijO. A
military engine constructed princi-
pally for discharging darts and spears
of great substance and weight (Paulus
ex Fest. s. Trifax) ; whence it is
sometimes put for the missile which
it discharges. (Titin. ap. Non. s. v.
p. 552. Plaut. Pers. i. 1. 27.) This
machine is described in detail by
Vitruvius (x. 15.), and it appears no
CATAPULTARIUS.
CATARACTA.
131
less than six times on the Column of
Trajan, from one of which the an-
nexed representation is taken ; but
the details are not sufficiently cir-
cumstantial in any one of them to
illustrate satisfactorily the words of
Vitruvius, or to show the precise
manner in which it acted, beyond the
general fact that it projected the
missile by the force of its rebound,
when the cross bar was drawn back
from one of the sides, and then
allowed to fly to again with a recoil.
It was also employed, in the same
manner as the ballista, for projecting
large blocks of stone (Cses. B. C. ii.
9.); for which purpose the arch in
the centre seems intended, in order to
let the mass pass ; and it was also
placed at times upon a carriage, and
transported by horses or mules, like
the carro- ballista, as proved by the
next wood-cut.
CATAPULTA'RIUS (KoroTreA-
TIK&S). Any thing used with, or be-
longing to, a catapult ; hence pilum
catapultarium (Plaut. Cure. iii. 5.
11.), a dart of a large and heavy
description, made for the purpose of
being projected from the catapulta.
(Compare Polyb. xi. 11. 3.) The
illustration is taken from the Column
of Trajan, and also affords an insight
into the manner of using and work-
ing these engines.
CATARAC'TAor CATARAC'-
TES (KOTa/J^aKTTjs). A cataract,
cascade, or sudden fall of water from
a higher to a lower level, like the
falls of Tivoli or Terni. Plin. H. N.
v. 10. Vitruv. viii. 2. 6.
2. A sluice, flood-gate, or lock in a
river, either for the purpose of mode-
rating the rapidity of the current
(Plin. Ep. x. 69.), or for shutting in
the water, so as to preserve a good
depth in the stream. (Rutil. i. 481.)
The illustration is copied from one
of the bas-reliefs on the arch of
Septimius Severus. It will be ob-
served, that the Roman artist, in
accordance with the practice of his
school, has omitted to insert the flood-
gate, contenting himself with carving
the uprights by which it was kept
in its place, and made to slide up
and down.
3. A portcullis, suspended over the
entrance of a city or fortified place, so
that it could be let down or drawn up
8 2
132
CATASCOPIUM.
CATELLUS.
by iron rings and chains at pleasure, i
(Liv. xxvii. 28. Veget. Mil iv. 4.)
In one of the ancient gate-ways still
remaining at Rome, another at Tivoli,
and also at Pompeii, the grooves in
which the portcullis worked are
plainly apparent ; and the example
here introduced, from an ancient
fresco painting, where it defends the
entrance to a bridge, exhibits the
chains and ring by which it was
worked, precisely as mentioned by
Vegetius. The grating which closed
the entrance does not appear in the
original, which may be the effect of
age ; or, perhaps, it was not a regular
portcullis, but only a movable bar
raised and lowered at certain hours
to close the passage against travellers
or cattle ; but in either case, it is suf-
ficient to exhibit the character of such
contrivances amongst the ancients.
CATASCOP'IUM. Diminutive
of CATASCOPUS. A small vessel
employed as a spy-ship, to keep a
watch or look-out. Aul. Gell. x. 25.
CATAS'COPUS (/ccm&r/coiros).
A spy or scout, Hirt. Bell Afr. 26.
2. A vessel employed as a spy-
ship. CSBS. B. G. iv. 26. Isidor.
Orig. xix. 1.
C AT AS'T A. An elevated wooden
frame or platform upon which slaves
were placed when exposed for sale in
the slave market, in order that the
purchaser might examine them, to
discover their points or defects.
(Tibull. ii. 3. 60. Pers. vi. 77. Suet.
Gramm. 13.) From an expression of
Statius (Sylv. ii. 1. 72. turbo catastce),
it would appear that the machine was
made to revolve, like the stands used
for statues, that the purchaser might
have an opportunity of inspecting
the structure of the figure exposed
all round.
2. Catasta arcana. An apparatus
of similar description, on which the
most valuable and beautiful slaves
were shown, not in the public market,
but privately in the depots of the
dealers. Mart. Ep. ix. 60. 5.
3. An iron bed or grating under
which a fire was kindled, and on
which criminals were sometimes laid
to be tortured, and some of the early
martyrs roasted alive. Prudent. Ilepl
(rre<J>. i. 56. Id. ii. 399.
CATE'JA. A missile employed
in warfare by the Germans, Gauls,
Hirpini, &c. It was a spear of con-
siderable length and slender shaft,
having a long cord attached to it, like
the harpoon, so that it could be re-
covered by the person who had
launched it. Virg. JEn. vii. 742.
Serv. ad I Sil. iii. 277. Isidor. Orig.
xviii. 7. 7.
C A TELL A (d\v<riSiov). A di-
minutive of CATENA ; but generally
used to indicate the smaller and finer
sort of chains made by jewellers in
gold or silver, and used for trinkets,
or any of the various purposes to
which similar articles are applied in
our own days. (Hor. Ep. i. 17. 55.
Liv. xxxix. 31. Cato, JR. R. 135.)
The example here introduced, from a
Pompeian original, exhibits a small
bronze chain of a pattern very com-
monly found ; but the excavations
made at different times in that city
and other parts of Italy have pro-
duced a great variety of other de-
signs, affording specimens of all the
patterns now made, as well as some
others, which cannot be imitated by
modern workmen.
CATELLUS. A diminutive of
CATENA ; a small chain made use of
for the confinement of slaves, but
CATENA.
CATENATUS.
133
whether of any special character, it
is difficult to determine. From the
passage of Plautus where the word
occurs (Cure. v. 3. 13.), it may be
surmised that the catellus was some-
thing like what is now called a
" clog" which is attached to the legs
of animals to prevent them from
straying, and which might have been
fastened, as a punishment, to the leg
of a slave ; the term thus originating
in a pun upon the word canis (Becker,
Qucest. Plautin. p. 63. Lips. 1837.),
the clog and chain having a sort of
affinity to a dog with its chain.
CATE'NA (SAu<m). A chain,
formed by a series of iron links in-
terlacing with each other. (Cic.
Virg. Hor. Ov. &c.) The chains
of the ancients were made exactly
like our own, as shown by the illus-
tration, which represents some of the
links of an ancient chain now pre-
served as a sacred relic in the Church
of S. Pietro in Vinculis at Rome,
and which gave its title to the church ;
for it is there said to be the identical
one with which St. Peter was chained
in the Tullianum, or Servian prison.
See Cancellieri, Carcere Tulliano,
where all the evidence upon which
this tradition depends is stated at
length.
2. A chain of gold or silver worn
by women as an ornament round the
body, or over the shoulder and sides,
like a balteus (Plin. H.N. xxxiii. 12.)
Ornaments of this description are
frequently depicted in the Pompeian
paintings, from one of which the
illustration is taken ; and always
placed, as here, upon the naked body
of goddesses, bacchanals, dancing
girls, and persons of that descrip-
tion.
CATENA'RIUS, sc. CANIS. A
yard or watch dog, chained up to
protect the premises from strangers.
The Romans kept dogs in this way
at the entrance of their houses by the
side of the porter's cell, with the
notice, CAVE CANEM "Beware
of the dog," written up (Pet. Sat.
19. 1. Id. 72. 7. Seneca, Jra, 3.
37.); as is also shown in the an-
nexed illustration, from a mosaic,
which forms the pavement of the
prothyrum in the house of the " tragic
poet," as it is called, at Pompeii.
CATENA'TUS (aAuo-iSeros).
Shackled, fettered, or in chains,
like a slave, criminal, or captive.
(Flor. iii. 19. 3. Suet. Tib. 64.
Hor. Epod. vii. 8.) The word does
not imply that the person so confined
was chained up, or bound to, another
object, which is expressed by a/ft-
134
CATERVARII.
CATILLUS.
gatus ; but merely that he was hound
with chains in a manner to impede
the freedom of his motions, and pre-
vent an escape by flight. See the
illustrations s. CATULUS and COM-
PEDITUS.
CATERVA'RII. Gladiators and
combatants who fought in companies
or bodies, and not in single pairs,
which was the more usual manner.
Suet. Aug. 45. Compare Cal 30.
gregatim dimicantes.
C ATHED'RA (/cofleSpa). A
chair with a back to it, but without
arms, such as
was used more es-
pecially by females
(Hor. Sat. i. 10.
91. Mart. Ep. iii.
63.) ; hence when
assigned to males,
it frequently im-
plies a notion that
they were of idle,
luxurious, or ef-
feminate habits.
(Juv. Sat. ix. 52.)
The illustration represents Leda's
chair, from a Pompeian painting.
2. Cathedra supina. A chair with
a long deep seat (hence cathedra
longa. Juv. Sat. ix. 52.), and reclining
back (whence supina. Plin. H. N.
xvi. 68.), such as we might call an
easy or lounging chair. The ex-
ample is from a Greek fictile vase,
and represents one of the masters
who taught the young men their
exercises in the gymnasium (TratSo-
TpiS-ns). A marble in the Capitol
at Rome shows the empress Agrip-
pina sitting in one of a similar
character.
3. Cathedra strata. A chair co-
vered with a cushion, as seen in the
first engraving. Juv. I. c.
4. The chair in which philosophers,
rhetoricians, &c., sat to deliver their
lectures ; a professor's chair (Juv.
Sat. vii. 203. Mart. Ep. 1. 77.), of
which the last illustration probably
affords the type.
5. A sedan chair (Juv. Sat. i.
65.) ; for SELLA, which see.
6. More recently, the chair in
which the bishops of the early Chris-
tian Church sat during divine service
(Sidon. in cone, post Epist 9. 1. 7.) ;
from which the principal church of a
diocese is called " the cathedral ; "
i.e. in which the bishop's chair is
placed.
CATH'ETER (*a0-Hjp). Pro-
perly, a Greek word, for which the
Romans used fistula cenea (Celsus,
vii. 26. 1.) ; a catheter, or surgical
instrument employed in drawing off
the water, when suppressed, from the
bladder, into which it is inserted.
Cael. Aurel. Tard. ii. 1. n. 13.) The
example is from an original, nine
inches long, discovered at Pompeii.
CATILLUS and CATILLUM.
A small dish of the same form and
character as the catinus, but of less
capacity, and possibly of inferior
manufacture. Columell. xii. 57. 1.
Val. Max. iv. 3. 5.
2. (ovos). The upper or outer of
the two stones in a mill for grinding
corn '(Paul. Dig. 33. 7. 18. 5.), which
served as a hopper or bowl into which
the corn was poured ; whence the name.
The annexed illustration represents a
Roman mill now remaining at Pom-
peii, with a section on the left hand.
The upper part or basin is the ca-
tillus, into which the unground corn
CATINUM.
was put ; it was then turned round
by slaves or animals, and as it turned,
CATOMIDIO.
135
the ears of corn gradually subsided
through a hole at its bottom on to
the conical or bell-shaped stone
underneath (see the section), between
which and the inner surface of its
cap, they were ground into flour.
3. An ornament employed in de-
corating the scabbard of a sword
(Plin. H. N. xxxiii. 54.), which is
supposed to have been in the form of
a round silver plate or stud, similar
to those seen on the sheath of the
sword inserted under CAPULUS ; but
the reading of the passage, as well
as the meaning of it, if correct, is
uncertain.
CAT'INUM or CAT'INUS. A
deep sort of dish, in which vege-
tables, fish, and
poultry were
brought to table.
(Hor. Sat. i. 6.
115. Ib. ii. 4. 77. Ib. i. 3. 92.) The
illustration, which is copied from a
series of ancient fresco paintings dis-
covered near the church of St. John
in Lateran, at Rome (Cassini, Pitture
Antichi, tav. 4. ), representing a num-
ber of slaves bringing in different
dishes at a feast, shows the catinus,
with a fowl and fish in it, precisely
as described by Horace in the last
two passages cited.
2. A deep earthenware dish, in
which some kinds of cakes, pies, or
puddings were cooked, and served up
to table in the same ; like our pie-
dish. Varro, R, R. 84.
3. A deep dish made of earthen-
ware, glass, or more precious mate-
rials, in which pastiles of incense
were carried to the
sacrifice (Suet.
Galb. 18. Apul.
Apol p. 434.), and thence taken out
to be dropped upon a small burning
fire-basket. (See the illustration to
Focus TURICREMUS.) The illustra-
tion represents a curious and valuable
dish of agate, which was brought
from Cesarea in Palestine in the year
1101, and is now preserved as a
sacred relic in the sacristy of the
cathedral at Genoa, where it goes by
the name of the sagro catino. It is
devoutly believed in that city that
our Saviour partook of the paschal
lamb with his disciples out of this
identical dish ; but the smallness of
its size, and the value of its material,
sufficiently prove that it was never
made to contain food, though it might
have been, reasonably enough, em-
ployed for the purpose assigned.
4. An earthenware crucible for
melting metals. (Plin. H. N. xxxiii.
21.) The illustrations represent two
originals, one of red, the other of
white clay, which were found in
an ancient Roman pottery at Castor
in Northamptonshire. Artis. Duro-
briv. pi. 38.
5. A particular member of the
forcing pump invented by Ctesibius.
(Vitruv. x. 12.) See the conjectural
diagram in CTESIBICA MACHINA, in
which the Catinum is marked A.
CATOMID'IO (/COTCO^'CW). To
" hoist " one upon the shoulders of
another, for the purpose of inflicting
a flogging; a mode of punishment
which, amongst the Romans, was
applied to grown-up persons, as well
as boys. (Pet. Sat. 132. 2. compare
Apul. Met. ix. p. 196. Spart. Hadr.
136
CATULUS.
CAUPONA.
18.) The illustration represents the
whole process as taking place in a
school-room at Herculaneum, from a
painting discovered in that city.
CAT'ULUS. A chain attached to
an iron collar (collare) round the
neck, like a dog's chain, by which
runaway slaves, when recaptured,
were brought back to their masters.
(Lucil. Sat. xxix. 15. ed. Gerlach.
Cum manicis, catulo, collarique, with
manacles, leading chain, and neck
collar.) The illustration, from the
Column of Antonine, representing a
barbarian captive, shows both the
collar and chain attached to it, as
mentioned by Lucilius.
CAUDEX. See CODEX, which
is the more usual spelling.
CAUDICA'RIUS or CODICA'-
RIUS. Naves caudicarice. Large
boats employed upon the Tiber, and
made of coarse planking roughly
joined (Varro, de Vit. Pop. Rom. ap.
Non. s. v. p. 535. Festus. s. r.). ; pro-
bably so constructed, because the
rapidity of the current rendered it
difficult to remount the stream; and
they could thus be broken up or taken
to pieces, without much loss, upon
reaching the mouth of the river or
their place of destination, as was the
usual practice upon the Rhone before
the introduction of steam navigation.
CAUDIC'IUS, sc. lembus. A
vessel of similar character as the
preceding, employed upon the Mo-
selle. Auson. Mosell 197.
CAUL A. A general name for
any place surrounded with fences, so
as to form an enclosure, as a sheep-
fold, &c. Festus, s. v. Virg. Mn. ix.
61. Serv. ad I
CAULIC'ULI. In architecture,
the eight smaller leaves or stalks in
a Corinthian capital which spring
out of the four larger or principal
ones, by which the eight volutes of
the capital are sustained. (Vitruv.
iv. 1. 12. Gwilt, Glossary of Archi-
tecture, s. v. ) They are easily dis-
tinguished upon any Corinthian
capitals. See CAPITULUM 6. ; but, in
consequence of the very diminished
size of the drawing, it is difficult to
make them sufficiently prominent.
C A U P O. The master or keeper
of a caupona ; i. e. 1. An innkeeper
(|ei/o5<5/cos), who receives travellers
in his house, and furnishes them with
food and lodging (Cic. Div. i. 27);
2. a publican (/ccwnjAos), who furnished
strangers with drink or food, but not
with lodgings. Mart. Ep. i. 27. ib. i.
57 , and see the next word.
CAUPO'NA (tevotioKfiov, iravSo-
/moj/). An inn, for the accommo-
dation of travellers, where they
could be furnished with temporary
board and lodging. (Hor. Ep. 1. 11.
12. Aul. Cell. vii. 11. 1.) The old-
fashioned country inn, or road-side
house, affords the nearest parallel
in our language to the ancient cau-
pona, which has no resemblance to
the more imposing establishments or
CAUPONA.
CAVJEDIUM.
137
hotels, in which people of wealth
amongst us take up their residence
for long periods together. It -was
opened for the convenience of the
poorer and trading classes, and those
who travelled upon business, not for
pleasure ; for most other persons had
private connections, or were furnished
with introductions, which would en-
sure them a hospitable entertainment
in some friend's house wherever they
went ; and such is still the custom in
modern Italy, where the traveller
who diverges from the beaten track,
is obliged to have recourse to private
hospitality, in consequence of the
wretched nature of the places called
inns.
2. (Kairri\eiov). In the large towns,
the caupona was a place where wine
and other refreshments, but wine
more especially, was sold and drunk
on the premises (Cic. Pis. 22. com-
pare Mart. Ep. i. 27. ib. 57.); and
thus it had a closer resemblance to
our tavern, gin, or beer shop ; the
chief object of which is to retail
spirits and liquors, though some also
supply eatables. The illustration re-
presents the interior of a wine shop,
from a painting on the walls of one
of these establishments at Pompeii ;
but in the original, a frame for dried
and salted provisions is also suspended
from the ceiling, which has been
omitted, from inadvertence, in the
engraving ; it is, however, given
under the word CARNARIUM.
3. (/caTrrjAk). A female who keeps
one of these places of entertainment.
Lucil. Sat. iii. 33. Gerlach. Apul.
Met. i. p. 6. and 15.
CAUPO'NIUS, sc.puer. The
waiter or pot-boy at a tavern, or a
wine shop (Plaut. Pcen. v. 5. 19.);
see on the right hand in the pre-
ceding wood-cut, the figure who is
bringing in the wine.
CAUPO'NULA. Diminutive of
CAUPONA ; a low, poor, and common
wine-shop. Cic. Phil. ii. 31.
CAU'PULUS or CAU'POLUS.
A particular kind of boat (Aul. Gell.
x. 25. 3.), the peculiar characteristics
of which are unknown ; but said to
belong to the same class as the lembo
and cymba. Isidor. Orig. xix. i. 25.
CAU'SIA (Kowri'a). A high-
crowned, and broad-brimmed felted
hat invented by the
Macedonians (Val.
Max. v. 1. 4.) ; from
whom it descended to
the Romans, and was
especially worn by
their fishermen and sailors. (Plaut.
Mil iv. 4. 42. Id. Pers. i. 3. 75.)
The example is from a fictile vase ;
but it resembles exactly the hat worn
by Alexander, on a medal.
CAU'TER and CAUTE'RIUM
(icavr-hp, Kavr-fipiov). A cautery or
branding iron, used by surgeons, vete-
rinaries, and others, for branding
cattle, affixing a stigma upon slaves,
and similar purposes. (Pallad. i. 43.
3. Veget. Vet. i. 28.) The example
represents an original, four inches
long, which was discovered in a sur-
geon's house at Pompeii.
2. An instrument employed for
burning in the colours of an encaustic
painting; but as that art, as it was
practised amongst the ancients, is now
lost, it is impossible to determine the
exact character of the instrument, or
the precise manner in which it was
used. Mart. Dig. 33. 7. 17. Tertull.
adv. Hermog. 1.
CA V^'DIUM or CAVUM
JEDIUM. Literally, the void or
hollow part of a house. To under-
T
138
CAVCEDIUM.
CAVEA.
stand the real meaning of this word,
it is to be observed that in early
times, or for houses of small dimen-
sions, the ancient style of building
was a very simple one, and consisted
in disposing all the habitable apart-
ments round four sides of a quad-
rangle, which thus left a space or
court-yard in
the centre,
without any
roof, and en-
tirely open to
the sky, as
shown by the
annexed ex-
ample, from the Vatican Virgil. This
hollow space received the primitive
name of cavum cedium, so truly de-
scriptive of it ; and formed, with the
suites of apartments all round it, the
entire house. But as the Romans
increased in wealth, and began to
build upon a more magnificent scale,
adopting the style and plans of other
nations, they converted this open
court into an apartment suitable to
the uses of their families, by covering
in the sides of it with a roof supported
upon columns of one story high, and
leaving only an opening in the centre
(compluvium) for the admission of
light and air. This practice they
learnt from the Etruscans (ab Atri-
atibus Tuscis. Varro, L. L. v. 161.),
and, therefore, when the cavum
cedium was so constructed, they de-
signated it by the name of atrium,
after the people from whom they had
borrowed the design. By referring
to the ground-plans which illustrate
the article DOMUS, it will be perceived
that the atrium is in reality nothing
more than the hollow part of the
house, with a covered gallery or
portico round its sides ; and thus the
two words sometimes appear to be
used as convertible terms, and at
others, with so much uncertainty as
to bear an interpretation which would
refer them to two separate and dis-
tinct members of the edifice ; and, in
reality, in great houses, or in country
villas which covered a large space of
ground, and comprised many distinct
members, with their own appurte-
nances attached to each, we find that
both a cavcedium and atrium were
comprised in the general plan. This
was the case in Pliny's villa (Ep. ii.
17.), in which we are to understand
that the first was an open court-yard,
without any roof and side galleries
(whence it is expressly said to be
light and cheerful, hilare) ; the other,
a regular atrium, partially covered in,
according to the Etruscan, or foreign
fashion. There can be no doubt that
such is the real difference between
the cavcedium and atrium; but when
the two words are not applied in a
strictly distinctive sense, as in the
passage of Pliny above cited, both the
one and the other may be commonly
used to designate the same member of
a house, without reference to any par-
ticular position or mode of fitting up,
both of them in reality being situate
in the hollow, or shell of the house ;
and, consequently, Vitruvius, as an
architect, employs the term cavcedium
(vi. 5.) for the style which more
strictly and accurately resembles an
atrium. (See that word, and the illus-
trations there introduced ; which will
show the different ways of arranging
a cavcedium, when taken in its more
general meaning.)
CA'VEA. An artificial cage or
den for wild beasts, made with open
bars of wood or iron (Hor. A. P.
473.), in which they were transported
from place to place (Claud. Cons.
Stilich. ii. 322 5.) ; exposed to public
view, as in a menagerie (Plin. H. JV.
viii. 25.) ; and sometimes brought into
the arena of an amphitheatre, to be
let loose upon the victims condemned
to fight with them, in order to render
their attack more ferocious than
would be the case if they were
emitted from an underground den
into the sudden glare of open day.
Vopisc. Prob. 19.
2. A bird cage, made of wicker-
work, or sometimes of gold wire
CAVEA.
139
(Pet. Sat. 28. 9.). in which singing
birds were domesticated, and kept in
private houses ; or the
call bird carried out by
the fowler (auceps} for
his sport. The passage
from Petronius, quoted
above, speaks of a mag-
pie, suspended in his
cage over a door, which
was taught to utter salu-
tations to all who entered. The ex-
ample is from a fictile vase in Bol-
detti, Cimiterj, p. 154.
3. The coop or cage in which the
sacred chickens were kept and car-
ried to the places where the auspices
were taken, by observing the manner
in which they fed. (Cic. N. D. ii. 3.
Id. Die. ii. 33.) The illustration
represents one of these cages, with
the chickens feeding, and the handle
by which it was carried, from a
Roman bas-relief.
4. Poetically, a bee-hive. Virg.
G. iv. 58. See ALVEARE.
5. A conical frame of laths or
wicker-work, made use of by fullers
and dyers for airing, drying, and
bleaching cloth. (Apul. Met. ix.
p. 193.) This
frame was placed
over a fire-pan,
or a pot with sul-
phur kindled in
it, the use of which
is well known for bleaching, and the
cloth was then spread over the frame,
which confined the heat, and excluded
the air. The example here given is
from a painting in the fuller's estab-
lishment (fullonica) at Pompeii. In
the original, a man carries it on his
head, and the pot of sulphur in his
hand ; but it has been drawn here
standing on the ground, with the
vessel of sulphur placed underneath
it, precisely in the same way as it is
now commonly employed in Italy for
airing clothes, in order to show more
clearly the mode of use.
6. A circular fence constructed
round the stems of young trees to
preserve them from being damaged
by cattle. Columell. v. 6. 21.
7. That portion of the interior of
a theatre, or amphitheatre (Apul.
Met. x. p. 227. ), which contained the
seats where the spectators sat, and
which was formed by a number of
concentric tiers of steps, either exca-
vated out of the solid rock on the side
of a hill, or supported upon stories of
arches constructed in the shell of the
building. According to the size of
the edifice, these tiers of seats were
T 2
140
CAVERN^E.
CELLA.
divided into one, two, or three distinct
nights, separated from one another
by a wall (balteus) of sufficient height
to intercept communication between
them, and then the several divisions
were distinguished by the names of
ima, summa, media cavea, i. e. the
lower, upper, or middle tier ; the
lowest one being the post of honour,
where the equites sat. (Plaut. Amph.
Prol 66. Cic. Am. 7. Id. Senect. 14.)
The illustration affords a view of the
interior, or cavea, of the amphitheatre
at Pompeii, as it now remains ; and
shows the general plan of arrange-
ment. See also the articles and illus-
trations to THEATBUM and AMPHI-
THEATRUM.
CAVER'N^E (Koi\-n or KOI\TJ j/aOs).
The hold of a ship, and the cabins it
contains. Cic. Orat. iii. 46. Lucan.
ix. 110.
CEL'ERES. The old and original
name by which the equestrian order
at Rome was designated upon its first
institution by Romulus, consisting of
a body of 300 mounted men, selected
from the 300 patrician or burgher
families, and thus forming the nu-
cleus of the Roman cavalry. Liv.
i. 15. Plin. H.N. xxxiii. 9. Festus.
s.v. Niebuhr, Hist. Rom. vol. i. p. 325.
transl.
CEL'ES (eA.r?s). A horse for
riding, in contradistinction to a car-
class, in which each rower handled a
single oar on his own side, in contra-
riage or draught horse; but more
particularly a race-horse, ridden in
the Greek Hippodrome, or the Roman
Circus (Plin. H. N. xxxiv. 10.), one
of which is shown in the illustration,
from a stucco frieze, representing
Cupids racing, in the baths of
Pompeii.
2. A boat or vessel of a particular
distinction to those in which each man
worked a pair, and those in which more
than one man laboured at the same oar.
The larger descriptions had many
oarsmen, and were sometimes fitted
with a mast and sail, but had no
deck, and in consequence of their
fleetness were much used by pirates.
(Plin. H. N. vi. 57. Aul. Gell. x. 25.
Herod, vii. 94. Thucyd. iv. 9. Schef-
fer, Mil Nav. p. 68.) The illustra-
tion here given is from the Column
of Trajan, and clearly represents a
vessel rowed in the manner described,
and therefore belonging to this class.
CELETIZON'TES (/ceA^-r^r**).
Jockeys, who rode the race-horses in
the Greek Hippodrome (Plin. H. N.
xxxiv. 19. n. 14), as shown in the
last wood-cut but one.
CELEUS'MA (K\ f v(T^. The
chaunt or cry given out by the cock-
swain (hortator, pausarius, /ceAeuo-r^s)
to the rowers of the Greek and
Roman vessels, in order to aid
them in keeping the stroke, and en-
courage them at their work. (Mart.
Ep. iii. 67. Rutil. i. 370.) The
chaunt was sometimes taken up, and
sung in chorus by the rowers, and
sometimes played upon musical in-
struments. Auson. in Div. Verr. 17.
CELLA. A cellar; employed as
a general term, denoting a magazine
or store-room upon the ground-floor,
in which produce of any description
was kept ; the different kinds of cel-
lars being distinguished by an epithet
indicating the nature of the articles
contained therein ; for example,
1. Cella vinaria (otVe^v). A wine
cellar, forming one of the principal
appurtenances to a vineyard. It was
a magazine where the produce of the
CELL A.
141
year's vintage was deposited in large
earthenware vessels (dolia, seria,
&c.), or in wooden barrels (cupce\
after it had been removed from the
vats of the press room (torcularium),
where it was made and kept in bulk
until sold or bottled ; i. e. put into
amphorce, for the purpose of being
removed into the apotheca at the top
of the house, where it was kept to
ripen. (Varro, E.R. i. 13. 1. Colum.
xii. 18. 3. and 4. Pallad. i. 18. Cic.
Senect. 16.) The illustration, which
is copied from a bas-relief discovered
at Augsburgh in the year 1601, shows
one of these magazines for wine in
the wood, the usual manner of keep-
ing it in the less genial climates
(Plin. H. N. xiv. 27.) ; and the
next example, though not properly
a wine grower's cellar, will serve to
convey an idea of the plan on which
the stores were arranged and disposed
when the wine was kept in vessels
of earthenware, which was the more
usual practice.
2. A wine-merchant's or tavern-
keeper's cellar, upon the ground-fLoor,
in which they also kept their wine in
bulk, to be drawn off for private sale,
or to be supplied in draught to the
poorer customers who frequented
their houses, and which was thence
termed draught wine (vinwn doliare),
or, out of the wood (de cupa). (Cic.
Pis. 27. ) The illustrations represent
a section and ground-plan of a portion
of one of these wine-stores, which
was discovered in the year 1789,
under the walls of Rome. It is
divided into three compartments : the
first, which is approached by a few
steps, consists of a small chamber,
ornamented with arabesques and a
mosaic pavement, but contained no-
thing when excavated ; the second
one, which leads out of it, is of the
same size, but entirely devoid of or-
nament, and without any pavement,
the floor consisting of a bed of sand,
in the centre of which a single row
of the largest description of dolia
was found imbedded (deffossa) two-
thirds of their height in the soil ; the
last of the three is a narrow gallery,
six feet high, and eighteen long (of
which a portion only is represented
in the engraving, but it extends about
four times the length of the part here
drawn), and like the preceding one is
covered at bottom with a deep bed
of sand, in which a great number of
earthenware vessels, of different forms
and sizes, were partially imbedded,
like the preceding ones, but ranged
in a double row along the walls on
both sides, so as to leave a free pas-
sage down the middle, as shown by
the lowest of the two engravings,
which represents the ground-plan of
the cellars.
3. Cella olearia. A magazine or
cellar attached to an olive ground, in
which the oil when made was kept
in large earthenware vessels, until
disposed of to the oil merchants.
Cato, 7?. R. iii. 2. Varro, R. R. i. 11.
2. Columell. i. 6. 9.
4. Any one of a number of small
rooms clustered together, such as
were constructed for the dormitories
of household slaves (Cic. Phil ii.
27.); for travellers' sleeping rooms
at inns and public houses (Pet. Sat.
9. 3. and 7.) ; or the vaults occupied
by public prostitutes. (Juv. Sat. vi.
128. Pet. Sat. viii. 4.) The illus-
CELLA.
CELLULA.
tration represents part of a long line
of cellfB now remaining amidst the
ruins of a Roman villa at Mola di
Gaeta; the fronts -were originally
bricked in, with only an entrance-
door in the centre to admit the occu-
pant, and so much of light and air as
could be supplied through such an
aperture.
5. In like manner, the different
chambers which contained the neces-
sary conveniences for hot and cold
bathing in a set of baths, were called
cellce ; because, in fact, they consisted
of a number of rooms leading one
into another, like the cells of a honey-
comb, as is very clearly shown by the
annexed illustration, from a fresco
painting which decorated an apart-
ment in the Therms of Titus at
Rome ; thus the room containing the
warm baths was the cella caldaria, or
caldarium; the tepid chamber, cella
tepidaria, or tepidarium ; the one
which held the cold bath, cella fri-
gidaria, or frigidarium. Plm. Ep. v.
6. 25. and 26. Pallad. i. 40.
6. The niches or cells in a dove-
cote and poultry-house, which are
clustered in a similar manner. Colu-
mell. viii. 8. 3. Id. viii. 14. 9.
7. (cr??/afe) The interior of a tem-
ple ; i. e. the part enclosed within
the four side-walls, but not including
the portico and peristyle, if there is
any. (Cic. Phil iii. 12.) The illus-
tration represents a ground-plan of
the temple of Fortuna Virilis, now re-
maining at Rome, on which the part
within the dark lines is the cella.
CELLA'RIUS. A slave belong-
ing to the class of ordinarii, who had
charge of the pantry, store-room, and
wine cellar (cella penaria et vinaria\
and whose duty it was to give out
the daily rations of meat and drink
to the household. Plaut. Capt iv.
2. 116. Columell. xi. 1. 19.
CELLA'TIO. A suite or set of
small rooms, as in the illustration to
CELLA 4., which might be applied for
any of the ordinary purposes of life,
as store-rooms, sleeping-rooms for
slaves and inferior dependants, &c.
Pet. Sat. 77. 4.
CELL'IO. Same as CELLARIUS.
Inscript. ap. Grut. 582. 10.
C E L I/ U L A. Diminutive of
CELLULARIUS.
CENTO.
143
CELLA. Any small or ordinary kind
of chamber, such as those described
and represented in CELLA 4. Ter.
Eun. ii. 3. 18. Pet Sat. II. I.
2. The interior of a small shrine
or temple, as described in CELLA 7.
Pet. Sat. 136. 9.
CELLULA'RIUS. A monk or
friar, so called from the small con-
ventual cells in which the religious
orders dwelt. Sidon. Epist. ix. 9.
CELOX. The same as CELES 2.
Ennius, ap. Isidor. Orig. xxx. 1. 22.
Liv. xxxvii. 27.
CENOTAPH'lUM (Worctyioj/).
A cenotaph, or honorary tomb erected
in memory of a person whose body
could not be found, or whose ashes
had been deposited elsewhere (Lam-
prid. Alex. Sev. 63.) ; hence also
called tumulus honorarius (Suet.
Claud. 1.), and inanis (Virg. jfEn.
iii. 303.), because it was erected
merely out of compliment to the de-
ceased, and did not contain any of
his remains.
CENSOR O^rjT^s). A Roman
magistrate of high rank, whose duty
it was to rate the property of the
citizens by taking the census; to
superintend their conduct and morals ;
and to punish those who had miscon-
ducted themselves, by degradation
and removal from their rank, offices,
or position in society. Thus he
could deprive the senator of his seat
in the house ; the knight, of the horse
allowed him at the public expense,
which was equivalent to breaking
him ; or he could remove any citizen
from his tribe into one of less influence
or rank. (Liv. xxvii. 11. Suet. Aug.
37. Polyb. vi. 13. 3.) He wore no
distinctive badge, nor particular cos-
tume, beyond the usual ones of his
consular rank ; and, consequently,
when a censor is represented on coins
or medals, he is merely draped in
the toga, and sitting on a curule
chair, as in the coin of Claudius in
Spanheim, vol. ii. p, 101.
CENTAU'RUS ( K 4vra V pos). A
centaur; a savage race of men who
dwelt between the mountains Pelion
and Ossa in Thessaly, and were de-
stroyed in a war with their neigh-
bours, the Lapithse. But the poets
and artists converted them into a
fabulous race of monsters, half man
and half horse, whence termed bimem-
bres (Virg. Mn. viii. 293. Ovid,
Met. xv. 283.) ; in which form they
are represented waging war with
the Lapithse in the metopes of the
Parthenon, on the temples of Theseus
at Athens, and of Apollo Epicurius
near Phigaleia in Arcadia. In the
works of Greek art they are repre-
sented of both sexes, frequently
playing upon some musical instru-
ment, and the figure is always re-
markable for the consummate grace
and skill with which the artists of
that nation contrived to unite the
otherwise incongruous parts of two
such dissimilar forms. The figure
of a female centaur, as being less
common, is selected for the illustra-
tion, from a very beautiful relief in
bronze, of Greek workmanship, dis-
covered at Pompeii.
CENTO (KeVrpwi/). Generally,
any covering or garment composed
of different scraps of cloth sewed
together, like patch-work, which the
ancients employed as clothing for
their slaves (Cato, R.R. 59. Colu-
mell. i. 8. 9.), as counterpanes for
beds (Macrob. Sat. i. 6.), or other
common purposes ; whence the same
name was also given to a poem made
up of verses or scraps collected from
different authors, like the Cento
Nuptialis of Ausonius.
144
CENTONARII.
CERA.
2. Specially, a cloth of the same com-
mon description; used as a saddle-cloth
under the saddle
of a beast of bur-
den, to prevent it
from galling the
back, as shown
in the annexed
example, from a
painting at Her- -
culaneum. Ve-
get. Vet. ii. 59. 2.
CENTONA'RII. Piece-brokers, and
persons who made and sold pieces of
patchwork, made up from old cast-off
garments ; the dealing in which
formed a regular trade at Rome,
where such economical articles were
extensively used for blankets to ex-
tinguish conflagrations (Ulp. Dig.
33. 7. 12.); to protect tents and
military machines against an enemy's
missiles (Caes. B. C. ii. 9.), and other
purposes enumerated in CENTO.
CENTUN'CULUS. Diminutive
of CENTO ; and applied in the same
senses as there mentioned (Apul.
Met. i. p. 5. Liv. vii. 4. Edict. Dio-
clet. p. 21.); and from a passage of
Apuleius (Apol. p. 422. mimi centun-
culo\ the same word is also believed
to indicate a dress of chequered pat-
tern, like what is now called harle-
quin's, which is undoubtedly of great
antiquity ; for in the Museum at
Naples, there is preserved a fictile
vase on which Bacchus is represented
in a burlesque character, and draped
precisely like our modern harlequin.
CENTU'RIO (SicaTovrdpxns). A
centurion; an officer in the Roman
army, of lower rank than the tri-
bunes, by whom he was appointed.
His post on the field of battle was
immediately in front of the eagle
(Veget. Mil. ii. 8.) ; and the distin-
guishing badge of his rank was a rod
(uift), with which he used to correct
his men when refractory or negligent
of their duties. (Plin. H. N. xiv.
3.) The illustrations present the
figures of two centurions, the one on
the left-hand of the reader, from a
sepulchral bas-relief, with the in-
scription QUINTUS PUBLIUS FfiSTUS.
CENTTJR. LEG. XL; he has his rod
in the right hand, is likewise deco-
rated with phalerce, and wears greaves
(ocrae), as the Roman soldiers did in
early times ; the other shows a cen-
turion of the age of Trajan, from a
bas-relief formerly belonging to the
triumphal arch of that emperor, but
now inserted in the arch of Constan-
tine ; he has his helmet on, the rod
in his right hand, and in the original
composition the bearer of the eagle
(aquilifer) stands by his side.
CEPOTAPH'IUM (/npro-ntyfoiO.
A tomb in a garden ; or a garden to
which a degree of religious vene-
ration became attached, in conse-
quence of its having a sepulchre
erected within it. Inscript. ap. Fa-
bretti, p. 80. n. 9. Id. p. 115. n. 293.
Compare D. Joann. Evang. xix. 41.
CE'RA. Wax ; and thence used
to designate things made of wax ;
as the waxen masks or
likenesses of a man's an-
cestors, which the Roman
families of distinction pre-
served in cases placed
round the atrium (Ovid.
Fast. i. 591. Juv. viii.
19.), as shown by the example, from
a sepulchral bas-relief, which repre-
sents a wife bewailing the death of
her husband, whose likeness is placed
in a small case against the wall of the
apartment where the scene is laid.
2. A set of tablets for writing on
with the style (stylus), made of thin
CERAULA.
CERCURUS.
145
slabs or leaves of wood, coated with
wax, and having a raised margin all
round to preserve the contents from
friction. They were made of different
sizes, and varied in the number of
their leaves, whence the word in this
sense is applied in the plural (Quint.
x. 3. 31. and 32. Juv. i. &3.), and the
tablets themselves are distinguished
by the number of leaves they con-
tained ; as cer(B duplices, a tablet with
two slabs only, like the bottom figure
on the left-hand of the engraving;
cerce triplices (Mart. Ep. xiv. 6.), a
tablet containing three leaves, one
between the two outsides, like the
top figure in the engraving; cerce
quintuplices (Mart. Ep. xiv. 4.), one
with five leaves, or three centre ones
and two outsides, like the right-hand
figure at the bottom of the wood-cut,
all of which examples are copied
from paintings at Pompeii. When
the singular number is used, as prima,
secunda, extrema cera (Hor. Sat. ii.
5. 53. Cic. Verr. ii. 1. 36. Suet. Jul
83.), it indicates the first, second, or
last page of the tablets.
C E R A U' L A (Kepa^O- Pro-
perly a Greek word Latinized, and
corresponding with the Roman COR-
NICEN. Apul. Met. p. 171. Ceraula
doctissimus, qui cornu canens adam-
bulabat.
CER'BERUS (Kepgepos). The
dog which kept watch at the entrance
to the nether world ; a monster fabled
to have sprung from Typhaon and
Echidna, and to have been dragged
upon earth by Hercules as the last
and most difficult of his twelve
labours. In reality Cerberus was a
dog belonging to the king of the
Molossians, whose country produced
the finest breed of dogs known to the
ancients, and which are believed to
be represented by the marble sta-
tues now preserved in the Vatican,
exhibiting two dogs of very power-
ful frames, with long hair upon the
neck and shoulders like the mane of a
lion. The poets metamorphosed these
hairs into snakes (Hor. Od. ii. 85.),
and, to increase the horror, some
gave the animal a hundred heads
(Hor. Od. ii. 34.), others fifty (He-
siod. Theogn. 312., though in verse
771. he has but one), and others
limited the number to three (Soph.
Trachin. 1109.), the centre one being
that of a lion, with the head of a
wolf on one side, and of an ordinary
dog on the other (Macrob. Sat. i.
20.). This is the usual type under
which he is mostly portrayed by
the painters and sculptors of antiquity
(Mus. Pio-Clem. torn. ii. tav. 1.
Bartoli, Lucerne, part 2. tav. 7. Cod.
Vat &c.) ; though examples are not
wanting in which the fabulous is
made subordinate to the real cha-
racter of the monster, as in a group of
Hercules and Cerberus in the Vatican
(Mus. Pio-Clem. ii. 8.), where the
leonine head and mane of the Mo-
lossian dog is strongly marked, and
made to predominate entirely over
the other two, which are executed
upon a much smaller scale, and, as it
were, rather indicated than developed.
CERCU'RUS (Kep/coupos or p-
Koupos). An open vessel, invented
by the Cyprians, propelled by oars,
fast in its movements, and used
for the transport of merchandize,
as well as in warfare. (Liv. xxxiii.
19. Lucil. Sat. viii. 3. ed. Gerlach.
Plaut. Merc. i. 1. 86. Plin. H. N. vii.
57. Herod, vii. 97.) Its character-
istic properties are nowhere de-
scribed ; but Scheffer (Mil. Nav. ii.
2. p. 75.) is of opinion that the
oarage, instead of running the whole
u
146
CERDO.
CEROMA
length of the vessel, only ranged
from the prow to about midship, so
that the after part would serve as a
hold for the freight in the manner
represented by the annexed illustra-
tion, copied by Panvinus (de Lud.
Circens. ii. 11.) from a bronze medal,
which, if that notion be correct, will
afford a model of the vessel in ques-
tion.
CERDO. A workman of inferior
description, or who belonged to the
lowest class of operatives (Juv. iv.
153. Pers. iv. 51.): the particular
trade which he practised is likewise
designated by the addition of another
substantive, as sutor cerdo (Mart. Ep.
iii. 59.), a cobbler ; cerdo faber (In-
script. ap. Spon. Miscell. Erudit.
Antiq. p. 221.), a journeyman smith ;
and so on for other trades.
CE'REUS. A wax candle, made
with the pith of a rush coated with
wax ; also a torch made of the fibres
of papyrus twisted together, and
covered with wax. Cic. Off. iii. 20.
Plaut. Cure. i. \. 9. Val. Max. iii. 6.
4. and CANDELA.
CERIOL A'RE. A stand or holder
for wax-candles and torches, similar
to the example engraved at p. 107.
(s. CANDELABRUM, 1.); but utensils
of this description were also made in
a variety of fanciful forms and pat-
terns according to the taste of the
artist who designed them, for one is
mentioned in an inscription (ap. Grut.
175. 4.) of bronze, with the figure
of Cupid holding a calaihus. Com-
pare Inscript. ap. Maffei, Mus. Veron.
p. 83.
CER'NUUS OugrT7jT^). Lite-
rally, with the face turned down to^
wards the ground ; hence a tumbler, or
one who entertains the public by feats
of jumping, throwing
summersets in the
air, falling head over
heels, walking with
his face downwards,
and other similar ex-
hibitions, such as we
still see practised in
our streets and fairs.
(Lucil. Sat. iii. 20.
Serv. ad Virg. JEn.
x. 894.) The illus-
tration represents one
of these tumblers,
from the collection in the Collegio
Romano. (Caylus, iii. 74.)
2. Amongst the Greeks feats of
this nature were frequently exhibited
by females, who were introduced
with the dancing and singing girls,
to amuse the guests at an entertain-
ment, and whose skill and suppleness
of body were really extraordinary.
One of their favourite exhibitions
consisted in making a summerset
backwards, between a number of
swords or knives stuck in the ground,
at small intervals from one another,
with their points upwards, as repre-
sented in the following illustration,
from a Greek fictile vase : to perform
this feat was termed fls {fyn? or els fj.a-
Xaipas nvGiffrav. Plat. Symp. p. 190.
A. Xen. Symp. ii. 11.
CERO'MA (K-fipufta). Properly,
an unguent, made of oil and wax
compounded together, with which the
bodies of wrestlers were anointed
previously to being rubbed over with
CERUCHI.
CERYX.
147
fine sand (Mart. Ep. vii. 32.) ; whence
the same term is also used to desig-
nate the chamber in which this ope-
ration was performed. Plin. H. N.
xxxv. 2. Senec. Brev. Vit. 12.
CERTJ'CHI (icepovxoi). The
ropes which run from each arm of
the sail-yard to the top of the mast,
corresponding with what are now
called in nautical language " the
lifts." (Lucan. viii. 177. Id. x. 494.)
Their object was to keep the yard in
a level and horizontal position upon
the mast, which it could not preserve
without a support of this nature ; and
the largest class of vessels, which had
a yard of great length and weight,
were furnished with a double pair of
lifts, as in the example, from the
Vatican Virgil ; while the smaller and
ordinary sizes had only one.
CERVI. In military language,
large branches of trees, having the
smaller ones left on, and shortened
at a certain distance from the stock,
so as to present the appearance of a
stag's horn. (Varro, L. L. v. 117.)
They were stuck in the ground, to
impede the advance of an enemy's
column, a charge of cavalry over a
plain, which afforded no natural ob-
structions (Sil. Ital. x. 412. Liv.
xliv. 11.), and as a palisade or pro-
tection to any vulnerable or im-
portant position. Cses. B. G. vii. 72.
CERVFC AL (TrpoffKetydXaiov, virav-
XeVtop). A bolster, cushion, or squab
for supporting the back of the head
and neck on a bed or dining couch.
(Suet. Nero, 6. Mart. xiv. 146.) The
illustration is from a painting at
Pompeii.
CERVI'SIA or CEREVFSIA.
A beverage extracted from barley,
like our beer or ale; which was the
ordinary drink of the Gauls. (Plin.
H. N. xxii. 82.) The same name,
according to Servius (ad Virg.
Georg. iii. 379.), was also given to
a beverage extracted from the fruit
of the service tree, which would cor-
respond more closely with our cider.
CERYCE'UM (tcnpfawv). A
Greek word Latinised ; same as CA-
DUCEUS. Martian. Capell. 4. p. 95.
CE'RYX (/cVO- A Greek word,
used in a Latin form by Seneca
( Tranquill. 3.) ; a Greek herald, mar-
shal, or pursuivant, who occupied a
similar position amongst that people,
and performed the same sort of
duties as the Fetialis and Legati of
the Romans. His distinctive badge
was a wand /cTjv/cetcj', caduceus} ; his
person was held sacred and invio-
lable ; and his most honourable em-
ployment consisted in carrying flags
u 2
148
CERYX.
CESTUS.
of truce between conflicting armies,
and messages between hostile states,
a duty which the figure in the illus-
tration, from a fictile vase, is repre-
sented as in the act of commencing.
He is armed with sword and spear ;
has the herald's wand in his right
hand; and stands before a burning
altar, upon which he has just sacri-
ficed, preparatory to starting on his
journey ; the sentiment of departure
being indicated, according to the cus-
tomary practice of the Greek artists,
by certain conventional signs, such
as the travelling boots, the chlamys
thrown loosely over the arm, and the
hat slung behind his back. Besides
this, in his character of marshal and
pursuivant, the Ceryx possessed the
power of interposing between and
separating combatants, as seen in the
annexed example, also from a fictile
vase ; was authorized to summon the
assemblies of the people, and keep
order in them, and to superintend the
arrangements at a sacrifice, as well
as at public and private festivals.
2. A public crier ; more closely al-
lied to the Roman proeco ; whose
business it was to make proclama-
tions in the public assemblies (Ari-
stoph. Ach. 42. seq.), and to enjoin
silence by sound of trumpet at the
national games, whilst the solemn
eulogium (jc^fnrftM) was pronounced
upon the victor (Fabri. Agon. ii. 3.
Mosebach de Prcecon. Vet. 32 34.),
as shown by the following figure,
from a Greek marble in the Vatican ;
he is represented as just beginning
to sound his trumpet by the side of
the conqueror, who is in the act of
placing on his head the crown which
he has just received from the pre-
sident (aywvoQeT-rjs), whilst on the
other side of the composition a pair
of Pancratiastae are contending.
CESTICIL'LUS. A porter's knot,
for carrying burdens on the head.
Festus. *. v. Compare ARCULUS.
CESTROSPHEN'DONE (/cetrrpo-
<r<t>vS6vr}*). A weapon of warfare,
first employed by the soldiers of
Perseus in the Macedonian war,
consisting in a short dart, the head of
which was two spans broad, affixed
to a wooden stock, of the thickness of
a man's finger, and half a cubit in
length, and furnished with three
short wooden wings, similar to the
feathers of an arrow. It was dis-
charged from a sling. Liv. xlii. 65.
Polyb. xxvii. 9.
CESTRUM (/ceVrpo*). A sort of
graver or etching needle employed
in the process of encaustic painting
on ivory. It is supposed that the
instrument was heated by fire, and
that the traits to be delineated were
burnt into the tablet with its point,
and then filled in with liquid wax ;
but the whole subject of encaustic
painting, and the manner in which
the operations were conducted, is
very obscure and uncertain. Plin.
H. N. xxxv. 41.
CESTUS (weffTos, sc. t/idv). In a
general sense, any band or tie (Var-
ro, R. R. i. 8. 6.) ; but the word is
properly a Greek adjective, meaning
CETAKI^.
CIIALCIDICUM.
149
embroidered, whence it is more fre-
quently used in a special sense to
designate the
girdle of Venus,
upon which a re-
presentation of
the passions, de-
sires, joys, and
pains of love
was embroider-
ed. (Horn. II
xiv. 214. Mart.
Ep. vi. 13. Id.
xiv. 206. and
207.) The il-
lustration intro-
duced is from a bas-relief of the
Museo Chiaramonti, representing a
figure of Venus draped in the archaic
style ; consequently, from some very
early type, which makes it trust-
worthy. It will be perceived, that
the cestus on this figure is worn lower
down than the ordinary female's gir-
dle (cingulmn, 1.), and higher up than
the young women's zone (zona, or
cingulunij 2.), which may account for
the uncertainty prevailing amongst
scholars respecting the proper place
which the cestus occupied on the per-
son, and for the apparent indecision
of the passages, which have led
some to place it over the loins (as
Winkelmann), and others immediately
under the bosom (as Heyne and
Visconti) ; whereas in the example,
it is really placed in an intermediate
position between the two.
2. The glove worn by boxers,
more commonly written CAESTUS,
which see.
CETA'RI^E or CETA'RIA.
Shallow places or fishing grounds
upon a coast, frequented by large
fish at certain periods of the year,
when they are taken by the fisher-
men ; such as the places in the
Mediterranean, where the tunny fish
is now caught. Hor. Sat. ii. 5. 44.
Plin. H. N. ix. 19.
CET A'RII. A class of fishermen,
who took the larger kinds of fish,
such as tunnies, upon the cetarice
(Varro, ap. Non. s. v. p. 49.), salted
them down, and sold them in shops
belonging to themselves. Columell.
viii. 17. 12 Terent. Eun. ii. 2. 26.
CETRA. A small round shield
(Varro, ap. Non. s. v. p. 555. and
p. 82.), covered over with hide (Serv.
ad Virg. JEn, vii. 732.); chiefly
employed by the natives of Africa,
Spain, and ancient Britain (Tac.
Agr. 36.), the form and character of
which is believed to be preserved in
the target of the Scottish highland ers.
CETRA'TUS. One who bears
the small round target, called cetra,
which was characteristic of some
barbarous nations, but not of the
Romans. Cses. B. C. i. 70.
CHALATO'RIUS, sc. funis (W-
TOVOS, sc. Ifjids). The rope by which
a sail-yard is raised and lowered
on the mast, corresponding with the
halyard of modern nautical language.
It was fastened on the middle of the
yard, and run up through a block
affixed to the mast, from which the
end descended to the deck, where
it was worked by the sailors. ( Veget.
Mil. iv. 15.) It is probably derived
from x a ^ w to slacken, loosen, or let
down ; and allied to the x aAtl/< k or
bridle of the Greek sailors.
CHALCID'ICUM (XaAKtSt/cov).
A large, low, and deep porch, covered
with its own roof, supported on pilas-
ters, and appended to the entrance
front of a building, where it protects
the principal doorway, and forms a
grand entrance to the whole edifice
(Becchi, del Calcidico e della Cripta
di Eumachia, 21 43.), in the man-
ner represented by the following en-
graving, which represents a structure
of similar character, now remaining
in front of the very ancient church of
S. Giorgio in Velabro at Rome, be-
lieved to occupy the site of the
original Basilica Semproniana in the
Forum Boarium. Structures of this
kind received their name from the
city of Chalcis (Festus. s. v.), where,
it may be presumed, they were first
introduced, or of the most frequent
150
CHALCID1CUM.
CHARACTER.
occurrence ; and they were added on
to private as well as public edifices,
not merely as an ornament to the
facade, but for the purpose of afford-
ing shelter to persons whilst waiting
on the outside for their turn to be
admitted, or who transacted their
business under them ; to the palaces
of kings and great personages (Hygin.
Fab. 184. Auson. Periock. Odyss. 23.
Procop. de JEdific. Justin, i. 10.) ; to
the basilicas, courts of justice, and
merchants' changes (Vitruv. v. 1.),
where they would serve to contain
the .articles of merchandize, the sale
of which was negotiated in the in-
terior; to the curia, the town-hall,
and senate-house (Dion Cass. li. 22.
August. Man. Ancyran. ap. Grut.
p. 232. 4.), perhaps for the reception
of the slaves awaiting their masters,
and of the people naturally congre-
gating about such places for curiosity
or business. The external character
and appearance of these appendages
is sufficiently indicated by the pre-
ceding wood-cut ; and their general
plan, with reference to the rest of
the edifice, by the next one, which
represents the ground-plan of an
extensive building at Pompeii, con-
structed by the priestess Eumachia,
consisting of an enclosed gallery
(crypta, A), an open one (porticus, u)
adjoining, which encloses a court-
yard or area (c) in the centre ; the
whole being covered by a grand en-
trance, fronting the forum, with
the name CHALCIDICUM inscribed
upon a slab of marble affixed to the
wall.
CHAMUL'CHUS (xa/wwAiofc)- A
sort of dray employed in the trans-
port of very weighty substances, such
as large blocks of marble, columns,
obelisks, &c., which lay low upon
the ground (whence the name, from
XWal, the ground, and *A/co>, to
draw), and probably resembled those
now used for similar purposes. Am-
mian. xvii. 4. 14.
CHARAC'TER (xapoucT^p). In
general, any sign, note, or mark,
stamped, engraved, or otherwise im-
pressed upon any substance, like the
device upon coins, seals, &c. ; and in a
more special sense, the brand or mark
burnt into the flanks of oxen, sheep,
or horses, in order to distinguish
the breed, certify the ownership, or
for other purposes of a similar nature,
CHARISTIA.
CHELONIUM.
151
as in the example, which shows the
brand upon a race-horse, from a small
antique bronze. Columell. xi. 2. 14.
2. The iron instrument with
which such marks were made. Isi-
dor. Orig. xx. 7.
CHARIS'TIA (XaptoTia or Xa/n-
T-ficrta). The feast of the Charities ;
a family banquet, to which none but
relatives or members of the same
family were invited, and the object of
which was to reconcile any differ-
ences which might have arisen
amongst them, and to preserve the
kindred united and friendly with one
another. (Val. Max. ii. 1. 8. Ov.
Fast. ii. 617.) It was celebrated on
the 19th of February (viii. Cal.
Mart), which was thence termed the
" kinsmen's day " lux propinquo-
rum. Mart. Ep. ix. 56.
CHARIS'TION (xa/n<mW). An
instrument for weighing; but of
what precise character, or in what it
differed from the balance (libra) and
steelyard (statera) is not ascertained.
Inscript. ap. Don. cl. 2. n. 67. Not.
Tires, p. 164.
CHART A (xaprrjs). Writing-
paper, made from layers of the papy-
rus, of which eight different quali-
ties are enumerated by Pliny (H.N.
xiii. 23.): 1. Augustana, subse-
quently called Claudiana, the best
quality ; 2. Liviana, the next best ;
3. Hieratica, originally the best, and
the same as charta regia of Catullus
(xix. 16.); 4, 5, 6. Amphitheatrica,
Saitica, Leneotica, inferior kinds,
named after the places where they
were respectively manufactured ;
7. Fanniana, made at Rome, and
named from its maker Fannius ;
8. Emporetica, coarse paper, not used
for writing, but only for packing
merchandize, whence its name. To
these may be added, 9. charta den-
tata, the surface of which was
smoothed and polished by rubbing
over with the tooth of some animal,
to procure a glossy face for the pen
to glide over, like our " hot-pressed "
paper (Cic. Q. Fr. ii. 15. Plin. H.N.
xiii. 25.) ; and 10. charta bibula, a
transparent, and spongy sort of paper,
which let the ink run, and showed
the letters through. Plin. Epist.
viii. 15. 2. Compare Plin. H.N.
xiii. 24.
C H E' L E (XTJATJ). Properly, a
Greek word, which signifies a cloven
foot ; a pair of crooked and serrated
claws, like those of a crab ; the talons
of a bird ; or the claws of a wild
beast ; whence in that language, it is
employed to designate several dif-
ferent instruments, possessing in
their forms or manner of usage a
resemblance to any one of these
natural objects : as a netting needle ;
a breakwater to protect the mouth of
a harbour, when made in the form
of a claw set open (see the plan of
the port at Ostia, s. PORTUS, letter
K.) ; a pair of pincers or pliers, with
bent arms like claws, &c. By the
Romans, for a similar reason, the
same name is given to a particular
part of some military engines, such
as the ballista and scorpio, which was
a sort of claw, or nipper, made to
open and seize upon the trigger or
chord of the machine, whilst it was
being drawn back to produce the re-
bound which discharged the missile.
Vitruv. x. 11. 7. Id. x. 10. 4.
CHELO'NIUM (xcAc^oj/). A
bracket or collar affixed to the up-
rights of a certain machine for moving
heavy weights (machina tractorid) at
their lowest extremities, into which
the pivot (cardo) of a revolving axle
and wheel (sucula) was inserted ; like
that in which the axle of aplaustrum
turned. Vitruv. x. 2. 2.
2. A collar of similar description,
152
CHELYS.
CHIRAMAXIUM.
fastened to the top of an upright
beam in another kind of contrivance
for raising weights (polyspastori), to
which the block and pullies (trochlece)
were affixed. Vitruv. x. 2. 8.
3. A particular member in a cata-
pulta; called also pulvinus. Vitruv.
x. 10. 5.
CHELYS (x=At>s, xeAcSwfl. Pro-
perly, a Greek word, adopted into
the Roman language by poets ; but
the genuine Latin word is TESTUDO,
under which its meanings are illus-
trated and explained.
CHENIS'CUS (xnvlffKos). An
ornament resembling the head and
neck of a goose (xV), sometimes
placed on the stern of a vessel ( Apul.
Met. xi. p. 250.), but more fre-
quently in ancient monuments, at the
head. The illustration represents
three of these figures ; the centre
one in detail, from an ancient bas-
relief, of which there is a cast in the
British Museum ; the one on the left
hand, over the stern, from Trajan's
Column ; and that on the right, over
the prow, from the Vatican Virgil.
CHENOBOSCI'ON (xnvoSo-
<TKeToi/). An enclosure, with its appur-
tenances, attached to a country-house
or farm, appropriated to the breeding
and keeping of geese, large flocks of
which were maintained on some es-
tates. (Varro, R. R. xii. 10.1.) It
consisted of a spacious yard on the
outside of the farm-house and build-
ings (Columell. viii. 1. 4.), sur-
rounded by a wall nine feet high,
which formed the back of an open
gallery or colonnade (portions), under
which the pens (harce) for the birds
were situated. These were built of
masonry or brickwork, each being
three feet square, and closed in
front by a door. The site selected,
where possible, was contiguous to a
stream or pool of water ; if not, an
artificial tank was made for the pur-
pose; and near to, or adjoining, a
field of meadow grass, or one sown
with artificial grasses, where the soil
required it. Columell. viii. 14. 1 2.
CHILIAR'CHUS or CHILIAR'-
CHOS (xiAiapx 7 ?* or x'A%X<>0- The
commander of a thousand men; a
word more especially employed by
the Greeks to designate the Persian
vizir (Xen. Cyrop. ii. 1. 23. Nepos,
Con. 3. ) ; and applied by the Romans
to an officer who commanded the ma-
rines, or soldiers who manned a fleet.
Tac. Ann. xv. 51.
CHIMJE'RA (Xlfuupa). Literally,
a she-goat, which the poets and artists
! of Greece converted into a monster,
| spouting fire, composed of three dif-
| ferent animals the head of a lion,
the body of a wild goat, ending in a
dragon's tail; fabled to have been
killed by Bellerophon. Hor. Ovid.
Tibull. Horn. &c.
CHIRAMAX'IUM (xeipa/xa^oz/).
An invalid' s-chair upon wheels, which
could be drawn
or pushed for-
ward by the
hands of a
slave, in the
same manner
as now prac-
tised. (Pet.
Sat. 28. 4.)
The illustra-
tion represents
a marble chair now in the British Mu-
seum, but which originally belonged
to the baths of Antoninus at Rome,
where it was doubtless employed as a
sella balnearis or pertusa ; but the
two small wheels carved as orna-
ments on the sides, and in imitation of
the moveable invalid's chair of wood,
in which they were wheeled to and
from the baths, establish at once the
meaning of the word, and the harmony
CHIR1DOTA.
CH1RONOM1A.
153
between ancient customs and our
own in this particular.
CHIRIDO'TA (xeipfi*>r6s, sc.
XiTcov). Properly a Greek word, and
an adjective, but sometimes used sub-
stantively by the Romans (Capito-
lin. Pertinax, 8.) ; and applied to a
tunic with long sleeves reaching down
to the hand (x e fy>)> more especially
characteristic of the Asiatic and Celtic
races, as seen in the annexed figure,
from the Niobe
group, repre-
senting the tu-
tor (pcedagogus)
of the younger
children, a class
of men usual-
ly selected for
that duty from
the inhabitants
of Asia Minor.
Amongst the
male population
of Greece, and
of Rome in the
earlier times,
sleeved tunics were not worn, ex-
cepting by people who affected foreign
habits, or of luxurious and effeminate
characters ; hence when mention is
made of persons so dressed, there is
always an implied sense of reproach
concealed under it. (Scipio Afr. ap.
Gell. vii. 12. 2. Cic. Cat. ii. 10.
Suet. Cal. 52.) But in both countries
they were per-
mitted to fe-
males, as shown
by numerous
monuments both
of Greek and
Roman artists,
and in the an-
nexed example,
from a paint-
ing at Pompeii ;
whence the sar-
casm of Virgil
(^2?n. ix. 616.), where the Trojans
are called women, and not men,
because their tunics had long sleeves.
CHIRONOM'IA ( X pow/ifa).
The art of gesticulating or talking
with the hands and by gestures, with
or without the assistance of the voice.
(Quint, i. 11. 17.) This art was of
very great antiquity, and much prac-
tised by the Greeks and Romans, both
on the stage and in the tribune, in-
duced by their habit of addressing
large assemblies in the open air,
where it would have been impossible
for the majority to comprehend what
was said without the assistance of
some conventional signs, which en-
abled the speaker to address him-
self to the eye as well as the ear of
his audience. These were chiefly
made by certain positions of the
hands and fingers, the meaning of
which was universally recognized
and familiar to all classes, and the
practice itself reduced to a regular
system, as it remains at the present
time amongst the populace of Naples,
who will carry on a long conversation
between themselves by mere gesti-
culation, and without pronouncing a
word. It is difficult to illustrate such
a matter in a work like this ; but the
act is frequently represented on the
Greek vases, and other works of
ancient art, by signs so clearly ex-
pressed, and so similar in their cha-
racter to those still employed at
Naples, that a common lazzaroni,
when shown one of these compo-
sitions, will at once explain the pur-
port of the action, which a scholar
with all his learning cannot divine,
(lorio, Mimica degli Antichi, p. 369.)
In the illustration, for instance, which
154
CHIRONOMOS.
CHLAMYDATUS.
is copied from a Greek fictile vase,
it is self-evident that the two females
are engaged in a woman's quarrel ;
the one on the left, by her forward
attitude and index finger pointedly
directed towards the other, making
some angry accusation against her ;
whilst the backward movement of the
body exhibited by the figure on the
right, the sudden cessation of her
music, and the arms thrown open
and upwards, present a very natural
expression of surprise, either feigned
or real, on her part. Thus much
would be readily divined by any one.
But the subject of the quarrel ? That
is told by the positions of the hands
and fingers. It is a love quarrel,
arising from jealousy ; for the exact
gesture employed by a modern Nea-
politan to signify love, viz. joining
together the tips of the fore-finger
and thumb of the left hand, is ex-
hibited by the figure on the left side
of the picture ; whilst the other woman
not only expresses surprise by her |
attitude, but with her right hand
raised up towards the shoulder, and
all its fingers wide open and erect,
denies the insinuation, and declares
her indignation at the accusation;
for such is the gesture which a Nea- !
politan employs to signify a nega- j
tive, more especially when what is
said excites his astonishment and
displeasure. Thus these few gestures
represent a long dialogue. The
cause of quarrel is, without doubt,
the sitting Faun, who, while affecting
to play away so resolutely between
the angry damsels, has been detected
in making signs incautiously to the
nymph with the tambourine, and
which were perceived by his old flame
who stands behind him.
CHIRON'OMOS and CHIRON'-
OMON (xctpo^os). Generally, any
person who employs the art of ges-
ticulation to express his meaning
without the aid of language, as ex-
plained in the preceding article ;
thence also, a pantomimic actor on
the stage (Juv. Sat. vi. 63.); and
one who performs any duty with re-
gular, studied, or theatrical move-
ments ; whence the same term is
applied by the satirists to the slave
who carved up the dishes at great
entertainments with a pompous flou-
rish of his knife. Juv. Sat. v. 121.
Compare Pet. Sat. 36. 6.
CHIRUR'GUS ( X povpy6^. A
surgeon, who performs operations, as
distinguished from a medical prac-
titioner. The Roman doctor (me-
dicus) of early times exercised both
departments of the healing art ; but,
about the time of Tiberius, surgery
began to be practised as a distinct
profession. Cels. Prcef. vii. Becker,
Gallus, p. 224. transl.
CHLAM'YDA. Same as CHLA-
MYS. Apul. Met. xi. p. 256. Id.
Flor. ii. 15. 2.
CHLAMYDA'TUS (xAa/ivSwr^).
Clad in the c.hlamys, or Grecian man-
tle ; which, from the nature of the
garment, might be put on in a variety
of ways, presenting very different
characters, but all studiously arranged
with a view of appearing graceful
and becoming. (Ovid. Met. ii. 733.)
The most simple and usual were the
following :
1. The narrowest part of the man-
tle (see the right-hand figure s.
CHLAMYS) was passed round the
back of the neck, and
the two corners brought
together in front of the
throat, where they were
joined by a buckle,
clasp, or brooch, so that
the goars might be turned
back over the shoulders
(demissa ex humeris.
Virg. &n. 263.), and
the middle or longest
part would hang down
behind as far as the
knees, as shown by the
annexed figure, from the Panathenaic
frieze in the British Museum.
2. Or, a portion of the narrow part
of the left-hand figure s. CHLAMYS,
was folded down, in order to make a
CHLAMYS.
CHORAGIUM.
155
longer line, and then fastened side-
ways over the right shoulder by a
brooch, &c. ; so that the mantle com-
pletely enveloped the left arm, leav-
ing the right one, as well as the
whole side, uncovered, whilst the
four corners hung down on the same
side parallel to one another, two in
front and two behind, as shown by the
annexed figure, from a Greek vase.
3. Or, one side of it was carried
across the chest, and thrown over the
left shoulder, so as closely to en-
velope the upper part of the person,
as low as the wrists (Apul. Flor. ii.
15. 2.) ; an arrangement more espe-
cially adopted on horseback, as shown
by the annexed example, from the
Panathenaic frieze in the British
Museum.
CHLAM'YS (xAa^us). A light
and short mantle, originating with
the inhabitants of Thessaly or of Ma-
cedonia, whence it was imported into
other parts of Greece, and became
the regular equestrian costume of the
Athenian youths, from the period
of their becoming e^rjgos until the age
of manhood. (Plutarch. Alex. 26.
Pollux, x. 124. Apul. Met. x. p. 233.)
It consisted of an oblong square piece
of cloth, to each side of which a goar
(irTepv) was attached, sometimes in
the form of a right-angled, and at
others of an obtuse-angled triangle,
so that the whole, when spread out,
would form a mantle of similar shape
and dimensions to the diagrams intro-
duced above. The different ways in
which it was adjusted and worn are
described and illustrated in the pre-
ceding article.
2. Properly speaking, the chlamys
belongs to the national costume of
the Greeks, but not of the Romans,
though it was occasionally adopted,
even at an early period, by some of
the last-mentioned people, as by L.
Scipio and Sylla (Cic. Rabir. Post.
10, Val. Max. iii. 2. and 3.); but
these are both mentioned as singu-
lar instances. In some cases too, it
is ascribed to women to Dido by
Virgil (JEn. iv. 137.), and to Agrip-
pina by Tacitus (Ann. xii. 56.).
CHORA'GIUM (xop^mo"). The
furniture, scenery, dresses, &c. be-
longing to a theatre, which are ne-
cessary in presenting a play upon the
stage, or, as our actors call it, " the
property." Festus, s. v. Plaut. Capt.
Prol 60.
2. A large apartment behind the
stage, where the " property " was kept ;
or, perhaps, where the actors, and in
a Greek theatre, the Chorus, dressed
or rehearsed. (Vitruv. v. 9. 1.
Demosth. p. 403. 22. Reiske.) It
formed one of the appurtenances con*
x 2
156
CHORAGUS.
CHORS.
structed in the spacious porticoes at
the back of a theatre (Vitruv. /.c.),
as may be seen on the plan of Pom-
pey's theatre, introduced as an illus-
tration under THEATRUM.
3. A sort of spring in hydraulic
machines. Vitruv. x. 8. 1.
CHORA'GUS. The person who
provided the scenery, ornaments,
dresses, &c. necessary for presenting
a play upon the Roman stage ; which
he sometimes furnished at his own ex-
pense, but more usually from monies
levied on the community, and paid
over to him by the sediles. Plaut.
Pers. i. 3. 78.
2. (xopqyts). Amongst the
Greeks, the choragus was the person
who defrayed the costs for bringing
out a Chorus; and the leader of the
Chorus was sometimes designated by
the same name.
CHORAU'LES and CHO-
RAU'LA (xopouATjy). A musician
who accompanied the Chorus of the
Greek theatre, or any other number
of singers in a concert generally,
upon the double pipes ; as contradis-
tinguished from aulcedus, who played
an instrumental solo without vocal
music. (Suet. Galb. 12. Plin. H. N.
xxxvii. 3. Mart. Ep. ix. 78.) The
costume and instrument of these per-
formers are shown by the figure an-
nexed, from a drawing by Fulvius
Ursinus, in the Vatican Library,
copied from a statue discovered on
the Appian Way, with the name
inscribed upon its base,
CHORE' A (xopefa). A choral
dance ; i. e. in which the performers
join hand in hand, so as to form a
circle and dance to the sound of their
own voices, precisely as represented
in the illustration, from a painting
in the baths of Titus at Rome. Virg.
Cul 19. Ovid. Met. viii. 581. Claud.
B. Gild. 448.
CHOROB'ATES. An instrument
used for taking the level of water,
and of the country through which it
is to be conducted. Vitruv. viii. 5.1
CHO'ROCITHARIS'TA. A mu-
sician who accompanies a chorus of
singers on the cithara. Suet. Dom. 4.
CHORS, CORS, or COHORS
(xtpros). A farm, or straw-yard,
which constituted one of the principal
appendages belonging to a country
villa, where the whole live stock,
cattle, pigs, poultry, &c., were kept,
stalled, and foddered. It consisted of
a large court covered with litter, for
the purpose of making dressing for
the land, provided with a tank, where
the cattle were watered when brought
up for the night; and enclosed all
round by numerous outbuildings, in-
eluding sheds for the carts, ploughs,
and agricultural implements, as well
CHORUS.
CICONIA.
157
as stabling, stalls, sties, and houses
for the cattle, and other domestic
animals (turba cortis, Mart. Ep. iii.
58.), forming the live stock of the
farm. (Varro, L. L. v. 88. Id. R. It.
1. 13. 2. and 3. Vitruv. vi. 6. 1.)
The illustration annexed, which re-
presents the yard in which the fol-
lowers of Ulysses were kept when
changed into swine, from a miniature
of the Vatican Virgil, will serve to
convey a notion of the general plan
and character of an ancient farm-yard
and its dependencies.
2. A sheep pen, made with hurdles
and netting, and set up on the lands
where the flock pastured, to protect
them at night. (Varro, R. R. ii. 2.
9.) Also a permanent enclosure
surrounded by high stone walls, in
which sheep were stalled. Columell.
vii. 3. 8.
CHORUS (xopo's). A band or
company of persons engaged in
dancing and singing, more especially
when their songs and dances were
performed in honour, or as part of
the worship, of some divinity. Cic.
Phil v. 6. Virg. JEn. viii. 718. Suet.
Cal 37. Hor. Od. i. 1. 31.
2. The chorus of singers in a dra-
matic entertainment on the Greek
stage. The performers in it were
entirely distinct from the actors,
though they sometimes performed the
part of interlocutors. The Roman
drama had no chorus. Hor. A. P.
193. 204. 283. Aul. Gell. xix. 10.
3. A choral or round dance.
(Mart. Ep. iv. 44. Compare Tibull.
ii. 8. 88. ) Same as CHOREA ; where
see the illustration.
CHRYSEN'DETA (xp^eVSera).
The name given to a particular ma-
nufacture of plate employed by the
wealthy Romans for their table ser-
vices, but the precise character of
which is not ascertained ; excepting
that the name itself and the epithets
applied to it, appear to indicate that
the articles were made upon a basis
of silver, with ornaments of gold
either inlaid, or chased in relief upon
it. Mart. Ep. ii. 43. Id. vi. 94. Id. xiv.
97. and compare Cic. Verr. iv. 21 23.
CHYT'RA (x^-pa> A common
kind of earthenware
amongst the Greeks,
employed for boiling
and cooking, or any
ordinary purpose ;
and, therefore, left
in its natural rough
state of red clay, without any sort of
decoration or painting. (Aristoph.
Pac. 923. Athen. ix. 73. Cato, R.R.
157. 11., where, however, some edi-
tions read scutra.) The illustration,
from an original, represents the
form of these pots according to Pa-
nofka, Recherches sur les veritables
Noms des Vases Grecs, i. 28.
CHYT'ROPUS (XVTPO'TTOUS). A
chytra made with legs, so that it could
be set over the fire
without being placed
upon a trivet, as
shown by the an-
nexed figure, from
an original after Pa-
nofka. Hesiod. Op.
746. Vulg. Levit. xi. 35.
CIBILL'A. The reading of some
editions in a passage of Varro (Z. L.
v. 118.) for CILLIBA ; which see.
CIBO'RIUM (KI&SPKW). Lite-
rally, the seed-pod of the Egyptian
bean (colocasia) ; and thence a drink-
ing vessel of Greek invention, so
termed from its resemblance to the
form of that fruit. Hor. Od. ii. 7.
22. Schol. Vet. ad I. Athen. xi. 54.
CICO'NIA. Literally, a stark;
but also applied to a mimic gesture
expressive of ridicule or contempt,
produced by bending the forefinger
into the form of a stork's neck,
and pointing it towards the person
ridiculed with a rapid motion of the
two top joints up and down. Pers. i.
58. Hieron. Epist. 125. 18.
2. A contrivance employed by
farmers to test a labourer's work in
spade husbandry, and prove if all his
trenches were dug to a uniform and
proper width and depth. It consisted
158
CICONIA.
C1LICIUM.
of an upright, with a cross-bar affixed
to it, at right angles, like the letter
T inverted, so that the long branch
measured the depth, the two shorter
arms the width and evenness of the
trench. Columell. iii. 13. 11.
3. Ciconia composita. A contri-
vance of the same description as the
preceding, but not quite so simple ; in-
vented by Columella, to remedy some
inconveniences experienced in the use
of that instrument, which led to fre-
quent disputes between the farmer and
his labourers, without insuring him
against being deceived by them ; inas-
much as it required a very sharp eye
to see that the instrument was placed
fairly upright in the furrow, and not
in a slanting position, which would
make the trench appear deeper than
it really was. For this purpose he
added two cross-bars to the original
instrument, nailed
on it in the form of
the letter X, and
suspended a line
and plummet from
the point where
they intersected
each other; thus,
the extreme ends of
the cross-bars and
tail-piece proved the width of the
trench at top and bottom, and showed
if the sides were dug fair and even
throughout; the height of the ma-
chine measured the exact depth of
the trench ; and the plumb line pre-
vented disputes by indicating at once
whether it was inserted in a hori-
zontal position or not. (Columell.
iii. 13. 12.) The illustration is not
from the antique, but is a conjectural
diagram by Schneider, constructed
in accordance with Columella's de-
scription, and inserted here in order
to convey a better idea than words
alone can express.
4. A name given by the ancient
Spaniards to the machine for raising
water from a well, which we call a
"swipe," and the Romans termed
TOLLENO. Tsidor. Orig. xx. 15. 3.
CICU'TA. Literally, the hemlock;
whence transferred to things made
out of the stalks of that plant, espe-
cially the Pan's pipes.
Virg. Eel ii. 36. Lu-
cret v. 1382.
CICU'TICEN. A
performer on the
Paris pipes, made of
the hemlock stalks.
(Sidon. Carm. i. 15.)
The illustration is from a small ivory
figure in the Florentine Museum.
CID'ARIS (KiSapis and
The royal bonnet worn by the kings
of Persia, Armenia,
and Parthia, which
had a tall, stiff, and
straight crown, en-
circled by a blue dia-
dem ornamented with
white spots (Curt. iii.
3. ). All these parti-
culars, with the ex-
ception of the colour, are distinctly
visible in the illustration, which re-
presents Tigranes, king of Armenia,
from a Syrian medal.
2. The bonnet worn by the high-
priest of the Jews. Hieron. Epist.
64. 2. and 13.
CILIBAN'TUM. A wine or
drinking table of circular form, sup-
ported upon three legs ;
for circular tables, on
a single stem, had an
appropriate name of
their own monopo-
dia. Tables of this
kind are frequently
represented in the Pompeian paint-
ings, from one of which the annexed
illustration is copied, with the drinking
vessels (capides, capula) upon it, pre-
cisely as mentioned by Varro, L. L.
v. 121.
CILIC'IUM (KiAfcicv). A coarse
kind of cloth made of goats' hair,
used for various purposes, in the army
and navy more especially, and pro-
bably resembling the material now
used for coal- sacks and horses' nose-
Cic. Verr. ii. 1, 38, Liv,
CILLIBA.
CINCTUS.
159
xxxviii. 7. Veget. Mil. iv. 6. Serv.
ad Virg. Georg. iii. 313.
CIL'LIBA (/ctAA/gas). A Greek
word, signifying literally the trestle,
which forms a stand for anything ;
whence it was adopted by the Ro-
mans to designate a dining-table of
square form, supported by trestles
underneath, as shown by the illus-
tration, from the Vatican Virgil,
which represents the table at which
the companions of Ulysses fed, when
changed into beasts. Square dining
tables were usually employed by the
early Romans ; but had fallen into
disuse before the age of Varro, when
circular ones were mostly adopted ;
except in camps for the military
mess, where the old form was retained
as more convenient. Varro, L. L.
v. 118.
CIN^DUS OVatSos). A dancing-
master, who taught the art of dancing
in a school (Scipio Afr. ap. Macrob.
Sat. ii. 10. Non. s. v. p. 5. Plaut.
Mil iii. 73.) ; for in early times,
while this kind of exercise was con-
fined to religious and warlike dances,
it was not esteemed unbecoming ;
but with the corruption of manners,
when mimetic and lascivious dances
were introduced upon the stage, the
name was likewise given to the per-
formers in these exhibitions, and
thence, in a more indefinite meaning,
it became a term of reproach for any
one who indulged in the indelicate
propensities for which the stage dan-
cers were notorious.
CINCINNA'TUS. Having the
hair of the head twisted into long
corkscrew curls or ringlets (cincinni).
Cic. in Senat. 5. Id. pro Sext. 11.
CINCIN'NUS (IA|). A ringlet,
or long corkscrew curl of hair, like
the twist of a fringe
(Cic. Pis. 11.), or the
tendril of a vine
(Varro, It. R. i. 31.
4.), as in the exam-
ple, from the Column
of Trajan. Though
ringlets of this kind
are natural to some
few individuals, the term mostly
implies that they were artificially
produced with the curling-irons.
CINCTIC'ULUS. Diminutive of
CINCTUS, -us; a short petticoat or
kilt worn by boys round the loins in
the same way as the cinctus by grown-
up persons. Plaut. Bacch. iii. 3. 28.
CINCTO'RIUM. A belt worn
round the waist, for the purpose of
attaching the sword
(Mela, ii. 1.), as con-
tradistinguished from
the baldrick (lalteus},
which was slung over
the shoulder. The
consuls, tribunes, and
superior officers of the
Roman army are al-
ways represented on
the columns and arch-
es with their swords
attached by a cinctori-
um, as in the example,
from a bas-relief in
the Capitol at Rome ;
but the orderlies, or common men,
carry theirs suspended from a balteus.
CINCTUS, -us (Sid&pa,
160
CINCTUS.
CINGILLUM.
A sort of petticoat, like the Scotch
kilt, reaching from the waist to the
knees, or thereabouts, which was
worn in early times, instead of the
tunic, by persons of the male sex,
engaged in active or laborious em-
ployments. Isidor. Orig. xix. 33. 1.
Varro, L.L.v. 114., as shown by the
illustration, from a terra-cotta lamp.
2. A waist-band worn over the
tunic (Plin. H. N. xxviii. 9. Suet.
Nero, 51.); same as CINGULA and
ClNGTJLUM, 3.
3. Cinctus Gabinus. A particular
manner of adjusting
the toga (Liv. v.
46. Id. viii. 9.), in
which one end of
it was thrown over
the head, and the
other passed round
the waist behind
(Serv. ad Virg. JEn.
vii. 612.), so as to
present the appear-
ance of a girdle,
precisely as shown
in the annexed fi-
gure, from the Vatican Virgil.
CINCTUS, -a, -urn. Generally,
wearing a girdle, belt, or sash of any
kind, and applied to both sexes ; to
females, who wore a girdle under the
breast (Ovid. Met. vi. 59. and CIN-
GULUM, 1.), or, like a zone, round the
loins (Curt. iii. 3. and CINGTJLUM,
2.) ; to men, who wore a girdle over
the tunic (Plaut. Cure. ii. 1. 5. and
CINGDLUM, 3.) ; or their swords
attached to a waist-band (gladio
cinctus, Liv. xxxviii. 21. and CINC-
TORIUM) ; and to huntsmen who car-
ried their knives in a waist-band
(cultro venatorio cinctus, Suet. Aug.
35. and 19.).
2. Cinctus alte. See ALTICINCTUS.
CINCTU'TUS. Clothed after the
fashion of the early ages ; i. e. with
nothing but a short kilt (cinctus,
irepffoo^a) round the loins, as repre-
sented in the last illustration except
one. Hor. A. P. 50. Ovid. Fast. v.
101. Compare Plutarch, Rom. 21.
CINERA'RIUM. A niche in a
tomb, adapted for the reception of a
large cinerary urn, or a sarcophagus,
as contradistinguished from colum-
barium, which was of smaller dimen-
sions, and only formed to receive a
pair of jars (pllai). (Inscript. ap.
Grut. 850. 10. Ap. Fabrett. 16. 71.
CALPDRNIA EMIT COLUMBARIA N.
IV. OLLAS. N. Vm. ET CINERARIUM
MEDIANUM.) The illustration, which
represents one side of a sepulchral
chamber, as it appeared when first
excavated, presents an arrangement
similar to that set forth by the pre-
ceding inscription, with two colum-
baria at bottom, over which are the
same number of cinerary niches for
urns, and a larger one in the centre
(cinerarium medianum), with its sar-
cophagus.
CINERA'RIUS. A slave who
waited upon the ornatrix while en-
gaged in dressing her mistress's hair.
His chief duty consisted in heating
the curling irons in the ashes (ci'nem),
whence the name (Varro, L. L. v.
129.) ; but in some cases, he also
performed the part of a barber.
Catull, 61. 138. Seneca, Constant.
Sap. 14.
CINGIL'LUM. A diminutive of
CINGULUM ; but in a passage of Pe-
tronius (Sat. 67. 4.), the only one
in which the word occurs, it is clearly
used to designate an article of female
attire worn on the upper part of the
person, and reaching from the shoul-
ders to a little below the waist ; for,
when Fortunata appears at the ban-
CINGULA.
CINGULUM.
161
quet of Trimalchio, she wears a yel-
low cingillum over a cherry-coloured
tunic, which is seen below it ; the
tunic also being sufficiently short to
leave the bangles round her ankles,
and her Greek shoes exposed to
view galbino succincta cingillo, ita,
ut infra cerasina appareret tunica, et
periscelides torta, phcecasiceque inau-
ratce. It must, therefore, have re-
sembled what we now term a jacket
or spenser, such as is frequently re-
presented in the Pompeian paintings,
from one of which the illustration is
copied ; and if the tunic were only
drawn up a little higher through its
girdle, so as to leave the feet and
ankles exposed, it would strictly ac-
cord with the entire costume de-
scribed.
CIN'GULA. A girth or surcingle
by which the saddle pad is fastened,
as in the example, from the Column
of Antoninus. Ovid. Hem. Am. 236.
Calpurm Eel vi. 41.
2. A man's girdle round the waist.
Ovid, A. Amat. iii. 444. and CIN-
GULUM 3.
CIN'GULUM (reuw'a). A band,
sash, or girdle worn by females
over the tunic, and
close under the
bosom, in order
to make the dress
sit close, and be-
comingly on the
person, as shown
by the figure an-
nexed, from a
Greek statue. Isi-
dor. Orig. xix. 33.
1. Virg. Mn. \,
492.
2. (Cc6n?). A girdle or sash also
worn by females, and especially
young unmarried
women, but fast-
ened lower down
the body, just a-
bove the hips, as
shown by the an-
nexed illustration,
representing Elec*
tra, from a marble
found at Hercula-
neum, with the
sash drawn by its
side, from a Greek
vase. In this sense the term is also
applied to the Cestus of Venus.
Festus. s. v. Val. Flacc. vi. 470. and
CESTUS.
3. (crnfjp). A man's girdle,
worn round the waist, and outside
the tunic, as shown
by the example,
from a statue at
Naples. It served
for carrying any
small article sus-
pended from it, and
especially to shorten
the tunic, when the
wearer was en-
gaged in active ex-
ercise, by drawing
up the lower part
to any desirable height. Pet. Sat,
21. 2. and ALTICINCTUS.
4. (ptrpa, faffrfipi (cavr)*). A sol-
dier's belt, made of metal, or of
leather plated with metal, worn
162
CINIFLO.
CIRC1NUS.
round the loins to secure the bottom
of the cuirass (see the illustration s.
CLIPEATUS 1.), and protect the belly.
It was fastened by hooks, as in the
example, from an original of bronze
found in a warrior's tomb at Psestum ;
and over this the sword belt (cincto-
rium) was also strapped, whence Vir-
gil, in describing the armour of Pallas
02?n. xii. 942.), includes both of these
by the plural cingula, for the shoul-
der band (balteus), which supported
the shield, is separately mentioned.
5. (8iao>/xa, Trep/foua). An article
in female attire similar to the Cinctus
of males (Varro,
L. L. v. 114.),
viz. a short pet-
ticoat reaching
from the waist to
the knees, which
was worn in ear-
ly times instead
of a tunic, espe-
cially by women
who led an active
or laborious life ;
whence it is very
commonly assigned to the Amazo-
nian women on the fictile vases, from
one of which the illustration is co-
pied.
CIN'IFLO. A slave attached to
the female part of the household,
whose business it was either to heat
the irons for the ornatrix (Schol.
Acron. ad Hor. Sat. L 2. 98.) when
she was dressing her mistress's hair ;
or, according to Servius (ad Virg.
Mn. xii. 611.), to procure and ad-
minister the powder (cinis) which
women employed for tinting their
hair of a light auburn colour.
CIPPUS (O-T^AT;). A short round
post or pillar of stone set up to mark
the boundaries between adjacent
lands or neighbouring states. (Sim-
plic. ap. Goes. p. 88.) The illustra-
tion represents one of these stones,
now preserved in the Museum of
Verona. From the
inscription (one of
the oldest authentic
Roman inscriptions
extant) we learn
that it was set up by
Atilius Saranus, who
was dispatched by
the senate, as proconsul, to reconcile
a dispute between the people of
Ateste (Este} and Vincentia ( Vicenza)
respecting their boundaries.
2. A low pillar, sometimes round,
but more frequently rectangular,
erected as a tomb- stone over the spot
where a person was buried, or em-
ployed as a tomb for containing the
ashes after they had been collected
from the funeral pyre, by persons
who could not afford the expense of
a more imposing fabric. (Pers. i.
37.) The illustration represents an
elevation and section of a cippus,
which formerly stood on the Via
Appia ; the section, on the left hand,
shows the movable lid, and the cavity
for receiving the ashes.
3. A strong post, formed out of the
trunk of a tree, with the weaker
branches cut off, sharpened to a
point, and driven into the ground to
serve as a palisade in military forti-
fications. Cses. B. G. vii. 73.
CIR'CINUS (SmjQW). A pair
of compasses, employed by carpenters,
architects, masons, and sculptors, for
describing circles, measuring dis-
tances, or taking the thickness of
solids. (Cses. B. G. i. 38. Vitruv. ix.
CIRC1TORES.
C1RCULUS.
163
8. 2.) The illustration represents
three sorts of compasses, similar to
those still in use ; on the right a pair
of proportional compasses, on the left
a pair of callipers, and a small com-
mon compass in the centre, all copied
from originals found at Pompeii.
CIRCITO'RES. Surveyors of
the Roman aqueducts, whose duty it
was to visit the different lines for the
purpose of seeing if any parts wanted
repairs, and that no frauds had been
committed by the insertion of im-
proper pipes, in order to divert the
water without permission, or draw
off a larger quantity of it than the
law allotted. Frontin. Aq. 1 1 7.
2. In the Roman armies, a detach-
ment of men appointed to go the
rounds at certain intervals, and see
that all the watches were regularly
kept, and all the sentries at their
posts. Veget. Mil iii. 8. Inscript.
ap. Murat. 540. 2.
3. Commercial travellers, employed
by certain manufacturers and trades-
men, to carry round and dispose of
the goods they made. Ulp. Dig.
14. 3. 15.
CIRCU'ITOR. A watchman or
looker out, employed upon a farm or
country villa, to go the rounds and
protect the gardens and fields from
depredations. Pet. Priap. 16. 1.
CIRCULA'TOR. A strolling
juggler, or mountebank, who goes
about getting money by showing off
tricks and sleights of hand (Celsus,
v. 27. 3. Apul. Met. i. p. 3.); or
with trained animals (Paul. Dig. 47.
11. 11.), as shown by the annexed
illustration, from a terra-cotta lamp.
CIR'CULUS (/c&cAos). A circle;
thence, applied to various things
which have a circular figure : as
1. The hoop of a cask (cupa), by
which the staves are bound together,
as in the example of a Roman cask
from Trajan's Column. Pet. Sat. 60.
3. Plin. //. N. xiv. 27- Id. xvi. 30.
2. A particular kind of cake or
biscuit, made in the form of a ring.
Varro, L.L. v. 106. Vopisc. Tac. 6.
3. A circular dish, upon which
food was brought up and placed upon
the table (Mart. Ep. xiv. 138.), as
shown by the illustration, from the
Vatican Virgil ; whereas many dishes
were only handed round to the guests,
without being deposited on the dining
table.
4. The broad belt in the sphere,
which contains the twelve signs of
the zodiac, and represents the sun's
Y 2
164
CIRCUMCIDANEUS.
CIRCUS.
track through them, as seen in the
annexed example, from a Pompeian
painting. Aul, Gell. xiii. 9, 3.
5. An imaginary circle in the
heavens, or which astronomers de-
scribe on the celestial globe, for the
purpose of marking out certain re-
gions of the sky, and explaining the
course of the planets, as seen in the
illustration, from a statue of Atlas
bearing the heavens on his shoulders.
Varro, L.L. vi. 8. Cic. Somn. Scip.
3. Ovid. Met. ii. 516.
CIRCUMCIDA'NEUS. Lite-
rally, cut round; but the word is em-
ployed in a special sense to designate
an inferior quality of newly-made
wine, or must, produced by repeated
squeezings under the press beam.
To understand distinctly the meaning
of the word and the quality of the ar-
ticle intended by it, we have only to
reflect, that when the fresh grapes had
been crushed in a vat by the naked feet,
the residue of stalks and skins (pes)
was carried in a mass to the pressing
machine (torcular), and there subjected
to the action of a powerful beam
(prelum) screwed down upon it, which
extracted all the juice remaining in
them. This operation would natu-
rally cause a portion of the mass to
bulge out beyond the edge of the
surfaces between which it was
squeezed, without being thoroughly
pressed. It was, therefore, cut off all
round with a knife, and again placed
under the beam, and the juice it
yielded was the circumcidaneum.
When the mass of skins was enclosed
in a basket (fiscind), or between laths
of wood (regula), it was purposely to
prevent it from bulging out, and, con-
sequently, when so treated, there was
no circumcidaneum produced. Cato,
R. It. 23. 4. Varro, E. K i. 24. Co-
lumell. xii. 36. Plin. H.N. xiv. 23.
and 25.
CIRCUMSIT'IUM. (Varro, E.R.
i. 54.) Same as CIRCUMCIDANEUM.
CIRCUMCISO'RIUM. An in-
strument employed by veterinaries
for bleeding cattle in the feet. Ve-
get. Vet. i. 26.
CIRCUS (Klpxos. Polyb. xxx. 13.
2.) A Roman circus, or race-course,
which, in the earliest times, was no-
thing more than a flat open space,
round which temporary wooden plat-
forms or scaffoldings were raised for
the spectators to stand upon ; but
even before the destruction of the
monarchy, a permanent building was
constructed for the purpose, and laid
out upon a regular plan, ever after-
wards retained until the final disso-
lution of the empire ; and then the
entire edifice, with its race-course
and appendages, was included under
the general name of circus. Liv. i. 35.
Varro, L. L. v. 135. Dionys. iii. 68.
The ground-plan was laid out in
an oblong form, terminating in a
semicircle at one extremity, and en-
closed at the opposite end by a pile
of buildings called " the town " (op-
pidum), under which the stalls {car-
ceres) for the horses and chariots
were distributed, marked A. A. in the
engraving, which represents the
ground-plan of a circus still remain-
ing in considerable preservation on the
Appian Way, near Rome, commonly
known as the Circus of Caracalla.
CIRCUS.
165
A long low wall (spina, B on the
plan) was built lengthways down the
course, so as to divide it, like a
barrier, into two distinct parts ; and
at each of its ends was placed a
goal (me to), round which the chariots
turned ; the one nearest to the
stables (c) being termed meta prima,
the farthest one (D) meta secunda.
It will be perceived that the two sides
of the circus in the example are not
quite parallel to each other, and that
the spina is not exactly equidistant
from both sides. Perhaps this is
an exceptional case, only adopted
in structures of a limited extent, like
^
f---..
'"---... ca! - . B
^!^
n
=
eresa,^^^ B
r-r- - -^
the present one, with the object of
affording most room for the chariots at
the commencement of the race, when
they all started abreast; but when
the goal at the bottom (D) had been
turned, their position would be more
in column than in line ; and conse-
quently less width would be required
across that side of the course. For a
similar reason, the right horn of the
circus is longer than the left ; and
the stalls (A A) are arranged in the
segment of a circle, of which the
centre falls exactly in the middle
point (E), between the first meta and
the side of the building, at which the
race commenced. The object of this
was that all the chariots, as they
came out from their stalls, might
have the same distance to pass over
before they reached the spot where
the start took place, which was at
the opening of the course, where a
chalked rope (alba linea, E) was
fastened across from two small marble
pillars (hermulce), and loosened away
from one side, as soon as all the
horses had brought up fairly abreast
of it, and the signal for the start had
been displayed. The outbuilding
(F) is the emperor's box (pulvinar) ;
and the one on the opposite side (G)
supposed to have been intended for
the magistrate (editor spectaculorum\
at whose charge the games were
exhibited. In the centre of the end
occupied by the stalls was a grand
entrance (H), called porta pompce,
through which the Circensian pro-
cession entered the ground before the
races commenced; another one was
constructed at the circular extremity
(i), called porta triumphalis, through
which the victors left the ground in
a sort of triumph ; a third is situated
on the right side (K), called porta
libitinensis, through which the killed
or wounded drivers were conveyed
away, and two others (L L) were left
close by the carceres, through which
the chariots were driven into the
ground.
As regards the external and in-
ternal elevation of the edifice, a cir-
cus was constructed upon a similar
design to that adopted for theatres
and amphitheatres ; consisting on the
outside of one or more stories of
arcades, according to the size and
grandeur of the building, through
which the spectators entered upon
the staircases, leading into the in-
terior of the fabric. The interior
was arranged in rows of seats, divided
into tiers, and separated by stairs
and landing-places, in the same man-
ner as described and illustrated under
the word AMPHITHEATRUM ; of which
a fair idea may be conceived from
the next engraving, representing
the ancient race-course at Constan-
tinople, as it appears on an old map,
166
C1KRATUS.
CIRKUS.
executed before that city was taken
by the Turks. Though a ruin, it
shows distinctly the arcades and
outer shell of the building ; some
fragments of the rows of seats for
the spectators ; the spina, with its
obelisks and columns nearly perfect ;
the meta prima on the right hand of
it ; the oppidum and carceres, ar-
ranged on a curved line, like the first
example ; and one of the gates,
through which the chariots entered
the ground, like those marked L, L on
the ground-plan ; it is besides re-
markable as affording the only known
instance in which the superstructure
of a circus is exhibited.
CIRRA'TUS. Of men or women
(Mart. ix. 30. Ammian. xiv. 6. 20.) ;
see CIRRUS 1. Of cloth fabrics (Ca-
pitol, Pertinax. 8.); see CIRRUS 8.
CIRRUS. Properly, a lock of
curly hair, growing in a full and
natural curl, as contradistinguished
from Cincinnus, a ringlet or twisted
curl, mostly made with the irons ;
such, for instance, as was natural to
the youth of Greece, before they at-
tained the age of manhood, when
their locks were cut off, and dedicated
to some deity (Varro, ap. Non. s. v.
p. 94.) ; or to the Germans (Juv.
Sat. xiii. 164.) and Gauls, who were
distinguished amongst the ancients
for the abundance and beauty of their
hair, and, consequently, in all works
of art, are universally characterized
by this property. See the illustration,
s. COMATUS.
2. Cirrus in vertice (jUaAAbs aO\r)-
TOV, Gloss. Vet.) A tuft of hair
drawn up all round the head, and
tied into a bunch on the occiput, as
was the practice of athletes, wrestlers,
boxers, &c., in order to avoid being
seized by the hair in the heat of
contest, as exhibited in the illustra-
tion, from a bas-
relief in the Va-
tican, represent-
ing a pair of
Pancratiastce.
The example
likewise explains
a passage of
Suetonius {Nero,
45.), in which it is related, that
during the insurrection of Vindex,
and while the city of Rome was suf-
fering severely from famine, a vessel
arrived from Alexandria, which,
instead of being laden with grain,
only brought a cargo of fine sand for
the use of the athletes maintained
by the emperor. The population,
enraged at this, fastened a tuft of
hair (cirrus in vertice) on the top of
all his statues, with a pasquinade
below in Greek characters, alluding
to the insurrection of Vindex, and
thus implying that the emperor, as
an athlete, was about to commence a
contest in which he would be worsted.
3. The forelock of a horse, when
tied up into a
tuft at the top
of his head, as
in the example,
from a Pom-
peian painting,
instead of being
left to fall over
CISIARIUM.
CISTA.
167
his forehead, when it was called ca-
proncB. Veget. Vet. iv. 2.
4. The fetlock tuft of a horse.
Veget. Vet. ii. 28. Id. iv. 1.
5. The topknot, or tuft upon the
heads of certain birds. Plin. H. N.
xi. 44.
6. A tuft of flowers, which grow
in close bunches or tufts. Plin.
H. N. xxv i. 20.
7. The arms of the polypus, which
are divided into numerous feelers,
like a bunch of hair. Plin. H. N.
xx vi. 37.
8. The fringe on a piece of cloth
(Phaedr. ii. 5. 13.), which was pro-
duced by leaving the
ends of the warp
threads upon the
cloth after it was
taken from the loom,
instead of cutting
them off. The ex-
ample is from a Pom-
peian painting ; and
compare the article
and illustration s. Tela recta.
CISIA'RIUM. A manufactory
where gigs (cisia) were built. In-
script. ap. Fabrett. p. 91. 179.
CISIA'RIUS. One who builds
gigs (cisia). Inscript. ap. Mur. p.
979. 6. p. 108. 4.
2. The driver of a hired gig
(cisium), like our cab driver. Ulp.
Dig. 19. 2. 13.) See the next wood-
cut, and observe that the driver sits
on the near side, which is still the
practice in Italy.
CIS'IUM. A light two-wheeled
chaise or gig (Non. s. v. p. 86.), em-
ployed by the Romans as a public
and private conveyance, when ra-
pidity of transit was required. (Cic.
Phil. ii. 31. Id. Rose. Am. 7. Virg.
Catal. viii. 3 ) It carried two per- j
sons, the driver and another, was j
open in front, and furnished with j
shafts, to which one, or sometimes j
two, outriggers (Auson. Ep. viii. 6.
cisio trijugi), were occasionally added,
as is still the practice in the Neapo-
litan calessin. Most of these par-
ticulars are shown in the example,
copied from a bas-relief on the monu-
ment at Igel ; but which is incor-
rectly given in the English edition
of Wyttenbach's Treves, where the
outrigger is omitted.
CISO'RIUM. A sharp cutting
instrument employed by veterinaries.
Veget. Vet. ii. 22.
CISSY B'lUM {Kurfft&ov). A
Grecian drinking bowl, with a han-
dle ; originally made of ivy wood,
but, subsequently, distinguished by a
wreath of ivy leaves and berries
carved upon it. Macrob. Sat. v. 21.
Theocr. Id. i. 27.
CISTA (Kttmi). A deep cylin-
drical basket, covered with a lid, and
made of wickerwork
(Plin. H. N. xv. 18.
n. 2. Id. xvi. 77.),
which was employed
in various ways, as
its form and charac-
ter rendered it applicable. The ex-
ample here introduced is copied from
a Roman bas-relief ; but baskets of a
similar form and character are fre-
quently represented both in sculpture
and painting. When square cistce are
mentioned (Columell. xii. 54. 2.),
the very addition of the epithet im-
plies an unusual shape ; and the uni-
form character of the following illus-
trations, all representing different
objects which bore the common
name of cista, is sufficient to declare
the figure which presented itself to
the ancient mind in correspondence
with that name.
2. A money-box (Hor. Ep. i. 17.
54. Cic. Verr. ii. 3. 85.), undoubt-
edly of smaller dimensions than the
168
CISTA.
the coffer or chest,
illustration is intro-
duced s. ARC A I.
The specimen here
annexed is from an
original of earthen-
ware, which has a
slit at the top for
dropping in the
money, like those
now used by the licensed beggars in
the Italian towns.
3. A book-basket (Juv. iii. 206.),
similar to the capsa in form and
character, but made of wicker-work,
instead of wood; and like that also
used for other similar purposes, as
for keeping clothes (Poeta vet. ap.
Quint, viii. 3. 19.) See the illus-
trations s. CAPSA.
4. A basket employed at the Co-
mitia and in the courts of justice, into
which the voters and the judges cast the
tablets (tabellce) by which their votes
or sentences were declared. ( Auctor,
ad Herenn. 1. 12. Plin. H.N. xxxiii.
2. 7. Manutius de Com.it. Rom. xv.
p. 572. Wunder. Codex Erfutens.
p. 158. seqq.) The illustration is
from a coin of the Cassian family,
and represents a voter dropping his
tablet of acquittal (marked A for
absolvo) into the cista.
5. The mystic cist; a covered
basket, box, or case, in which the
sacred utensils and other articles ap-
C lining to the rites of Ceres and
hus were enclosed, in order to
conceal them from the eyes of profane
beholders, whilst carried in solemn
procession upon the festivals ap-
pointed for those deities ; for all the
ceremonies connected with their wor-
ship were conducted in profound se-
crecy. (Catull. 64. 260. Tibull. i. 7.
48. Compare Ov. A. Am. ii. 609.)
There is no doubt that the cista em-
ployed for this purpose was, in the
first instance, a mere wicker basket,
similar to the one delineated in the first
wood-cut which illustrates this article ;
for it is so represented on numerous
coins and bas-reliefs, where the wic-
ker-work is expressed in detail ; but,
subsequently, or amongst wealthy
congregations, it was made of more
costly materials, and elegant work-
manship, as proved by two originals
in bronze now preserved at Rome;
one of which was found near the
ancient Labicum, the other at Prse-
neste. The latter is represented in
the annexed engraving. It stands
upon three feet ;
the handles by
which it was car-
ried are observable
at the sides ; the
lid is surmounted
by two figures, a
bacchante and a
faun ; and the out-
side is covered with
a design in outline, representing the
reception of the Argonauts in the
arsenal at Cyzicus. In it were found
the following objects ; another small
case, a model of a kid, and of a pan-
ther, a patera, a ligula, a sharp
pointed instrument like the stylus,
and a piece of metal of triangular
form, the pyramid (7rvpa/Js), men-
tioned by Clemens of Alexandria as
one of the articles usually contained
in these cases. The other one, found
at Labicum, is similar in form,
material, and style of execution ;
excepting that it has three figures
on the lid ; Bacchus in the centre
draped with a robe covered with
stars, to indicate that he was the
C1STELLA.
CISTOPHORUS.
169
nocturnal Bacchus (Nyctelius Pater,
Ov. A. Am. i. 567. ), at which time
the orgies were celebrated (Serv. ad
JEn. iv. 303. Compare Liv. xxxix.
8. seqq.) ; and a Faun in the nebris
on each side of him. The inside
contained a patera, on which the
contest between Pollux and Amicus
king of Bebrycia, with Diana be-
tween them, was represented in con-
torniate figures, the names of each
being inscribed over them in a very
ancient Latin form, POLUCES, AMU-
CES, and LOSNA, the old name for
Diana. Under the feet of the figures
on the lid, there is an inscription,
resembling in its spelling and Latinity
the style of that on the Duilian
Column ; and testifying that the
vessel was presented by a female, and
made by a Roman artist of the name
of Novius Plautius :
DINDIA . MACOLNIA . F1LEA . DEDIT .
NOVIOS. PLAVTIOS. MED. ROMAI. FECID.
CISTELLA (KMTTI'S). A small
CISTA. Plaut. Cist. iv. 1. 3. Ter.
Eun. iv. 6. 15.
CESTELLA'TRIX. A female
slave, who had charge of her mis-
tress's clothes, trinkets, &c. kept in a
cista. Plaut. Trin. ii. 1. 30.
CISTELL'ULA. A very small
cista ; diminutive of CISTELLA. Plaut.
Rud. ii. 3. 60.
CISTER'NA. An artificial tank
or reservoir, sunk in the ground, and
frequently covered in with a roof
(Varro, R. R. i. 11.), for the purpose
of collecting and preserving good
water for the use of a household.
(Columell. i. 5. Pallad. i. 17.) It
differs from our "cisterns," which
are above ground ; and from a
" well " (puteus), which is supplied
by springs.
2. Cisterna frigidaria. Perhaps
an ice house. Pet. Sat. 73. 2.
CIS'TIFER. One who carries a
cista, box, or burden ; a porter. Mart.
Ep. v. 17.
CISTOPH'ORUS (*<rTocj>(Vos).
One who carried the mystic case
(CiSTA, 5.) in certain religious pro-
cessions. In the rites of Ceres and
Bacchus, or of the Egyptian deities,
Isis and Osiris, this
service was performed
by women, as repre-
sented in the annexed
illustration from a
Pompeian painting.
The wreath of ivy
leaves and berries (co-
rymbus) round the
head, show her to
have been a follower
of Bacchus ; and the
bird's eye observable
on the head of the jug
indicates a priestess of Osiris, whose
symbol amongst the Egyptians was
an eye (Winkelm. Cab. Stosch. p.
2.) ; and as Bacchus and Osiris were
the same deity, under different names,
it is clear that she is a cistophora,
and not a canephora, as the editors of
the Museo Borbonico have errone-
ously termed her, from want of at-
tention to the above particulars. In
the ceremonies of Bellona, on the
contrary, the cista was carried by
men, as proved by an ancient marble
discovered on the Monte Mario near
Rome, which bears the following
inscription : L. LARTIO . ANTHO .
CISTOPHORO . JEVIS . BELLONJE, &C.,
and a figure of the cistophorus carved
upon it. He is draped in a manner
closely resembling the preceding
figure, with a tunic reaching to the
feet, but slightly raised, so as to ex-
pose an under one beneath it ; a
pallium over the shoulder ; a chaplet
round the head ; and an infula hang-
ing down in front of the breast ; in
the right hand a lustral branch, and
in the left two double axes (bip-
pennes), characteristic of the priests
of Bellona. Inscript. ap. Don. 62.
and 135. Compare Demosth. p. 313.
28. ed. Reiske. Giovanni Lami, Dis-
sertaz. sopra le Ciste Mistiche.
2. A silver coin, worth about four
drachma, which passed current in
Asia, whence the expression in cis-
tophoro (Cic. Att. xi. 1.) is equivalent
z
170
CISTULA.
CLABULARE.
to saying " in Asiatic money." It
received the name either from having
an impression of the sacred cista
upon it, or, as is more probable, of
the shrub cistus (KISTOS).
C I S' T U L A. Diminutive of
CISTA. Plaut. Amph. i. 1.264.
CITH'ARA (Ki8dpa, ;c/0apis). A
stringed instrument of very great
antiquity, resembling in form the
human chest and neck (Isidor. Orig.
ii. 3. 22.), and so corresponding with
our guitar, a term which comes to us
through the Italian chitarra ; the
Roman c and Italian ch having the
same sound as the Greek K. The
illustration here introduced, from an
ancient bas-relief preserved in the
hospital of St. John in Lateran at
Rome, agrees so closely with the de-
scription which Isidorus gives of the
instrument, as to leave little doubt
that it preserves the real form of the
cithara, in the strict and original
sense of that word ; although it may
have been sometimes applied by the
Greek poets in a less special or
determinate meaning. See also the
two following words and illustrations.
CITHARIS'TA (icteapurHis). One
who plays upon the cithara, or guitar.
(Cic. Phil. v. 6.) Homer describes
the manner in which the player held
this instrument, by saying that it
was placed upon the arm (z-nwXeviov
KiBaptfav. Hymn. Merc. 432.), as
shown by the annexed wood-cut,
representing an Egyptian citharista,
from the tombs at Thebes. It af-
fords also a further confirmation that
the character ascribed to the ci-
thara in the last article is the cor-
rect one, and will likewise serve as
an authority for correcting the false
reading v-no\4viov in the same hymn
(v. 507.). It was sometimes sus-
pended across the shoulders by a
balteus (Apul. Flor. ii. 15. 2. and
next wood- cut), and, like the lyre,
was occasionally struck with the plec-
trum, instead of the fingers. Horn.
/. c. 498.
CITHARIS'TRIA (KiOapurrpta,
KiQapiarpis). A female player upon the
cithara or guitar. (Terent. Ph. i. 2.
32. and compare
CITHARISTA.)
These women
were frequently
introduced, toge-
ther with dancing
and singing girls,
to amuse the guests
at an entertain-
ment ; and the
figure in the en-
graving, from a
tomb at Thebes in
Egypt, is evidently intended to repre-
sent a character of that description,
as is apparent from the attention be-
stowed upon the decoration of her
person, the hair, earrings, necklace,
bracelets on the arms and wrists, the
shoes, and transparent drapery.
CITHARCE'DA. A female who
plays the cithara, and at the same
time accompanies it with her voice.
Inscript. ap. Grut. 654. 2. ap. Mur.
941. 1. and compare CITHARISTRIA.
CITHAR(E'DUS (KtfapyMs ).
One who plays upon the cithara, and
sings at the same time. Quint, i. 1 2.
3. Id. iv. 1. 2. Cic. Mur. 13. and
compare CITHARISTA.
CLABULA'RE, or CLAVU-
CLASSIARII.
CLAUSTRUM.
171
L A' R E, sc. vehiculum. A large cart,
with open sides made of rails (clavulce
or clavolce), and intended for the
conveyance of goods, as well as pas-
sengers. Under the Empire, it was
commonly employed for the transport
of soldiers, which was thence termed
cursus clabularis. (Impp. Constant,
et Julian. Cod. Theodos. 6. 29. 2.
Ammian. xx. 4. 11.) The cart in
the illustration is from a painting at
Pompeii, and was employed for the
transport of wine. The open rail-
work with which it is constructed,
helps to authorize the interpretation
given, which otherwise is to be
regarded as more conjectural than
positive.
CLASSIA'RII (friSdrai). A
class of soldiers trained for fighting
on board ship (Hirt, B. Alex. 20.),
thus corresponding in many respects
with our marines. But this branch
of the military service was regarded
by the Romans as less honourable
than the other ; for both the sailors
(nautce) and the rowers (remiges) are
sometimes included under the general
name of classiarii (Hirt, B. Alex. 12.
Tac. Ann. xiv. 4.) The illustration
is from an ancient bas-relief published
by Scheffer, Mil. Nav. Addend.
CLAS'SICI. Citizens who be-
longed to the first of the six classes
into which the population of Rome
was divided by Servius Tullius (Aul.
Gell. vii. 13.) ; whence the expression
scriptores classici, classical authors,
means those of the very first order.
Aul. Gell. xix. 8. 6.
2. The horn-blowers who summoned
the classes to the comitia by sound
of the lituus or the cornu. Varro,
L. L. V. 91. CORNICEN, LlTICEN.
3. Same as CLASSIARII ; including
the fighting men as well as the ship's
company. Curt. iv. 3. Tac. Hist. i.
31. ib. ii. 17.
4. Classica corona (Vellej. ii. 81.
3.) ; same as CORONA NAVALIS.
CLAS'SICUM. Properly, a sig-
nal given by sound of trumpet ;
whence transferred to the instrument
itself by which the signal was given.
Serv. ad Virg. Mn. vii. 637. Virg.
Georg. ii. 539.
CLATHRA'TUS. Closed or
protected by cross-bars of trellis
(clathri), as explained in the next
paragraph. Plaut. Mil. ii. 4. 25.
CLA'THRI. A trellis or grating
of wood or metal employed to cover
over and protect an aperture, such as
a door or window, or to enclose any
thing generally. (Hor. A. P. 473.
Plin. H. N. viii. 7. Cato, R. R. iv. 1.
Columell. viii. 17. 10.) The example
represents the trellis which covered
in the lunettes over the stalls (car-
ceres') in the circus of Caracalla.
CLAUS'TRUM. One of the
words employed by the Romans with
reference to the closing of doors ; and
used at times in a sense as general
and indefinite as our term " fastening,"
which may be equally applied to a
Z 2
172
CLAUSULA,
CLAVA.
lock, a bolt, a bar, or other contri-
vance, when there are no governing
words to indicate the nature of the
fastening intended. (Cic. Agr. i. 7.
Claud, in Eutrop. 1. 195.) But many
other passages as distinctly imply
that the word had also a special
meaning, expressive of some parti-
cular object which went under that
name, and which would naturally
possess some analogy with the other
objects designated by the same term.
Of these the one which best agrees
with all these requirements is a
staple, hasp, or box fixed on to a
door-post, into which the bolt of a
lock, whether turned by a key or
shot by the hand, was inserted in
order to fasten the door, as may be
seen on the Egyptian door repre-
sented in the illustration s. CARDO.
This interpretation will coincide with
most, if not all, of the expressions
made use of in describing a forcible
entry ; which are such as these to
break through, pull out, or force
back, the claustruvij and as the '
ancient doors were commonly made j
in two flaps, or had fastenings at top
and bottom, the plural claustra is
mostly used (ad claustra pessuli recur-
runt, for shutting ( Apul. M et. i. p. 10.
Varior.) ; claustra perfringere, to break
open (Id. p. 8.) ; evellere (Id. p. 70.) ;
revelli (Liv. v, 21. Cic. Verr. ii. 4.
23.) ; claustris, quce accuratissime
affixa fuerunt, violenter evulsis (Apul.
Met. iii. p. 46.). Compare CLAUSULA.
2. Poetically, for the door itself
(Mart. x. 28.) ; or the gates of a city.
Ovid. Met. iv. 86.
3 A cage or den in which wild
beasts are enclosed. Hor. Od. iii.
11. 44. Stat. Sylv. ii. 5. 4.
4. In plural, the stalls for the
horses in the Circus. (Hor. Epist. i.
14. 9. Stat. Theb. vi. 399.) Same
as CARCERES.
CLAU'SULA. The handle of a
strigil (Apul. Flor. ii. 9. 2.), or other
instrument, when made in such a
manner that the hand was inserted
into it, so that it formed a ring or i
guard all round it, as shown by the
annexed example, from an original
bronze strigil found
in the baths at
Pompeii. Theclau-
sula is thus contra-
distinguished from
capulus, a straight
handle or haft, and
from ansa, a handle
affixed to another
object. The word
is also allied to claustrum, the staple
into which a bolt shoots, to which it
has a considerable resemblance.
CLAVA (!>6ira\ot>). A stout,
rough stick, thickening towards the
butt-end, such as
we might term a
cudgel ; sometimes
used in an offen-
sive manner (Cic.
Verr. ii. 4. 43.),
and frequently
carried out of af-
fectation by the
ancient philoso-
phers, instead of
a walking stick
(Sidon. Epist. iv.
11. ix. 9. Id. Cam.
xv. 197.), as shown
by the annexed figure of Democritus,
from an engraved gem.
2. A heavy stick or stave, with
which recruits were made to go
through their exercises in lieu of a
sword, and which they used against
the dummy or manikin (palus), a
wooden figure set up for the purpose.
Cic. Senect. 16. Veget. Mil. ii. 11.
3. (poiraXov. Soph. Tr. 512.) A
club or bludgeon, such as was used by
Hercules and Theseus. (Prop. iv.
9. 39. Suet. Nero, 53.) It is always
represented by the ancient sculptors
and painters as a formidable weapon,
made thick and heavy at one extre-
mity, and gradually tapering towards
the other, by which it was held in
CLAVARIUM.
CLAV1GER.
173
the hand; and frequently with the
knots left rough upon it (irrasa, Sil.
Ital. viii. 584. ) ; as in the example,
representing the club of Hercules,
from a Pompeian painting. Compare
CLAVIGER, I.
4. (Kopvvr), poira\ov ffiS-fipy TCTU-
Aw^eVoj/). A mace, or war club,
having an iron head, thickly studded
with knobs or sharp spikes, affixed
to the wooden handle. In this form
it is mentioned by Homer (//. vii.
141.), and by Herodotus (vii. 63.),
when describing the accoutrements
of the Assyrians who followed the
army of Xerxes, and is represented
by the engraving, from an ancient
Roman fresco painting of the Villa
Albani, where it appears as the
weapon of Mars; thus proving that
the Romans were also acquainted
with the implement, though they do
not appear to have designated it by
any characteristic name.
CLAVA'RIUM. An allowance
of money made to the Roman sol-
diery, for the purpose of providing
nails (clavi caligares) for their boots.
Tac. Hist. iii. 50. and CLAVUS, 5.
CLAVA'TOR. Either a suttler,
or soldier's servant, who carried his
baggage (Plaut. Hud. iii. 5. 25.), in
which sense it would be synonymous
with CALO ; or, a recruit, who prac-
tised his exercises with a wooden
stave (CLAVA, 2.) before being en-
trusted with a sword. Festus, s.
Calones.
CLAVATUS. Striped with gold,
purple, or other colours. It was
customary amongst the Romans to
weave stripes of this nature into their
cloth fabrics, both such as were in-
tended to be made up into garments
(Vopisc. Bonos. 15.), as those which
were manufactured for mere house-
hold purposes, such as table linen,
napkins, &c. Lamprid. Alex. Sev.
37. CLAVUS, 8, 9.
2. Studded with nails, in reference
to boots and shoes (Festus, s. v. Cla-
vata), implying either that
the sole is set thick with
hob-nails, like the ex-
ample, representing the
sole or underneath part of
a terra-cotta lamp made in
the form of a shoe ; or that
it is armed with sharp pro-
jecting points, like the
soldier's boot (caliga),
which is represented by
the illustration to CLAVUS, 5.
3. Covered with prickles, spikes,
or projections, like a mace or club.
Plin. H.N. ix. 61. CLAVA, 3. and 4.
CLAVIC'ULA (/cAe t 5/o>). Dimi-
nutive of CLAVI s.
CLA'VIGER (Kopwiyrns). Armed
with a club ; or with a mace. The
club is well known as one of the
weapons used by Hercules, whence
he is distinguished by the epithet
claviger (Ov. Met. xv. 22.); but in
early times, and amongst many of
the nations of antiquity, it was em-
ployed in warfare, as by the Dacians,
on the Column of Trajan, and by
174
CLAVIS.
the rustic inhabitants of Latium in
their contests with the Trojans, in
the miniatures of the Vatican Virgil,
from one of which the annexed fi-
gure is copied. The example under
CLAVA, 4. shows the club in its im-
proved form of a mace ; and illustrates
the word claviger, in the sense of a
mace-bearer.
2. (KA.i5ot/x s )- Bearing a key ;
an epithet given by the Romans to
Janus, because he was supposed to
be the guardian and overseer of all
men's doors (Ovid, Fast. i. 228.
Mac rob. Sat. i. 9.) ; and by the
Greeks to Cupid (Wink. Mon. Ined.
32.), which implied that he had the
power of opening and shutting the
abodes of Love ; but more especially
to Hecate triformis, as the goddess
who kept the keys of Hades, and who
is represented in the annexed engrav-
ing, from a small bronze statue.
CLAVIS (/cAetY). A key adapted
for opening a regular lock with
wards, for raising a latch, or moving
a mere bolt ; and including all the
varieties in form, size, or use, of
which the following illustrations af-
ford examples :
1. A door -key ; made with regular
wards, very like those now in use ;
as shown by the example annexed,
from an original found at Pompeii.
These were of the largest description,
and employed for fastening the gates
of a city, the external doors of a
house or other building, the cellars,
store-houses, &c., and were carried
by the officers or slaves who had
charge of such respective localities,
suspended from the girdle round their
waists ; a purpose indicated by the
tongue and eye in the preceding
example.
2. A small key, such as was kept
by the mistress of the house (mater-
familias), or used for locking
up closets, armoires, trinket-
cases, book or money-boxes
(see CAPSA, where the lock
and hasp is shown), &c., like
the example, from the Dacty-
liotheca of Gorlseus. Hor. Epist. i.
20. 3. Id. Sat. ii. 3. 146.
3. Clavis Laconica. A particular
kind of key, probably invented in
Egypt, though the Greeks ascribe
its origin to the Laconians ; sup-
posed to be made with three teeth,
like the example, from an Egyptian
original preserved in the British Mu-
seum. It was applied to the inside
of the door by a person standing
without, who put his arm through a
hole in the door made expressly for
the purpose (clavi immittendce fora-
men, Apul. Met. iv. p. 70.), and then
raised the latch, which fastened it,
by means of the projecting teeth.
This interpretation, however, mainly
relies for its authority upon a passage
in Plautus {Most. ii. 1. 57.) ; in
which Thranio, who is standing out-
side the house, and wishing to make
it appear that the premises were no
longer inhabited, locks the door on
the outside with the door key which
he held in his hand, and then orders
the clavis Laconica to be given out
to him, so that no one could gain
CLAVULUS.
CLAVUS.
J75
;
ingress or egress without his assist-
ance. But the whole subject is still
very obscure and doubtful.
4. Clavis clausa. A small key,
made without any neck or lever, such
as the example, from
an original in the Dac-
tyliotheca of Gorlseus,
and which, conse-
quently, would only
be used for raising
latches, or in small
locks which required
but slight force to turn them ; and
when introduced into the lock or
door would be almost concealed by
it. (Virg. Moret 15.) But the in-
terpretation, and indeed the reading
of the passage itself, is extremely
doubtful. Some think the clavis
clausa and Laconica to be identical ;
and Aristophanes (Thesm. 422.) cer-
tainly applies the epithet Kpinrrb to
the Laconian key with three teeth.
5. Clavis adultera. A false or
skeleton key. Sail. Jugurth. 12.
Compare Ovid. Art Amat. iii. 643.
6. Clavis trochi (eAa-HJp). The
stick used by Greek and Roman boys
for trundling their
hoops (Propert. iii. 14.
6.) ; made of iron, with
a hook at the end, or
a round knob and bend
in the neck, like the
example, from a bas-relief of the Villa
Albani. The epithet adunca, applied
to it by Propertius (/ c.), will suit
either form. The manner of using
the clavis, and the hook, is seen in the
illustration to TROCHUS.
CLA'VULUS. Diminutive of
CLAVUS ; probably, also, a nail with-
out a head (Cato, R. R. xxi. 3.) ; as
clavulus capitatus (Varro, R. R. ii. 9.
15.), a small-headed nail.
CLAVUS (ifr-os). A nail for fix-
ing or fastening one thing to another.
Many specimens of ancient nails, of
various forms and sizes, of bronze
as well as iron, are preserved in the
Cabinets of Antiquities, resembling
in most respects those now in use.
The Latin expression for driving a
nail is clavum fiyere
or pangere (Liv. vii.
3.), and the act is
shown by the figure
annexed, which re-
presents one of
Trajan's soldiers
making a stockade,
the strength of which
may be inferred from
the immense size of
the nail employed.
2. Clavus trabalis, or tabularis. A
nail of the largest description, such
as was employed in building, for fast-
ening the main beams (trades'). Cic.
Verr. vi. 21. Hor. Od. i. 35. 18.
Petr. Sat 75.
3. Clavus annalis. The nail which
was driven on the Ides of September
in every year into the side wall of
the temple of Jupiter Capitol inus
(Liv. vii. 3.); a custom which is re-
ferred back to a very early period,
and supposed to have been adopted as
an expedient for reckoning the lapse
of time before the use of letters was
generally understood (Festus, s. w.),
and subsequently
retained out of re-
ligious deference to
old customs. The
fragment here in-
troduced represents
the four sides of
part of a large
bronze nail, now in the
of the Italian historian
(Storia Univers. torn. i. p.
9. A.), which, from the letters upon
it, is believed to have been actually
employed for the purpose described.
4. Clavus muscarius. A nail with
a large broad mushroom-shaped head
(Vitruv. vii. 3. 11.), like the one re-
presented under BULLA ; but larger
and of coarser workmanship.
5. Clavus caligaris. A sharp nail
or spike, with which the soles of sol-
diers' boots (ca%ce) were furnished
(Plin. H, N. ix. 33. Juv. iii. 247. Id.
xvi. 24. Isidor. Orig. xix. 34. 13.); the
possession
Bianchini
156. tav.
176
CLAVUS.
sharp ends projecting from the sole,
as in our cricket shoes,
in order to afford the
wearer a firmer foot-
ing on the ground.
(Joseph. Bell Jud.
vi. 1. 7.) The exam-
ple introduced is given by Ferrarius,
as copied from the arch of Constantine
at Rome. He states that the spikes
were clearly distinguishable in his !
time, but the artist has certainly
committed an error in leaving the
toes exposed, for the caliga was a
close boot ; see that word, and CA-
LIGARIUS.
6. Clavus gubernaculL The helm
or tiller of an ancient rudder ; which
was a cross-bar (fustis, Serv. ad ;
Virg. jEn. v. 176.), fixed to the \
upper part of the handle (ansa) at i
right angles to it, so that it fell within j
the ship, and enabled the steersman j
to move his helm in the direction ]
required. (Isidor. Orig. xix. 2. 12.) >
When the vessel was furnished with
a rudder on each quarter, and suffi-
ciently small to be managed by a
single helmsman, he held a davits in
each hand ; but in heavy weather, or
in larger vessels, each rudder had its
own helmsman. The steerage was
effected in both cases by raising or
depressing the clavus, at the same
time turning it slightly in or out, in
order to give the blade of the rudder
a less or greater resistance against
the water ; an effect well known to
those who are accustomed to rowing,
or steering with an oar ; and our own
nautical phrases " helm up " and
"helm down," which still remain in
use, though expressive of a very
different operation, undoubtedly ori-
ginated in this practice of the an-
cients ; for in the Latin and Anglo-
Saxon Glossary of ^Elfricus, the word
clavus is translated helma, our helm.
All these particulars are clearly illus-
trated by the engraving, which repre-
sents the after part of an ancient ship,
on a bas-relief discovered at Pozzuoli.
7. A stripe of purple colour woven
into the texture of a piece of cloth,
as an ornament, for wearing apparel,
or for the linen employed in house-
hold purposes, such as napkins, table-
cloths, coverlets for couches, &c.
Mart. Ep. iv. 46. 17. Pet. Sat. 32.
2. Ammian. xvi. 8. 8.
8. Clavus Latus. The broad stripe ;
an ornamental band of purple colour,
running down the front of a tunic, in
a perpendicular direction immedi-
ately over the front of the chest, the
right of wearing which formed one
of the exclusive privileges of a
Roman senator, though at a later
period it appears to have been some-
times granted as a favour to indi-
viduals of the equestrian order.
(Hor. Sat. i. 6. 28. Aero ad Hor.
Sat. i. 5. 36. Quint, viii. 5. 28. Fes-
tus, *. v. Clavatus. Ovid. Trist. iv.
10. 29. Plin. Ep. ii. 9.) As the
clavus was a mere shade of colour
woven up with the fabric, and, con-
sequently, possessed no substance of
its own, it is not indicated upon any
of the statues which represent persons
of senatorial rank ; for the sculptor
deals only with substantial forms;
and the Roman paintings which re-
main to us are mostly imitations of
Greek works, representing mytho-
logical or heroical subjects, or other-
wise scenes of common life. Conse-
quently, we have no known example
of the broad senatorial clavus upon
any existing monumenf; but a fair
CLAVUS.
CL1BANUS.
177
notion of its real character may be
obtained from the annexed wood-cut,
representing the Persian sarapis, as
worn by Darius, in the Pompeian
mosaic of the battle of Issus ; and
which was decorated with a similar
ornament, with the exception, that
the stripe of the Persian kings was
white upon a purple ground, that of
the Roman senators purple on a
white one.
9. Clavus angustus. The narrow
stripe; a distinctive badge of the
equestrian order. (Pa-
terc. ii. 88. 2.) It was
of purple colour, like
the former, and also a
decoration to the tunic ;
but differed in cha-
racter, inasmuch as it
consisted of two narrow
stripes running parallel
to each other down
the front of the tunic,
one on the right, and
the other on the left
side of the person ;
whence the plural pur'
puree (Quint, xi. 3. 138.) is some-
times used, instead of the singular, to
distinguish it. In paintings of a late
period, this ornament is frequently
met with, similar to that on the figure
annexed, representing a Camillus in
the Vatican Virgil. But at the
period when such works were ex-
ecuted, it had ceased to be worn as
a distinctive badge of rank; for it
repeatedly occurs on figures .acting
in a menial capacity, such as cup-
bearers and attendants at the table,
who were usually attired in fine
clothes, in the same t way as the an-
cient costume of this country has
now descended to a " livery."
CLEPSYD'RA (A6^a). An
hour-glass, originally employed by
the Greeks, and subsequently __
adopted at Rome, for the pur- Ol
pose of measuring the time al- Jj
lowed to each speaker in a (fj\
court of law. (Plin. Ep. ii.
11.) These glasses were made of
different sizes, according to the length
of time for which they were required
to run ; and did not differ materially
from the modern ones, with the ex-
ception of being filled with water
instead of sand, as may be collected
from the description of Apuleius
(Met. \\\. p. 44.), and still more
from the example annexed, which is
copied from a bas-relief of the Mattei
palace at Rome. The one described
by Aristotle (Probl. xvi. 8.) was
similar in principle, but had a sort of
spout at the top for pouring in the
water, which trickled out at the bot-
tom, through several small holes.
2. Probably, also a water-clock of
sufficient size to run for a number of
hours, and answer the purpose of a
day and night clock ; the lapse of
time being indicated by lines or
spaces (spatia. Sidon. Apoll. Ep. ii.
9.) described upon the globe from
which the water escaped, or upon the
reservoir into which it flowed. Pliny
(H. JV. vii. 60.) gives the name horo-
logium to a device of this nature.
CLIBANA'RII. The name used
to designate those of the Persian
cavalry, whose horses, as well as the
troopers, were covered with an entire
suit of defensive armour (Ammian.
xvi. 10. 8. ib. 12. 22. Lamprid. Alex.
Sev. 56.); compare CATAPHRACTUS,
1. and illustration.
CLIBANIC'IUS, sc. panis (At-
gavlris}. Bread baked in a clibanus.
Isidor. Orig. xx. 2.
CLI'BANUS (KA/&WOS or Kpl-
fiavos). A covered vessel, made
wider at bottom than top (Columell.
v. 10. 4.), and pierced all round with
small holes (Dioscor. ii. 81. and 96.) ;
178
CLINICUS.
CLIPEUS.
employed for various purposes, but
more especially for baking bread.
(Plin. H. N. xix. 3.) When in use,
it was enveloped in hot ashes, the
warmth of which penetrated through
the perforations in a more regular
and even temperature than could be
produced by the ordinary oven. The
usual material was earthenware ; but
when Trimalchio has his bread baked
in a silver clibanus (Pet. Sat. 35. 6.),
it is intended as an instance of ridi-
culous ostentation.
CLIN'ICUS (K\iviit6s). A visiting
physician, who attends his patients
at the bed-side. Mart. Ep. ix. 97.
2. A sick person confined to his
bed. Hieron. Epist. 105. n. 5.
3. Same as VESPILLO ; who car-
ried out the dead upon a bier or
couch. Mart. Ep. iii. 93. Id. i. 31.
CLFNOPUS OA^TTOW). The
foot of a bedstead. (Lucil. ap. Ma-
crob. Sat. vi. 4.) The ancient bed-
! round Grecian shield (clipeus), as
shown by the example, from a Greek
fictile vase. Virg. jEn. vii. 793.
Ovid. Met. iii. 110. Curt. vii. 9.
2. Clipeatus chlamyde. Having the
left arm covered with the chlamys
steads were commonly supported
upon four legs, like our own, as in
the illustration, from a Pompeian
painting.
C L I P E A' T U S (affvitn&posj.
Armed or furnished with the large
instead of a shield (Pacuv. ap. Non.
s. v. Clypeat. p. 87.), as represented
by the annexed figure, from a fictile
vase ; in which manner Alcibiades
is stated by Plutarch to have tried to
protect himself in the combat when
he lost his life.
3. Clipeata imago. A portrait en-
graved or painted upon a clipeus.
(Cic. ap. Macrob. Sat. ii. 3.) See
CLIPEUS, 3.
CLIPE'OLUM (do-TT/Sjoj/). Dimi-
nutive of CLIPEUS. Hygin. Fab.
139.
C L I F E U S and C L I F E U M
(dcTTT/s). The large round shield or
buckler, more especially peculiar to
the heavy-armed infantry of the
Greeks (Liv. ix. 19.) ; but also borne
by the first-class men at arms
amongst the Romans, from the time
of Servius (Liv. i. 43. Dion Hal. iv.
16., which passages also prove the
identity between the Latin clipeus
and Greek do-Trts), until the period
when the citizens commenced re-
ceiving pay for their military service,
when the Scutum was substituted in
its stead. (Liv. viii. 8.) In form it
was completely circular, but concave
on the inside (cavus. Varro, L.L.
CLIPEUS.
179
v. 19. Compare Virg. Mn. Hi. 637.%
with a circumference large enough to
reach from the neck to the calf of
the leg (see the figure in CLIPEATUS,
1.). It was sometimes made entirely
of bronze (Liv. xlv. 33.) ; but more
commonly of several folds of ox-hide
(Virg. JEn. xii. 925. septemplicis.
Ovid. Met. xii. 97. decem), covered
with plates of metal ; and occasionally
upon a foundation of wicker-work
(whence clipei textum. Virg. JEn.
viii. 625. and IT fa. Eurip. Suppl.
697.), over which the folds of un-
tanned leather and metal were spread.
The illustration affords a front and
side view of a Greek clipeus, from
two fictile vases.
2. Sub clipeo latere. Clipei sub
orbe tegi. (Ovid. Met. xiii. 79. Virg.
JEn. ii. 227.) A position often re-
presented in works of art, in which
the soldier kneels down, and places
his shield upright before him -, by
which his whole person is concealed,
and covered from the attacks of his
assailant ; in the same manner as
shown by the figure which illustrates
VENABULUM.
3. A shield or plate of metal, or
other material, upon which the bust
of a deity, or portrait of distinguished
persons was carved in relief, or
painted in profile, as an honorary
memento (Suet. Cal. 16. Tac. Ann.
ii. 83.) ; a custom of very great an-
tiquity, which owes its origin to the
Trojans. (Plin. H. N. xxxv. 3.
Compare Hor. Od. i. 28. 11.) The
illustration represents an original
bronze clipeus of this description,
with a bust of the Emperor Hadrian
upon its face.
4. A shield or plate of similar
character, made of marble or metal,
but ornamented with other devices as
well as portraits, which was used as
a decoration, to be suspended in
public buildings or private houses,
between the pillars of a colonnade,
rn the manner represented in the an-
nexed engraving, from a bas-relief in
terra-cotta. Liv. xxxv. 10.
5. An apparatus employed to re-
gulate the temperature of the Laco-
nicum, or vapour
bath ; which con-
sisted in a hollow
circular plate of
metal, suspended
by chains under an
opening in the
dome of the ceiling
at the circular end
of the thermal cham-
ber (caldarium), and
immediately over
the labrum, by the raising or depress-
ing of which, the temperature of the
room was increased or lowered, as
more or less of the cold air was
permitted to enter, or of the hot air
to escape. (Vitruv. v. 10.) The
wood-cut represents a section of the
A A 2
180
CLIPEUS
CLOACA.
Laconicum at Pompeii, a view of
which in its present state is intro-
duced under that word ; the squares
at the bottom show the flues of the
hypocaustum ; the basin in the centre
over the largest flue is the labrum ,
and the clipeus, with the chain by
which it was lowered or raised up,
so as to close the aperture in the
ceiling above it, is an imaginary
restoration, in order to elucidate the
manner in which the apparatus acted ;
but the bronze stays for fastening
the chains by which the clipeus
was worked, were found affixed to
the sides of the wall. It must not,
however, be concealed that the posi-
tive nature of the clipeus is a point
involved in much uncertainty, and
that many scholars, relying upon a
picture in the
Thermae of
Titus (repre-
sented by the
annexed en-
graving) main-
tain that the
Laconicum was
the small cu-
pola here seen
rising from
the floor of
the chamber,
which permit-
ted a volume
of flame and hot air to raise itself
above the general level of the apart-
ment ; and that the clipeus, which
regulated the temperature by admit-
ting or shutting off the heat, was
placed, as in the cut, under this cu-
pola, . and just over the hypocaust.
But it is difficult to conceive how the
apparatus could have been worked in
such a situation, as both the clipeus
and the chains for raising it would
have become intensely hot from their
proximity to the fire ; besides nothing
bearing even a remote resemblance
to such a construction has been dis-
covered in any of the ancient baths,
and the account of Vitruvius (/. c.)
describes almost minutely a similar
disposition to that observable in the
circular extremity of the thermal
chamber in the Pompeian baths.
As both the plans are introduced the
reader has the means of judging for
himself. A long array of names
favours each side of the argument.
CLITEL'L^ (/roi'WjAia). The
pack-saddle upon which paniers were
carried ; and thence also a pair of
panniers; whence only used in the
plural number. (Hor. Sat. i. 5. 47.
Phsedr. i. 15.) The illustration is
from an engraved chrystal in the
Florentine Gallery.
C L I T EL L'A R I U S (/caj/flrjAios).
A beast which carries paniers, as in
the preceding illustration Cato,
R. R.*. 1. Columell. ii 22. 3.
CLOA'CA (iWi/o/ios). A large
subterranean canal, constructed of
masonry or brickwork, for the pur-
pose of carrying off the rain waters
from the streets of a town, and the
impurities from private houses, which
were discharged through it into some
neighbouring river, thus answering
to our sewer and drain. (Liv. i. 38.
Cic. Cacin. 13. Hor. Sat. ii. 3. 242.
Strabo, v. 8. p. 197. ed. Siebenk.)
The illustration represents a street
view in Pompeii, with the embouch-
ures of two drains under the pave-
CLOACA.
CLUNABULUM.
181
ment, and shows the manner in
which the rain waters entered them.
2. Cloaca Maxima. A main sewer,
which received the contents of several
tributary branches, and conducted
them in one channel to the river.
But the name is also specially given
to the great sewer of Rome, which
was made by the elder Tarquin for
the purpose of draining off the stag-
nant waters of the Velabra, and low
lands between the Palatine and Capi-
toline hills, in order to provide an
area for laying out the race-course,
or Circus Maximtu, and the Forum.
A considerable portion of this great
work is still in existence, after a lapse
of more than 2000 years. It consists
of three concentric arches of masonry,
put together without cement, and in
the style called Etruscan, as shown
by the annexed elevation, which re-
presents the embouchure where it
opens upon the Tiber, near the Sub-
lician bridge, and part of the adjacent
wall, which formed the substruction
of the quay termed pulchrum littus.
The smallest, or innermost arch, is
between 13 and 14 feet in diameter ;
each of the blocks composing the
arch is 5 feet 10 inches wide, and
rather more than 3 feet 3 inches
high; the whole being composed of
the dark volcanic stone (tufa Litoide.
Brocchi, Suolo di Roma.), which
forms the basis of the Capitoline hill,
and was the common building mate-
rial during the periods ascribed to
the early kings. A design showing
the construction of the underground
part is exhibited at p. 41. 5. ANTE-
RIDES. Plin. H. N. xxxvi. 24. 3.
Dionys. iii. 67.
CLOACA'RIUM. The sewers-
rate ; a tax which was levied for the
expenses of cleansing and repairing
the sewers. Ulp. Dig. 7. 1. 27.
Paul. Dig. 30. 39.
CLOA'CULA. Diminutive of
CLOACA ; a branch sewer commu-
nicating with the main duct. Lam-
prid. Heliog. 17.
CLOSTEL'LUM. Diminutive of
CLOSTRUM. Either the key-hole of
a lock ; or, perhaps, the box-hasp
into which the bolt of a lock shoots ;
and which would leave a crevice
between itself and a door which did
not fit close, so that a person might
see through it, as mentioned by Pe-
tronius, Sat. 140. 11. Compare Senec.
Ben. vii. 21.
CLOSTRUM. For CLAUSTRUM.
In a general sense, any fastening like
a lock (Cato, R.R. xiii. 3. Id. cxxxv.
2.) ; but, more definitively, the box
into which a lock shoots. Senec.
Ben. vii. 21.
CLIP DEN. A sword used by
actors upon the Roman stage, the
blade of which receded into the
handle immediately upon meeting
with any resistance, and so produced
the effect of stabbing without danger.
(Apul. Apol. p. 526.) A device of
the same kind is resorted to by mo-
dern actors ; but the reading in Apu-
leius is not certain, and the interpre-
tation is conjectural.
CLUNAB'ULUM or CLUNAC'-
ULUM. A small sword, or rather
dagger, so called because it was
182
CLYSTER.
COCHLEA.
worn at the back, just over the but-
tocks (dunes), as shown in the an-
nexed example, from the Column of
Trajati. Aul. Gell. x. 25. Isidor.
Orig. xviii. 6. 6.
2. The same name was also given
to the knife of the Cultrarius, with
which he ripped up
the entrails of vie-
tims at the sacri-
fice (Festus, s. y.);
and which was
carried in the same
manner by a strap
round the loins, as
shown by the an-
nexed figure, repre-
senting one of these
servants, from a
Pompeian painting.
CLYSTER (K\va-T-f]p). A syringe;
especially such as was used for in-
jecting fluids into the body. Suet.
Claud. 44. Plin. H. N. xxxi. 33.
CLYSTE'RIUM (KAuorfyuew).
Diminutive of the preceding. Scrib.
Compos. 118.
C N O D A X (Kw$5o|). A pin or
pivot, affixed to the extreme ends of
an axle or cylinder, and run into a
socket, so as to form a support which
will enable the axle to revolve. Vi-
truv. x. 2. 12.
COA VESTIS. The Coan robe :
which was of the finest texture, and
almost transparent ; so that the forms
of the wearers were readily apparent
through the drapery, which only par-
tially concealed them. It was, there-
fore, chiefly worn by females ad-
dicted to pleasure, such as singing
and dancing girls, one of whom is
represented in the engraving, from a
Pompeian painting. Plin. H. N. xi.
26. Propert. iv. 5. 55. Ov.A. Am. ii.
298. Hor. Sat. i. 2. 101.
COAC'TILIS, sc. lana (m\-nr6s or
iriAojTo's). Felt or felted cloth; that
is, wool matted together by repeated
| manipulation and pressure until it
forms a consistent texture, like a
piece of cloth. Plin. H. N. viii. 73.
Edict. Dioclet. p. 21. Ulp. Dig.
34. 2. 26.
COACTO'RES (irpdKTopes). Re-
ceivers or collectors of taxes, duties,
&c. Cic. Bab. Post. 11. Hor. Sat.
i. 6. 86.
2. The rear-guard of an army, or
the body of troops who brought up
the rear in a line of march. Tac.
Hist. ii. 68.
COAC'TUS. Same as COACTILIS.
Plin. H.N. viii. 73. Ca3S. B.C. iii. 44.
COAG'ULUM (n-i/erfa). Rennet;
i. e. anything used in curdling milk ;
for which the concreted milk found
in the stomachs of suckling animals,
the milky moisture contained in the
stomach of a pig, as well as the
stomach itself, and vinegar, was com-
monly employed by the Romans.
(Varro, R. R. ii. 11. 4. Plin. H.N.
xxiii. 63.) Hence, also, curdled milk
(Plin. H. N. xxviii. 45.) ; and cheese.
Ovid. Fast. iv. 545.
COASSA'TIO (ffmrtowiM). Any
thing made of boards joined together,
as the flooring of a house (Vitruv.
vi. 6.), or the deck of a ship. Theo-
phrast.
COCH'LEA (/coxA/as). Literally,
a snail with a spiral shell ; whence
applied to several other objects par-
taking of a spiral form ; as
1. A worm and screw, as a mecha-
nical power, employed in oil, wine,
and clothes presses, precisely in the
same manner, and formed upon
similar principles to those now in
COCHLEA.
COCKLE ARIUM.
183
daily use, as shown by the annexed
wood-cut, represent-
ing a press for cloth,
from a painting in
the fuller's estab-
lishment (fullotiica),
at Pompeii. Vi-
truv. vi. 9. Plin.
H. N. xviii. 74. Pal-
lad, iv. 10. 10. Id. xi. 9. 1.
2. A contrivance for raising water,
upon the principle of a screw, in-
vented by Archimedes, and similar
to the machine still to be seen in
Germany, which goes by the name
of the " water snail." It consisted of
a long cylinder, with a hollow pipe
coiled round it, like the thread of a
screw ; was placed in an oblique
direction, with the lowest end in the
water, and then made to turn round
its own axis by the operation of
cattle, or of a tread- wheel (tympa-
num) ; as it revolved, it gradually
turned the water up through the
coils of the pipe from the lowest to
the topmost spiral, from which it ran
out, as having nothing further to
support it. (Vitruv. x. 6.) It is
also mentioned by Strabo (xiii. 30.
p. 561. ed. Siebenk.), as being used
in Egypt, where it was worked by
slaves, and employed for the purpose
of irrigation ; indeed, a pump of this
description will only raise water to a
moderate height.
3. A particular kind of doorway
adapted for a bull-ring, aviary, and
places of such" description (Varro,
R.R. iii. 5, 3.), where it was requisite
that all who entered or went out
should be enabled to do so with ra-
pidity and security ; in order that the
animals might not escape with the
opening of the door, while the person
inside might retreat with safety upon
any sudden emergency. Schneider
(Index, R. R. Script, s. v. Cavea)
considers this to have been a door
raised and lowered after the manner of
a portcullis, synonymous, therefore,
with CATARACTA ; but his proofs
are far from conclusive, and the old
interpretation of Gesner is more in
unison with the other analogies of the
word ; viz. an apparatus like the one
now commonly used in the foundling
hospitals and convents of nuns in
Italy for the purpose of introducing
any thing into the interior, without
opening a door, and which goes by
the name of " the wheel," la ruota.
It is constructed upon the same prin-
ciple as a dark lantern, consisting of
a cylindrical box, situated in the
thickness of the main wall, and made
to revolve round an upright axis
which runs through its centre, and
fixes it in its place. An aperture is
left on one part of the circumference,
through which, when turned to the
street, the objects intended to be in-
troduced are placed in the box, which
is then pushed half round its axis,
when the opening comes on the inside
of the wall. It is obvious that such
an apparatus would be particularly
adapted for any of the purposes above
mentioned to which the cochlea was
put ; and the name may have beea
obtained from the resemblance which
such a contrivance bears to a snail
within its shell, or to the spiral stair-
case (cochlis) within its case.
COCH'LEAR and COCHLE-
A'RE (Kox^idpiov'). A spoon with
a bowl at one end, and a sharp point
at the other, for eating eggs and
shell-fish (Mart. Ep. xiv. 121.);
the broad end serving as an egg
spoon (Pet. Sat. 33. 6.), and the
point for drawing the fish out of its
shell. (Plin. H. N. xxviii. 4.) The
example represents an original found
in Pompeii.
2. A measure of liquids ; answer-
ing to our spoonful Columell. xii.
21. 3.
COCHLEA'RIUM. A place
where snails were bred and fattened ;
which were considered as a delicacy
by the Roman epicures, being im-
ported from different parts, to be
184
COCHLIS.
COEMPTIO.
reared and fed in these home nurse-
ries. (Varro, It. It. iii. 12. 2. Ib.
14. 1. Piin. H.N. ix. 82.) The
ridiculous Trimalchio has them
served up to table upon silver grid-
irons. Pet. Sat. 70. 7.
COCH'LIS. See COLUMNA, 2.
COC'TILIS, sc. later. A brick
hardened by burning, as contradis-
tinguished from one dried by the sun.
Varro, X. R. i. 14. Plin. H.N. vii. 57.
2. Murus coctilis. A wall built of
bricks hardened by the fire. Ovid.
Met. iv. 58.
3. Coctilia or Cocta ligna (|uAo
KaryKava). Dried or scorched wood,
chopped into small pieces, and pre-
pared by hardening over the fire
sufficiently to dry up the moisture
contained in it, without reducing it
to charcoal (Ulp. Dig. 32. 55.), in
order that it might burn readily and
briskly, and not throw out a quantity
of smoke. It was sold by measure
(Valerian, ap. Trebell. Claud. 14.),
and not by weight, like other kinds
of fire-wood, in particular ware-
houses at Rome, called tabernce cocti-
licice i and the preparing, as well as
the selling of it, was a particular trade,
to which, as we are told, the father of
the Emperor Pertinax belonged.
Jul. Cap. Pertinax, 3.
COCTUS. Same as COCTILIS.
COC'ULUM. Apparently, a ge-
neral term given to any kind of
saucepan for boiling meats. Festus, s.
v. Isidor. Orig. xx. 8. Cato, R. JR. xi. 2.
CO'DEX. A clog, or heavy log
of wood, chained to the feet of slaves
which they dragged about with them,
and were made to sit upon. Juv. ii.
57. Prop. iv. 7. 44.
2. A blank book for writing in,
made up of separate leaves bound
together, like our own,
as is shown by the
annexed example, from
a Pompeian painting.
Originally, the leaves
were made of thin tablets of wood
(codices i. q. caudices), coated with wax,
whence the name arose, and which was
still retained in use, although the origi-
nal material had been superseded by
paper or parchment. Ulp. Dig. 32.
50. Cic. Verr. i. 36. Id. Sull. 15.
3. At a later period, the word also
means a code of laws, as the Codex
Justinianeus, Theodosianus, &c., which
it may be assumed were written in
books of this description.
CODICIL'LUS. Diminutive of
CODEX. But in the plural, CODI-
CILLI were a collection of small tab-
lets employed for writing memoran-
dums (Cic. Fam. ix. 26.), intended to
be copied out fairly afterwards ; to be
despatched as letters to intimate friends
(Cic. Fam. vi. 18.); for noting
down the particulars of a will (Plin.
Ep. ii. 16.) ; of a petition or me-
morial (Tac. Ann. iv. 39.), and other
similar purposes.
CCEL'UM (otyowfc). A soffit, or
ceiling, of which word it contains the
elements through the French- del.
(Vitruv. vii. 3. 3. Florus, iii. 5. 30.
and ccelo capitis, the nether part of
the scull, Plin. H.N. xi. 49.) The
earliest buildings were only covered
by an outer roof (tectum), the inside
of which served as the ceiling ; but
as that was found to be an insufficient
protection against the changes of
weather and temperature, an inner
one was afterwards contrived, which
constituted the ccelum, and gave rise
to an extra member in the entabla-
ture, denoted externally by the zo-
phorus or frieze.
CCEMETE'RIUM (Km/^p/oj/).
A Greek word ; properly signifying
a sleeping chamber (Dosiad. ap.
Athen. iv. 22.) ; whence used by the
Latin writers of a late period for a
cemetery. Tertull. Anim. 51.
COEMP'TIO. A marriage by civil
contract, solemnized by a fictitious
sale, at which the parties betrothed
went through the ceremony of mu-
tually selling themselves to one an-
other, and supposed to have first
come into use when intermarriages
between the patrican and plebeian
families became lawful, A. u. c. 308.
CCENA.
COHORS.
185
Cic. Muret. 12. Non. Marc. s. v. Nu-
bentes, p. 531.
CCE'NA (teivvov). The principal
daily meal of the Romans ; and, con-
sequently, better translated by our
word dinner than supper, which is
more commonly applied. It was the
third meal taken in the day, i. e.
after the breakfast (jentaculum) and
the luncheon (prandium or merendd),
the most usual hour being about three
P.M. of our time ; though the par-
ticular habits of different individuals
might induce some to dine at an
earlier, and others at a later hour.
Plaut. Cic. Petr. Suet, &c.
2. Prima, alter a, tertia coena. The
first, second, or third remove of
dishes, or courses at a dinner. Mart.
Ep. xi. 31.
CCENAC'ULUM. An eating-
room, according to the original and
strict meaning of the word (Varro,
L.L. v. 162.) ; but, as the apartment
appropriated for that purpose was
usually situated in the upper part of
the house, at one period of Roman
history, the word came to be used
much more commonly in our sense of
a room upstairs (Festus, s. v. Liv.
xxxix. 14.), and the plural coenacula
(like the Greek uTrep^oi/) to designate
the whole suite of rooms contained in
an upper story (Cic. Agr. ii. 35.) ; and,
as the upper stories at Rome were
chiefly occupied by the poorer
classes, a sense of inferiority is fre-
quently implied by the term, so that
our words attics or garrets would in
such cases furnish the most appro-
priate translation. (Hor. Ep. i. 1.
91. Juv. x. 17.) The annexed ex-
ample, from a Roman painting, ex-
j hibits the external appearance of the
I coenacula i and the two last illustrations
to the article DOM us, which represent
the plan and elevation of a two-storied
house excavated at Herculaneum,
will show the manner of building
and distributing the apartments of an
upper story in private houses of
a moderate size.
2. Ccenaculum meritorium. A hired
lodging, in an upper story. Suet.
Vitell. 7.
CCENA'TIO. Seems to be a ge-
neral term, applied to any kind of
eating-room ; as well to the sumptuous
banqueting-halls of the golden palace
of Nero (Suet. Nero, 31.), as to the
ordinary dining parlour of Pliny's
villa. (Plin. Epist. ii. 17. 10. Ib. v.
6. 21.) Like the ccenaculum, it was
situated up stairs (Juv. vii. 183.
Mart. Ep. ii. 59.); and in this respect
differed from triclinium, which, in the
Pompeian houses, is always placed
upon the ground-floor.
CCENATO'RIA, i. e. ccenatorice
vestes. The garments or apparel
worn at the dinner table (Pet. Sat.
21. 5. Mart. x. 87. Capitol. Maxim.
Jun. 4.) ; the precise character of
which has not been ascertained ; but
one of them went expressly by the
name of SYNTHESIS, which see.
CCENOB'ITA. Late Latin; one
who lives in a community (cceno-
bium) with others ; thence a monk or
friar. Hieron. Ep. 22. n.34. and 35.
CCENOB'IUM (/cotj/^toi/). A
monastery, or convent of monks or
friars ; because they live together in
common. Hieron. Ep. 22. n. 36.
CO'HORS. Same as CHORS.
Varro, R. E. iii. 3. Ovid. Fast. iv. 704.
2. A cohort, or body of infantry
soldiers, constituting the tenth part of
a legion, but which varied in numbers
at different periods of the Roman
history, accordingly as the legion
itself was increased in numerical
strength. Varro, L.L. v. 88. Cincius,
ap. Gell. xvi. 4. 4. Cses. E.G. iii. 1.
3. The term is sometimes used to
distinguish the allied and auxiliary
186
COHUM.
COLLTCIARIS.
troops from those of the legion ; by
which it is inferred, that in early
times such troops were arranged in
cohorts instead of maniples. Floras,
iii. 21. Liv. ii. 64. Id. xxiii. 14.
4. Also, in some cases, for a troop
or squadron of cavalry, but of what
precise number is uncertain, Plin.
Ep. x. 106. Virg. Mn. xi. 500.
5. Pretoria cohors. A body of
picked men, selected from the legion-
aries, who formed a sort of body-
guard to the consul, or commander
under the republic ; but became a
permanent corps du garde under the
emperors. See PR^TORIANCS.
CO'HUM. The rope or thong by
which the yoke (jugurn) is fastened
to the pole (temo) of a plough. (Fes-
tus, y.) It is very distinctly seen
in the annexed example, from a bas-
relief discovered in the island of
Magnensia.
COLIPH'IUM. A sort of food
upon which wrestlers and persons in
training for athletic exercises were
dieted, in order to increase their
muscular development, without add-
ing superfluous flesh, upon the same
principle as still pursued by our
prize-fighters, &c. What the Roman
coliphia were is not distinctly known ;
but they are generally supposed to
have been a kind of bread cake,
without leaven, and mixed with new
cheese. Plaut. Pers. i. 3. 12. Juv. ii.
53. Schol. Vet. ad L Mart. vii. 67. 12.
COLLA'RE. An iron collar put
round the neck of runaway slaves,
with a leading chain (catulus) at-
tached to it, like a dog's chain and
collar. (Lucil. Sat xxix. 15. ed.
Gerlach.) Prisoners of war were
sometimes treated in the same way,
as may be seen by the illustration,
representing a barbarian captive,
from the Column of Antoninus.
2. A dog's collar. (Varro, R. R.
ii. 9. 15.) The example is from a
mosaic pavement in one of the houses
at Pompeii, and represents a watch-
dog, with his collar and chain at-
tached.
COLLIC'I^E or COLLIQ'UI^E.
Gutters, made with concave tiles,
placed under the eaves of a house,
for the purpose of carrying away the
rain water from the roof, and con-
ducting it into the impluvium. Fes-
tus, s. Inlicium. Vitruv. vi. 3.
2. Open drains or gutters in the
country, for the purpose of carrying
away the rain water from the lands
into the ditches (fossce). Plin. H. N.
xviii. 49. n. 2. Columell. ii. 8. 3.
COLLICIA'RIS, sc. tegula. A
COLLIPHIUM.
COLUM.
187
drain tile, for making collides. Cato,
R. R. xiv. 4.
COLLIPH'IUM. See COLI-
PHIUM.
COLLIQ'UL^. See COLLICIJE.
COLLUVIA'RIUM. A sort of
well or opening formed at certain in-
tervals in the channel of an aqueduct,
for the purpose of procuring a free
current of air along its course ; and
also, perhaps, to facilitate the ope-
ration of clearing away any foul de-
posits left by the waters, by affording
a ready access to every part of the
duct. Vitruv. viii. 8. 6.
COLLYBIS'TES or COLLY-
BIS'TA (/foAAu&(rrT?s). A Greek
word Latinised; a money dealer.
Hieron. Comment. Matth. c. 21.
COL'LYBUS ( K 6\\vos). Pro-
perly, a Greek word, meaning a small
coin ; whence it came to signify, both
amongst the Greeks and Romans, the
difference of exchange, or agio, as it is
called, charged by the dealer for
changing the money of one country
into the currency of another. Cic.
Att. xii. 6 Id. Verr. ii. 3. 78.
COLLY'RA (KoAAfya). A sort of
bread or bun, of an oval form, which
was eaten with broth or with gravy.
Plaut. Pers. i. 3. 12. Compare ib.
15 and 17.
COLLY'RIS (KoAAupfs). Same as
COLLYRA. Augustin. de Gent.
2. A head-dress worn by women,
and supposed to have received its
name from some resemblance in form
to the bread or bun designated by the
same term. (Tertull. Cult. Fcem. 7.)
In a Pompeian painting (Mus. Sorb.
vi. 38.), there is represented a plate
of bread or buns divided into separate
segments of precisely the same form
as those which appear on the head-
dress worn by Faustina on an en-
graved gem (see the wood-cut s.
CALIENDRUM) ; such a coincidence
favours the conjecture that the paint-
ing affords a genuine example of
the kind of bread, and the gem of
the peculiar head-dress which went
under the same name.
COLLY'RIUM OoAArfptoi/). A
medical substance made up into the
shape of a collyra, composed of various
ingredients, according to the nature
of the remedy required, and applied
externally for rubbing the parts af-
fected, or for inserting into any hol-
low, such as the nostrils, &c. Celsus,
v. 28. 12. Hor. Sat. i. 5. 50. Scrib.
Camp. 142. Columell. vi. 30. 8.
COLOB'IUM (Ko\6Siov). A tunic
with short sleeves (from the Greek
Ko\o6s, docked or
curtailed) which
just covered the
upper and fleshy
part of the arm
( Serv. ad Virg.
JEn. ix. 616.), as
shown by the an-
nexed example,
from the Column
of Trajan. This
was the original
and usual form of
the tunic worn by the Romans of the
republican age, at home, or in active
exercise, as here represented, without
any other garment; but abroad, or
when in costume, as we might say,
the toga was thrown over it.
COLO' NIC A. A farm-house.
Auson. Ep. iv. 6.
COLO'NUS. A yeoman or
farmer ; i. e. one who gains a liveli-
hood by the cultivation of the soil,
whether as a tenant farmer, or one
who tills his own land. Varro, R.R.
ii. Proem. 5. Columell. i. 7. Scaevola,
Dig. 33. 7. 20.
2. A colonist. Cic. N.D. iii. 19.
Justin, xvi. 3.
COLOS'SUS (/coAoo-cnte). A statue
of gigantic dimensions, or very much
beyond the proportions of nature ;
such, for instance, as the Colossus at
Rhodes, which was above seventy
feet high. Hygin. Fab. 233. Fes-
tus, s.v. Plin. H. N. xxxiv. 18.
COLOS'TRA (Plin. H. N. xi. 96.
| Mart. Ep. xiii. 38.) ; only another
name for COAGULUM.
CO'LUM (^0/irfs). A colander, or
B B 2
188
COLUMBAK.
COLUMBARIUM.
strainer made of basket-work, bull-
rushes, bast,
or osiers (Ca-
to, R.R. xi. 2.
Columell. xi.
2. 70. Id. xii.
19. 4.), and in
the form of an
inverted cone,
through which new made wine and
oil (Columell. xii. 38. 7. Scrib.
Comp, 156.), was passed, after it had
been squeezed out by the press beam.
(Virg. Georg. ii. 242.) The example
introduced is copied from a Roman
bas-relief, representing various pro-
cesses connected with the vintage.
2. Col urn nivarium. A wine
strainer made of metal, for cooling,
diluting, and mixing the wine with
snow at table. (Mart. Ep. xiv. 103.)
It was used in
the following iS^^:^- s;^
manner. A ^-^~'^^^'^S^
lump of frozen \ '^^/^y /
snow being
deposited in the strainer, and the
strainer being placed upon the drink-
ing cup, the wine was then poured
upon the snow, with which it mixed
itself, and filtered into the cup,
through the perforations of the
strainer, free from any sediment or
impurities. The example represents
an original of bronze discovered in
Pompeii.
3. A basket for catching fish, like
an eel or prawn basket ; so termed,
because when taken up, the water
drains out of it, leaving the fish at
the bottom, like the dregs in a
strainer. Auson. Ep. iv. 57. Com-
pare NASSA.
COLUM'BAR. A
something like the
pillory, for confi-
ning the hands and
head (Plaut. Rud.
iii. 5. 60.) ; so termed
from the resemblance
which the apertures
through which these
parts projected, bore to the holes for
nests in a dove-cote (columbarium). It
was employed for the punishment of
slaves, and, in all probability, resem-
bled the " wooden collar " of the Chi-
nese, which is represented in the
annexed engraving, from a drawing
by Staunton.
COLUMBA'RJUM (^orepe^).
A dove-cote or pigeon-house; which
probably differed very little from
those of the present day, with the
j exception of being frequently built
upon a much larger scale ; for as
many as five thousand birds were
sometimes kept in the same house.
Varro, R.R. iii. 7. Pallad. i. 24.
2. Columbaria (plural) ; the pigeon-
holes, or separate cells in the cote for
each pair of birds. Varro, R. R. iii.
7. 4. and 11. Columell. viii. 8. 3.
3. Columbaria (plural) ; the niches
or pigeon-holes in a sepulchral cham-
ber, in which the ashes of the dead
contained in jars (dice) were depo-
sited. (Inscript. ap. Spon. Miscell.
Er. Ant. 19. p. 287. Ap. Fabretti,
p. 9.) Each of these were adapted
for the reception of a pair of jars,
like doves in their nests, as exhibited
by the annexed illustration, copied
from a sepulchral vault near Rome.
The lids of the jars are seen above,
and the names of the persons whose
C IVL1VS CAESAB iS~l
i-DEMETRIVS
CVRAT
GEMELL
ashes they contained are inscribed
underneath, against the face of the
wall, into which the jars themselves
are sunk. All the four walls of the
sepulchre were covered with niches
of this description, which sometimes
j amounted to one hundred and more.
! See SEPULCRUM COMMUNE, and illus-
tration.
4. Columbaria, plural (Tpvirrj/j-ara).
The oar-ports, through which the
oars projected from the inside of a
vessel (Isidor. Orig. xix. 2. 3. Com-
COLUMBARIUM.
COLUMNA.
189
pare Festus. s. Navalis Scriba) ; so
called because they re-
sembled the niches in
a dove-cote, as plainly
shown by the illustra-
tion, representing two oar-ports on
the side of a vessel, in the Vatican
Virgil. This also accounts for the
meaning of the word columbarius in a
fragment of Plautus, where it signifies
a rower, accompanied with a senti-
ment of depreciation.
5. Columbaria, plural (OTTOI). The
cavities or holes in the walls of a
building which form a bed for the
heads of the tie-beams (tigna} to lie in.
(Vitruv. iv. 2. 4.) See the illus-
tration to MATERIATIO, letters d, d, d.
6. Columbaria (plural). Openings
formed in the axle of a particular
description of tread- wheel {tympa-
num'}, for raising water. The axle,
in question, was a hollow cylinder,
and the water raised by the revolu-
tions of the wheel was conveyed into
the axle through these apertures, and
then discharged from its extremity
into the receiving trough (Vitruv.
x. 4.) ; but the whole process will be
better understood by a reference to
the article TYMPANUM, 5.
COLUMEL'LA (cm/Afr)- A ge-
neral diminutive of COLUMNA.
2. (o-TTjAt'Siov). A small cippus, or
short pillar, erected over a grave as a
tomb-stone. Cic. Leg. ii. 26.
3. Columella ferrea. A strong iron
pin or bolt, forming part of the tra-
petum, or machine for bruising olives.
(Cato, E. 7?. xx. l. Id. xxii. 2.) See
TRAPETUM, and the illustration, on
which it is marked by the figure 4.
COL'UMEN. The highest timber
in the frame-work of a roof, forming
the ridge piece to the whole. (Vi-
truv. iv. 2. 1.) See MATERIATIO.
and the illustration, on which it is
marked b, b.
C O L U M' N A (Klw, ffrv\os). A
column, employed in architecture to
support the entablature and roof of
an edifice. It is composed of three
principal parts : the capital (capi-
tulum) ; the shaft (scapus) : and the
base (spira). The column was,
moreover, constructed in three prin-
cipal styles or orders, each possessing
characteristic forms and proportions
190
COLUMNA.
of its own, distinctive of the order,
but by unprofessional persons most
readily distinguished by the difference
in the capitals. 1. Dorica, the Doric,
shown by the engraving, representing
a view of the Parthenon, from Gwilt's
" Encyclopaedia of Architecture," the
oldest, most substantial, and heaviest
of all, which has no base, and a very
simple capital (see CAPITULUM, 1.
and 2.). 2. lonica, the Ionic ; the
next in lightness, which is furnished
with a base, and has its capital de-
corated with volutes (see CAPITULUM,
3. and 4.). 3. Corinthia, the Corin-
thian, the lightest of all, which has a
base and plinth below it, and a deep
capital ornamented with foliage (see
CAPITULUM, 5.). To these are some-
times added: 4. Tuscanica, the
Tuscan, only known from the account
of Vitruvius, and which nearly re-
sembles the Roman Doric ; and 5.
Composita, the Composite, a mixed
order, formed by combining the
volutes of the Ionic with the foliage
of the Corinthian.
This most perfect and most beauti-
ful of all architectural supports origi-
nated, as is generally the case, from
the simplest beginnings. A few
strong poles, or the straight trunks
of trees, stuck into the ground, in
order to support a cross-piece for a
thatch of boughs or straw to rest
upon, formed the first shaft (scapus)
of a column. When a tile or slab of
wood was placed under the bottom of
the trunk to form a foundation, and
prevent the shaft from sinking too
deeply into the ground, the first
notion of a base (spira) was attained ;
and a similar one, placed on its top
to afford a broader surface for the
cross-beam or architrave to rest upon,
furnished the first capital. Thus
these simple elements, elaborated by
the genius and industry of succeeding
ages, produced the several distinctive
properties of the architectural orders.
To explain the peculiar properties
belonging to each order of columns
is rather the province of the ar-
chitect, than of a work of this nature ;
for it would require large drawings
and minute details, scarcely requisite
for the classical student or general
reader. One point, however, is
to be constantly borne in mind,
that the columna of ancient architec-
ture always implies a real, and not a
fictitious, support; for neither the
Greeks nor the Romans, until the
arts had declined, ever made use of
columns, as the moderns do, in their
buildings, as a superfluous ornament,
or mere accessory to the edifice, but
as a main and essentially constituent
portion of the fabric, which would
immediately fall to pieces if they
were removed ; and that the abusive
application of coupled, clustered, in-
castrated, imbedded columns, &c.,
was never admitted in Greek archi-
tecture ; for the chief beauty of the
column consists in its isolation, by
means of which it presents an endless
variety of views and changes of
scene, with every movement of the
spectator, whether seen in rank or
in file.
2. Columna cochlis. A column
with a cockle or spiral staircase in the
centre, for the purpose of ascending
to the top. (P. Victor, de Reg. Urb.
Rom. c. 8. and 9.) These were em-
COLUMNA.
191
ployed for various purposes ; and
more especially for honorary columns,
to support on their tops the statue of
the person whose achievements or
memory they were erected to com-
memorate. Two of the kind still
remain at Rome, one constructed
in honour of the Emperor Trajan,
which is represented in the engraving,
with a section by its side of part of
the interior, to show the spiral stair-
case, and which, with the statue on
the top, now supplanted by Pope
Sixtus V., was 130 feet in height;
the other, of a similar character, in
honour of the Emperor M. Aurelius
Antoninus. Both are covered ex-
ternally by spiral bas-reliefs, repre-
senting the various wars carried on
by these emperors, from which many
figures have been selected to illustrate
these pages.
3. Columna rostrata. A column
ornamented with images, representing
the prows (rostra} of ships all down
the shaft. (Virg. Georg.- ii. 29.
Servius, ad /.) These were erected
in commemoration of per-
sons who had obtained
a great naval victory ;
and the example repre-
sents the one set up in
honour of C. Duilius
(Plin. H. N. xxxiv. 11.)
after his action with the
Carthaginian fleet, B. c.
261, now preserved, to-
gether with part of the
original inscription under-
neath, detailing the number of vessels
and booty taken, in the Capitol at
Rome.
4. Columna Bellica. A short co-
lumn erected before the temple of
Bellona, situated near the porta Car-
mentalis and Circus Maximus, against
which the Romans in early times
used to hurl a spear when about to
declare war. Festus, s. v. Bellona.
Ovid. Fast. vi. 206.
5. Columna Mania. A column
erected in the Roman forum, to
which slaves, thieves, and other of-
fenders were bound, and publicly
punished. Cic. Sext. 58. Id. Div.
Verr. 16, Ascon. ib.
6. Columnce Herculis. The co-
lumns of Hercules ; originally and
properly, two large pyramidal co-
lumns, which the Phoenicians were
accustomed to set up in the course
of their extensive voyages, as light-
houses and landmarks, whereby to
recognise particular coasts upon any
future visit, being respectively dedi-
cated to Hercules and Astarte, their
sun and moon. They are plainly
shown by the annexed wood-cut,
from the device on a Tyrian coin,
where the two columns, with the
light-house in front, the conch under-
neath, which the master of the vessel
sounded to announce his arrival in
port (see BUCINATOR), and the tree re-
presenting the land, evidently explain
the objects intended. Remains of
such works, or others resembling
them, are found in the West of Eng-
land, in China, and in Africa, and are
mentioned by Tacitus (Germ. 34.), as
existing in his day on the eastern
bank of the Rhine, in the country of
the Frisii (Prisons}. By the Greeks
and Romans, however, the two pyra-
midal mountains at the Straits of
j Gibraltar, Calpe and Abyla (Gibral-
I tar in Europe, and Ceuta in Africa)
1 were termed the Columns of Hercules,
I in consequence of the resemblance
j which they bear at a distance to the
Phrenician columns described above,
and a corresponding fable, to account
for the name, was invented in favour
of their own hero. Mela, i. 5. Plin.
H. N, iii. Proem.
192
COLTJMNARIUM.
COMATUS.
7. The king-post, or crown-post in
a timber roof, which supports the
tie-beams (capreoli) and rafters (can-
therii), marked D in- the illustration.
Vitruv. iv. 2. 1.
COLUMNA'RIUM. A Roman
tax levied upon proprietors or occu-
pants for the number of columns
contained in their houses, or other
buildings belonging to them. Cic.
Att. xiii. 6.
COLUMNA'RIUS. A worthless
fellow, or, perhaps, an insolvent
debtor ; i. e. literally one who had
been summoned to receive punish-
ment at the columna Mania. Csel.
ad Cic. Fam. viii. 9.
COLU'RIA. Circular segments
of stone placed one on the top of the
other to form a column, when the
column is made of different pieces
instead of one entire block of marble.
Sidon. Ep. ii. 2. ; but the reading
is not certain.
COLUS (TjAa/caVrj). A distaff; com-
monly made out of a cane stick about
a yard in length, slit at the top in
such a manner that it would open,
and form a sort of basket for contain-
ing the mass of wool or flax intended
to be spun into threads, as repre-
sented by the right-hand figure in
the annexed wood-cut, which is
copied from an Egyptian original in
the British Museum. The ring which
surrounds it is intended to be put over
the wool, as a sort of cap, which
keeps the whole mass together. The
peasantry of Italy make their distaffs
of precisely the same form and mate-
rials at the present day. When the
distaff was filled with wool, it was
designated by such epithets as compta
(Plin. H. N. viii. 74.), plena (Tibull.
1. 3. 86.), or lana amicta (Catull. 64.
312.), and is shown by the left-hand
figure, from a bas-relief on the Forum
of Nerva, at Rome, which represents
a female with the distaff in her left
hand, the drawn thread (stamen) de-
pending from it, and in the act of
twisting the spindle (fusus} with the
fingers of her right hand. Compare
also the article NEO, in which the
manner both of spinning, and of
using these implements, is more fully
detailed.
COLYMB'US (K6^Gos). In the
Gloss of Isidorus, a tank (lacus)
wherein clothes were washed ; hence,
a swimming or plunging bath. Lam-
prid. Hel 23. Prudent. Ilepl (rre<p. 12.
COMA (wo/xrj). The hair of the
head ; nearly synonymous with C^E-
SARIES, but mostly with an implied
sense of length and profusion ; i. e.
a fine head of long thick hair ;
whence we find the word applied to
the mane of animals (Pallad. iv. 13.
2. Aul. Gell. v. 14. 2.); to the horse
hair on the crest of a helmet (Stat.
Theb. viii. 389. and CBISTA) ; and
often connected with such epithets as
intonsa (Cic. Tusc. iii. 26.), demissa
(Prop. ii. 24. 52.), and the like.
COMATO'RIUS. See Acus, 2.
COMA'TUS (/co^W)- In a
general sense, one who is possessed
of a head of long thick hair, which
is allowed to luxuriate in its natural
growth (Mart. xii. 70. Suet. Cal
35.) ; but the word is also specially
used to characterize the Germans
COMES.
COMPEDITUS.
193
(Tertull. Virg. Veland. 10.) and
the people of Transalpine Gaul, in-
cluding Belgica, Celtica, and Aqui-
tanica, all of which were comprised
under the name of Gallia Comata
(Mela, iii. 2. Plin. iv. 31. Lucan. i.
443.), in consequence of the profusion
and abundance of their hair, and the
manner in which it was arranged,
uniformly represented by the Roman
artists like the example here annexed,
which is copied from a sarcophagus
discovered in the Villa Amendola,
near Rome, and covered with bas-
reliefs giving the details of a combat
between the Romans and Gauls.
COMES (aKoAovflos). A com-
panion or associate, generally ; but
more specially an attendant, or tutor,
who accompanied his pupil to and
from school, in his walks, &c. Suet.
Aug. 98. Tib. 12. Claud. 35.
COMISS A'TIO (KW^OJ, o-ujuTToVtoi/).
A revelling, feasting, or drinking
bout, commencing after the ccena,
and often protracted to a late hour of
the night. (Varro, L. L. vii. 69.
Liv. xl. 13. Cic. Cod. 15. Suet. Tit.
7.) Greek scenes of this nature are
frequently represented on fictile vases.
(Mus. Borb. v. 51. Millin. Vas. Ant.
ii. 58. Tischbein. ii. 55. Wink. Mon.
Ined. 200.), in which the lateness
of the hour is indicated by the intro-
duction of candelabra, the festivity
by the presence of Comus and winged
genii, and the debauchery by the
mixed company of courtesans, dancing,
playing, and singing girls.
COMISS A' TOR
av/jLir6T-r)s). A reveller, who forms
one of the company at a comissatio,
or wine party. (Liv. xl. 9. Cic.
Coel. 28.) It was not always usual
for the comissator to dine (ceenare)
with his host ; but he was often in-
vited to come in and take his wine
with the company after he had dined
elsewhere ; as Habinnas comes from
the coena of Scissa to the comissatio
of Trimalchio Habinnas comissator
intravit. Pet. Sat. 65. 3. Compare
Liv. xl. 7.
COMIT'IUM. An enclosed place
abutting on the Roman Forum, and
near the Curia, where the Comitia
Centuriata were held and causes
tried. (Varro, L.L. v. 155.) It was
originally uncovered, in consequence
of which the assemblies were often
obliged to be dissolved when the
weather was bad ; but was roofed in,
to obviate this inconvenience, during
the second Punic war. (Liv. xxvii.
36.) Some lofty walls, still remain-
ing under the Palatine hill, are sup-
posed to be vestiges of this building.
COMMENTAC'ULUM or COM-
MOTAC'ULUM. A wand which
the Roman priesthood carried in
their sacrificial processions, wherewith
to clear the way, and prevent the
populace from closing too near upon
them. Festus. s. v.
COMPEDFTUS. Having fetters
or shackles upon the feet; but the
word more especially designates a
slave who always wore, and worked
in, fetters (Seneca, Tranq. c. 10.
194
COMPES.
COMPLUVIUM.
Plant. Capt. v. i. 23. Cato, K R. 56.
Compare Ovid. Pont. i. 6 31.), like
the galley-slaves of modern Italy,
whose chains are made precisely like
those worn by the figure in the illus-
tration, from an engraved gem, which
represents Saturn in fetters ; an ad-
junct frequently given by the Romans
to the statues of this deity, but from
which they were removed during his
festival in the month of September
(Stat. Sylv. i. 6. 4.), when a tempo-
rary liberty was also allowed to the
slaves in allusion to the happy con-
dition which mankind were supposed
to have enjoyed under his reign.
COMPES (ir&ij). A fetter, or
shackle for the feet; as shown by !
the preceding wood-cut, and the illus-
tration s. CATULUS.
2. A ring of silver or gold, worn ;
by women round the bottom of the j
leg, just above the ankle, in the same i
manner as a bracelet is round the
wrist (Plin. H.N. xxxiii. 54. Com-
the passage cited, places them on the
legs of Fortunata above her shoes,
it is to ridicule the vulgar ostenta-
tion of wealth in the wife of the
parvenu by the adoption of an unusual
custom.
COM'PITUM. A place where
two or more roads meet ; more espe-
pare xxxiii. 12. Pet, Sat. 67. 7- ), as
shown by the annexed engraving,
from a Pompeian painting of Ariadne.
Ornaments of this nature were con-
fined to females of the plebeian classes
at Rome, to courtesans, dancing girls,
and characters of that description, who
went with bare feet, and partially ex-
posed their legs ; which would other-
wise have been entirely concealed
under the long and training drapery
of the Roman ladies and matrons.
For a similar reason, they are never
represented in the Pompeian paint-
ings on figures who wear shoes, but
only when the foot and ankle is j
uncovered; but when Petronius, in I
cially with reference to the country
( Virg. Georg. ii. 382.), in contradis-
tinction from trivium, which applies
more to the streets of a town. (Cic.
Agr. i. 3.) It was customary to
erect altars, shrines, and small temples
on these spots, at which religious
rites in honour of the Lares Compi-
tales, the deities who presided over
cross-roads, were performed by the
country people (Prop. iv. 3. 54.) ;
whence the word compitum is some-
times used for a shrine erected on
such a spot. (Grat. Cyneg. 483. Pers.
iv. 28.) All these particulars are
elucidated by the illustration, from a
landscape painting at Pompeii.
COMPLU'VIUM. A large
square opening in the centre of the
CONCEDES.
CONDALIUM.
195
roof which covered the four sides of
an Atrium in Roman houses, and to-
wards which these sides converged
for the purpose of carrying down the
rain into a reservoir (impluvium) in
the floor immediately under it ; as is
clearly shown by the illustration, re-
presenting the interior of a Pompeian
Atrium restored. (Varro, L. L. v.
161. Festus, s. Impluvium. Vitruv. vi.
3. 6.) In a passage of Suetonius (Aug.
92.), the whole of the open space,
or area surrounded by the colon-
nade, is designated the compluvium.
CONCEDES. A barricade made
of trees cut down and placed across a
road to impede the approach or pur-
suit of a hostile force. (Tac. Ann. i.
50. Veg. Mil iii. 22.) On the co-
lumns of Trajan and Antonine the
Roman, as well as barbarian, soldiers
are frequently represented in the act
of felling trees for this and similar
purposes.
CON'CHA (Kfyxn). Strictly, a
shell-fish, such as the muscle, pearl
oyster, or murex ; and, as various
household utensils were made out of
the shells of these fish, or in imitation
of them, the name is commonly given
to such objects ; as to a salt-cellar
(Hor. Sat i. 3. 14.) ; a drinking cup
( Juv. vi. 303.) ; a vase for unguents.
Hor. Od. ii. 7. 22. Juv. vi. 419.
2. The conch, or Triton's shell,
which they are frequently represented
by poets and ar-
tists as blowing in
place of a trumpet
(Plin. H.N. ix. 4.
Lucan, ix. 394.),
in which cases the
shell more closely
resembles the bu-
cina, as shown by
the annexed engraving from a terra-
cotta lamp.
CONCILIAB'ULUM. In a ge-
neral sense, any place of public re-
sort ; but more especially a rendez-
vous where the country people were
in the habit of meeting together at
stated intervals, for the purpose of
transacting business, holding markets,
and settling disputes, thus answer-
ing very nearly to our market and
assize-towns, and places where fairs
are appointed to be held. Festus, s.
v. Liv. vii. 15. Id. xxxiv. 1. and 56.
Id. *1. 37.
CONCLA'VE. A general name,
applied indiscriminately to any room
or apartment in a house which is not
a public passage room, but might be
locked with a key, whether a dining-
room, bed-room, &c. Festus, s. v.
Ter. Eun. iii. 5. 35. Id. Heaut. v. 1.
29. Cic. Rose. Am. 23. Id. Or. ii. 86.
Vitruv. vi. 3. 8.
CON'CREPO. See CREPITUS.
CONCUBI'NA. A female who
had contracted the peculiar sort of
alliance termed concubinatus. Cic.
Or. i. 40. Dig. 25. 7.
CONCUBINA'TUS. Properly,
an alliance between two persons of
different sexes, in the nature of a
marriage, which was not looked upon
as immoral or degrading amongst the
Romans, so long as each party re-
mained single, though it had none
of the legitimate consequences of a
proper marriage attached to it. It
usually occurred between persons of
unequal rank or condition, but who
still wished to live together, as be-
tween a senator and freed-woman ;
and, in effect, very closely resembled
the so called morganatic marriages of
crowned heads or princes with persons
of inferior rank, which, by the laws
of some countries, may be impolitic
or illegal, but not immoral. Becker,
Gallus. Ulp. Dig. 25. 7. 1. Ib. 48. 5. 13.
CONCUBI'NUS. A man who
contracts the alliance termed concu-
binatus with a female.- Catull. 61.
130. Quint, i. 2. 8.
CONDA'LIUM. A ring worn
on the first joint (condylus, KOV$V\OS)
of the fore-finger.
(Festus. s. Con-
dylus. Plaut. Trin. _
iv. 3. 7. and 15.) \
The commenta-
tors and lexicographers infer from the
cc 2
196
COND1TIVUM.
CONFARREAT10.
passage of Plautus (/. c.) that rings of
this description were peculiar to the
slave class ; but it does not appear that
the condalium, which Stasimus loses in
the play, was his own ; it might
surely have been his master's ; and
the one in our engraving is on the
right hand of a female in a bronze
statue discovered at Herculaneum.
There are, however, two statues in
the Vatican (Visconti, Mus. Pio
Clem. iii. 28. and 29.), both repre-
senting comic actors (one of them
certainly a slave), who wear similar
rings on the same joint of the fore-
finger, but on the left hand.
CONDITI'VUM. Seneca, Ep.
vi. Same as
CONDITO'RIUM. An under-
ground vault or burying-place (de-
scendit in conditorium. Pet. Sat. 111.
7. ), in which a corpse was deposited
in a coffin, without being reduced to
ashes (Plin. H.N. vii. 16.); a practice
prevalent amongst the Romans at the
two extreme periods of their history,
before the custom of burning had ob-
tained, and after it had been relin-
quished. This is the strict meaning
of the word, though it also occurs in
a more general sense for a monument
erected above ground (Plin. Ep. vi.
10. 5.) ; and in which cinerary urns
were also placed. The illustration
represents the section and plan of a
sepulchral chamber, excavated in the
rock which forms the base of the
Aventine hill, at a depth of forty feet
below the surface ; the centre shaft
formed a staircase for descending into
the sepulchre, which is a circular
chamber, having an external corridor
all round it, as shown by the ground-
plan in miniature at the left hand of
the upper part of the engraving. It
also contains niches for cinerary
urns, which may have been made at
a subsequent period.
2. (Aopj/a|). The chest or coffin in
which the dead body was encased,
when placed in the vault. (Suet.
Aug. 18. Plin. H. N. xxxvii. 7.)
The illustration represents the coffin
of L. Cornelius Scipio Barbatus,
which was discovered in an under-
ground sepulchre of the Cornelian
family on the Appian way. The
whole is carved in a grey-coloured
stone of volcanic formation (peperino)
with dentils, triglyphs, and rosettes
in the metopes ; the top slab takes
off as a lid ; and on the side is en-
graved the following epitaph, not
only curious as identifying for whom
the coffin was made, but as an au-
thentic specimen of early Latin ity.
CORNELIUS . LVCIVS . SCIPIO . BARBATUS . ONAIVOD . PATRB.
PROONATVS. FORTIS . VIR . SAPIBNSQVE . (JVOIVS . FORMA .
VIRTUTBI . FARISVMA .
FUIT . CONSOL . CENSOR . JEDILIS . (JUKI . FUIT . APUD . VOS .
TAVRASIA . CISAVNA .
SAMNIO . CEPIT . SVBIOIT . OMNE . LOVCANA . OPSIDESQUB .
ABDOVCIT.
3. A magazine in which military
engines were kept. Ammian. xviii.
9. 1.
CONDUS, or Promus Condus.
See PROMUS.
CON'DYLUS. Same as CONDA-
LIUM. Festus, s. v.
CONFARREA'TIO. One of the
three forms of contracting marriage
in use amongst the Romans ; believed
to have been the most ancient, as it
was the most solemn form, for it par-
CONFARREATUS.
CONOPEUM.
197
took of the nature of a religious cere-
mony, whereas the other two were
merely civil contracts. It was so-
lemnised in the presence of ten wit-
nesses, the high priest, and Flamen
Dialis ; was accompanied by prayers,
and the sacrifice of a sheep, the skin
of which was spread over the chairs
on which the bride and bridegroom
sat. The name obtained from a
custom belonging to it of carrying a
flour cake {far) before the bride as
she returned from the wedding. (Ar-
nob. iv. 140. Serv. ad Virg. Georg.
i. 31. Mn. iv. 374. Plin. H.N. xviii.
3.) An ancient marble, representing
this ceremony, is engraved and de-
scribed by Bartoli (Admirand. pi. 58.),
and by Lumisden {Antiquities of
Rome, appendix iii.) ; but the figures
are too numerous, and the details too
minute, to bear a reduction adapted
to these pages.
CONFARREA'TUS. One who
is married by the ceremony of con-
farreatio. Tac. Ann. iv. 16.
CONGIA'RIUM. A largess, or
donation, consisting of a number of
congii filled with wine, oil, salt, &c.
(Liv. xxv. 2. Plin. H. N. xiv. 17.
Ib. xxxi. 41.), which it was custom-
ary with the Roman kings, consuls,
and emperors to distribute amongst
the people at their own expense.
(Suet. Nero, 7. Plin. Paneg. 25.)
This is the original and strict mean-
ing of the term ; but in process of
time, donations of other things, even
money (Suet. Aug. 41.), were desig-
nated by the same name, as well as a
largess made to the soldiery (Cic.
Att. xvi. 8.), though the proper name
for that is donativum. The manner
of distributing these favours was as
follows ; the donor sat upon an ele-
vated tribunal (suggestum), which the
recipients approached one by one, and
were presented with a token (tessera),
upon which the amount to be received
was written, and made payable upon
presentment at the magazine of the
giver; as shown in the illustra-
tion, from a bas-relief on the arch of
Constantine at Rome ; or, in some
cases, the tokens were thrown down
promiscuously amongst the crowd to
be scrambled for, when they were
expressly called missilia.
CON'GIUS. A Roman liquid
measure, containing six sextarii, or
twelve hemincB (Rhemn. Fann. de
Pond, et Mens. ?0. Cato, R. R. 57.),
the form and character of which is
shown by the annexed engraving,
/MEIISVRAt. EXACT*
IN.CAPITOUO
g> A JS
from an original of the age of Vespa-
sian, now known as the Farnese
Congius. The large letters P. X.
stand for pondo decem.
CONISTE'RIUM (Koviarpa). An
apartment in the palaestra or gymna-
sium, the floor of which was covered
over with fine sand (/com), or in
which the bodies of the wrestlers
were rubbed over with sand after
being anointed. Vitruv. v. 11.
CONO PEUM or CONOPI'UM
(KuvuTrecav, or Kcavcaireiov). A musquito
net, suspended over a sleeping couch,
or over persons reposing out of doors,
to keep off the gnats and other trou-
blesome insects ; the use of which
198
CONQUIS1TOKES.
CONSTRATUM.
originated in Egypt. Hor. Epod. ix.
16. Prop. iii. 11, 45. Varro, P. R.
11. 10. 8. Juv. vi. 80., in which pas-
sage the penultimate is long.
CONQUISITO'RES. Press-
masters, or recruiting officers ; who
were appointed to go and seek out
certain citizens, selected by the consul
for conscripts, and compel them upon
his authority to take the military
oath, and enter the service ; whereas,
on common occasions, the citizens
presented themselves voluntarily to
be enrolled Cic. Mil. 25. Liv. xxi.
11. Hirt. B. Alex. 2. Compare Cic.
Prov. Cons. 2. Liv. xxiii. 32. xxv. 6.
CONSECRA'TIO (aVo0*m,
d(j>i4p<a<ns). The act of deification,
or canonisation ; by which cere-
mony a mortal was enrolled amongst
the gods, and admitted to a partici-
pation in divine honours, a distinction
usually conferred upon the Roman
Emperors, but unknown under the
republic. The chief part of this
ceremony was performed in the
Campus Martius, where a pyre of
faggots and rough wood was raised,
covered externally by an ornamental
design, resembling a tabernacle of
three or four stories, each of which
lessened as they got higher, and were
ornamented with statues, drapery,
and other decorations. In the se-
cond story, a splendid couch, with
a waxen image of the deceased lying
on it, was deposited, and surrounded
with all kinds of aromatic herbs.
The whole mass was then ignited
and an eagle let loose from the top
story, which was believed to carry
the soul up to heaven, as seen in the
subjoined wood-cut, from a bas-relief
on the arch of Titus, representing
the deification of that emperor. The
first wood-cut shows the tabernacle,
from a medal of Caracalla, which
bears the inscription CONSECRATIO as
a legend. Tac. Ann. xiii. 2. Suet.
Dom. 2. Herodian. iv. 2.
CONSTRA'TUM. In general,
any flooring made of planks : as, 1.
Constratum navis (Pet. Sat. 100.),
the deck of a ship, which is very
clearly expressed in the annexed
engraving, from a bas-relief on the
tomb of Munatius Plancus at Pom-
peii. 2. Constratum pontis (Liv.
xxx. 10. \ the flooring which affords
a gangway over a bridge of boats, as
in the annexed example, from the
Column of Antoninus, or over a
wooden bridge, as in the illustration
to PONS SUBLICIUS.
CONSUL.
CONTUS.
199
CONSUL (uTraros). A consul ;
one of the two chief magistrates an-
nually elected by the Roman people
during the republican period, and
nominally retained under the empire,
though with very different and limited
powers. The outward symbols of
their authority were the fasces, which
were carried before them by twelve
lictors ; an ivory sceptre (sceptrum
eburncum, or scipio eburneus), with
the image of an eagle on its top ; and
the embroidered toga (toga picta),
which, however, was only worn upon
certain occasions : their ordinary
civil costume being the toga and
tunica, with the latus clavus ; their
military one, the paludamentum. lorica,
and parazonium. Consequently, on
works of art, they are represented
without any very distinctive marks ;
either simply draped in the toga, or
in the same military costume as other
superior officers ; as on the consular
coins of Cn. Piso, and of Cinna, in
Spanheim, vol. ii. pp. 88. 91.
CONTABULA'TIO. The long
parallel folds in a loose garment, such
as the toga, palla,
pallium, &c., which
hang down from
the shoulders, and
present the appear-
ance of folding or
lapping over one
another, like a
boarding of planks
in a wooden build-
ing, as is plain-
ly demonstrated by
the lines at the back
of the annexed fi-
gure, from a fictile
vase. Apul. Met.
xi. p. 240. Compare Tertull. de Pall
5. and CORRUGIS.
CONTA'RII,andCONTA'TI
(KovTotyopoi). Soldiers armed with the
long pike styled contus. Inscript.
ap. Grut. 40. 2. and 3. Veget. Mil
iii. 6. Arrian. Tact. p. 15. See CON-
TUS, 3.
CONTIGNA'TIO. The wood-
work of beams and joists which sup-
ports the flooring in a building of
several stories (Vitruv. vi. 5. Pallad.
i. 9.); whence also used to designate
the floor or story itself. Cses. B. C.
ii. 9. Liv. xxi. 62.
CONTOMONOB'OLON. A
game in which feats of leaping were
displayed by men who made use of a
pole (contus) to assist their exertions.
Imp. Justin. Cod. 3. 43. 3. Com-
pare MONOBOIAJN.
CONTUBERNA'LES (o-^rmjvoi).
Comrades or mess-mates ; i. e. soldiers
who shared the same quarters, and
lived together under the same tent;
each tent being occupied by ten men,
with a subaltern (decanus), something
like our sergeant or corporal, at their
head. Festus. s. v. Veg. Mil ii. 8.
and 13. Cic. Liyar. 7. Hirt. Bell.
Alex. 16.
2. Young men of distinguished
families, who accompanied a general
in his military expeditions, for the
purpose of learning the art of war,
were also termed his contubernales,
or on his staff. Cic. Ccel 30. Suet.
Jul. 42.
3. Hence, in a more general sense,
any close or intimate friends and
acquaintances. Plin. Ep. iv. 27. 5.
4. Persons living together as man
and wife, without being legally mar-
ried ; as slaves, or a freedman and
a slave. Pet. Sat. 96- 7. Id. 57. 6.
Columell. i. 8. 5. Id. xii. 3. 7.
CONTUBER'NIUM (ow/njrfa).
A military tent in which ten soldiers
and their corporal (decanus, or caput
contubernii) are quartered together
(Cses. B. C. iii. 76. Tac. Hist. i.
43.) ; whence, in a more general
sense, any dwelling in which several
persons live together (Suet. Cal 10.
Tac. Hist. iii. 74.) ; and especially,
the abode of a pair of slaves, male
and female. Columell. xii. 1. 2.
CONTUS (icorrts). A long and
strong pole, shod with iron, employed
for punting ; i. e. for pushing on a
boat against the stream, instead of
rowing, like our punt-pole; as shown
200
CONUS.
CONVIVIUM.
in the annexed engraving, from the
very ancient mosaic pavement in the
temple of Preneste (now Palestrina).
Virg. JEn. vi. 302. Eurip. Alcest.
262.
2. A pole of similar character, em-
ployed on board ship (Virg. JEn. v.
208.) for various purposes; to keep
the vessel off the rocks or shore
(Horn. Od. ix. 487.); for taking
soundings (Festus. s. Percunctatio.
Donat. ad Terent. Hec. i. 2. 2.) ; and
similar uses. Every trireme was
furnished with three such poles, of
different sizes (Bockh. Urk. p. 125.);
and in the illustration at p. 91. (s.
BUCINATOR), one of the sailors is
observed to stand at the head of the
vessel, which is just about to enter
the port, with a contus in his hands.
3. A cavalry pike of very great
weight and length (Non. s. v. p. 555.
Arrian. Tact. p. 15., where it is
distinguished by juxta-position from
the lance, Atfyx 1 ?* lancea), and resem-
bling the Macedonian sarissa, ex-
cept that it was not quite so long.
(Veg. Mil. iii. 24.) It was the na-
tional weapon of the Sarmatians
(Tac. Ann. vi. 35. Stat. Achill. ii.
418. Sil. ItaL xv. 684.); though
occasionally adopted by the Greeks,
and some of the Roman cavalry (Ar-
rian. p. 16.); and was likewise em-
ployed by sportsmen in hunting wild
beasts. (Grat. Cyneg. 117.) The
length and strength of the weapon
in the illustration, which represents
Alexander at the battle of Issus,
from the great mosaic of Pompeii,
favours the belief that we have in it a
genuine specimen of the contus. It may-
be remarked that only one half of its
entire length is presented to the view,
as the portion behind the hand, which
is placed at the centre of gravity, has
perished, from the mutilation of the
original ; and, likewise, that it is
erroneously instanced as an example
of the sarissa, an arm which belonged
to the infantry, and was still more
ponderous.
CO'NUS (KWVOS). Generally, any-
thing of a conical figure ; whence, in
a more special sense :
1. The metallic ridge on the scull
piece of a helmet, to which the crest
was affixed (Plin. H.N. x. 1. Virg.
j?En. iii. 468.) ; for which the genuine
Latin word is APEX ; which see.
2. A particular kind of sundial;
from its designation, supposed to
have been described upon an eleva-
tion of conical form. Vitruv. ix. 8. 1.
CONVIVIUM (o-yi/Setwor, eo-n-
aorts). A feast, or banquet ; but at
regular and proper hours, and with-
out any implied notion of debauchery
or excess ; in which respect it differs
from comissatio, which was a pro-
tracted revel after the convimum.
Cic. Senect. 13. Id. Verr. ii. 4. 27.
Id. Offic. iii. 14.
COOPERCULUM.
COQUUS.
201
COOPER'CULUM. Same as
OPERCULUM.
COOPERTO'RIUM. Loose cloth-
ing, as a covering for animals, ob-
jects, or persons. Veg. Vet. iii. 77.
Scsev. Dig. 34. 2. 39.
CO'PA. A girl who frequents
the taverns, where she gains a liveli-
hood by dancing, singing, and play-
ing for the amusement of the com-
pany. Suet. Nero, 27. Virg. Copa, 1.
COPA'DIA. Delicacies for the
table, or dainties for gourmands.
Apic. vi. 1. vii. 6.
COPH'INUS (mtywos). A large
kind of basket or hamper, very gene-
rally employed in gardening and
husbandry (Columell. xi. 3. 51.), as
well as for other purposes. (Juv.
Sat. iii. 14. Id. vi. 542.) The illus-
tration annexed, which is copied
from an engraved gem, probably re-
presents a basket of this description ;
the flowers placed in it indicate its
use, and the size is declared by there
being two persons to support it.
COP'IS (/cdirts). A scimitar; a
sword with a convex edge (leniter
curvatus, Curt. viii. 14.), and, conse-
quently, better adapted for cutting
than thrusting. It was more espe-
cially peculiar to the Eastern nations
(Xen. Cyr. ii. 1. 9. vi. 2. 10.) ; and,
accordingly, the example here given
is lying on the ground beside a
wounded Phrygian, in a statue exca-
vated at Pompeii.
2. The hunting knife (culter vena-
torius), in consequence of its having a
convex edge (see the illustration s.
CULTER, 3.), is called by the same
name in Apuleius, Met. xi. p. 243.
COPO. See CAUPO.
COPO'NA. See CAUPONA.
COP'REA (Koirpias). A jester or
buffoon; a word first introduced
under the Roman emperors (Suet.
Tib. 61. Claud. 8. Dio Cass. xv.
28.) ; in whose palaces such charac-
ters were kept, like the kings' jesters
of the middle ages.
COFTA (/coirHj). A sort of hard
cake or biscuit, which would keep
for a long time, and might be trans-
mitted to great distances. The island
of Rhodes was famed for its manufac-
ture. Mart. xiv. 68.
COPTOPLACEN'TA (K<nrra*\a-
/cous). Same as the preceding. Pet.
Sat 40. Poet. Lat. Min. ap. Werns-
dorf. torn. ii. p. 234.
COP'ULA. A leash for coupling
sporting dogs, as in the example,
from a bas-relief, representing the
funeral of Meleager. Ov. Trist. v. 9.
2. A breast-collar attached to the
traces, by which draught horses or
mules drew their loads, as in the
example, from a painting at Hercu-
laneum, after Ginzrot. Apul. Met.
ix. p. 185.
COQUUS (pdyeipos). A cook
(Mart. xiv. 220. Liv. xxxix. 6.) ;
and in early times a maker of bread
D D
202
CORAX.
CORBITA.
(Festus, s. v. Plin. H. N. xviii. 280
It was not until u.c. 568., that the
baker's became a distinct trade at
Rome ; and previously to this period
each family ground their own flour,
the cook making and baking the
bread. (Plin. /. c.) The Greek /nd-
yetpos was also originally employed
in making bread for the family.
COR' AX (K6pa). A Greek word,
which occurs in a Latin form in
Vitruvius, but only as a translation
from Diades, who merely mentions it
as the name of one of the military
engines employed in the attack of
fortified places, observing, at the
same time, that it was very inefficient,
and not worth the trouble of de-
scribing. (Vitruv. x. 13. 8.) Po-
lybius also gives the same appellation
to an engine employed by the Romans
on board ship, and describes at length
the manner in which it was con-
structed and applied. Polyb. i. 22.
CORBIC'ULA. (Pallad. ii. 10.
6.) Diminutive of
COR'BIS. A basket of wicker-
work, made in a pyramidical or
conical shape (Varro,
L.L. v. 139. Id. R. R. i.
22. 1. Isidor. Orig. xx.
9. Compare Arrian. Anab.
v. 7. 8. TrA.e'7/Aa e/f Xvyov
Trupa/uoetSe's), and used for
a variety of agricultural
purposes, the particular application
being generally marked by a charac-
teristic epithet, as :
1. Corbis messoria ; a basket used
for measuring corn in the ear, as op-
posed to the modius, in which it was
measured after it had been threshed
out (Cic. Sext. 38. Cato, 7?. R. 136.) ;
or in which the ears of corn (ajricas)
were collected by the reaper, when
each ear was nicked off from the top
of .the stalk by a serrated instrument
Csee the illustration and description
s. Falx denticulata), instead of being
cut with the straw. Varro, R. R. i.
50. 1. Propert. iv. 11. 28. Ov. Met.
xiv. 643.
2. Corbis pabulatorius ; a basket
of the same character, which con-
tained a certain measure of green
food for cattle. Columell. vi. 3. 5.
Id. xi. 2. 99.
3. Corbis constricta ; a basket of
similar character, employed as a
muzzle for horses (Veget Mulom.
iii. 23. 2.), but here the reading is
doubtful ; Schneider has curcuma.
The example introduced above is
copied from a fresco painting in the
sepulchre of the Nasonian family on
the Flaminian Way, near Rome,
where it appears several times in the
hands of figures engaged in rural
occupations ; and is given as a genu-
ine specimen of the Roman corbis or
corbula, on account of the uses to
which it is there applied, its affinity
in form to the descriptions cited at
the head of this article, and because
a basket of exactly the same shape
and materials is now employed by
the Neapolitan peasantry for similar
purposes, and called by a diminutive
of the same name, la corbella.
COR'BITA (irXoiov fftrayuyov or
iyov). A merchantman ; but
more accurately, a ship employed
solely for the transport of corn, and
so termed, because it carried a
corbis at the mast-head. (Festus,
*. v.) These were large and heavy
sailing vessels (Plaut. Pan. iii. 1. 4.
Lucil. ap. Non. s. v. p. 533. Com-
pare Cic. Att. xvi. 6.), with two
masts, as proved by the annexed ex-
ample, from a medal of Commodus,
struck in commemoration of his
laving chartered a number of vessels
o bring corn to Rome from Africa
and Egypt, as narrated by Lam-
pridius in his life. The corbis is
CORBULA.
CORNU.
203
seen at the top of the main mast ;
and it may be remarked that the
modern name corvette originated in
this word.
C O R' B U L A. Diminutive of
CORBIS; a small basket employed
in fruit gathering (Cato, R. R. ii.
5. ) ; as a bread basket (Csecil. ap.
Non. s. v. p.' 197.) ; and for carrying
up dishes from the kitchen to the
dining room. Plaut. Aul. ii. 7. 4.
CORDAX (op5a|). A dance of
the old Greek comedy, at once highly
ridiculous, and so indecent that it was
considered a mark of drunkenness or
great want of self-respect to dance it
off the stage. (Pet. Sat. 52. 9. He-
sych. s. v. Aristoph. Nub. 540.) A
dance of this kind is represented on
a marble tazza in the Vatican (Vis-
conti, Mus. Pio-Clem. iv. 29.), where
it is performed by ten figures, five
Fauns, and five Bacchanals ; but their
movements, though extremely lively
and energetic, are not marked by any
particular indelicacy ; certainly not
so much as is exhibited in the Nea-
politan tarantella, which is thought
to preserve the vestiges of the Greek
cordax.
CORIA'RIUS. One who pre-
pares hides and skins ; a tanner or a
currier. Plin. H. N. xvii. 6. In-
script, ap. Grut. 648. 8. and 283. 1.
COR'NICEN (itepuTav\i)s or e-
A trumpeter ; i. e. who blows
the large circular horn called cornu,
as shown by the annexed illustration,
from the arch of Constantine at
Rome. Liv. ii. 64. Juv. x. 214.
CORNICULA'RIUS. Strictly, a
soldier who had been presented by
his general with the corniculum ;
whence the name was given as a title
to an assistant officer, or adjutant,
who acted for the consul or tribune ;
probably because the person so pro-
moted was always selected from
amongst those who had received the
above-named reward. Suet. Dom. 17.
Val. Max. vi. 1. 11.
2. Hence the word came also to
be applied in civil matters to a
clerk or secretary, who acted as
the assistant of a magistrate. Cod.
Theodos. 7. 4. 32.
CORNIC'ULUM. Diminutive of
CORNU, any small horn ; but, in a
more special sense, an ornament be-
stowed upon meritorious soldiers by
their commanding officer, as a mark
of distinction (Liv. x. 44.), supposed
to have been in the form of a horn,
and worn upon the helmet, either as
a support for the crest, like the left-
hand figure in the engraving an-
nexed, from a bas relief ; or affixed
to the sides, like the one on the
right, from a painting at Pompeii.
CORNU, CORNUS, or CORNUM
(/ce'pas), originally, an animal's horn ;
whence specially applied to various
other objects, either because they
were made of horn, or resembled
one in form ; for instance :
1. A horn lantern. Plaut. Amph.
i. 1. 188. See LATERNA.
2. An oil cruet, either made of
horn, or out of a horn. Hor. Sat.
ii. 2. 61.
3. A funnel made out of a horn.
(Virg. Georg. iii. 509.) See INFUN-
DIBULUH.
D D 2
204
COENU.
CORNU COPI2E.
4. A drinking-horn (Calpurn. Eel
x. 48. Plin. H. N. xi. 45.), origi-
nally made out of
a simple horn,
but subsequently
of different me-
tals modelled in-
to that form.
When drinking,
the horn was
held above the
head, and the liquor permitted to
flow from it into the mouth through
a small orifice at the sharp end, as
shown by the illustration, from a
painting at Pompeii.
5. An ornamental part of the hel-
met. (Liv. xxvii. 33. Virg. &n.
xii. 89.) See CORNICULUM.
6. ((rdA7ri7| arpoyyvX-ri). A very
large trumpet; originally made of
horn, but subsequently of bronze
(Varro, L. L. v. 117. Ovid. Met i.
98.), with a cross-bar, which served
the double purpose of keeping it in
shape, and of assisting the trumpeter
to hold it steady while in use, as
shown by the illustration s. CORNICEN.
The example is copied from the
Column of Trajan.
7. The horn of a lyre (testudo) ;
and as there were two
of these, one on each
side of the instru-
ment, the plural is
more appropriately
used. (Cic. N. D. ii.
59.) They were some-
times actually made
with the horns of cer-
tain animals, as of the
wild antelope (Herod,
iv. 192.), which appear to be repre-
sented in the annexed example, from
a painting at Pompeii.
8. A bow; in like manner made
with the horns of animals, joined to-
gether by a centre piece, as shown
by the annexed example, from a fic-
tile vase. In this sense both the
singular and plural are used. Ovid.
Met. v. 383. Virg. Eel x. 59. Suet.
Nero, 39.
9. The extreme ends of a yard-
arm, to which a square sail is at-
tached ; used in the plural, because
there were two of them. Virg. 2En.
iii. 549. Ib. v. 832.
10. Also in the plural. Orna-
ments affixed to each end of the
stick upon which an ancient book or
volume was rolled, in the same
manner as now practised for maps,
and projecting on either side be-
yond the margin of the roll. The
precise character of these horns is
not ascertained, nor in what respect
they differed from the umbilici; nor
have any appendages appearing to
correspond with the name been met
with amongst the numerous MSS.
discovered at Herculaneum. It is
clear, however (from Ov. Trist. i. 1.
8. and Tibull. iii. 3. 13.), that all
books were not decorated with them,
but only such as were fitted up with
more than ordinary taste and ele-
gance. As the cylinder to which the
horns were attached was fastened on
to the bottom of the roll, the expres-
sion ad cornua is used to signify the
end. Mart. xi. 107. Compare UM-
BILICUS.
CORNU CO'PI^E (/ce'pas 'A/*aA-
0efas). The horn of plenty ; a
symbol composed of the primitive
COROLLA.
CORONA.
205
drinking-horn (CORNU, 4.), filled
with corn and fruit, to indicate the
two kinds of nourish-
ment essential to man-
kind, whence commonly
employed by poets and
artists as a symbol of
Happiness, of Concord,
and of Fortune. (Plaut.
Pseud, ii. 3. 5. Compare
Hor. Epist. i. 12. 29.
Od. i. 17. 15. The ex-
ample is from a terra-
cotta lamp, where it accompanies an
image of Fortune.
COROL'LA (erre^/tr/cos). As a
general diminutive of CORONA, means
any kind of small chaplet or garland
(Prop. ii. 34. 59. Catull. 63. 66.);
but the word is used in a more
special sense to designate a wreath of
artificial flowers made out of thin
horn shavings, tinged with different
colours, to imitate the tints required,
and worn in the winter season. Plin.
H.N. xxi. 3.
COROLLA'RIUM. Also a di-
minutive from CORONA ; but more
specially applied to a light wreath
made of very thin leaves of metal
plated or gilt, which the Romans
used to give away as a present to
favourite actors. Plin. H. N. xxi. 3.
Varro, L. L. v. 178.
C O R O' N A (o-re'^ai/os, Kopwvis).
A wreath, garland, or chaplet, made
of real or artificial flowers, leaves,
&c., worn as an ornament upon the
head; but not as a crown in our
sense of the word, i. e. as an emblem
of royalty ; for amongst the ancients,
a diadem (diademd) occupied the
place of the modern crown. Of these
there were a great many varieties,
distinguished by the different mate-
rials or the designs in which they
were made, and chiefly employed as
rewards for public virtue, or orna-
ments for festive occasions. Under
these two divisions, the principal
coronce are enumerated in the follow-
ing paragraphs :
1. Corona triumphalis. The tri-
umphal crown ; of which there were
three several kinds. (1. ) A wreath of
laurel leaves without
the berries (Aul.
Gell. v. 6. 1. Plin.
H. N. xv. 3 9.), worn
by the general during
his triumph in the
manner shown by
the annexed bust of
Antoninus, from an
engraved gem. This
being esteemed the
most honourable of the three, was
expressly designated laurea insignis.
(Liv. vii. 13.) (2.) A crown of gold
made in imitation of laurel leaves,
which was held over the head of the
general during the triumph by a public
officer (servus publicus, Juv. x. 41.)
appointed for the purpose, and in the
manner shown by the illustration,
from a bas-relief on the Arch of
Titus, representing that emperor in
his triumphal car at the procession
for the conquest of Jerusalem, in
which a winged figure of Victory
poetically performs the part of the
public officer. (3.) A crown of gold,
and of considerable value, but merely
sent as a present to the general who
had obtained a triumph (Plut. Paul.
JEmil. 34.), from the different pro-
vinces, whence it is expressly called
provincialis. Tertull. Coron. Mil. 13.
2. Corona ovalis. A chaplet of
myrtle worn by a general who had
obtained the honour of an ovation.
Aul. Gell. v. 6. Festus, s. v.
3. Corona oleagina. A wreath of
olive leaves, which was conferred
upon the soldiery, as well as their
commanders, and was appropriated
206
CORONA.
as a reward for those through whose
counsels or instrumentality a triumph
had been obtained, though they were
not themselves present in the action.
Aul. Gell. v. 6.
4. Corona obsidionalis. A garland
of grass and wild flower ~s, whence also
termed graminea (Liv. vii. 37.),
gathered on the spot where a Roman
army had been besieged, and pre-
sented by that army to the com-
mander who had come to their relief,
and broken the siege. Though the
least in point of value, this was re-
garded as the most honourable of all
the military rewards, and the most
difficult to be obtained. Aul. Gell.
v. 6. Festus, s. v. Plin. xxii. 4.
5. Corona civica. The civic crown;
a chaplet of oak leaves with the acorns,
presented to the
Roman soldier
who had saved
the life of a com-
rade in battle,
and slain his op-
ponent. It was
originally pre-
sented by the
rescued comrade,
and latterly by the emperor. (Plin.
H. N. xvi. 3. Aul. Gell. v. 6. Tac.
Ann. xv. 12.) The illustration is
from a painting at Pompeii, repre-
senting a young warrior with the civic
wreath.
6. Corona muralis. The mural
crown; decorated with the towers
and turrets of a
battlement, and
given as a re-
ward of valour
to the soldier
who was first in
scaling the walls
of a besieged city.
(Liv. xxvi. 48.
Aul. Gell. v. 6.)
The character of this crown is known
from the representations of the god-
dess Cybele, to whom it was ascribed
by poets and artists, in order to typify
the cities of the earth over which she
presided. (Lucret. ii. 607 610. Ov.
Fast. iv. 219.) The example is from
a bas-relief found in a sepulchre near
Rome.
7. Corona castrensis, or vallaris.
A crown of gold, ornamented with
palisades (vallum}, and bestowed upon
the soldier who first surmounted
the stockade, and forced an entrance
into an enemy's camp. (Aul. Gell.
v. 6. Val. Max. i. 8. 6.) Of this no
authentic specimen exists.
8. Corona classica, navalis, or ros-
trata. A chaplet of gold designed
to imitate the
beaks of ships
(j'ostra), and
presented to the
admiral who had
destroyed a hos-
tile fleet, and,
perhaps, also to
the sailor who
was the first to
board an ene-
my's vessel. (Paterc. ii. 81. Virg.
y2?n. viii. 684. Plin. H. N. xvi. 3.
and 4. Aul. Gell. v. 6.) It is repre-
sented in the annexed wood-cut, on
the head of Agrippa, from a bronze
medal.
9. Corona radiata. The radiated
crown; set round with projecting
rays, and pro-
perly assigned
to the gods or
deified heroes ;
whence it was
generally as-
sumed by the
Roman empe-
rors, and by
some other per-
sons who affected the attributes of
divinity. (Stat. Theb. 1. 28.) Its
character is shown in the annexed
illustration, on the head of Augustus,
from one of the Marlborough gems.
10. Corona pactilis, plectilis, or
plexilis. A festive garland worn
merely as an ornament round the
head, and composed of natural
flowers with their leaves adhering to
CORONA.
207
the stalks, by which they were twisted
and twined toge-
gether, as in the
annexed illustra-
tion, representing
a personification
of Spring, from a
marble bas-relief.
Plin. H. N. xxi.
8. Aul. Gell. xviii. 2. Plaut. Bacch.
1. 1. 37.
11. Corona sutilis. An ornamental
garland for the head, made of flow-
ers plucked from
their stalks, and
sewed together.
It was the one
worn by the Salii
at their festivals ;
and was original-
ly composed of
flowers of any
description, but
subsequently of
the rose alone, the choicest leaves
being selected from each blossom,
and then sewn together. (Plin.
H. N. xxi. 8.) It is represented in
the annexed engraving, on the head
of a Roman empress, from an en-
graved gem.
12. Corona natalitia. A wreath
of laurel, ivy, or parsley, which the
Romans were in the custom of sus-
pending over the door of a house in
which a birth had taken place, in the
same way as the natives of Holland
put up a rosette of lace upon similar
occasions. Bartholin. de Puerp. p.
127. Compare Juv. Sat. ix. 85.
13. Corona longa (vTro6v/u.ls, VTTO-
6v /Aids'). A long
wreath or festoon
of flowers hung
over the neck and
chest, in the same
way as the ro-
sary, of which it
was the probable
original, the ro-
sary being still
called "la corona"
by the modern
Italians ; but, amongst the Greeks and
Romans, it appears to have been more
particularly employed as a festive
decoration, and was used to ornament
buildings as well as persons. (Ovid.
Fast. iv. 738. Cic. Leg. ii. 24.) The
illustration is from an ivory carving
in the Florentine Gallery, supposed
to represent M. Antony in the cos-
tume of a follower of Bacchus, and
resembles exactly the description
which Cicero gives of Verres, with a
chaplet on his head, and a garland
round his neck ipse autem coronam
habebat unam in capite, alteram in
collo. Verr. ii. 5. 11.
14. A cornice, or projecting mem-
ber, used to decorate walls, either as
a finish on the top (see the next il-
lustration), or for the purpose of
making ornamental divisions on any
part of the surface. Vitruv. v. 2.
Id. vii. 3. 4. Plin. H. N. xxxvi. 59.
15. A particular member of the
cornice which crowns an entablature
under the roof, still called by our
architects the corona. It is that par-
ticular member which has a broad
flat face situated between the cyma
recta above, and the cymatium, or bed
moulding, below, from which it has
a bold projection. (Vitruv. iv. 3. 6.)
The Roman architects, unlike ours,
do not appear to have appropriated
any distinct word to express collec-
tively all the members of which a
cornice is composed ; consequently,
they did not regard the cornice as
an entire portion of an entablature,
but as several distinct members,
which are always enumerated sepa-
rately : viz. the sima ; cymatium in
208
CORONARIA.
CORTINA.
corona ; cymatium in imo,
Hesychius, however, uses the Greek
Kopwvis in a collective sense, as equi-
valent to our cornice.
CORONA'RIA. A female who
makes garlands and chaplets. Plin.
H.N. xxi. 3. See next illustration.
CORONA'RIUS ((rr0owprA<feos,
ffT*<$>a.voTT<a\f)s). One who makes and
sells garlands, wreaths, chaplets, or
crowns, of real or artificial flowers.
(Front, ad M. Cses. Ep. i. 6. Plin.
H.N. xxxiv. 26.) The illustration
is from a Pompeian painting, and
represents male and female genii en-
gaged in this operation.
2. Aurum coronarium. A sum of
gold sent by the provinces to a com-
mander, for making a golden tri-
umphal crown. (Cic. Pis. 37.) See
CORONA, 1. (3.).
3- Opus coronarium. Stucco-work
employed in the decoration of cor-
nices. Vitruv. vii. 6. CORONA, 14.
and 15.
CORONA'TUS (
Wearing a wreath, chaplet, or crown.
See the illustrations to CORONA.
2. Also, decorated with garlands
or festoons ; applied to things, as
to ships (Ov. Fast. iv. 335.) ; to
altars (Prop. iii. 10. 19.) ; to cattle
(Prop. iii. 1. 10. Id. iv. 1. 21.).
CORRIG'IA (fc&, ffQcupurtp).
A shoe-string and boot-lace (Cic. Div.
ii. 40.) ; which were sometimes made
of dog's skin. (Plin. H.N. xxx.
12.) The examples are from Pom-
peian paintings.
CORRU'GIS. Literally wrinkled;
but it is applied to the plaits of a
loose garment (sinus corrugis, Nemes.
Cyneg. 93.), produced by tieing a
girdle round it (see the figures in
the opposite column ; or to the ir-
regular and transverse folds created
by throwing up a portion over the
shoulder, instead of leaving it pen-
dant, as seen on the right side of the
figure s. CONTABULATIO.
CORS^E. Fillets or mouldings
employed to decorate the external
face of a marble door-post. (Vitruv.
iv. 6.) See the illustration s. ANTE-
PAGMENTUM.
CORTFNA. A deep circular
vessel, or caldron, employed for boil-
ing meat, melting
pitch (Plin. H.N.
xvi. 22. ), making
paint (Id. xxxv.
42.), and a vari-
ety of other pur-
poses, for which
its form and cha-
racter rendered it convenient, and
which, when placed over the fire,
was either raised upon a trivet, or
supported upon large stones put
under it. (Plin. H.N. xxxvi. 65.)
The example is copied from a bronze
original found at Pompeii.
2. (oA^ios, K&cAos, tiri6fi(j.a. TOV rpi-
iroSos). The lid or covering placed
over the caldron
or hollow part of
the Delphic tri-
pod (Virg. JEn.
vi. 347. Prudent.
Apoih. 506. tripo-
das cortina tegit,
Jul. Pollux, x.
81.), upon which
the priestess sat
to receive the di-
vine afflatus, and pronounce her re-
sponses. It had the form of a half
globe, and is frequently represented
CORTINALE.
CORYMBUS.
209
in that manner by sculptors, lying
by itself upon the ground at the feet
of Apollo ; but when placed upon the
caldron, the two together made a
complete globe ; as shown in the il-
lustration, from a bas-relief upon an
altar in the Villa Borghese. In the
original, the raven, sacred to Apollo,
is sitting on its top ; in one of Hamil-
ton's vases, Apollo himself is seen
sitting upon the cup, without any lid,
and in another, upon a lid like the
present.
3. An altar in the form of a tripod,
made of marble, bronze, or
the precious metals, often
intended to be dedicated as
an offering in the temples
of the gods, and likewise
preserved as a piece of or-
namental furniture in the
houses of great and wealthy
persons. (Plin. H. N.
xxxiv. 8. Suet. Aug. 52.
Compare Mart. xii. 66.)
The illustration is from an original
of marble in the Vatican.
4. The vault or ceiling over the
stage in a theatre, from its resem-
blance to the covering of the tripod,
No. 2. Sever. Mtn. 294.
CORTINA'LE. A cellar in
which new-made wine was boiled
down in caldrons (cortince). Colu-
mell. i. 6. 19.
CORTIN'ULA. Diminutive of
CORTINA. Ammian. xxix. 1.
CORVUS (>opa|). The name
given to several machines employed
in naval and military operations, and
in the attack or defence of fortified
places ; each of which was so called
either from its resemblance in form
to the raven's beak, or from the man-
ner of its application, like the raven
darting down, and carrying off its
prey ; consequently, the word may
be translated a crane, a grappling-iron,
a crow-bar, as best suits the context
in the passages where it occurs.
Quint. Curt. iv. 2. Id. iv. 4. Vitruv.
x. 19.
2. A cutting instrument used in
surgical operations, because the blade
was shaped like a raven's beak. Cel-
sus, vii. 19.
CORYC^'UM. An apartment
in the gymnasium, and in large
bathing establishments, such as the
Roman Thermaj, appropriated for
playing a particular kind of game,
which consisted in buffetting back-
wards and forwards a large sack
(itcapvKos'), filled with fig grains, olive
husks, bran, or sand, suspended from
the ceiling. Anthyll. ap. Oribas. Coll.
Med. 6. Vitruv. v. 11.
CORYM'BIUM. A wig of false
hair, dressed in imitation of the co-
rymbus (Pet. Sat. 110. 1. and 5.),
a fashion which is explained in the
next article, No. 2.
CORYM'BUS (ripvpSos). A
bunch of ivy berries, and likewise of
other kinds of fruit which grow in the
same conical- shaped clusters; after-
wards, a wreath or chaplet made with
the leaves and clusters of the ivy, which
the ancients used as a festive orna-
ment on many oc-
casions, but espe-
cially as an appro-
priate decoration
for Bacchus and
his followers, as in
the annexed illus-
tration, from a
marble bust, sup-
posed to represent
Ariadne. Tibull. i.
30. 39. Juv. vi. 52.
2. A peculiar manner of arrang-
ing the hair, more especially cha-
racteristic of the
early population of
Athens (Heraclid.
ap. Athen. xii. 5.
Compare CROBY-
LUS), and of the
female sex amongst
them. (Schol. ad
Thucyd. i. 6.) It
was produced by
turning the hair
backwards all round the head, and
drawing it up to a point at the top,
45. Prop. ii.
210
CORYTUS.
COTHURNUS.
where it was tied with a band, so
as to have a sort of resemblance in
general form to a cluster of ivy ber-
ries, as shown by the example, from
a bas-relief in Greek marble. When
the hair was too long or too abundant
to be tied thus simply, it was fastened
in a double bow across the top of the
head, as in the well-known statue of
Apollo Belvedere, and a bust of Diana
in the British Museum. In Cicero
(JEp. Att. xiv. 3.) Corymbus is a
proper name, arising out of the cus-
tom of arranging the hair in the man-
ner described. Ernesti, Clav. Cic. s. v.
3. The elevated ornament on the
stern of a ship (Val. Flacc. i. 272.) ;
for which the special name is APLUS-
TRE ; which see.
CORY'TUS (TWPVTO'S). Properly,
and accurately a bow- case (Serv. ad
Virg. Mn. x. 168.),
as contradistinguished
from the quiver for
arrows (pharetra) ; al-
though the same case
was sometimes used
to carry both the bow
and arrows, when it is
distinguished by a
characteristic epithet
(sagittiferi coryti, Sil.
Ital. xv. 773.). An example of both
kinds is given in the engraving, the
simple bow-case from a fictile vase,
the one containing the bow and ar-
rows from an engraved gem.
COS (O/C^TJ). A hone, whetstone,
or grindstone ; worked with water and
oil (Plin. H. N. xxxvi. 47.), and by
engraved gem, represents Cupid
sharpening his arrows on a grind-
stone, exactly as described by Horace
(Od. ii. 8. 15. ardentes acuens sagittas
Cote cruenta.
C O S M E' T JE. Ladies' maids ;
slaves whose duty it was to attend
the toilet of the Roman ladies, and
assist in dressing and adorning their
mistresses. Juv. Sat. vi. 477. Hein-
dorf. ad Hor. Sat. i. 2. 98.
COTHURNATUS. Wearing the
cothurnus, as explained and illustrated
in the next word.
COTHUR'NUS ( K 6eopvos). A
high boot of Greek original, usually
worn by huntsmen, and persons ad-
dicted to the sports of the field. It
was a leather boot, enveloping the
entire foot (whence cothurno calceatus,
Plin. H. N. vii. 19.) and leg as far as
the same sort of machinery as now
employed. The illustration, from an
the calf (Serv. ad Virg. JEn. i. 337.
Herod, vi. 125.), was laced up the
front, and turned over with a fall
down at the top, besides possessing
the characteristic peculiarity of not
being made right and left, as the foot
coverings of the ancients usually
were, but with a straight sole (solo
perpetuo, Sidon. Apoll. Carm. ii.
400.), so that each boot could be
worn indifferently on either foot
(utroque aptus pedi, Serv. ad Virg.
Bucol. vii. 32.) ; hence the frequent
application of the word in the sin-
gular, whilst the calcei and other
coverings made in pairs mostly occur
in the plural. All these peculiarities
are distinctly apparent in the illustra-
tion, representing on a larger scale
the boots worn by the fowler ex-
hibited at p. 67. *. AUCEPS.
2. A boot of the same description,
COTHURNUS.
COVINUS.
211
but more elaborately ornamented, j
and commonly translated buskin, is
occasionally assigned by the Greek
artists to some
of their divinities,
especially to Di-
ana, Bacchus, and
Mercury ; and
by the Romans,
in like manner,
to the goddess
Roma, and to their emperors, as a
sign of divinity. Thus they were
assumed by M. Antony, when he
affected the character and attributes
of Bacchus (Veil. Pat. ii. 82.) ; but
they were not worn by the Roman as
a part of his ordinary costume ; for
Cicero (Phil. iii. 6.) reproaches the
insolence of one Tuditanus who ap-
peared in public cum palla et co-
thurnis. The illustration affords a
specimen of a cothurnus of this nature,
from a marble figure of the goddess
Roma.
3. The Roman poets also make
use of the word cothurnus, as a trans-
lation of the Greek ev5po/j.is (see EN-
DROMIS, 3.). In this manner it is
applied by Virgil (&n. i. 341.), Ne-
mesian (Cyneg. 90.), and Sidonius
Apollinaris (Carm. ii. 400.), which
last passage minutely describes the
ei/Spo/m, but not the cothurnus.
4. A boot worn by tragic actors on
the stage (Virg. Eel. viii. 10. Ser-
vius ad /.), hav-
ing a cork sole
several inches
thick, for the
purpose of in-
creasing their
stature (compare
Juv. Sat. vi.
633.), and giving
them a more im-
posing appear-
ance ; whence the
word also came to
signify a grand
and dignified
style. It was in order to conceal the
unsightly appearance of such a chaus-
sure, that the tragic actors always
wore long robes reaching to the
ground, as seen in the illustration
annexed, from a marble bas-relief of
the Villa Albani, representing a com-
pany of stage-players, though here
the artist has left the cothurni un-
covered, in order to identify the
character of the actor.
C OTIC' U LA. Diminutive of
Cos , a touch-stone for assaying gold
and silver. Plin. H. N. xxxiii. 43.
2. A small mortar, made of the
same hard kind of stone as that used
for hones and grindstones. Plin.
H. N. xxxi. 45. Id. xxxvii. 54. Isi-
dor. Orig. iv. 11.
COTT'ABUS (/co'TTaSoy). A
game of Sicilian origin, and a very
favourite after-dinner amusement
amongst the young men of Athens.
It was played in various ways,
more or less complicated ; but the
simple and ordinary manner con-
sisted in casting the heel-tap of a
wine cup into a large metal vessel, or
upon the floor, whilst the player
affected to discover the sincerity of
his mistress's affections by the par-
ticular sound of the splash produced
by the wine in its fall; hence the
word is applied to sounds of a similar
kind, but produced by other means,
as the lash of a whip. Plaut. Trin.
iv. 3. 4.
COT'UL A or COT'YLA (Wtor?).
A small measure of capacity, con-
taining the half of a sextarius. (Mart.
Ep. viii. 71.) It was especially em-
ployed by medical practitioners, and
had a graduated scale marked upon
the sides, like those used by our
apothecaries, dividing it into twelve
equal parts, each of which was termed
an uncia, ! oz.
COVINA'RIUS. One who fights
from a war-car of the kind called
covinus. Tac. Agr. 35. and 36.
COVI'NUS. A war-car employed
by the Belgae and ancient Britons,
the precise character of which is not
ascertained, beyond the fact that it
was armed with scythes, and pro-
E E 2
212
CRATER.
CREAGRA.
bably had a covering over head.
Mela, iii. 6. Lucan. i. 426. Sil. Ital.
xvii. 417.
2. A travelling carriage adopted
by the later Romans, after the model
of the Belgian car ; and which, from
a passage of Martial (Ep. xii. 24.), it
is inferred, was driven by the owner,
who sat inside, and not by a coach-
man. In the same passage, it is also
distinguished from the carruca and
essedum, but without any particulars.
CRA'TER (/c/>aTT?p). A capacious
bowl or vessel, containing wine and
water mixed together, out of which
the drinking goblets were filled, and
handed round to each individual at
table ; for the ancients seldom drank
their wine neat. (Non. s. v. p. 545.
Ovid. Fast. v. 522. Virg. ;En. i.
728.) It was made of various mate-
rials, from earthenware up to the
precious metals ; and in different
forms, according to the taste of the
designer, but always with a wide
open mouth, as in the example, from
a bronze original discovered at Pom-
peii. At meal time it was brought
into the eating-room, and placed upon
the ground, or on a stand, and the
cup-bearer (pinccrna, pocillator) took
the mixed liquor from it with a ladle
(cyathus), out of which he replenished
the cups (pocula, calices, &c.), and
handed them to the guests. In the
representations of Greek banquets
(see the examples quoted s. COMIS-
SATIO), the crater is placed upon the
ground in front of the tables ; in an
ivory carving of a Bacchanalian
scene (Buonarotti, Med. p. 451.), it
stands likewise upon the ground,
while a winged genius pours the
wine into it from an amphora ; and
in a marble bas-relief, representing a
similar subject (Bartoli, Adm. p.
45.), a Faun fills it in like manner
from a wine skin (uter).
2. The crater of a volcanic moun-
tain (Plin. H.N. iii. 14. Lucret. vi.
702.); which is produced by the
cinders and other matters discharged
into the air from the mouth of the
volcano, falling down again all round
the top, when they naturally form a
deep circular basin, through which
the eruption finds its vent.
CRA'TES (raptnk). Our crate;
a stand, frame, or basket, made with
hurdles, or like a hurdle ; also a hur-
dle itself; all of which were employed
by the ancients in many different
ways, as the same objects still are
amongst ourselves. Varro, Cato,
Columell. Virg. Hor. Cses. &c.
2. Same as CARNARIUM. Juven.
xi. 82.
3. Sub crate necari. To be ex-
ecuted under the hurdle ; an unusual
method of punishment, sometimes
adopted by the Romans (Liv. i. 51.
Id. iv. 50.), in which the condemned
was laid under a hurdle, and crushed
by a weight of stones thrown upon it.
Plaut. Poen. v. 2. 65.
CRATIC'IUS. Made with hur-
dles, or hurdle-wise. See PARIES, 1.
CRATI'CULA (Trffrlov). Dimin-
utive of CRATES ; whence, in a more
special sense, a gridiron. (Cato,
R. R. 13. 2. Mart. Ep. xiv. 221.)
The example is taken from an ori-
ginal of bronze found in a tomb at
Psestum, but without the handle,
which is restored in the engraving,
from a similar specimen painted in a
sepulchre of the Christian era on the
Via Tiburtina.
CREAG'RA (icpedypa). A Greek
word Latinized (Marc. Cap.), for
CREM1UM.
CREP1DO.
213
which the proper Latin term is HAR-
PAOO ; which see.
CREM'IUM (Qptywov). Small
wood, or underwood, for burning ; es-
pecially employed in bakers' ovens.
Columell. xii. 19. 3. Ulp. Dig. 32. 35.
CREPIC'ULUM, CREPID'-
ULUM, or CREPIT'ULUM. An
ornament for the head worn by fe-
males, supposed to have acquired its
name from the jingling sound it made
with every motion of the wearer ;
but nothing definite is known respect-
ing it, and the readings are doubtful.
Festus, *. v. Tertull. de Pali. 4.
C RE FID A OprjTrk). Usually
translated a slipper, which gives a
very imper-
fect, as well
as incorrect,
notion of the
word. The
crepida con-
sisted of a thick sole welted on to a
low piece of leather, which only
covered the side of the foot, but had
a number of eyes (ansce) on its upper
edge, through which a flat thong
(amentum} was passed to bind it on
the foot, as in the preceding wood-
cut from a Greek marble ; or some-
times loops (ansce) only were welted
to the sole, as in the annexed exam-
ple, also from
a Greek sta-
tue, through
which the a-
mentum was
interlaced, in
different and
fanciful patterns, across the instep,
and as high as the ankle. It was
properly characteristic of the Greek
national costume, was adopted by
both sexes, and considered the proper
chaussure to be worn with the pallium,
and with the chlamys; consequently,
on the fictile vases and other works of
art, when figures are clad in the
above-named garments, and not bare-
footed, as in the heroic style, their
feet are commonly protected by cover-
ings of a similar description to those
introduced above. Hor. Sat. i. 3.
127. Pers. i. 127. Liv. xxix. 19.
Suet. Tib. 13. Aul. Gell. xiii. 21. 3.
2. Crepida carbatina. See CAR-
BATINA.
CREPIDA'RIUS. One who fol-
lowed the trade of making crepida.
Aul. Gell. xiii. 21.
CREPIDA'TUS. Wearing shoes
of the kind called crepidce ; properly
characteristic of the Greeks, and used
with the chlamys or the pallium.
(Cic. Pis. 38. Suet. Dom. 4. CRE-
PIDA.) The well-known statue of
the Belvedere Apollo, which has the
chlamys on its left arm, will furnish
an example.
CREPID'ULA. Diminutive of
CREPIDA ; whence especially applied
to those worn by females. Plaut.
Pers. iv. 2. 3.
CREPI'DO (K/wjwfe). Any raised
basement upon which other things
are built or supported, as of a temple,
altar, obelisk, &c. Plin. H.N. xxxvi.
14. Compare Cic. Or at. 67.
2. A wall built as a margin or
embankment along the side of a
river, port, or basin of water, to form
a quay, against which ships were
moored, and passengers or merchan-
dise landed or embarked. Cic. Verr.
ii. 5. 7. Quint. Curt. iv. 5. Id. v. 1.
3. The trottoir, or raised causeway
for foot passengers on the side of a
Roman road or street. (Juv. v. 8.
Pet. Sat. 9. 2. ) The illustration re-
presents a street, with its road-way
and foot-pavement, in the city of
Pompeii.
4. In architecture, the projecting
214
CREPITACULUM.
CREPUNDIA.
members of a cornice, or other orna-
ments in a building.
CREPITAC'ULUM. A little
rattle, with bells attached,
to make a jingling sound ;
especially, a child's rattle.
(Quint, ix. 4. 66. Capell. i. 4.
Compare Lucret. v. 230.
where the diminutive, cre-
pitacillum, is used.) The
example represents an ori-
ginal found at Pompeii.
2. Martial (Ep. xiv. 54.), and
Apuleius (Met. xi. p. 240.), give the
same designation to the Egyptian sis-
trum, which was only another kind
of rattle ; see that word and the il-
lustration.
C RE FIT US, sc. digitorum; or
concrepare digitis. A snapping of the
senting a drunken Faun, from a statue
j found at Herculaneum, as it were in
the act of exclaiming, " Eat, drink,
and be merry ; all else is not worth
this snap of the fingers."
CREPUN'DIA (cnrdpyova). Chil-
dren's playthings; consisting of a
variety of miniature objects, such as
rattles, dolls, little swords, hatchets,
&c. , and other toys similar to those
given to children at the present
day. But the Greeks and Romans
also included under the same name
little tokens of the same description
which they used to tie round their
children's necks (Plaut. Mil v. 6.) for
ornaments, or amulets, and also to
serve as a means of recognition for
those who were exposed, or put out
to nurse. (Plaut. Cist. iv. 1. 13.
fingers by pressing the tip of the
thumb (hence pollex argutus, Mart,
vi. 89.) firmly against the middle
finger, a gesture employed by the
ancients for making a sign to attract
observation (Cic. Agr. ii. 30.) ; par-
ticularly as a summons to their slaves
(Pet. Sat. 27. 5. Mart. Ep. xiv. 19.
Id. iii. 82.) ; and, in general, as a
mark of contemptuous indifference ;
which latter expression is implied by
the figure in the engraving, repre-
Cic. Brut. 91. Soph. (Ed. T. 1035.)
Several of these are enumerated by
Plautus (Hud. iv. 4. 111126. Ep.
v. i. 34 ), and are seen round the
neck of a child in a statue of the Pio-
Clementine Museum, copied in the
preceding engraving, of the same
character as he mentions : viz. a
half moon (lunula), on the top of the
right shoulder ; then a double axe
(securicula ancipes) ; next a bucket
(situla argenteola) ; a sort of flower,
not mentioned ; a little sword (ensi-
culus aureolus) ; a little hand (mani-
cula} ; then another half-moon ; a
dolphin, instead of the little sow
(sucula) mentioned by Plautus ; with
a recurrence of the same objects.
CRETA.
CRISTA.
215
CRE'TA. The same as CALX and
LINEA ALBA. Plin. H. N. viii. 65.
CRIBELLUM (W/aW/). Di-
minutive of
CRFBRUM (KoffKivov). A sieve;
made of parchment perforated with
holes, or of horse-
hair, thread, papy-
rus, or rushes, in-
terwoven, so as to
leave interstices
between each plat.
The Romans sifted
their flour through
two kinds of
sieves, called respectively excussoria
and pollinaria, the latter of which
gave the finest flour, termed pollen.
Sieves of horse-hair were first made
by the Gauls ; those of linen by the
Spaniards ; and of papyrus and
rushes by the Egyptians. (Plin.
H. N. xviii. 28. Cato, R. R. 76. 3.
Pers. Sat. 3. 112.) The example is
from a bas-relief on the Column of
Trajan.
CRINA'LE. A large comb of
convex form (curvum, Ovid. Met. v.
52.), made to fit
the back of the
head, where it was
placed to keep the
back hair close
down to the head,
as shown by the
annexed engrav-
ing, from a small
bronze figure, re-
presenting one of the Sabine women
in the arms of a Roman soldier. |
(Guasco, delle Ornatrici, p. 69.) It
will be understood that the long ends
of the hair have fallen from their
place by the violence of the struggle
in which the figures had been en-
gaged ; and it may be remarked, that
the women of Rome and its neigh-
bourhood still wear a comb of the
same kind, which they call " lo
spicciatojo."
CRI'NIS (VI)- Any hair ; then
especially the hair of the head ; more
particularly implying a head of hair
in its natural state and growth ; i. e.
not cut, nor artificially dressed.
Hence, crinis passus, dishevelled hair,
which is left to hang down to its full
length, as was usual with the women
of antiquity when afflicted with any
great calamity (Liv. i. 13. and see
the illustration s. PRJSFIC.E) ; crinis
sparsus, hair which streams wildly
from the head, characteristic of per-
sons under violent exertions, or pos-
sessed by any furious passion or
impulse. Ovid. Met. i. 542. and the
illustration s. BACCHA.
CRINI'TUS. Having long and
flowing hair, which is suffered to
hang down at its natural length, such
as the figures introduced s. ACERSE-
COMES and CAMILLUS. Ennius ap.
Cic. Acad. ii. 28. Mart. Ep. xii. 49.
CRISTA (Ao>os). The crest of a
helmet; which was affixed to an ele-
vated ridge (apex) on the top of the
scull-cap. (Virg. yE"w. xii, 89. Liv.
x. 39. Plin. H. N. vii. 57.) Both the
apex and crista are often included
under the latter term ; but the real
difference between the two words is
that given. The illustration here
introduced affords an example of
three Roman helmets, with their
crests composed of feathers, from a
group originally belonging to the
Arch of Trajan, but now inserted
on the Arch of Constantine, near
the Coliseum. The Greek crests
were more usually made of horse-
hair, with the entire tail falling
down behind, as a protection to the
nape of the neck and back, like the
left-hand figure in the following en-
graving, from a fictile vase ; and
216
CRISTATUS.
CROTALIUM.
they sometimes added as many as
three crests to one helmet, like the
right-hand figure in the engraving,
from a statue of Minerva.
CRISTA'TUS. Applied to hel-
mets, distinguishes those which were
fitted with a crest (crista) from the
mere scull-cap (cudo}, which had
neither ridge-piece nor crest. (Liv.
ix. 40. Ovid. Met. viii. 25.) Com-
pare the preceding wood-cuts with
the illustration to CUDO.
CRO'BYLUS OpcoguAos or KP&-
SuAos). Designates a particular
manner of arranging the hair, which
was characteristic of the earliest in-
habitants of Athens (Thucyd. i. 6.),
and some uncivilized nations (cro-
bylos barbarorum, Tertull. Virg. Ve-
land. 10.). It was effected by draw-
ing back the
hair from the
roots all round
the head, and
fastening it in
a knot, or with
a tie at the
top ; and the
same fashion
prevailed . a-
mongst both sexes of the Greeks :
but the term crobylus had an especial
reference to the men ; corymbus, on
the contrary, to the women. (Schol.
ad Thucyd. Ac.) Yet Thucydides
and Heraclides of Pontus (ap. Athen.
xii. 5.) use the two words Kpiav\os
and Kopv/jLos as convertible terms,
and both descriptive of the male ad-
justment. It is, moreover, an un-
founded statement to say, as some of
the interpreters have done, that the
fashion was peculiar to " elderly per-
sons." Thucydides, in narrating the
progress of the Greeks towards
civilization in dress and manners,
remarks that certain antiquated
customs, and amongst them that
of the crobylus, had but lately been
given up by some of the old peo-
ple. But age is always the most
averse to change, and the last to
adopt new fashions ; and many will
remember a similar instance in mo-
dern Europe to that mentioned by
Thucydides, where some few of the
oldest people continued to wear their
pig-tails long after they had been
generally laid aside by the younger
portion of the community. Besides,
the Greek artists frequently give a
coiffure of this kind to Apollo, Bac-
chus, and youthful persons, as in our
example, from a bronze figure of a
boy discovered at Herculaneum. The
precise set of the hair is not given
with sufficient distinctness ; but in
the original it is clearly seen to be
turned back and tied up in the same
manner as that more plainly shown
by the head of the female illustrating
the word CORYMBUS.
CROCO'TA (/cpoKorroV). A rich
saffron-coloured robe, or gala dress,
worn by the Greek women at the
Dionysiac festivals ; and from them
adopted by the ladies of Rome (Non.
s. v. p. 549. Plaut. Fragm. ap. Non.
s. Strophium, p. 538. ) ; by the priests
of Cybele (Apul. Met. viii. p. 172.) ;
and also by some individuals who
affected a feminine and foppish style
of dress. Cic. Harusp. Respons. 21.
CROCO'TULA (Kpon&runr). Di-
minutive of the preceding. Plaut.
Epid. ii. 2. 49. Virg. Catalect v. 21.
CROTAL'IUM (Kporfaiov). Li-
terally, a small rattle ; a sort of pet
or fancy name by which the Roman
ladies designated a pendant to their
ear-rings, when formed by two or
more drop pearls (elenchi). sufficiently
large to produce a sharp crackling
CllOTALISTRIA.
CRUSMATA.
217
sound (like that of the crotaluni),
when shaken against
each other by the mo-
tions of the wearer.
(Pet Sat. 67. 9. Plin.
H. N. ix. 56.) The
example represents
an original ear-ring
found at Pompeii.
CROTALIS'TRIA. A female
performer on the crotala. Prop. iv.
8. 39. See the next wood-cut.
CROT'ALUM (K P 6ra\ov). A
sort of musical instrument especially
employed in the worship of Cybele
(Apul. Met. viii. p. 170.), and fre-
quently used to form an accompani-
ment for dancing. (P. Scipio ap.
Macrob. Sat. ii. 10. Virg. Copa, 2.)
It consisted of two split canes, or
hollow pieces of wood or metal, joined
together by a straight handle, as in
the right-hand figure of the annexed
engraving, from a mosaic pavement
CRUCIFIX'US. Or, separately,
cruci fixus ; nailed to the cross, in
the manner we understand by the
term crucified. Quint, vii. 1 . 3. Plin.
H, N. viii. 18.
CRUME'NA (0d\dmov). A
I leathern pouch for carrying money,
slung over the neck by a strap (Plaut.
Asin. iil 3. 67. Id. True. in. 1. 7.),
so as to hang in front of the person,
or at his back ; whence Ballio, in
in a tomb excavated in the Villa
Corsini. When played, one of these
was held in each hand, and snapped
together with the fingers, so as to
produce a crisp rattling sound, like
the castanets, as shown by the female
figure in the illustration, from a bas-
relief of the Villa Borghese.
CRUCIA'RIUS. A criminal ex-
ecuted upon the cross (crux) by
hanging (Pet. Sat. 1 12. 5. cruciarii pa-
rentes detraxerunt pendentem) ; hence,
a worthless fellow, like our gallows-
bird. Apul. Met. x. p. 215.
Plautus (Pseud, i. 2. 38.), tells the
I slave to walk in front, that he might
keep an eye upon the crumena, which
was slung behind him. It was from
the practice of carrying money about
in this manner, that the Greek ex-
pression fia\avTi6TO{jt.os, equivalent to
our cut-purse, derived its origin and
meaning. The illustration is from a
figure on a bronze lamp.
CRUPPELLA'RIUS. A Celtic
word employed by the' Gauls to de-
signate a particular class of men who
fought as gladiators, clothed from
head to foot in an entire suit of ar-
mour. (Tac. Ann. i. 43. Lamprid.
Alex. Sev. 56.) Men thus accoutred
were termed cataphracti or clibanarii
by the Persians, and cruppellarii by
the Gauls. See the illustration s.
CATAPHRACTI.
CRUS'MATA or CRU'MATA
(Kpov/jLctTa or KpouoyidTo). Castanets;
in ancient times, as well as our own,
peculiarly characteristic of the
Spanish nation (Mart. Ep. vi. 71.),
though the same instruments were
also played by the women of Greece
and Italy, as is proved by the an-
nexed illustration, from a fictile vase ;
and by a bas-relief of the Capitoline
F F
218
CRDST^E.
CRYPTA.
Museum (iii. 36.), in which a female
is represented with the same instru-
ment in her right hand, and the sca-
billum under her left foot.
CRUS'T^E. Figures or images
in low-relief, embossed upon plate, as
contradistinguished from emblemata,
which were in high-relief. Cic.
Verr. ii. 4. 23. Paul. Dig. 34. 2. 33.
CRUSTA'RIUS. An artist who
designed, and modelled crustce for
gold and silver plate. (Plin. H. IV.
xxxiii. 55.) They were sold at
Rome in shops appropriated for that
particular branch of trade, called
crustarice tabernce. Festus, s. v.
CRUSTULA'RIUS. One who
makes and sells crustula. Senec.
Ep 56.
CRUS'TULUM. Diminutive of
CRUSTUM. Any small piece of pastry
or cake, such as a pastrycook's tart ;
especially given to children. Hor.
Sat. i. 1. 25. Juv. Sat. ix. 5. and
Schol. Vet. ad I
CRUS'TUM. A fragment, or
broken piece of bread, cake, or
pastry. Hence the English crust.
Hor. Ep. i. 1. 78. Virg. JEn. vii. 1 14.
CRUX. One of the machines or
contrivances employed by the ancients
for inflicting capital punishment upon
criminals and slaves. It was made and
applied in two different ways. Ori-
ginally, it was an upright pole with a
sharp point at the top (Greek CTTOU-
pos, tr/c(fAot|/), upon which the victim
was impaled, as still practised in the
East; a mode of punishment indicated
by the expression in crucem suffigere
(Justin, xviii. 7. Hirt B. Afr. 66.),
j or in crucem seder e (Msecen. ap.
Senec. Ep. 101.); but, subsequently,
it was fitted with a transverse piece
of wood, like our cross, upon which
the condemned was fastened with
nails, or bound with ropes, and then
left to perish ; a mode of execution
expressed by such phrases as cruet
figere, or affigere, and the like. (Tac.
Ann. xv. 44. Pet. Sat. iii. 5.) It
would also appear from other passages
(Plin. H. N. xiv. 3. pendere in cruce,
Pet. Sat. 112. 5.), that criminals
were likewise hung upon it, as upon
a gibbet, or gallows.
CRYP'TA (KpfaT-n, or KpuTrH?).
The original of our word crypt;
which, however, gives a very incor-
rect notion of the object conveyed
to the Greek and Roman mind by
the same term. The ancient crypta
comes nearest to our cloister, which it
closely resembled ; being, in fact, a
long narrow gallery, on the level of
the ground (not subterranean, as
commonly supposed), inclosed by
walls on both sides, and receiving its
light from rows of windows, in one
or both of the side walls which in-
closed it. Structures of this kind
were frequently built as public edifices
for the convenience of the population ;
in the pleasure grounds of wealthy
individuals (Seneca, Ira, 111. 18.);
as adjuncts to great mansions ; to the
promenades connected with a theatre
(Suet. Cal. 58.) ; and very commonly,
as we learn from numerous inscrip-
tions (Muratori, Inscript. p. 481. 4.
Rheines. Syntagm. Inscript. ii. 28.)
were attached to the side of a porticus
or open colonnade ; being intended as
agreeable places of resort, when the
heat of the season or inclemency of
the weather rendered shelter accept-
able to an idle and luxurious popula-
tion. Even the Praetorian guards had
a crypta adjacent to their permanent
camp at Rome, which was demolished
by the orders of Hadrian, when he
attempted to reform the discipline
of the corps. (Spart. Hadr. 10.) The
annexed illustration, compared with
CRYFTA.
219
the one which follows, will afford a
correct idea of the real nature of the
ancient crypt. It represents the
ground-plan of a public edifice con-
structed by the priestess Emachia at
Pompeii, consisting of a crypta, por-
ticus, and chalcidicum, all which
members are enumerated in an in-
scription affixed to the outside wall
over the principal entrance. The
three corridors or cloisters marked
A A A constitute [the crypta. They
are surrounded on three of the sides
by a blank wall, decorated with fresco
paintings ; on the inside are observed
the windows which opened upon an
adjoining colonnade (porticus), marked
B B B B, which, in its turn, surrounds
a large central area, c. Considerable
remains of a similar structure are
still to be seen on the site of ancient
Capua, contiguous to the amphi-
theatre ; and an example of these clois-
ters, annexed to a theatre, is shown
in the fragment containing the plan
of Pompey's theatre, s. THEATRUM.
2. Enclosed cloisters of the same
description, as far as relates to design
and locality, were usually constructed,
instead of open colonnades, round the
inner court-yards of Roman villas
and farm-houses, for the purpose of
storing grain, fruits, and such produce
as required to be kept free from
damp, and yet not altogether ex-
cluded from air. Vitruvius, there-
fore, in giving a design for a model
villa, very wisely recommends covered
galleries (cryptce) to be constructed
in the interior of farm buildings for
such produce ; and the stabling, as
well as magazines for less perishable
commodities, to be situated in the
open front court (vestibulum). (Vi-
truv. vi. 5. 2. Compare Varro, R. R.
i. 57.) The illustration represents a
view of the remains of the suburban
villa of L. Arrius Diomedes at Pom-
peii, and shows very clearly the cha-
racter and style of these appurte-
FF 2
220
CRYPTOPORTICUS.
CTESIBICA MACHINA.
nances. On the left hand only a por-
tion of the foundations remain ; but
the right wing and centre are nearly
entire, with a part of the first story
of the villa behind it. From this
there is a staircase, still entire, lead-
ing down into the crypta, which, it
will not fail to be observed, is not a
subterranean cellar, but on the level of I
the ground, and with windows open-
ing into a square court, originally I
surrounded by the other stories built !
over the cloisters.
3. When the windows were closed j
with their wooden shutters, the whole j
corridor would form a long, narrow, ;
dark vault; whence the word, in
poetical and metaphorical language,
was transferred in a secondary sense ,
to subterranean passages of various
kinds : thus the main sewer, which
passed down the Suburra, in continu- i
ation of the cloaca Maxima at Rome,
is termed crypta Suburrse (Juv. v. '
106.) ; the tunnel, which passes under
the cliffs between Naples and Pausi-
lippo, now the " Grotto of Pausilipo,"
is designated crypta Neapolitana \
(Pet. Fragm. 13. Seneca, Ep. 57.) ;
and the crypta, in front of which
Quartilla offers her sacrifice (Pet.
Sat 16. 3.) may refer to this same
grotto, or to a cloister attached to
her house and gardens, like those
described above.
4. The stalls for the horses and
chariots in a circus (Sidon. Carm.
xxiii. 319.) See the illustration and
article, CARCER, 2.
CRYPTOPOR'TICUS. The term
always employed by the younger
Pliny when speaking of a structure ;
similar to what is described under the
last word. It appears to have been
only another name, more fully de-
scriptive, for CRYPTA ; or, if there
was any real distinction between the
two, it may be, that when the gallery
had windows on both sides, as was
the case with those in Pliny's villas,
it possessed a considerable resem-
blance to the colonnade (porticus),
and was consequently distinguished
by the name of crypto-porticus ; when
there were windows only on one side,
and a blank wall on the other, such as
those represented in the two preceding
illustrations, it would be more ap-
propriately designated by the name
of crypta simply. Plin. Ep. ii. 17.
16. seqq. Id. v. 6. 27 28. Id. vii.
21. 2. Id. ix. 36. 3.
CTESIB'ICA MACH'INA. A
double- actioned forcing-pump, invented
by Ctesibius of Alexandria, who
lived in the age of Ptolemy Euer-
getes (Vitruv. ix. 8. 2. Plin. H. N.
vii. 38.), and constructed upon the
principle now employed for our fire-
engines. The machine is described
at length by Vitruvius (x. 7.), from
the writings of its inventor, which
are now lost ; and a pump of similar
character, but improved construction,
probably after a model of Hero, the
pupil of Ctesibius, was discovered
near Civita Vecchia, in the last cen-
tury ; but as that does not contain
all the parts mentioned by Vitruvius, a
representation of it is inserted under its
Greek name SIPHO, where the com-
ponent parts of which it consists are
explained from the description of Hero.
In this place, only a conjectural dia-
gram of the machina Ctesibica is intro-
duced, designed by Perrault in ac-
cordance with the account of Vitru-
vius; but it will enable the reader,
from a comparison of the two to-
gether, to form an accurate idea of
the nature of these machines, and the
differences between them. The parts
mentioned by Vitruvius are : cati-
nus, the cup, A, which was not em-
ployed by Hero, who, instead of it,
CCBICULARIUS.
CUCULLUS.
221
uses an upright tube (crwAV opOios) ;
modioli gemelli, B B, the two boxes, or
cases, in which the pistons (I'egulce)
act, corresponding with the 8vo
7rv|i'Ses of Hero ; emboli masculi, two
suckers (c c), same as e^oAeTs,
Hero ; fistulce in furcilla figura, two
connecting pipes in the form of a
fork, which in the pump of Hero are
supplied by a single horizontal tube
(<r&>AV) ; and pcenula, the cowl (D),
placed over the cup to compress the
water at the foot of the hose ; not
used by Hero. The operation of the
machine is easily understood. It \
was placed over the reservoir, and
both pistons worked together, the one ;
being depressed while the other was ,
drawn up ; as the sucker (c) rises, it j
draws up a supply of water through i
an opening at the bottom of the cy- \
linder (B), which is furnished with a i
moveable ltd (marked by dotted lines
in the engraving), that opens as
the water flows in, but closes of its
own accord immediately that the
piston is pressed down again ; and
this pressure forces the water through
the forked pipe into the catinus (A),
the bottom of which, in like manner,
is furnished with movable lids over
each pipe, alternately opening and
shutting with each stroke of the pis-
tons, which, as they move alter-
nately up and down, force up the
water in a continuous stream through
the pcenula (D) into a pipe or hose
affixed to the top of it, and made to
any length required.
CUBICULA'RIUS. A slave
whose service was confined to the
sitting and dwelling-rooms (cubicula)
of a Roman house ; he waited in the
antechamber, and announced his
master's visitors, &c. Cic. Verr. ii.
3. 4. Id. Att. vi. 2.
CUBIC' ULUM. Literally, a
room furnished with a sofa or bed ;
whence it became a general term
for any such room in a private
house, whether used as a sitting or
sleeping-room (Plin. Ep. i. 3. 1. cu-
bicula nocturna et diurna, Id. ii. 17.
21. Plaut. Most, iii.- 2. 7.) ; for the
Romans were much in the habit of
reposing upon sofas in the day-time
at their studies, meals, siestas, and
receptions.
2. The emperor's box at the Circus
or amphitheatre, wherein he reclined
in state to view the games (Suet.
Nero, 12. Plin. Paneg. 51.), instead
of sitting on the open podium, as was
usual in more simple times.
CUBI'LE (KOI'TTJ). In general,
any place to lie down in, as a bed, or
the room in which the bed is : whence
more especially used to designate the
marriage-bed (Virg. JEn. viii. 412.
Eur. Med. 151.); a sleeping-room
(Cic. Cat. iv. 8. Suet. Nero, 25.) ;
and, indeed, like cubitorium, any one
of the small apartments in a private
house usually occupied by the master
or his family. Plin. H. N. xv. 10.
salutatorium ; Plin. Paneg. 63. 3.
CUBITAL' (toruyK&viov). A bol-
ster or cushion for the elbow to rest
upon, when the figure is otherwise in
a recumbent position, such as was used
for the convenience of invalids (Hor.
Sat. ii. 3. 255.), or by persons when
reclining at their meals (see ACCUBO).
The illustration is from a figure on
the top of an Etruscan tomb.
CUBITO'RIA, sc. vestimenta.
(Pet. Sat. 30. 11.) Same as COSNA-
TORI^: vestes.
CUCUL'LIO or CUCU'LIO.
Diminutive of CUCULLUS ; the dimin-
utive expressing inferiority of quality,
rather than of dimensions. Lamprid.
Elag. 32. mulionico ; Capitol. Ver. 4.
vulgari viator io ; Cato, R. R. ii. 3.
CUCUL'LUS. A piece of paper
rolled into the shape of a funnel, in
which the chemists and other trades-
222
CUCULLUS.
CUDO.
people of Rome used to wrap the
powders and drugs bought by their
customers (Mart. Ep. iii. 2.), pre-
cisely as the grocer and chandler's
shopkeeper do at the present day.
2. From similarity in form to the
preceding, a hood or cowl attached to
some other garment, such as the
lacerna, sagum, pcenula, &c., which
could be drawn up over the head, to
serve instead of a hat ; and was com-
monly worn by slaves, rustics, fisher-
men, and persons whose occupations
exposed them to the weather at all
seasons, like the cowl of the Capu-
chin friars, and modern Neapolitan
fishermen. (Columell. xi. 1. 21.
Mart Ep. xi. 98. 10. Juv. vi. 118.
Pallad. i. 43. 4.) The above illustra-
tion is from a painting at Pompeii, re-
presenting a group of common people
drinking in a tavern (caupona). When
it was desired to uncover the head,
the cowl was pushed back, and rested
on the upper part of the back, in the
manner shown by the second en-
graving, representing another of the
figures in the same group. The first
of these illustrates Cicero's descrip-
tion of M. Antony (Phil. ii. 31.),
domum venit capite involute ; the latter
one, the caput aperuit, of the same
3. Cucullus Bardaicus (Jul. Cap.
Pertinax, 8.) ; same as BARDOCU-
CULLUS.
4. Cucullus Liburnicus (Mart, in
Lemmate, xiv. 139.) ; same as BAR-
DOCUCULLUS.
5. Cucullus Santonicus (Juv. viii.
145.) ; same as BARDOCUCULLUS ;
from the town of Saintes in France,
where the manufacture of these arti-
cles was introduced from Illyria.
CUC'UMA- A vessel employed
for boiling water, making decoctions,
and similar purposes, the precise
form and character of which there
are no materials for determining.
(Pet. Sat. 135. 4. Id. 136. 2.) The
word, however, is still retained in the
colloquial language of the modern
Romans, in which "/a cucuma"
means a vessel for boiling water.
CUCUR'BITA and CUCUR-
BIT' UL A (KoXoKvvQ-n, <riKva). A
pumpkin, or gourd;
thence, a cupping-
glass, which the
ancients made out
of those fruits (Juv.
Sat. xiv. 58.), as
well as of horn or
bronze. (Celsus,
ii. 11.) The example represents an
ancient original made out of a pump-
kin, now preserved in the Vatican
Library, and published by Rhodius.
CU'DO or CU'DON
The simplest form
of helmet, con-
sisting of a mere
scull-cap, without
any ridge-piece
(apex) or crest
(crista) (hence, &(f>a\os re nal &\o<f>os,
CULCITA.
CULINA..
223
Horn. //. x. 258 ), made out of leather
or the skin of wild animals (Sil. Ital.
viii. 493.), and fastened under the
chin by a thong (oxfus). It was
worn by some of the Roman light -
armed troops (Polyb. vi. 22.) ; is
ascribed to Diomedes by Homer, and
is frequently seen in Greek repre-
sentations of that hero, from one of
which in bronze the annexed ex-
ample is taken.
CUL'CITA (rtJATj, ff-rpwfj.v-n). A
mattrass for a sofa, couch, or bed,
stuffed with wadding, wool, or fea-
thers (Varro, L.L. v. 167. Pet. Sat
38. Cic. Tusc. iii. 19. Seneca, Ep.
87.) ; which, consequently, was some-
times very soft, like our feather beds,
and at others, like our wool and hair
mattrasses, sufficiently hard not to
take an impression from the body
resting upon it. (Seneca, Ep. 108.)
The illustration is from a painting at
Pompeii.
CU'LEUS or CUL'LEUS. A
very large sack made of a pig's-skin
or leather, and employed by the Ro-
mans for the transport of wine or
oil (Nepos, Eum. 8. Plin. H. N. vii.
19. Cato, R.R. xi. 1.), as represented
by the annexed illustration, from a
painting at Pompeii, which shows
the manner of transporting it on a cart
frame, of emptying its contents into
smaller vessels (amphorce), and how
it was filled ; viz. by the neck at the
top, which was then tied up with a
cord. A contrivance of precisely the
same kind is still employed in Italy
for the transport and sale of oil. The
size of this will likewise account for
another use to which it was applied
by the ancient Romans, for sewing
parricides in. Cic. Q. Fr. i. 2. 2.
2. Also a liquid measure ; the
largest used by the Romans, contain-
ing twenty amphora, or 118 gallons,
and particularly employed in esti-
mating the produce of a vineyard or
olive ground. Rhemn. Fann. de
Pond, et Mens. 86. Varro, R. R.I. 2. 7.
CULIG'NA (KI/A/X^). A vessel
for wine, the exact nature of which is
not ascertained. Cato, R. R. 132.
CULPNA. A kitchen. (Cic.
Fam. xv. 18. Pet. Sat. 2. 1. Seneca,
Ep. 114.) The illustration repre-
sents a kitchen stove in the house of
Pansa at Pompeii, with some cooking
utensils upon it, as discovered when
first excavated ; viz. a strainer (co-
/ttm), a kitchen knife (culter coquina-
ris), and an implement for dressing
eggs (supposed apalare) ; below is
the ground-plan of a kitchen in the
same city, from the house of the
Quaestor, distributed into the fol-
lowing parts. Immediately on the
224
CULTELLTJS.
CTJLTER.
left hand of the entrance there is a
semicircular sink (1), and on the
right a staircase (2), which probably
led up to the store-rooms ; fronting
the entrance are the remains of the
brickwork which formed the stove
(3), similarly constructed to the ele-
vation above ; and adjoining this
is another small chamber (4), which
we might call the back kitchen, with
a privy (5 ) at its furthest extremity ;
a convenience, which, singularly
enough, is generally found adjacent
to the kitchens in the houses of
Pompeii.
CULTEL'LUS (^axaipts, /J.axat-
piov). Diminutive of CTJLTER ; and
employed in nearly the same senses,
only designating a lesser description
of each kind. But the cultellus is
never so small as our pocket and
pen-knife (scalprum) ; for Juvenal
designates a carving-knife by the di-
minutive (Sat. v. 122.); Ulpian
(Dig. 9. 2. 11.), a barber's razor; \
and the cultellus of Horace (Ep. i. 7. !
51.), which people used to clean and
pare their nails with, was the same as '
the barber's instrument, which is ex- I
pressly named for that purpose by i
Valerius Maximus (iii. 2. 15.), cut- I
tellum tonsorium quasi unguium rese- \
candorum causa poposcit.
2. Cultellus Ugneus. A wedge of
wood ; which is sharper at the edge
than at the back, like the blade of a ;
culter. Vitruv. vii. 3. 2.
CUL'TER Oax'pa). The name '
given by the ancients to several diffe- ;
rent implements employed in cutting, |
which were made with a single edge,
broadish back, and a sharp point ; all
of which were used for domestic or
agricultural, and not military, pur-
poses, excepting when descriptive of
the barbarous ages, or to characterize
the assassin rather than the soldier.
Our knife is, perhaps, the nearest
translation, but the ancient culter is
mostly applied to the largest class
of instruments, which pass by the
name of knives amongst us. The
several kinds, with the epithets which
distinguished them, are enumerated
below.
1. Culter coquinaris. A cook's
knife or kitchen-knife (Varro, ap.
Non. s. v. p. 195.), for cutting up
meat. The illustration is from an
original discovered in a kitchen at
Pompeii. Butchers also made use of
a similar implement for the same
purpose. Liv. iii. 48. Herod, ii. 61.
2. The knife employed by the cul-
trarius at a sacrifice for cutting the
victim's throat (Plaut. Rud. i.
2. 45.) ; and by the butchers
in the slaughter-house (Varro,
R. R. ii. 5. 11.); frequently re-
presented on sepulchral bas-
reliefs, from one of which the
annexed specimen is taken,
where the inscription CUL-
TRARI OSSA identifies the instrument.
Compare the engraving s. CULTRA-
RIUS, in which it is seen in use.
3. Culter venatorius. A hunts-
man's knife, carried from a belt round
the waist, with which he despatched
his prey at close quarters (Pet. SaL
40. 5. Suet. Aug. 19.) ; similar to
that used by the men who fought
with wild beasts in the amphitheatre ;
see the first illustration to BESTI-
ARIUS. The example is copied from
an engraved gem.
4. The sharp edge, or flat part of
the blade in a vine-dresser's pruning-
hook (falx vinitoria\ which, in the
annexed engraving, from an old
MS. of Columella, lies between the
handle and the hook at the top (Co-
lumell. iv. 25. 3.), and which was
particularly brought into use for
lopping and cutting off.
5. Culter tonsorius. A sort of
CULTRARIUS.
CUNABULA.
225
knife or razor which barbers used
for shaving. (Cic. Off. ii. 7. Pet.
Sat. 108. 11. Plin. H.N vii. 59.)
Also designated by the diminutive
cultellus, and probably having a blade
with a point shaped like the hunts-
man's knife (No. 3.), for it was used
for keeping the nails clean. Hor.
Ep. i. 7. 51. compared with Val.
Max. iii. 2. 15.
6. A knife made of bone or ivory,
for eating fruit with (Columell. xii.
45. 4.) ; also termed cultellus. Plin.
H. N. xii. 54.
7. The coulter of a plough ; formed
like the blade of a large knife, and
inserted vertically in front of the
share (vomer. Plin. H.N. xviii. 48.),
about to offer up a pig in sacrifice,
the former in the character of a
as is clearly shown by the annexed
illustration, from an engraved gem.
8. In cultrum collocatus. A tech-
nical expression in use amongst Ro-
man architects and mechanics, when
speaking of objects placed upon their
smallest sides or narrowest edges ;
as of bricks or stones in a building
set upon their sides, instead of laid
in the usual manner, with their
broadest surfaces upwards. (Vitruv.
x. 5.) The modern Italians make
use of a similar metaphor, " per col-
tello" when they wish to express the
same kind of arrangement.
CULTRA'RIUS. The minister
or servant of an officiating priest, who
despatched the victim at a sacrifice,
by cutting its throat with a knife
(culter), as contradistinguished from
popa, who knocked it down with a
blow of the axe (securis) or mallet
(malleus). (Suet. Cal 32. Inscript.
ap. Grut. 640. 11.) The illustration,
from a very beautiful marble bas-
relief discovered at Pompeii, repre-
sents an old woman and a Faun
priestess, the latter as a cultrarius,
cutting its throat.
CULUL'LUS. According to the
Scholiasts on Horace, an earthenware
calix employed by the pontifices and
Vestals in their sacrificial rites; but
commonly used in a general sense
for any kind of drinking-cup Acron .
and Porphyr. ad Hor. Od. i. 31. 11.
Hor. A. P. 434.
CUM'ERA. A sort of tub, pan,
or basket with a convex lid, used by
the country people for keeping corn
in. Festus, s. Cumerum. Hor Sat. i.
1. 53. Id. Epist. i. 7. 30. Acron. ad II
CUM'ERUM. A covered vase,
or, perhaps, basket, carried by the
camillus in a marriage procession
(Varro, L.L. vii. 34.), and contain-
ing the necessaries (utensilia) of the
bride. Festus, s. v.
CUNA'BULA. A child's cradle.
(Cic. Div i. 36. Plaut. Amph. v. 1.
55. Serv. ad Virg. Eel iv. 23. Ar-
nob. adv. Gent, iv.) The example is
from a very ancient MS. of Gene-
sis, published by ^
Lambeccius ( Com- 1
ment. Bibl. Cces. \
iii. 29.); but an-
cient cradles were
also commonly made in the shape of
a trough or boat, as in the next illus-
tration ; whence a Greek name for
the same is tr/cacpT?. Athen. xiii. 85.
G G
226
CUN^E.
CUNICULUS.
2. Hence the place in which any
living thing is born : a birth-place
(Prop. iii. \. 27.) ; a bird's nest
(Plin. H. N. x. 51.); a bee-hive.
Virg. Georg. iv. 66
CUN^E. Same as CUNABULA.
Cic. Div. i. 36.
CUNA'RIA. A nurse, who
rocked an infant in its cradle, washed
it at its birth, wrapped it in swaddling
clothes, &c. (Inscript. ap. Grut.
311. 7. Compare Mart. Ep. xi. 39.)
The illustration is from a marble
bas-relief at Rome.
CUN'EUS O4>V> A wedge; a
body of wood, iron, or other sub-
stances, with a thin edge gradually
thickening upwards, employed for
splitting (Virg. Georg. i. 144.), tight-
ening, and fastening. Cic. Tusc. ii. 10.
2. When applied to ships (Ovid,
Met. xi. 514.), the exact meaning
of the term is doubtful. Some sup-
pose that it is used to designate
projecting pieces of timber fastened
to the sides and bottom of a vessel
to protect it from rocks ; others,
the timbers themselves put together
in the form of a wedge, like what is
now called " diagonal trussing ; " or
thin wedges of wood driven in toge-
ther with the tow, by which the
seams are caulked. Scheffer, Mil.
Nav. i. 6.
3. (/ccp/cfe). A compartment of
seats (gradus, sedilia, subsellia) in a
theatre or amphitheatre (Vitruv. v.
6. 2. Suet. Aug. 44.), comprising the
several rows contained in each tier
(mcenianum) between a pair of stair-
cases (scaloe). The illustration,
which represents a portion of the
interior of the larger theatre at Pom-
peii, shows six of these cunei, or
compartments of seats, three in the
lower tier, and three in the one above,
with two flights of stairs in each,
down which the spectator walked
when he entered the theatre through
either of the doors (vomitoria) at the
top, until he arrived at the particular
row in the cuneus on which his seat
was situated. These compartments of
seats were termed wedges on account
of their cuneiform appearance, being
narrowest at the bottom, and gradually
expanding upwards as the circuit of
the theatre increases; see the parts
marked B on the general plan s.
THEATRUM, 1., where the form is
more characteristically displayed.
4. A wine bin, constructed with
rows of shelves rising one over the
other, like the seats of a theatre, and
upon which the wine was deposited
to ripen, after it had been drawn off
from the bulk into amphoree, or, as
we should say, bottled. Cato, R. R.
ii. 3. 2. Pontedera, Curce Posth. ad I.
5. A body of soldiers drawn up
in the shape of a wedge. Liv.
xxii. 47. Veg. Mil iii. 19.
CUNICULA'RII. Sappers and
miners; or soldiers who effect an
entrance into a town from a mine
(cuniculus}. Veg. Mil. ii. 11. Am-
mian. xxiv. 4. 22.
CUNICULATO'RES. Same as
the preceding. Luctat. in Stat. Theb.
ii. 418.
CUNIC'ULUS (^TrovoVos). Any
CUNUL^E.
CURIA.
227
subterranean passage, but more espe-
cially a mine in military operations.
Veget. i. 6. Liv. v. 21. Ammian.
xxiv. 4. 21.
CU'NUL^E. Diminutive of Cu-
NJE ; a small or common sort of
cradle. Prudent. Cathem. vii. 164.
Id. xi. 98.
CU'PA (7auAos). A cask, or
butt; made \vith wooden staves (ta-
bula, Pallad. i. 38. 1.), and bound
round with iron hoops (circuli, Pet.
Sat. 60. 3. Plin. H. N. xiv. 27.), in
which wine, vinegar, and other arti-
cles were kept and transported from
place to place ; whence vinum de cupa
(Cic. Pis. 27.) is equivalent to our
expression out of the wood. The
example is copied from the Column
of Trajan.
2. (KWTTTJ). An oblong block of
wood, forming one of the component
parts in a trapetum, or machine for
bruising olives. It was made of elm
or beech, and perforated through its
centre, in order to be slipped on to a
thick iron pivot (columella ferred),
which projected from the top of the
stone cylinder (miliarium) in that
machine. The object of it was two-
fold : to form a block for receiving
the ends of the axles, which are in-
serted in it in the engraving, and on
which the wheels (orbes) were sus-
pended, while at the same time it
enabled them to move in a circular
direction round the bruising vat
(mortarium} by turning round the
pivot passing through its centre from
the top of the upright stone cylinder
on which it was placed. It was,
therefore, cased with plates of metal,
to prevent friction. (Cato, R. R.
xxi. 1 4). The specimen here in-
troduced is restored from the frag-
ments of a trapetum discovered at the
ancient Stabia, the wood-work of
which had perished, but the iron
plates remained entire, as well as the
portions of the two axles inserted in it.
The figure, however, sufficiently ex-
plains the meaning of the name, and
why it was so called ; for the word, in
its literal sense, signifies the handle of
an oar (Diodor. Sic. iii. 3. and Agath.
quoted by Wesseling ad /.), to which
the cupa of a trapetum, as shown by
the engraving, bears a close resem-
blance. The situation occupied by it
on the machine, and the manner in
which it acted, will be better under-
stood by referring to the illustration
s. TRAPETUM, where it is marked 5.
CUPE'DIA or CUPE'DIJE. De-
licacies for the table. Festus, s. v.
Plaut. Stick, v. 4. 32.
CUPEDINA'RIUS and CUPE-
DIA'RIUS. A general term, in-
cluding all dealers in provisions of
the choicer kinds, such as poultry,
game, fish, &c. (Terent. Eun. ii. 2
25. Lamprid. Elag. 30.) The mar-
ket where they had their stalls was
called Forum cupedinis. Varro, L. L.
v. 146.
C U P E L' L A. Diminutive of
CUPA, 1. Pallad. iii. 25. 12. Apic. i. 2.
CU'PULA. Diminutive of CUPA,
1. (Ulp. Dig. 33. 6. 3.) ; of CUPA,
2. Varro, R. R. xxi. 3.
CURCU'MA. A kind of halter.
(Veget. iii. 33. 1.) See Ducang.
Gloss. GrfEC. et Lat. s. v.
CU'RIA. A common hall, or place
in which any corporate body, such
for instance as the curice of the
Roman burghers, met to transact
matters connected with their body,
or to perform religious duties;
whence the word came to be applied
more specially to the building in
which the Roman senate met to carry
on their deliberations. There were se^
veral of these in the city distinguished
from one another by the names of
the individuals who dedicated them ;
G G 2
228
CURIO.
CURRUS.
as the curia Host ilia, Julia, Pompeia,
but the former was the one mostly
used for the senate house. Varro,
L. L. v. 155. Id. vi. 46. Benecke
ad Cic. Cat. iv. 1. 2.
CU'RIO. The priest of a corpo-
rate body (curia), who was appointed
to perform the rites of religion on
behalf of the corporation. (Varro,
L. L. v. 83.) Each of the thirty
Roman curice had one curio, who
acted as the chief of his own corpo
ration; but from these one was ap-
pointed as president over the whole,
with the title of Curio Maximus.
Paulus ap. Fest. s. Maximus. Liv. !
xxvii. 8.
2. A public crier. Mart. Epist. \
Praf. ii. Trebell. Gallien. 12.
CURIS. A Sabine word for a |
spear. Ovid. Fast. ii. 477. HAST A.
CURRIC'ULUM. Diminutive of
CURRUS. Cic. Bar. resp. 10. Suet.
Cal 19. Ovid. Trist. iv. 8. 36.
2. The course or space run over
by each chariot at a race in the Greek
Hippodrome, or Roman Circus. Hor.
Od. i. 1.3. Plaut. Trin. iv. 4. 1 1.
CURRUS. A Roman chariot, or
carriage upon two wheels, which was
entered from behind, but was close in !
front, and open overhead. It was ;
Ovid, Virg. &c.) The example is
from an original now preserved in
the Vatican, made of wood, but
covered with plates of bronze. When
found, it was broken into many
pieces, which have since been put
together. A front view of the same
is given at p. 72.
2. (8.piJ.a). The .war chariot used
by the Greeks of the heroic ages;
which was of a similar construction
to the one last mentioned, but of a
lighter character, being partially
formed with open rail-work instead
of close pannelling, as shown by
numerous examples on fictile vases,
from one of which, found at St.
Agatha, formerly Saticola, the an-
nexed engraving is copied.
3. Currus volucris (TTTrjvbv ap/ua).
A chariot, with wings attached to the
also constructed to contain two pet-
sons, the driver and another, both
standing, and was drawn by two,
three, or four horses, and occasion-
extremities of the axle- tree, fancifully
attributed by poets and artists to
the cars of Jupiter and Apollo (Hor.
Od. i. 34. 8. Plato, Phced. torn. ix.
p. 321. Bipont), and frequently re-
presented on fictile vases, from one
of which the annexed illustration is
copied.
ally even by a greater number. (Cic.; 4. Currus triumphalis. A
CURSOR.
CUSPIS.
229
phal car, in which the Roman general
was carried at his triumph. This
was not open at the back, like the
ordinary currus, but was completely
circular, and closed all round (Zonar.
vi. 21.), as shown by the annexed en-
graving, from a medal of Vespasian,
and in the wood-cut s. CORONA, 1.,
which shows the persons in it. Its
pannels were also decorated with
carvings in ivory, which are apparent
in the present example, whence it is
designated as the ivory car (currus
eburneus, Pedo Albin. El i. 333. ).
5. A plough with wheels, or the
carriage part of such a plough.
(Virg. Georg. i. 174.) See the illus-
tration s. CULTER, 7.
6. Currus falcatus. A war chariot
furnished with sharp blades of iron
or scythes affixed to the end of the
pole and of the axle tree, chiefly
employed by foreign nations. Several
descriptions of these carriages have
come down to us, but no represent-
ations of any one on works of art ;
consequently, the exact manner in
which the offensive weapon was at-
tached has not been ascertained. Liv.
xxxvii. 41. Curt. iv. 9. Hirt. B. Alex.
75. Val. Place, vi. 105.
CURSOR (VraSieik, o-raSioSpfyios).
A runner, who runs a race in the
stadium. (Cic. Tusc. ii. 23. Nepos,
Milt. 4.) The female figure intro-
duced s. STROPHIUM, 1 . is believed to
represent a Spartan damsel equipped
for the foot-race.
2. A racing jockey. (Ovid. Pont.
iii. 9. 26. ) See CELES.
3. A private postman or messenger
who carries letters on foot, or on
horseback (Mart. iii. 100. Suet. Nero,
49.) ; more specially termed TABEL-
LARIUS, which see.
4. A slave kept by great people to
precede their carriages on foot, simi-
lar to the running footman of modern
Europe. Seneca, Epist. 126. Mart.
Ep. iii. 47. 14.
CURU'LIS. An epithet very
generally applied to anything re-
lating to a chariot (currus) ; as equus
curulis, a carriage-horse (Festus,
*. y.) ; triumphus curulis, a regular
triumph, in contradistinction to an
ovation, because at the former the
general entered the city on a car, but
at the latter on foot or on horseback
(Suet. Aug. 22. Compare Tib. 9.) ;
ludi curules, the Circensian games, at
which the chariot races took place
(Minucius Felix, 37.) ; sella curulis,
a portable chair which the magis-
trates of Rome carried about with
them ; described and illustrated under
SELLA.
CUSPIS (at'x/iTJ). A point; of
anything generally which is pointed ;
but more especially used to designate
the pointed head of a lance, spear, or
javelin, when made without barbs, as
contradistinguished from spiculum,
which expresses a barbed point.
(Virg. JSn. xii. 510. Sil. Ital. xiii.
167.) The illustration represents
two Roman spear-heads of the most
usual forms, from originals.
2. A sharp point, or spear -head,
affixed to the top of the Ro-
man ensigns (Suet. Jul. 62. ),
which the standard-bearers
converted into a weapon of
offence, when hard pressed
at close quarters. It is
clearly seen in the annexed
engraving, from Trajan's
Column, above the eagle.
3. A sharp point or spear-head,
projecting from the top of the thyrsus
(Catull. 64. 257.), which is promi-
nently visible in the next engrav-
ing, from a painting at Pompeii ;
230
CUSTODES.
CYCLAS.
Macrob.
where it is represented above the
leaves, which usually termi-
nate the shaft, in order
to show that the painting
was intended to bear an
allusion to the fable which
relates that Bacchus and
his followers, upon cer-
tain occasions, converted
their thyrsi into offensive
weapons, by concealing a
lance-head in the leaves.
Sat. i. 19.
4. The point of a spit for roasting
meat ; and thence the spit itself (yeru).
Mart. Ep. xiv. 221.
5. The pointed end of Neptune's
trident ; and thence the weapon itself
(fuscina, tridens). Ovid. Met. xii.
580.
6. An earthenware tube employed
in the cultivation of vineyards, so
called because it was made sharp and
pointed at one extremity, for the pur-
pose of being fixed in the ground.
Varro, R. JR. 1. 8. 4.
CUSTO'DES. A general name
given to those who have the care or
guardianship of other persons or
things ; but employed in a more spe-
cial sense to designate the officers
who acted as scrutineers at the Comi-
tia. Their duty consisted in receiving
the votes (tabelloe) as they were taken
out of the balloting basket (cista) by
the Diribitores, and in pricking off the
result upon a tablet ; whence the al-
lusion of Horace, omne tulit punctum,
&c. Cic. in Senat. 7. Id. Agr. ii.
9. Varro, E. R. iii. 5. 18.
CY'ATHUS (/ctfaflos).
with one handle, employed
by the Greeks as a ladle
for filling the wine-goblets
(pocula, calices) of each
persoa at table out of the
common bowl (crater) ; and
subsequently adopted by the Ro-
mans for a similar object. In very
early days the simpulum was the only
vessel used for this purpose at the
domestic table, and at the sacrifice ;
but as luxury and refinement in-
creased, the latter came to be appro-
priated for making libations to the
Gods, and the cyathus confined to the
feasts of men. (Varro, L. L. v.
124.) The example is from an ori-
ginal of earthenware.
2. A small measure both of liquid
and dry things, containing the twelfth
part of a sextarius. Rhemn. Fann.
de Pond, et Mem. 80. Compare Pliny,
xxi. 109.
CYB^E'A. A sort of transport
ship, or merchantman, of consider-
able size (Cic. Verr. ii. 4. 8. Ib. ii.
5. 17.), the distinctive properties of
which are, however, unknown.
CYBIA'RIUS. A dealer in salted
fish. Arnob. ii. 70.
CYBIOSAC'TES (KV&O^KTTJS).
A dealer in salt fish ; a nickname
given to the Emperor Vespasian
(Suet. Vesp. 19.), and to the Thir-
teenth Ptolemy. Strabo, xvii. 1. 11.
CYCLADA'TUS. Wearing the
cyclas ; an article of female attire, and,
therefore, indicative of great effe-
minacy of manners when adopted by
men, as was sometimes the case with
the Emperor Caligula. Suet. Cal. 52.
CYC'LAS ( KVK \d s ). One of the ar-
ticles of female apparel, consisting of
a long and loose piece
of drapery, generally
made of a very fine
texture, and wrapped
round the body in the
same manner as a
pallium, being suffi-
ciently ample to en-
velope the whole
figure, if required,
and having a border
of purple colour or
gold embroidery all
round its edges, from
which peculiarity the name is be-
lieved to have arisen. (Serv. ad
Virg. jEn. i. 282. Juv. vi. 259.
Prop. iv. 7. 40. Lamprid. Alex. Sev.
; 41.) All these particulars are dis-
[ tinctly visible in the illustration an-
I nexed, representing Leda in her cy-
j clas, from a painting at Pompeii.
CYLINDRUS.
CYMBAL UM.
231
CYLIN'DRUS (/c^Au/Spos). A
roller, for levelling arid condensating
the ground in agricultural and other
operations. (Virg. Georg. i. 178. Vi-
truv. x. 6.) The illustration here in-
troduced from Fellows' Journal in
Asia Minor, p. 70., represents a roller
made out of the trunk of a tree, and in-
tended to be drawn by cattle. When
used it does not revolve, being simply
dragged over the ground, and some'-
times weighted by the driver stand-
ing upon it ; but as so many of the
agricultural implements now used in
the East are found to preserve the
exact character of their ancient ori-
ginals, it is probable that rollers of
this description were sometimes em-
ployed both by the Greeks and Ro-
mans ; though revolving cylinders,
like our own (Columell. xi. 3. 34.),
were certainly not unknown to them
CYMAT'IUM (Kvftdnov). An
architectural moulding, employed in
cornices, friezes, and architraves
(Vitruv. iii. 5. 10 12.), having at
the top a full and swelling outline,
which sinks into a hollow be- ^ -
low, without making any an- '
gle, like the undulation of a wave
(KV/J.O, cyma), from which resem-
blance the name arose. It is called
an "ogee" by our workmen, and
"cyma reversa" by modern archi-
tects, to distinguish it from the " cyma
recta," the contour of which is hollow
above and full below. See SIMA.
CYM'BA 0^77). A small boat
used upon rivers, and by fishermen,
rising at both ends, so as to form a
hollow in the centre, whence distin-
guished by the epithet adunca (Ovid.
Met. i. 293.), or concava. (Ovid.
Am. iii. 6. 4.) It was usually rowed
by one man, as in the example, from
an ancient Roman painting, or by
two at the most; and is the name
especially given to Charon's bark.
Hor. Od. ii. 3. 28. Virg. Mn. vi. 303.
CYMBALIS'TA (K^aAio-rfc).
A man who plays upon the cymbals,
(cymbalcf), in the manner represented
by the next illustration. Apul. Deo
Socrat. p. 685.
CYMBALIS'TRIA (/c^gaA/rr-
rpia). A female player upon the
cymbals, as shown by the example,
from a painting at Pompeii. Pet.
Sat. 22. 6. Inscript. ap. Grut. 318. 12.
CYM'BALUM ( K ^a\o^. A
cymbal; a musical instrument, con-
sisting of two hollow half globes
(Serv. ad Virg. Georg. iv. 64. Lu-
cret. ii. 619.) of bell metal, with a
ring at the
top, by which
they were held
between the
fingers, and
clashed toge-
ther with both hands, as represented
in the preceding illustration. They
were especially adopted by the vota-
232
CYMBIUM.
DALMATICATUS.
ries of Cybele (Virg. /. c.), and of
Bacchus (Liv. xxxix. 8. and 10.);
and being always used in pairs, as
in the example from a painting at
Pompeii, the word is mostly used in
the plural.
CYM'BIUM (Kvpglor). A drink-
ing bowl, with two handles (Apul.
Met. xi. p. 239.), so called from
a certain resemblance in its outline
to the bark termed cymba (Festus,
s. v. Macrob. Saturn, v. 21.), as is
exemplified by the annexed ex-
ample, from a bronze original found
at Pompeii. It
was sometimes
employed for
containing milk
(Virg. JEn. iii.
66.), and was
also made of the precious metals
(Virg. jEn. v. 267.), as well as of
earthenware. Mart. Ep. viii. 6.
CYNOCEPH'ALUS (/ewcMee-
<j)a\os). A species of ape, with a
head like a dog's (Simia Inuus. L.);
kept as a sacred animal in the tem-
ples of Isis, and frequently repre-
sented in the Egyptian sculptures and
paintings. Cic. Att. vi. 1. Plin.
H. N. viii. 80.
2. Dog-headed; an epithet given
to the Egyptian deity Anubis, who is
represented with a dog's head. Ter-
tull. ApoL 6. Minucius Felix in
Octav. 22.
D.
DACTYLIOTHE'CA (ScuervXio-
QflKvi)' In general, a collection of gems,
which the ancients, like ourselves,
were in the habit of collecting and
preserving in cabinets for their value
and beauty. Plin. H. N. xxxvii. 5.
2. A case or box for finger-rings,
in which they
were deposited
when not in
use, or when
removed from
the fingers at
night. (Mart. Ep. xi. 59. Id. xiv. 123. )
The illustration represents an ivory
case of this kind, from an original
found in Pompeii, with an upright
stick on the top of the lid for string-
ing the rings upon, in the same
manner as now practised on a lady's
toilette table.
DADU'CHUS (S ? 5oO X os). Pro-
perly, a Greek term, meaning a
torch' bearer; but it is specially used
to designate the person who, on the
fifth day of the Eleusinian mysteries,
conducted the initiated, with a torch
in his hand, to the temple of Demeter
at Eleusis, in commemoration of her
wandering about with a lighted torch
to seek for her daughter Persephone.
Fronto. ad Verum Imp. Ep. 1. In-
script. ap. Fabretti, p. 676. n. 29.
D.-EMON (Salfuov). Properly, a
Greek word, signifying a good spirit,
who was supposed to preside over
every individual during his life time ;
translated by the Latin words LAR
and GENIUS ; which see. Apul.
Deo Socrat. p. 674. Cic. Univers. 11.
2. By the ecclesiastical writers of
the Christian era, always in the
sense of an evil spirit, or devil. Lac-
tant. ii. 14. Tertull. Apol. 22.
D^EMON'IUM (tcurfviov). Di-
minutive of DAEMON ; and, like that
word, employed by the heathen
writers to signify a good spirit; by
the Christians for an evil one. Cic.
Div. i. 24. Tertull. Apol 21.
DALMATICA'TUS. Wearing
the Dalmatic robe,
which was a long
frock made of
white Dalmatian
wool. It reached
as low as the feet,
was decorated
with purple stripes
down the front,
and had a pair of
very long and
loose sleeves,
which covered
the whole arm as
far as the wrists.
It was not worn by the Romans in
DARDANARIUS.
DECEMJUGIS.
233
early times, and never, perhaps, came
into general use ; but was always
regarded as a mark of singularity or
luxurious habits, even at a late pe-
riod of the Empire, until it came to
be adopted by the Roman Catholic
clergy, under the early popes. (Isi-
dor. Orig. xix. 22. 9. Lamprid. Com,'
mod. 8. Id. Heliog. 26. and Alcuinus,
De Divinis Officiis.) The illustra-
tion, which corresponds exactly with
the above description from Origen, is
copied from one of the miniatures in
the Vatican Virgil, which are sup-
posed to have been executed during
the reign of Septimius Severus.
DARDANA'RIUS. A regrater
or monopolist, who buys and stores
up any kind of raw or manufactured
produce, with the object of raising the
market price by creating a scarcity.
Ulp. Dig. 47. 11. 6. Paul. Dig. 48.
19. 37.
DARFUS or DARI'CUS (5ap t -
/c<fe). A gold coin of Persian cur-
rency (Auson.
Epist. v. 23.),
which bore the
impress of a man
kneeling, with a
bow and arrows.
It contained about
123*7 grains of pure gold, and conse-
quently was equal in value to
I/. Is. Wd. of our money. (Hussey,
Ancient Weights, &c. vii. 3.) The
example is from a specimen in the
British Museum, and of the actual
size ; but the reverse is quite unin-
telligible. The silver coins which
bear the same figure of a kneeling
archer, and go by the same name in
modern numismatics, were not, how-
ever, so called in ancient times.
DATA'TIMLUDERE. A phrase
expressive of the simplest kind of
game at ball ; in which the players
standing at respective distances,
severally throw the ball from one to
another. Plaut. Cure. ii. 3. 15.
DA'TOR. In the game of ball ;
the person, or the slave, who supplied
the balls, picked up those which fell
to the ground, and brought them to
the players. Plaut. Cure. ii. 3. 18.
Compare Pet. Sat. 27. 2.
DEALBA/TUS (Howards). Co-
vered with a coating of white ce-
ment, or stucco (opus albariuni),
which the ancients employed exten-
sively both in the interior and ex-
terior of their buildings, as an orna-
mental facing to conceal the rough
stone or brick -work. (Cic. Verr. ii.
1. 55. Id. Fam. vii. 29.) The illus-
tration represents a portion of one of
the city gates at Pompeii, partially
covered with cement, and showing
the brick-work underneath the parts
which have broken away. The
whole city was coated with cement of
rustic work in this manner, and fre-
quently tinted in brilliant colours,
such as red, blue, and yellow.
DEASCIA'TUS. Chopped out or
off with an adze (ascia). Pru-
dent. ITept <rT0. 10. 381. Inscript.
ap. Murat. 1203. 9. ASCIA, Ascio.
DECA'NUS. A subordinate offi-
cer in the Roman army, who had the
command over ten orderlies quar-
tered with him in the same tent (con-
tubernium) ; whence he is also called
caput contubernii. Veg. Mil. ii. 8.
and 13.
DECAS'TYLOS (5crfcrAos).
Having a porch supported upon ten
columns in a row. Vitruv. iii. 1.
DECEM'JUGIS, sc. currus. A
chariot drawn by ten horses, all of
which were yoked abreast of one
another, and not attached as leaders
and wheelers, according to our prac-
tice. Nero is said to have driven a
234
DECEMPEDA.
DECURIO.
teii-horsed car at the Olympic games
(Suet. Nero, 24.),
and Trajan had
the same number
of horses attached
to his triumphal
car, which is re-
presented by the ^
illustration, from =
a medal of that emperor.
DECEM'PEDA. A ten-foot rod
employed by architects and surveyors
for taking measurements. Cic. Mil.
27. Hor. Od. ii. 15. 14.
DECEMPEDA'TOR. A sur-
veyor, or land measurer, who takes
his measurements with the decem-
peda. Cic. Phil. xiii. 18
DECEMRE'MIS
vessel with ten banks of oars (or-
dines} on a side. (Plin. H.N. vii.
57.) The manner of arranging the
oars, or of counting the banks, in
vessels of so large a size, is still
involved in much doubt and obscurity.
But see the article HEXIREMIS ; in
which a possible method is suggested ;
and if that be admitted, it will only
be requisite to add four oar-ports to
each tier between stem and stern, to
constitute a decemremis.
DECEM'VIRI. The members of
a commission composed of ten per-
sons, and appointed for particular
purposes, as follows :
1. Legibus scribendis. Ten com-
missioners appointed soon after the
expulsion of the kings, in place of
the consuls, to prepare a code of laws
for the state. Liv. iii. 32. seqq.
2 Sacrorum, or sacris faciundis.
A body of commissioners, originally
ten in number, but subsequently in-
creased by Sulla to fifteen, who were
appointed for life to take charge of the
Sibylline books, and inspect them when
required. Liv. x. 8. Id. xxv. 12.
3. Litibus judicandis. Ten com-
missioners, five of whom were sena-
tors, and five equestrians, who acted
as judges in private disputes instead
of the praetor urbanus, when his
military duties compelled him to
quit the city. Cic. Or. 46. Suet.
Aug. 36.
4. Agris dividendis. Ten com-
missioners appointed to direct the
division and allotment of lands
amongst the people. Cic. Agrar. 2.
passim. Liv. xxxi. 4.
DECE'RIS (5e*cfy>?js). Same as
DECEMREMIS (Suet. Cal 37.); but
the reading is not certain.
DECIMA'NUS or DECUMA'-
NUS. A contractor who leased
from the government the right of
farming and collecting the public
tithes ; a sort of land tax, consisting
of a tenth part of the produce levied
upon the subjects of all countries
which had become the property of
the state, either by voluntary sur-
render, or by conquest. A scon, in
Verr. i. 2. 5. Cic. ib. ii. 3. 8. and 33.
2. Ager decumanus. Land subject
to the tithe of land tax, as just de-
scribed. Cic. Verr. ii. 3. 6.
3. Frumentum decumanum. The
tithe of corn ; viz. one tenth of the
produce, paid as the above tax. Cic.
Verr. ii. 3. 5. and 81.
4. Miles decumanus. A soldier of
the tenth legion. Hirt. B. Afr. 16.
Tac. Hist. v. 20.
5. Porto Decumana. The princi-
pal gate of entrance to a Roman
camp, which was the farthest removed
from the enemy's front ; marked A
on the plan s. CASTRA. Veget. Mil.
i. 23.
DECU'RIO. A commander of
ten men in a cavalry regiment, three
of whom were appointed to each
turma, or troop of thirty men ; but
the one who was first appointed out
of the three held the rank of senior
captain, and had the command over
the whole troop. Festus, s. v. Var-
ro, L. L. v. 91. Veget. Mil. ii. 14.
2. A senator in any of the muni-
cipal towns or colonies, who held a
corresponding rank, and discharged
similar functions in his own town to
what the senators did at Rome.
Cic. Sext. 4. Manut. ad Cic. Fam.
vi. 18.
DECURSIO.
DELPHIN.
235
3. Under the empire, an officer
attached to the imperial palace, some-
what in the nature of a high chamber-
lain, was styled Decurio cubiculario-
rum. Suet. Dam. 17.
DECUR'SIO and DECURSUS.
A military review, at which the
soldiers were put through all the
manoeuvres of a sham fight, for pur-
poses of discipline and regimental
exercise (Suet. Nero, 7. Liv. xxiii.
35. Id. xxvi. 51. Id. xl. 6. Tac.
Ann. ii. 55.), or as a pageant dis-
played at the funeral of a deceased
general, when a body of troops per-
formed their evolutions round the
burning pile. (Virg. JEn. xi. 188.
Tac. Ann. ii. 55.) The illustration
is copied from the reverse of a medal
of Nero, which has the inscription
DECURSIO underneath. Of course it
is not to be taken as a perfect repre-
sentation of such scenes, but only as
a conventional mode of expressing the
subject in a small compass. One of
the slabs which formerly covered the
base of the Antonine Column affords
a more complete representation of
the pageant ; but the numerous bo-
dies of infantry and cavalry there
introduced could not be compressed
within the limits of a drawing suitable
to these pages.
DECUSSIS. A piece of money
of the value of ten asses, which was
marked with the letter x. Varro,
L.L. v. 170. Stat. Sylv. iv. 9. 9.
DEDOLA'TUS. See DOLA'TUS.
DE'FRUTUM (eh/*a, ffipatov).
New wine boiled down to one half its
original quantity (Plin. H. N. xiv.
11.), in order to increase its strength ;
and employed by the ancient wine
growers, as the " doctor " is by the
moderns, in giving body to poor wine.
Columell. xii. 37.
DELA'TOR (wnr-fis). A public
spy, or common informer, who lived
by denouncing, and getting up
charges against, his fellow-citizens.
Tac. Ann. iv. 30. Suet. Nero, 10.
DEL'PHICA, sc. mensa. A table
made of marble or bronze, in imi-
tation of a tripod,
which was em-
ployed as a drink-
ing table, and
valued as a piece
of ornamental
furniture in the
houses of wealthy
individuals. (Cic.
Verr. ii. 4. 59.
Mart. Ep. xii. 66.) The example is
copied from an original of white
marble.
DEL'PHIN and DELPHI'NUS.
A dolphin. Delphinorum columncR
(Juv. vi. 589.), the columns of the
dolphins. These were columns
erected on the spina of the Circus, to
support a number of marble dolphins
in an elevated po-
sition, so as to be
readily seen by the
concourse of spec-
tators ; their ob-
ject being to give
notice of the num-
ber of turns round
the goals which
had been run in
each race. Seven
courses round the
spina constituted a single race ; and,
consequently, one of these dolphins
was put up at one end of the course
upon the completion of each circuit,
and an egg (ova curriculorum) at the
other, in order that there might be
no mistake or dispute. The figure
of a dolphin was selected in honour
of Neptune, the egg, of Castor and
Pollux. The illustration is taken
H H 2
236
DELUBRUM.
DENS.
from a sepulchral bas-relief, repre-
senting a race-course.
DELU'BRUM. That part of a
temple (templum) in which the altar
or statue of the deity was erected;
and thence any temple which contains
an altar or an image of a god. Cic.
N.D. in. 40. Id. Arch. 11. Virg.
JEn. iv. 56.
DEMAR'CHUS (S^apxos)- An
officer amongst the Greeks (Plaut.
Cure. 11. 3. 7. ), resembling in many
respects the Tribune of the people
amongst the Romans, particularly in
the power he possessed of convening
meetings of the demus (STJ^UOS), and
of taking the votes on all questions
submitted to the assembly ; whence
the word is employed by the Greeks
as a translation for the Latin tribunus
plebis. Plut. Cor. 7.
DENA'RIUS. The principal sil-
ver coin of the Romans, which ori-
ginally contained ten asses, subse-
quently increased to sixteen, when
the weight of the as had been re-
duced; worth about 8^d. of our
money. It bore various devices :
the head of Jupiter, of the twin
brothers Castor and Pollux, of the
goddess Roma, with a helmet, and a
two or four-horse chariot on the re-
verse, similar to the example annexed,
from an original of the actual size.
2. Denarius aureus. A gold coin
of the same name, equal to twenty-
five silver denarii. (Pli n . H. N.
xxx iii. 13.) This piece was not of
very common use ; but a specimen
struck under Augustus is here intro-
duced in its actual state.
DENS (oSot/s). A tooth ; whence
specially applied to various other
objects, which resemble teeth, either
in their form, or mode of application ;
viz. :
1. The fluke of an anchor (Virg.
JEn. vi. 3.), which is generally re-
presented in the works
of ancient art as a plain
hook without barbs (see
the illustration s. AN-
CORA) ; but flukes con-
structed with barbed
teeth, such as ordinarily
used at the present day,
were also adopted by the ancients, as
is proved by the annexed example,
from the device on a Roman Imperial
coin.
2. The barb of a hunting spear
(Grat. Cyneg. 108.), like the spear
head shown in the an-
nexed engraving, from
one of the bas-reliefs re-
presenting Trajan's hunt-
ing feats, now affixed to
the arch of Constantine ;
for the war spears, both
of the Greeks and Romans, had
usually a lozenge or leaf-shaped head
(see CUSPIS), without barbs.
3. The tooth or prong of the agri-
cultural implement termed ligo;
which was a sort of hoe with
a curved blade notched in the
centre, so as to form two prongs on
the outside ; whence fracti dente
ligonis. (Columell. x. 88.) The
example is from an engraved gem.
4. The plough-share ; when formed
in the simplest or primitive manner
out of the branch of a tree, either
naturally or artificially bent into a
hook, as in the annexed example,
DENS.
DENTARPAGA.
237
from an Etruscan bronze discovered
at Arezzo. A share of this descrip-
tion would rather tear up, or bite the
ground, as Varro phrases it (L. L, v.
135. dens, quod eo mordetur terra),
than cut through it, like the regular
share (vomer), from which it is fur-
ther distinguished by the epithet
uncus (Virg. Georg. ii. 406.) ; the
force and meaning of which are cha-
racteristically exemplified by the
engraving.
5. The tooth of a rake, harrow, or
other similar agricultural implements,
such as the irpex, occa, rastrum, &c. ;
like the example, found in the Roman
catacombs. Lucan. vii. 859. Varro,
L.L.v. 136. Festus s. Irpices.
6. The tooth of a saw. (Plin.
H. N. xvi. 83. Ovid. Met. viii. 246.
perpetuos denies.) The illustration
represents a small hand-saw used by
Daedalus, in a marble bas-relief,
7. The tooth of a comb. (Tibull.
i. 9. 68. Claud. Nupt. Honor, et Mar.
102.) A small toothed comb, like the
one exhibited in the engraving, from
an original of box- wood found in a
Roman tomb, was termed dens densus.
Tibull. I.e.
8. The tooth of the three-pronged
key supposed to be the clavis Laco-
nica (Tibull. i. 2. 18.), of which a
specimen is annexed, from an
Egyptian original.
9. The hook of a clasp (Sidon.
Carm. ii. 397.); see FIBULA, 2.
10. The cogs of a wheel in ma-
chinery (tympanum dentatum). Vi-
truv. x. 5.
11. Dens curvus Saturni. Poeti-
cally, for a pruning-hook. (Virg.
Georg. ii. 406.) See FALX.
DENTA'LE (*Ai//ia). The share-
beam of a plough, to which the share
Boomer) was attached. (Columell. ii.
2. 24.) In the annexed example,
from an engraved gem, the dentate is
shod with an iron head, marked dark
in the engraving. Compare ARA-
TRUM, 2., which shows a plough of
more perfect construction, on which
the dentale is distinguished by the
letter B.
2. Dentale duplici dorso. (Virg.
Georg. i. 172.) A share-beam with
a double back ; i. e. which opens be-
hind into two parts, but meets at a
point in front, where the share is
fixed ; in the manner exemplified
by the annexed engraving, which re-
presents a plough still in common
use amongst the agricultural popu-
lation on the bay of Taranto.
DENTAR'PAGA (oSovrdypa). A
238
DENTATUS.
DESIGNATOR.
dentist's instrument for drawing
teeth It was a species of forceps,
which Varro designates by the epithet
bipensilis; but the precise form of the
instrument has not been identified.
Varro, op. Non. s. v. p. 99.
DENTA'TUS. See TYMPANUM,
PEDICA, CHARTA.
DENTICULA'TUS. Furnished
with small teeth or prongs ; as ap-
plied to artificial and natural objects,
in the ways explained and illustrated
under the article DENS.
2. Falx denticulata, (Columell.
ii. 21. 3.) See FALX, 3.
DENTIC'ULUS. A dentil in archi-
tecture. (Vitruv. iv. 2. 5. Id. iii. 5. 11.)
The dentils are a number of small
square blocks, with interstices between
them, employed in the entablature of
columnar architecture. They belong
properly to the Ionic and Corinthian
orders ; and their proper situation is
under the bed moulding of the cor-
nice, as in the example annexed,
from the temple of Bacchus at Teos ;
for they are intended to represent
externally the heads of the com-
mon rafters (asseres) in the timber-
work of a roof. In some Roman,
and many modern buildings, they
are placed under modillions (mu-
ftat) ; but this was contrary to the
practice of the Greeks, for it de-
stroys their meaning and intention;
and, for a similar reason, the Greek
architects never placed them on the
sloping sides of a pediment, as the
Komans did, because the ends of the
rafters do not project in the front of
a building, but only at the sides.
The Romans, moreover, introduced
them into their Doric order (Vitruv.
i. 2. 6.), an instance of which appli-
cation may be seen in the illustration
s. TRIGLYPHUS, representing an en-
tablature belonging to the theatre of
Marcellus at Rome.
DENTIDU'CUM. A dentist's
instrument for extracting teeth. Gael.
Aur. Tard. ii. 4.
^ DENTIFRIC'IUM (o5ov T c^ TO ,
68ovT6rpifjL/j.a). Tooth-powder, for
cleansing and whitening the teeth.
Plin. H. N. xxix. 11. Id. xxxii. 21.
Id. xxviii. 49.
DENTISCALP'IUM (o5ovr6y\v-
Qis). A tooth-pick. The choicest
kinds were made out of the stalks to
the leaves of the mastick tree (len-
tiscus*) ; the inferior qualities from
quills. Mart. xiv. 22. Id. iii. 82.
Id. vi. 74. Id. vii. 53.
DEPONTA'NI. Roman citizens
who had passed the age of sixty, and
thence become incapacitated from
voting at elections and in the public
assemblies ; so termed, because in
reality they were excluded from the
bridge (pons sujfragiorum), which the
voter passed over as he entered the
enclosure (septum) to cast his ballot
into the box. Festus, s. v.
DERUNCINA'TUS. Smoothed
with the runcina ; i. e. planed.
DESCOBINA'TUS. Scraped
with the scobina.
DESIGNATOR. A person em-
ployed at the theatre in a capacity
something like that of our box or
stall-keeper, whose business it was to
point out, and conduct the company
to their proper places. (Plaut. Pcen.
Prol. 19.) Every seat was numbered,
the space allotted to each being
marked out by a line (lined) drawn
on each side of it, and the billet of
admission (tessera theatralis) specified
the number of the seat which the
holder was entitled to occupy, which
was shown to him by the designator
when he entered the theatre.
DESULTOR.
DEXTRALE.
239
2. An undertaker; who made all
the arrangements for a funeral, and
directed the procession, at the head
of which he walked, attended by
lictors clothed in black. Hor. Ep. i.
7. 6. Donat. ad Terent. Adelph. i. 2.
7. Seneca, Benef. vi. 38.
3. A sort of clerk of ike course at
the Circensian games ; who made
the arrangements for each race, and
distributed the prizes. Ulp. Dig. 3.
2. 4. Cic. Alt. iv. 3. 2. probably
applies to this class.
DESUL'TOR OeragoTTjy, tf/i^nr-
iros). A person who exhibited feats
of horsemanship in the Circus upon
horses trained for the purpose, like
our performers at Astley's, and the
figure in the preceding engraving,
which is copied from a bas-relief in
the museum at Verona. He some-
times had as many as four horses
under his command (Agostini,
Gemme, 193.); but the more usual
number was two (Liv. xxiii. 29.),
which he rode without reins or
saddle, as shown by the annexed
example, from a terra-cotta lamp,
and received the name of desultor
from the practice of leaping from
one to the other, while the animals
were at their full speed. (Isidor.
Orig. xviii. 39. Compare Prop. iv.
2. 35.) He wore the cap termed
pileus on his head (Hygin. Fab. 81.),
which is observable in both the illus-
trations ; and frequently rode in the
Circus by the side of the chariots (see
the illustration s. SPINA) ; but some-
times a performance of desultores was
exhibited alone. Liv. xliv. 9.
DESULTO'RIUS, sc. equus. A
horse trained for the performances of
the desultor (Suet. Cces. 39.), as shown
in the two preceding illustrations.
2. Same as DESULTOR. Cic.
Mur. 27.
DEUNX. Eleven uncice, or eleven
twelfths of anything ; as the eleventh
part of an as, a nominal sum, not repre-
sented in actual coinage. Varro, L.'L.
v. 172. Rhemn. Fann. de Pond. 45.
DEVERSO'RIUM. A general
name for any place at which a tra-
veller " puts up," or is accommodated
with temporary board and lodging,
whether a public inn (taberna meri-
foria) or a private house be used for
the purpose. Cic. Phil. ii. 41. Pet.
Sat. 15. 8. Cic. Fam. vii. 23.
DEX'TANS. Ten uncice, or ten-
twelfths of anything ; as the tenth
part of an a*, a nominal sum, not
represented in actual coinage. Varro,
L. L. v. 172. Suet. Nero, 32.
DEXTRA'LE. A bracelet worn
on the fleshy part of the right arm,
240
DEXTROCHERIUM.
DIAMICTON.
as in the example, from a painting at
Pompeii. Cyprian, de Habitu Virgin.
DEXTROCHE'RIUM. A brace-
let worn round the wrist of the right
arm, as in the annexed example, sup-
posed to represent the portrait of a
Pompeian lady, from a painting in
that city. Capitolin. Maxim. 6. Id.
Maxim. Jun. 1.
DIABATHRA'RIUS. One who
makes diabathra. Plaut. Aul. iil 5. 39.
DIABATH'RUM (8<ctea0po>). A
particular kind of slipper or sandal
(soled) of Greek original (Festus,
s. v.) ; respecting which nothing fur-
ther is known, than that it was es-
pecially characteristic of the female
sex (Eustath. ad Horn. Od. v. 9.);
whence, if attributed to males, as by
Naevius (ap. Varro, L. L. vii. 53.), it
is only in ridicule, and pointedly
meant to designate an effeminate
style of dress. From this it may be
inferred that Pollux is mistaken
when he makes it common to both
sexes. Onomast. vii. 90.
DIACH'YTON. A particular
kind of wine produced by drying the
grapes in the sun for several days
before they were squeezed. Plin.
H.N.w. 11.
DIADE'MA (5{r^a). A dia-
dem ; which, in its
original notion,
means the blue
and white band
worn by the Asi-
atic monarchs
round the tiara
(Xen. Cyr. viii.
3. 13.), as shown
by the illustration
s. CIDARIS; but
subsequently the diadem was a broad
white band (Val. Max. vi. 2.7.), fast-
ened round the head, and tied in a
bow behind, adopted by other nations,
as an ensign of sovereignty ( Juv. xiii.
105.), like the annexed example, from
an engraved gem, representing Pto-
lemy, the brother of Cleopatra. Thus
in works of art, the diadem indicates
a regal station, like the crown of
modern times.
DIADEMA'TUS. Wearing the
diadem, as shown in the preced-
ing illustration. Plin. H. N. xxxiv.
19. 17.
DI^E'TA (8/arra). The name
given to some particular department
in ancient houses, the precise nature
of which is not distinctly known.
Thus much, however, is certain, that
it consisted of several rooms adjoin-
ing one another, and contained within
the suite both eating and sleeping
rooms. Plin. Epist. ii. 17. 12. and
20. Ib. vi. 21. Ib. vii. 5. 1.
2. (triaiv{)\ A cabin or tent
erected on the deck at the stern of a
vessel, as in the annexed example,
from the Vatican Virgil. It was ap-
propriated to the use of the chief
person in command ; or to the ma-
gister, in a merchantman. Pet. Sat.
115. 1.
DIAMIC'TON. A term employed
by the Roman builders to designate
a particular manner of constructing
walls, similar in most respects to the
Emplecton, but of an inferior descrip-
tion ; for though the outside surfaces
were formed of regular masonry or
DIAPASMA.
DICHALCON.
241
brickwork, and the centre filled in
with rubble, they had no girders
(diatom) to consolidate the mass, and
bind it together. (Plin. H.N. xxxvi.
51.) The illustration shows a wall
constructed in diamicton, from a ruin
at Rome.
DIAPAS'MA (SidTraffpa). A fine
powder, made from dried flowers,
odoriferous herbs, or berries, intended
to be rubbed over the body as a per-
fume. Plin. H.N. xiii. 3. Id. xxi.
73. Mart. Ep. i. 88.
DIA'RIUM. A day's allowance
of provisions, which was weighed
out to slaves (Hor. Ep. i. 14. 40.
Pet. Sat. 75. 4.) ; and thence also a
soldier's daily allowance or pay.
Cic. Att. viii. 14.
DIAST'YLOS (Szao-TuAos). Hav-
ing the space of three diameters be-
tween column and column, which
constitutes the widest intercolum-
niation capable of bearing an archi-
trave of stone or ^,,^
marble ; for the Tus
can style, which ad-
mitted four diame-
ters, required its
architrave to be of .4-^
wood. (Vitruv. iii.
2.) The annexed diagram shows the
relative width of the five different
kinds of intercolumniation in which
the diastyle is the last but one.
DIAT'ONI (Staroi/oO. Girders,
or bandstones, employed in the con-
struction of walls which are built in
the style termed Empkcton. They
are large stones of the same length
as the entire thickness of the wall,
like those marked F in the annexed
example, and consequently extended
from one face of it to the other,
being laid in courses at regular in-
tervals, for the purpose of consoli-
dating the structure, and binding the
whole together. Vitruv. ii. 8. 7.
DIATRE'TA (S^TPTJTO). Vases or
drinking cups of cut glass, or precious
stones, ground by
the wheel in such
a manner that
the patterns upon
them not only
stood out in re-
lief, but were
bored completely
through, so as to
form a piece of open tracery, like
network (Mart. Ep. xii. 70. Ulp.
Dig. 9. 2. 27.), precisely as exem-
plified by the annexed figure, copied
from an original glass drinking-cup
found at Novara in the year 1725.
The letters on the top, which form
the inscription BIBE, VIVAS MTJLTOS
ANNOS, and the whole of the tracery
below, are cut out of the solid, and
form part of the same substance as
the inner cup, though completely au
jour, small ties or pins being left at
proper intervals, which unite the
letters and the tracery to the inner
body of the cup.
DIAT'RIBA. A place in which
learned disputations are carried on,
such as a school or lecture room.
Aul. Gell. xvii. 20. 2. Id. xviii. 13. 2.
DIAZO'MA(8ioft>/*a). Properly,
a Greek word Latinized (Vitruv. v.
6, 7.), for which the genuine Latin
term is PIUECINCTIO ; under which it
is explained.
DICHAL'CON (Slx^Kov). A
small copper coin of Greek currency,
equal in value to the fourth or fifth
of an obolus. Vitruv. iii. 1. Plin.
H. N. xxi. 109.
i i
242
DICROTUS.
DIPLOIS.
DIC'ROTUS (Sfcporos). Having
two banks of oars on a side ; pro-
perly, a Greek word, for which the
Romans used BIREMIS ; which see.
DIDRACH'MA and DIDRACH'-
MUM (S/Spax/uoj/). A double
drachm, of the Greek silver coinage.
(Tertull. Prcescr. 11.) Like the
drachma, it was of two different
standards : the Attic, of which spe-
cimens are very rare, worth about
Is. 7fyd. of our money ; and the JEgi-
netan, worth about 2*. 3irf., the
largest coin of that standard, and by
no means uncommon ; one of which
is here represented of the actual size,
from an original in the British
Museum.
DIGIT A'LE (Sa/cruA^fya). A
covering to the hand with fingers to
it, like our glove. (Varro, R. R. i.
55. 1. Xen. Cyr. viii. 8.
17.) The example here
introduced is copied from
Trajan's Column, where it
appears on the hands of a
Sarmatian ; but the passage
of Varro is considered doubtful, and
sonie editions read digitabulum, which
is interpreted to be an instrument
with prongs, like the human hand,
affixed to a long handle, and employed
in gathering fruit.
DILO'.RIS. A hybrid word,
meaning literally furnished with two
thongs; but intended to designate the
two stripes of purple, or purple and
gold, termed paragaudce, which, in
late times, were employed to orna-
ment wearing apparel, in a similar
manner to the clavus, as explained
and illustrated under the word PA-
RAGAUDA. Vopisc. Aurel 46.
DI'MACH^E (St/xo'xai), A class
of troops amongst the Macedonians,
who acted both as horse and foot
soldiers, being trained to dismount
and serve amongst the infantry as
occasion required. Curt. v. 13.
DIMACH^E'RI (S^xaipo^. A
class of gladiators, who are supposed
to have fought with two swords each;
but the fact is only an inference,
collected from their name. Inscript.
ap. Mur. 613. 3. Orelli, Inscript.
2584.
DIOGMFT^E. A body of light-
armed troops employed under the
empire, and stationed upon the con-
fines to prevent incursions, pursue
robbers, &c. Ammian. xxvii. 9. 6.
Capitolin. Anton. Philosoph. 21.
DIOP'TRA (S/oTTTpa). A geome-
trical instrument employed in mea-
suring the altitude of distant objects ;
for taking the levels of a source of
water intended to be conveyed to a
distance by means of an aqueduct,
and similar purposes. Vitruv. viii.
5. 1.
DIO'TA (St'coTTj). A Greek word,
meaning literally with two ears ; and
thence employed both in the Greek
and Latin languages, as a general
term for any vessel which is fur-
nished with two
handles, like the
amphora, lagena,
&c. ; especially
such as were in-
tended for the pre-
servation of wine
in store (Hor. Od.
i. 9. 8.), to which
purpose the original depicted in the
annexed engraving was applied ; for
it is carried by a Faun, attending
upon Bacchus, on a fictile vase of the
Neapolitan Museum.
DIPLINTH'IUS. Two bricks
thick. Vitruv. ii. 8.
DIP'LOIS (SiTrAofs, S/VrAop. A
doubled cloak ; i. e. a pallium, or
other article of the outward apparel
(amictus), which, when put on, was
partly doubled back in the same man-
ner as women do their shawls, in
DIPLOMA.
DIRIBITORIUM.
243
consequence of being too large to be
conveniently worn
single. It belonged
to the Grecian
costume (Isidor.
Orig. xix. 24. 11.),
was affected by
the Cynic philoso-
phers (Hor. Ep.
i. 17. 25. Acron.
ad L), and is very
clearly represented
in the annexed fi-
gure of Juno, from
a fictile vase, as
well as on a statue ~
of Minerva in the
Vatican. Mus. Pio-Clem. iii. 37.
DIPLO'MA (S/TrAc^a). A sort
of passport, consisting of two leaves
(whence the name originated), which
was given to a messenger or other
person travelling upon public busi-
ness, in order that he might readily
obtain every thing necessary on
his journey, without delay or hin-
drance. Cic. Fam. vi. 12. Plin. Ep.
x. 31. Capitolin. Pertin. 1.
2. A diploma, or document drawn
up by a chief magistrate, which con-
ferred some particular privilege upon
the person to whom it was given.
Suet. Nero, 12
DIPLOMA'RIUS. A public cou-
rier or state messenger ; i. e. who was
furnished with a public passport (di-
ploma). Inscript. ap. Orelli, 2917.
DIP'TEROS (S/Trrepos). Lite-
rally with two wings ; whence em-
ployed by architects to designate a
temple or other, edifice which has a
double row of columns all round.
Vitruv. iii 2.
DIP'TYCHA (SiVrvxa). Folding
tablets, consisting of two leaves con-
nected by a string or by hinges, |
which shut up like the covers of a
book, or of a modern
backgammon board.
(Schol. Vet. ad Juv. ix.
36.) The outside pre-
sented a plain surface of
wood; the inside had a
raised margin all round,
within which a coat of
wax was spread for
writing on with a steel point (stilus),
while the margin preserved the wax
and letters from abrasion by coming
into contact.
2. Diptycha consularia, prcetoria,
cedilitia. Tablets of similar form,
but containing the names and por-
traits of consuls, praetors, sediles, and
other magistrates, which they pre-
sented to their friends, and distributed
amongst the people on the day of
entering upon their respective offices.
(Symmach. Ep. ii. 80. Id. v. 54.
Cod. Theodos. 15. 9. 1.) Many dip-
tychs of this description in wood and
ivory are preserved in the cabinets of
antiquities, and have been engraved
by Maffei, Mus. Veronens., and Do-
nati, Dittici Antichi, but the details
are too minute and elaborate for
insertion in these columns.
DIRIBITO'RES. Officers who
had charge of the balloting boxes at
the Roman Comitia. It was their
duty to sort the votes of the different
tribes at the conclusion of the ballot,
and then hand them over to the scru-
tineers (custodes), who pricked off
the respective numbers, and declared
the result. Cic. in Senat. 11. Id.
Pis. 15.
DIRIBITO'RIUM. A room or
building, supposed to have been ori-
ginally constructed for the diribitores
to sort the votes at the Comitia ; but
subsequently the same place, or a
similar one, was set apart for the use
of the officers engaged in examining
the muster roll of the army, distri-
buting the pay, and assigning the
conscripts to their different legions.
Suet. Claud. 18. Plin. H. N. xvi.
76. 2.
I I 2
244
DISCINCTUS.
DISCOBOLUS.
DISCINCTUS <
girt ; that is, wearing
without its belt round
the waist, as shown by
the figure annexed,
from a painting at
Pompeii; and, as this
was an unusual prac-
tice amongst the an-
cients, except when
a person wished to be
at ease in his own
house (Hor. Sat. ii.
1. 73.), it implies a
sense of hurry and
constrained dishabille (Id. Sat. i. 2.
132.), or of natural slovenliness,
which was considered to be indicative
of loose morals. Pedo Albin. El. ii.
21 25. of Maecenas, who was addicted
to this habit.
2. With respect to females, the
meaning is the same, and the appear-
ance presented by a woman's tunic
without its belt (recincta, solutd) is
shown by the following figure, from
an engraved gem ; but the sense of
indelicacy is still more decided as
regards the sex, amongst whom, both
in Greece and Italy, such a freedom
of costume was chiefly affected by
women of easy character, such as
singing and dancing girls, who are
mostly so depicted in the Pompeian
paintings.
3. Discinctus miles. With respect
to the military, the word implies
without the sword belt (balteus, cinc-
torium\ which the Roman com-
manders sometimes took from their
men who had disgraced themselves,
as the colours are now taken for a
similar purpose from a modern regi-
ment ; and this was not only a mark
of ignominy, but a real hardship to
the soldier, who was thus compelled
to carry his naked sword without the
assistance of a belt and the sheath
attached to it. Liv. xxvii. 13.
DISCERNIC'ULUM. A bodkin
employed by women to part the hair
evenly down the front of the head.
Lucil. ap. Non. s. v. p. 35. Varro,
L. L. v. 129.
DISCOB'OLUS (5ur K0 g(*Aos). One
who throws the discus; the manner
of doing which is shown by the sub-
joined engraving, from the celebrated
statue of Myron (Quint, ii. 13. 10.
Plin. H.N. xxxiv. 19. 3.), a copy
of which is preserved in the British
Museum. The very remarkable at-
titude and position of this figure are
characterized by Quintilian as "la-
boured and distorted " distortion et
elaboration but these words are to be
understood with reference to the usual
practice of the Greek artists, who were
extremely chary of representing their
figures in violent action, such as oc-
curs in ordinary nature, and not as in-
tended to imply that the figure in
question does not truly express the
real posture which every player with
the discus actually assumed at the mo-
ment of discharging his disk ; for a
passage of Statius (Theb. vi. 646
721.), descriptive of a contest be-
DISCUBITUS.
DODKANS.
245
tween two discoboli, enumerates one
by one all the particular motions and
poses observable in this statue. The
player first examines his discus to
find which part of the edge will best
suit the gripe of his fingers, and
which will lay best against the side of
his arm, quod latus in digitos, medice
quod certius ulnce, Conveniat ; he then
raises up his right arm with its
weight, Erigit adsuetum dextrce
gestamen, et alte Sustentat ; bends both
his knees downwards, and swings the
disk up above the general level of his
body, humique Pressus utroque.
genu, collecto sanguine discum, Ipse
super sese rotat ; and then discharges
the mass by swinging his arm down-
wards, which acquires a double im-
petus from the resistance in a con-
trary direction, produced by the
rising up of the bent body, as the
arm descends, ahenee lubrica massce
Pondera vix, toto curvatus corpore,
juxta dejicit. This passage, while it
illustrates the meaning and intention of
the different attitudes exhibited by the
above figure, also clearly explains the
manner in which the discus was cast.
DISCU'BITUS, DIS'CUBO.
These words denote the taking of a
place, and reclining at meal-time, as
described s. ACCUBO ; but, strictly
speaking, when they are used, allu-
sion is made to the whole company,
that is, to a number of persons who
recline together upon different couches
(Val. Max. ii. 1. 9. Cic. Att. v. 1.),
as seen in the illustration s. TRICLI-
NIUM, 1.
DIS'CUS (Skncoy). A circular
plate of stone or metal, about a foot
in diameter, employed, like our quoit,
for throwing to a distance as an ex-
ercise of strength and skill. (Hor.
Od. i. 8. 11. Prop. iii. 14. 10.) The
instrument itself, and the manner of
projecting it, are shown and explained
by the wood-cut on the opposite page,
and the text which accompanies it.
2. Any shallow circular vessel for
containing eatables ; the original of
our word dish. Apul. Met. ii. p. 36.
3. A flat circular sundial, placed
horizontally upon its stand. (Vitruv.
ix. 8.) The example is from an
original published by Martini, von
den Sonnenuhren der Alien.
DISPENSA'TOR. One of the
slave family in a Roman household,
both in town and country, who per-
formed the duties of a secretary and
accountant in the former, and of a
bailiff or steward in the latter estab-
lishment. Cic. Att. xi. 1. Suet.
Galb. 12. Macrob. Sat. ii. 4. Pom-
pon. Dig. 50. 16. 166.
DISPLUVIA'TUS. See ATRI-
UM. 4.
DIVERSO'RIUM. See DEVERSO-
RIUM.
DIVIDIC'ULUM. A tower in
an aqueduct, containing a large re-
servoir, from which the water was
distributed through separate pipes into
the city. It was an old name, subse-
quently relinquished for the more
imposing one of Castellum. Festus,
s. v. and CASTELLUM, 4., where an il-
lustration is given.
DO'DRA. A potage, or drink
composed of nine different ingredi-
ents water, wine, broth, oil, salt,
bread, herbs, honey, and pepper.
Auson. Epigr. 86. and 87.
DO'DRANS. Nine-twelfths of
anything ; thence a copper coin, con-
sisting of nine uncice, or three-quarters
of an as. (Varro, Z. L. v. 172.) It
is extremely rare in actual coinage ;
though an example is said to exist in
a coin of the Cassian family, which
bears the letter S, and three balls, to
represent its value.
246
DOLABELLA.
DOLABRATUS.
DOL ABEL/LA. A small dola-
bra, or instrument constructed upon
the same principle, which was em-
ployed for agricultural purposes,
especially in the vineyard, for clear-
ing out the dead wood, and loosening
the earth about the roots of the vines.
(Columell. iv. 24. 4. and 5.) The
example is taken from a sepulchral
marble (Mazzocchi de Ascia, p.
179.); its form clearly shows that it
belonged to the class of dolabrae, as
will be seen by comparing it with
the following illustrations, while the
straight cutting blade, like a hatchet
or chisel at the top, and the curved
one, like a pruning hook, below,
make it sufficiently suitable for the
uses assigned to it by Columella in
the passages cited.
DOLA'BRA (d^i/Tj). An instru-
ment employed for cutting, chopping,
breaking, and digging ; by woodsmen
(Quint. Curt. viii. 4.), agricultural
labourers (Columell. Arb. 10. 2. Pal-
lad, iii. 21. 2.), and very generally
in the army, for making stockades
(Juv. viii. 248.), or breaking through
the walls of a fortification (Liv. xxi.
11.), to both which purposes it is
frequently applied by the soldiery on
the Columns of Trajan and Anto-
ninus. It belonged to the class of
instruments which go by the name
of hatchet (securis) amongst us ; and
is often confounded by the writers
of a late age with the adze (ascia),
with both of which it presents points
of resemblance and of discrepancy,
having a long handle and double
head, one side of which is furnished
with a sharp cutting blade, the edge
of which lies parallel to the haft, in-
stead of across it, like the adze, and
the other side with a crooked pick,
something like a sickle, thence termed
I falx by Propertius (iv. 2. 59.)- The
example introduced is from a sepul-
chral monument found at Aquileia,
and is carried on the shoulders of a
figure, with the inscription DOLA-
BRARIUS COLLEGII FABRUM under-
neath, which thus identifies the name
and nature of the instrument. Com-
pare also the wood-cut s. DOLATUS,
where it is shown in use.
2. Dolabra fossoria. The instru-
ment employed by excavators and
miners, which had a long handle,
like the preceding one, and a head of
similar character, furnished with a
cutting edge at one side, placed pa-
rallel to the haft, and a regular pick
at the other, as shown by the annexed
example, from a painting in the
Roman catacombs, in which it appears
in the hands of an excavator. Isidor.
Orig. xviii. 9. 11., and compare the
illustration s. FOSSOR, 1. where it is
seen in use.
3. Dolabra pontificalis. The hat-
chet employed in slaughtering cattle,
at the sacrifice (Festus, s. Scena\
and by butchers (Paul. Dig. 33. 7.
18.), which is furnished with two
blades one broad and large, like a
hatchet ; the other at the back, of
smaller dimensions, and resembling
the cutting edge of an ordinary dola-
bra, as shown by the annexed exam-
ple, from a bas-relief representing a
sacrifice in the Villa Borghese.
DOLABRA'TUS. Hewn, split,
formed, or fashioned with a dolabra.
Cses. B. G. vii. 73. and wood-cut s.
DOLATUS.
2. Made like a dolabra, or fur-
nished with one ; as securis dolabrata
DOLATUS.
DOMUS.
247
(Pallad. i. 43.), a hatchet with a do-
labra at the back of the blade, as
seen in the preceding illustration.
DOL A'TUS. Hewn, cut, chopped,
and formed into shape with the do-
labra, as applied to objects in wood
(Cic. Acad. ii. 31. Plin. H.N. xvi.
18.), and represented in the annexed
engraving, from the Column of Tra-
jan ; and as the action employed in
using that instrument is one of giving
repeated blows, the word is also ap-
plied in the sense of beaten violently.
Hor. Sat. i. 5. 22.
DOLI'OLUM. Diminutive of
DOLIUM. Liv. v. 40. Veg. Vet. vi.
13. 3.
DO'LIUM. A large-mouthed,
round, full-bellied earthenware vessel
(Varro, jR. It. in. 15. 2. Columell.
xii. 6. 1. Ib. 4. 5.), of great capacity,
employed to contain
new wine in a body
until it was drawn
off into amphorae, or,
as we should say,
bottled (Seneca, Ep.
36. Procul. Dig.
33. 6. 15.) ; as well
as other kinds of produce, both
dry and liquid, as oil, vinegar, &c.
(Varro, R. R. i. 22. 4. Cato, R. R.
10. 4. and 11. 1.) The great size
of these vessels is testified by the
fact that Diogenes lived in one (Juv.
Sat. xiv. 308.) ; and by some origi-
nals excavated at Antium, which are
three inches thick, and have an in-
scription declaring their capacity at
18 amphorae, equal to 21^ of the
modern Roman barrels. The illus-
tration is copied from a bas-relief,
representing the dolium of Diogenes.
Our word tub, which is commonly
adopted as the translation of dolium,
gives an incorrect notion of the ob-
ject, which was made of baked earth,
though of sufficient size to contain a
man, as the oil jars used at this day in
Italy, and those of the well-known
story of the Forty Thieves, in the
Arabian Nights.
2. Dolium demersum, depressum,
defossum. A dolium sunk partially
into the sand which formed the floor
of a wine cellar. (Seethe illustration
s. CELL A, 2.) This method was
considered the best for keeping wine
which had not a strong body ; but if
it was of a generous quality, the
dolium containing it stood upon the
ground. Plin. H.N. xiv. 27. Colu-
mell. xii. 18. 5.
DOLON or DOLO (5<fouw/). A
long and strong stick, with a small
sharp iron point at the extremity.
Virg. JEn. vii. 664. Varro, ap. Serv.
ad I.
2. A sword stick, in which a
poniard is concealed (Serv. ad Virg.
jfEn. vii. 664. Isidor. Orig. xviii. 9.
4. Suet. Claud. 13. Plut. T. Gracch.
10.) ; whence appropriately trans-
ferred to the sting of a fly. Phsedr.
iii. 6. 3.
3. A small fore-sail on a ship with
more than one mast, carried over the
prow, and attached to the foremast
(Isidor. Orig. xix. 3. 3. Liv. xxxvi.
44. Polyb. xvi. 15. 2.), as is clearly
seen in the annexed illustration, from
a bas-relief of the Villa Borghese.
If the vessel had three masts, and,
consequently three sail, the dolon was
the smallest of the three. Pollux,
i. 91.
DOMUS. A private house, occu-
248
DOMUS.
pied by a single proprietor and his
family, as contradistinguished from
the insula, which was constructed for
the reception of a number of different
families, to whom it was let out in
lodgings, flats, or apartments.
The Roman houses were usually
built upon one fixed plan, varying
only in the size, number, and distri-
bution of the apartments, according
to the wealth of the owner, or the
particular nature of the ground plot
on which they stood. They were
divided into two principal members:
the atrium, or cavcedium, with its ap-
propriate dependencies all round; and
the peristylium, with its appurtenances
beyond, which were connected by an
intermediate room, the tablinum,
and one or two corridors, fauces, or
sometimes by both. These several
apartments constituted the nucleus of
the edifice on its ground-plan, and are
constantly found in every Roman house
of any size ; their relative situations
were always fixed; and they were
constructed according to a received
model, which was never deviated
from in any important particular, as
shown by the annexed illustration,
representing the ground-plan of three
small houses, side by side, in one of
the streets of Rome, from the marble
map of the city, now preserved in the
Capitol, but executed in the age of
Septimius Severus. A A A, the pro-
thyrum, or entrance passage from the
street; BBB, the atrium, or cavce-
dium; ccc, the peristylium; DDD,
the tablinum, or passage-room which
connects the two principal divisions
of the building. Of the other pieces
not marked by letters of reference,
those by the side of the doors facing
the street were shops; those in the
interior, eating, dwelling, and sleep-
ing rooms for the use of the family.
The next illustration represents
the ground-plan of a Pompeian
house, which was also, in some re-
spects, an insula ; for it was sur-
rounded by streets on all sides, and
some exterior dependencies with
DOMUS.
249
upper stories, which had no commu-
nication with the principal portion of
the structure. It is introduced for
the purpose of affording an idea of the
general style in which houses of the
better class, such as were occupied by
private persons in easy circumstances,
were laid out, their method of ar-
rangement and number of conveni-
ences ; for the palaces of the great ;
aristocracy, whether of wealth or j
birth, were much larger, and pos-
sessed a greater variety of parts, ac-
cording to the circumstances and taste
of the owner. A separate account
of these, as well as of the indivi-
dual members here mentioned, will be
found under each distinct name, and
enumerated in the classed Index.
The house is known as that of Pansa,
and is supposed to have been occupied
by a Pompeian sedile, from the words
PANSAM JEn, being painted in red
letters, near the principal entrance.
A. Ostium and prothyrum, the en-
trance-hall, between the street door
and the atrium, with a mosaic pave-
ment, upon which the usual word of
salutation, SALVE, is inlaid in co- [
loured stones. B. The atrium, of the j
kind called Tuscan, in the centre of
which is the impluvium (a), to receive
the water collected from the discharge
of the roofs, and a pedestal or altar (6)
of the household gods, which it was
customary to place on the impluvium.
The length of the atrium is just half as
long again as its breadth, as Vitru-
vius directs that it should be. c c. The
alee, or wings of the atrium, which are
exactly two-sevenths of the length
of the atrium, as required by Vitru-
vius. ccccc. Five small cubicula,
or chambers intended for the recep-
tion of guests, or the use of the
family. D. The Tablinum ; paved
with mosaic, and open to the peristyle,
so that a person who entered the
house by the principal door, at A,
looked through the whole extent of
the edifice, the atrium and peristylium.
into the oacus and garden beyond,
which must have presented a very
beautiful and imposing vista : it
could, however, be closed, when re-
quired, with curtains, or by temporary
screens. E. A corridor of communi-
cation between the atrium and peri-
stylium, for the use of the ser-
vants, and to obviate the inconve-
nience of making a passage room of
the tablinum. In most cases there
are two corridors of this description,
one on each side of the tablinum,
whence they are designated by the
plural fauces. d. A chamber, the
use of which is uncertain ; but it
might have served as an eating-
room (triclinium), a picture-gallery
(pinacothecd), or a reception-room
for visitors. This terminates the
front part of the house, which in-
cludes the atrium and its dependen-
cies. FF. The peristylium, which
forms the principal compartment of
the second or interior division of the
house. It has a roof supported upon
columns, which form four corridors,
with an open space in the centre,
containing a basin of water (piscina),
similar to the impluvium of the atrium,
but of larger dimensions. G G. Alee
of the peristyle, eeee. Four cubi-
cula ; the three on the left of the
peristyle were used as dwelling-
rooms ; the other one, by the side of
the passage E, appears to have been
appropriated to the house porter (osti-
arius), or to the slave who had the
charge of the atrium (atriensis), as it
had a direct and immediate commu-
nication with both divisions of the
house, as well as the surveillance of
the entrance from the side street at
m. H. The triclinium, or dining-
room ; to which the contiguous cham-
ber (/) communicating with it, and
with the peristyle, was probably an
appurtenance for the use of the slaves
and attendants at the table, i. (Ecus,
which is raised two steps above the
peristyle, and has a large window
opening on a garden behind, as well
as a passage (gr) by its side, like the
faux of the atrium, in order to give
access to the garden without passing
K K
250
DOMUS.
through the grand room. K. Culina,
the kitchen, which opens at one side
upon another room, or back-kitchen
(&), furnished with dwarf walls for
the deposit of oil jars, cooking uten-
sils, &c., and at the other, upon a
court-yard (t), adjoining another of
the side streets which flank the edi-
fice, and to which it gives access by a
back door (o). L L. A covered gallery
(porticus or crypto), running along
one side of the garden (M), in one
corner of which is a tank (k\ sup- ;
plied from a reservoir (/) by its side.
This completes the domus, or private j
house, occupied by Pansa, which has :
four separate entrances : the principal
one in front (A), and three at the
sides, two for the family and visitors
(m and n), and one back door (pos-
tica) for servants and tradespeople (o),
But the whole insula contained
several additional apartments or
smaller houses, some with an upper
story, which were let out to different ;
tenant shopkeepers. 111. Three !
shops facing the main street. 2. A
shop in the same street, which has
also an entrance into the domus, and
consequently is supposed to have been
in the occupation of Pansa himself,
in which his steward (dispensator}
sold the produce of his farms, such as
wine, oil, &c. to the inhabitants of
Pompeii, in the same way as the
nobility of Florence retail out the
produce of their vineyards, at the
present day, in a small room on the
ground-floor of their palaces. 3 3.
Two baking establishments, with
their ovens (/?/>), wells (q\ a knead-
ing trough (r), and other appurte-
nances. 44. Two more shops, let
out to different trades. 5, 6, 7. Three
small shops and houses, occupied by
different tenants.
The ground-floor thus described,
constituted the principal portion of an
ordinary Roman domus or private
house, and contained the apartments
occupied by the proprietor and his
family ; the upper story being distri-
buted into small chambers (ccenacula),
used as sleeping rooms, and chiefly
assigned to the domestic part of the
establishment ; for it is an incredible
supposition that the small rooms on
the ground-floor, which opened upon
the porticoes of the atrium and peri-
style, the principal apartments of the
master and mistress, could ever be
intended for slaves to sleep in ; and
the upper story was frequently ap-
proached by a double stair- case, one
from the interior of the house, and
the other an external one ascending
from the street. (Liv. xxxix. 14.)
Indications of upper floors are ob-
servable in many houses at Pompeii,
and other ancient edifices ; but only
one actual example has ever been
discovered, and that no longer ex-
ists. It belonged to a house in
Herculaneum, which was entirely
covered by a bed of lava, from the
eruption which destroyed that city ;
and when excavated, the wood- work,
the beams, and architraves, were
found to be nearly carbonized by the
action of the heat, and the walls were
so much shattered by the earthquake
which accompanied the eruption of
79, that the whole of the upper story
was obliged to be taken down ; but
the sectional elevation and plan of the
rooms exhibited in the two following
wood-cuts was made from actual
survey before the demolition took
place, and consequently afford the
only authentic example of this part
of a Roman dwelling house now
attainable. Nothing is conjectural
nnr
DOMUS.
251
nor restored, excepting the mere tiles
of the roof, and curtains between the
columns. A. Section of the atrium.
The four columns seen in front sup-
ported the roof B (also marked on
the subjoined ground- plan), which
covered over one of the four corridors
surrounding the central and open
part of the atrium. Iron rods and
rings for hanging curtains between
the columns, as shown by the en-
graving, were found in their original
situations when the excavation was
made. They were intended to shut out
the sun, which beamed down into the
lateral corridors from the compluvium,
or open space in the centre, c c. Two
of the lateral corridors just mentioned
which have doors at their furthest
ends, opening into separate apart-
ments, and are enclosed above by the
flooring of the upper story. D. Sec-
tion of the peristylium. The eight
columns seen in front enclose one of
the sides of an open area, which was
laid out as a garden. EE. Two of
the lateral corridors, which surround
three sides of the peristyle, open to
the garden on the side nearest to it
through their intercolumniations, and
enclosed at the back by the party-
wall between them and the adjacent
apartments. F F. Sectional elevation
of the upper story, the plan and dis-
I"
n
F
F
tribution of the apartments in which
is given in the wood-cut subjoined.
Nos. a to m. Twelve small chambers
(ccenacula) built over the corridors
of the court below, and which re-
ceived their light from windows
looking down into the interior, as
shown by the elevation. The first
six open upon a terrace, G (solarium)
above the garden ; and, consequently,
may be surmised to have been in-
tended for the use of the proprietor,
his family, and guests. Nos. n to r.
Another set of small rooms, some of
which have windows to the street,
probably used as sleeping rooms for
the slaves. Nos. s to v. Rooms pro-
bably apportioned to the female part
of the establishment ; as they form a
suite by themselves, with a separate
communication from the rest. The
floors of these upper rooms are laid
in mosaic work, as well as those
below. The upper story only extends
over two sides of the peristyle, as
shown by the elevation ; the other two
having no superstructure above the roof
which covered the garden corridor.
2. (O?KOS). A Greek house. No
excavation has yet laid open the plan
of a Greek house ; consequently, any
attempt to define and distribute its
parts can only be drawn from inci-
dental passages of various authors,
and must be regarded as purely con-
jectural; but as there undoubtedly
were some essential points of differ-
ence between the domestic habita-
tions of the Greeks and Romans, a
supposed plan is here inserted, upon
the authority of Becker, which will
at least serve to explain the terms
which the Greeks employed to desig-
nate the various parts of their dwell-
ing houses, and to give a general
idea of the usual plan on which they
were arranged, a. atteios bvpa The
house door, or principal entrance
from the street, b. bvpwpeiov, Stvptiv,
Stddvpa. The entrance hall or pas-
sage ; the rooms on the right and left
of which afforded accommodation for
stabling, for the porter's lodge, and
slaves, c. av\-h. The court and peri*
K K 2
252
DOMUS.
style forming the first division of the
house, which was appropriated to the
use of the males, and, with the diffe-
rent chambers distributed around it
(Nos. 1 9.), formed collectively the
. d. fji.sT0.vXos, or JJ.S<TO.V\OS
The door in the passage which
separates the two principal divisions
of the house, and which when closed
shuts off all communication between
them. e. The court and peristyle
forming the second or interior part
of the house, which was appropriated
to the females, and with the various
dependencies (Nos. 1118.) situated
around it, forms collectively the
yvvaiK(DV?Tis. f. nyjoaros, or Trapaa-rds,
A chamber at the further end of
the peristyle, probably used as a re-
ception or retiring room by the
mistress of the house, g g. &d\afj.os,
and a^iedXa^os. The principal bed-
chambers, h h h. laTuves. Rooms in
which the women worked at the
loom. i. Kytrala Mpa. The garden
gate, or back door.
DORMITATOR.
DONA'RIUM. The treasury of
a temple ; i. e. an apartment in
which the presents made to the gods
were preserved. Serv. ad Virg. jEn.
xii. 179. Lucan. ix. 516. Apul.
Met. p. 183.
2. A votive offering, or present
made to the gods as a token of grati-
tude for some favour received, such
as the recovery from sickness, or an
escape from some impending calamity
or accident. (Aul. Gell. ii. 10. Au-
rel. Viet Cces. 35.) These of course
varied in value and character accord-
ing to the wealth and taste of the
donor, consisting of arms taken in
war, tripods, altars, and valuables of
any kind from persons who had
means at their command ; but the
poorer classes made more humble
offerings, such as tablets inscribed or
painted with a representation of the
deity miraculously interposing in
their behalf, and similar to those so
frequently seen suspended in Roman
Catholic churches ; or very generally
articles in terra-cotta, which were
kept for sale ready made at the [mo-
deller's shop, representing only cer-
tain portions of the body, such as an
arm, hand, eye, foot, leg, &c., so that
each person could purchase only the
exact part believed to have been
healed by divine assistance. The
illustration affords a specimen of
three donaria of this kind, all from
originals in terra-cotta ; a foot, two
eyes, and a hand, which last has a
gash in the centre, representing the
wound the cure of which it was in-
tended to commemorate.
DONATFVUM. A largess or
bounty given by the emperor to the
army, as contradistinguished from
congiarium, which was bestowed upon
the people generally. Suet. Nero, 7.
Lamprid. Alex. Sev. 26.
DORMITA'TOR (r^/cot-ros).
A thief who commits depredations
DORMITORIOM.
DRACHMA.
253
by night. Plaut. Trin. iv. 2. 20.
Hesiod. Op. 603.
DORMITO'RIUM. A dormi-
tory, or bed-chamber (Plin. H. N.
xxx. 17.); which appears to have
been generally small, and scantily
furnished, as shown by the example,
representing the interior of Dido's
bed-room, from the Vatican Virgil.
DORSUA'LIA. A broad band,
made of richly dyed cloth, or em-
broidered silk, which was laid across
the backs of horses upon state occa-
sions, as in the example, from the
triumphal procession of Constantine ;
or upon cattle conducted to the sacri-
fice, of which the Arch of Titus at
Rome affords several specimens. Tre-
bell. Gallien. 8.
DORSUA'RIUS and DOSSUA'-
RIUS. A beast of burden ; a pack-
horse (Varro, JJ.J?. ii. 10.), or ass
(Id. ii. 6.), as in the example, from
the triumphal arch of Constantine.
DORY'PHORUS (Sopwtfpos'). A
halberdier; the name given to the
soldiers who formed the body-guard
of the Persian kings, from the weapon
they carried ; but the word does not
occur in Latin, excepting as the
name of a celebrated statue by Poly-
cletes (Cic. Brut, 86. Plin. H. N.
xxxiv. 19. 2.), representing one of
these guards, or of a soldier armed
like them.
DRACH'MA (Spax^). A
drachm; the principal silver coin of
the Greek currency, as the denarius
was of the Roman, and of which
there were two standards of different
weights and value the Attic and
^ginetan.
The Attic drachm, represented by
the annexed wood-cut, from an ori-
ginal in the British Museum, of the
actual size, was mostly current in the
north of Greece, the maritime states,
and in Sicily. It contained six obols,
and its average value was nearly
equal to 9|c?. of our money ; but
when Pliny (H. N. xxi. 109.) speaks
of the Attic drachma and Roman de-
narius as being of equal weight, it is
to be understood that the latter had
been reduced from its original stand-
ard. Hussey, Ancient Weights and
Money, p. 47 48.
The JEginetan drachm, repre-
sented by the next wood-cut, also
from an original of the same size in
the British Museum, was used in
Boeotia, and some parts of northern
Greece, and in all the states of the
Peloponnesus except Corinth. It
was of a higher standard than the
254
DRACO.
DUUMVIRI.
Attic, containing about 93 grains of
pure silver, and was worth about
Is. \\d. of our money. Hussey,
Ancient Weights and Money, p. 59
60.
DRA'CO. A dragon ; the ensign
of a military cohort, adopted from
the Parthians, and
introduced into the
Roman army, about
the time of Trajan.
It was made in the
image of a large
dragon fixed upon
a spear, having its
head with gaping
jaws of silver, while
the rest of the body was formed of
coloured cloth or skins, which, being
hollow and flexible, waved about
with motions like those of the reptile
it represented, as the wind entered
through the open mouth. Veget.
Mil. ii. 13. Ammian. xvi. 10. 7. and
12. 39. Claud, iii. Cons. Honor. 138.
Nemesian. 85.
2. An apparatus for heating water
in a manner which economized both
time and fuel ; consisting in a boiler
furnished with a number of tubes set
round it, like the coils of a serpent,
so that the entire quantity of the
liquid was exposed at the same time,
and in small quantities, to the action of
the fire. Senec. Qucest. Nat. iii. 24.
DRACONA'RIUS. The ensign,
or standard bearer of a military co-
hort, who carried the draco, or dragon
represented in the preceding wood-
cut. (Ammian. xx. 4. 18. Veg.
Mil. ii. 7. and 13.) Ensigns of this
description are frequently represented
on the Columns of Trajan and An-
toniue amongst the barbarian troops,
but not in the Roman armies, though
they were introduced into them about
the time of Trajan. It is from this
word that the modern name of dra-
goon originated, meaning in its ori-
ginal sense a cavalry soldier, who
followed the ensign of a dragon.
DRACONTA'RIUM. A band
for the head (Tertull. Cor. Mil. 15.),
either twisted to imitate the coils of
a serpent ; or, perhaps, made in the
form of two serpents joined together,
like the torquis ; see the illustration
s. TORQUATUS, and compare Inscript.
ap. Don. cl. 1. n. 91., torquem aureurn
ex dracontariis duobus"; but worn
round the head instead of the neck.
DROMO, or DROMON (5 P 4ua>>).
A particular kind of ship, remark-
able for its celerity, but respecting
which nothing more definitive is
known. Isidor. Orig. xix. 1. 14.
Cassiodor. Var. Ep. v. 17
DROMONA'RIUS. A rower in
a vessel termed dromo. Cassiodor.
Var. Ep. iv. 15.
DUL'CIA. Confectionery; a ge-
neral name for all kinds of sweets
made with honey, as contradistin-
guished from pastry, or sweets made
with meal, fruits, milk, &c. Lam-
prid. Elag. 27. and 32.
DULCIA'RIUS. A person who
made dulcia ; i. e. a confectioner, as
contradistinguished from a pastry-
cook. Lamprid. Elag. 27. Trebell.
Claud. 14. Veg. Mil. i. 7.
DUUM'VIRI. Two officers ap-
pointed to act together for various
purposes ; as,
1. Duumviri jure dicundo ; two
chief magistrates who administered
the laws in provincial towns. Cic.
Agr. ii. 34.
2. Duumviri perduellionis ; two
colleagues appointed to try persons
accused of the murder of a Roman
citizen. Liv. i. 26. Cic. Rabir.
perd. 4.
3. Duumviri Navales-, two col-
leagues appointed upon emergencies to
superintend the equipment or repairs
of a fleet. Liv. ix. 30.
EBORARIUS.
ELENCHUS.
255
4. Duumviri sacrorum; two col-
leagues appointed to take charge of
the Sybilline books, a duty subse-
quently transferred to the decemvirs.
Liv. iii. 10.
E.
EBORA'RIUS. A carver and
-worker in ivory. Imp. Const Cod.
10. 64. 1.
ECHI'NUS (e'x^os). A hedge-
hog ; and a sea-urchin, the shell of
which was made use of by the an-
cients as a receptacle for medicine
and other things ; hence the name is
given by Horace (Sat. i. 6. 117.) to
a table utensil, formed of the same
material, or modelled to imitate it;
but the particular use for which he
intended it to be applied is not clearly
apparent. Heindorf (ad Z.) says, a
bowl for washing the goblets in.
2. In architecture. A large ellip-
tico-circular member in a Doric
capital, placed imme- , i
diately under the ^- J
abacus. (Vitruv. iv.
3. 4.) In the finest
specimens of the order it is either
elliptical or hyperbolical in its out-
line, but never circular ; and, with
the annulets under it is of the same
height as the abacus. (Elmes, Lec-
tures on Architecture, p. 205.) The
example represents a capital from the
Parthenon.
EC'TYPUS (eKTUTros). Formed
in a mould (JVTTOS, forma), which has
the device intended to be displayed
incavated in it, so that the cast (ecty-
pum) which comes from it presents
the objects in relief, like a terra-
cotta cast (Plin. 77. A 7 ; xxxv. 43.), as
will be readily understood by the
annexed engravings. The right-hand
one represents an ancient mould,
from an original found at Ardea, and
the left-hand one shows the terra-
cotta cast with its figures in relief
which comes out of it.
2. Ectypa gemma, or scalptura ; an
engraved stone which has the images
upon it carved in relief, like a cameo,
instead of being cut into it, like a
seal or intaglio. Seneca, Ben. iii.
26. Plin. H.N. xxxvii. 63.
EDOLA'TUS. Shaped, and cut
out of the rough with a dolabra
(Columell. viii. 11. 4. and DOLA-
TTJS) ; hence figuratively applied to
anything which is finished with
great care and nicety. Cic. Att.
xiii. 47. Compare Varro, ap. Non.
p. 448.
EFFIG'IES. In general, any
likeness, image, or effigy. But, with
reference to an express use of the
word in the Roman funera gentilitia
(Tac. Ann. iv. 9. Compare iii. 5.),
see IMAGINES, 2.
ELAEOTHES'IUM 0'Aato0eVtoi/).
The oiling room in a set of baths,
where the oils and unguents were
kept, and to which the bather retired
to be rubbed and anointed. In large
establishments a separate chamber
was appropriated for this purpose, ad-
! joining ihefrigidarium, or cold cham-
ber (Vitruv. v. 11. 2.), as exhibited
in the illustration at p. 142., from a
painting representing a set of baths
in the Thermae of Titus at Rome;
where it is seen with the name
written over it, filled with jars for
unguents ranged upon shelves, and
occupying the last chamber on the
left hand, immediately adjoining the
frigidarium, as directed by Vitruvius.
But in private baths, or in public
ones of a more limited extent, such
as those of Pompeii, the tepid cham
ber seems to have been used as a
substitute. See the article TEPI-
DARIUM.
ELEN'CHUS. A large drop
pearl in the shape of a pear, much
256
ELIX.
EMISSARITJM.
esteemed by the wealthy ladies of
Rome, who were fond of wear-
ing two or three together as
pendants for the ears, or dang-
ling from the rings of the fin-
gers. (Plin. H.N. ix. 56. Juv.
Sat. vi. 459.) The example
is copied from an original ear-
ring, consisting of one large elenchus,
for a drop.
E'LIX. An ancient word, ex-
pressing a broad deep furrow drawn
between the ridges in corn fields, for
the purpose of draining the moisture
from the roots of the plant. Serv.
ad Virg. G. i. 109. Columell. ii. 8. 3.
ELLYCH'NIUM (eAAyx^ov, &pv-
aAAis). The wick of a candle or
oil-lamp ; usu-
ally made with
the pith of a
rush, or the
coarse fibres of
flax, or of pa-
pyrus. (Vitruv. viii. 1. 5. Plin.
H.N. xxiii. 41. Id. xxviii. 47.) The
illustration represents a small Roman
lamp, with the wick burning.
EMBLE'MA (eXA^a). Inlaid;
but especially applied to mosaic work
(Varro, R. R. iii. 2. 4. Lucil. ap.
Cic. Brut. 79.), which is composed
with a number of small pieces of
coloured stone, glass, or enamel set
in a bed of cement. As this art was
practised in various ways, we meet
with several names in reference to
it, each of which discriminates some
one of the particular methods, such
as tessellatum, sectile, vermiculatum,
and others enumerated in the classed
Index. If the present one, emblema,
is not a generic, but specific term,
it may have been used to desig-
nate a description of mosaic little
known, but practised in the villa of
Hadrian, near Tivoli, some frag-
ments of which have been published
by Caylus (Recueil, vi. 86.), and
consisting of bas-reliefs modelled in
very hard stucco, which are inlaid
with small pieces of different coloured
stones and enamels, so as to have
the appearance of being painted.
The second meaning attached to the
word emblema supports such a con-
jecture.
2. A raised ornament or figure
not cast nor cut out of the solid, but
affixed to some other substance as an
ornamental mount; such, for instance,
as a figure in gold rivetted upon a
vase of silver, or in silver upon
bronze. (Cic. Verr. ii. 4. 17. 22.
24.) This art was much practised
and highly esteemed by the ancients ;
and several specimens of it have been
discovered at Pompeii.
EMBOLIA'RIA. An actress
who came upon the stage between
the acts of a play to keep the audi-
ence amused by reciting some kind
of interlude (embolium, e/j.6\iov).
Plin. H. N. vii. 49. Inscript. ap.
Murat. 660. 4.
EM'BOLUM OoA<n>). Pro-
perly, a Greek word Latinized (Pet.
Sat. 30. ), meaning the beak of a ship
of war, expressed in Latin by the
word ROSTRUM, under which it will
be explained and illustrated.
EM'BOLUS (1/xgoAos). The pis-
ton and sucker of a pump, syringe,
or other similar contrivance for
drawing up and discharging water.
(Vitruv. x. 7.) See CTESIBICA MA-
CHINA and SIPHO.
EMER'ITI. Roman soldiers
who were discharged from military
duty (Val. Max. vi. 1. 10. Ov. Trist.
iv. 8. 21.), having served the full
time required by law ; viz. twenty
years for the legionaries, and sixteen
for the praetorians. Tac. Ann. i.
78. Dion Cass. Iv. 23.
EMISSA'RIUM. An emissary,
any artificial canal formed with the
object of draining off a stagnant body
of water. (Cic. Fam. xvi. 18.
Plin. H.N. xxxiii. 21.) Remains of
some stupendous works of this nature
are still to be seen in Italy, con-
structed as emissaries for the lakes
of Albano and Fucino (Suet. Claud.
20. Plin. H.N. xxxvi. 24. 11.);
the first in consequence of an alarm
EMPLECTON.
EMPOROS.
257
felt that the waters would overflow,
and inundate the country ; the other
for the purpose of reclaiming the
land with a view to cultivation. The
last, which remains nearly entire,
and has been cleared out and made
passable by the king of Naples, con-
sists of a tunnel more than three
miles in length, a large portion of
which was excavated by the hammer
and chisel through a stratum of hard
rock, forming the basis of the moun-
tain through which it passes at a
depth of 1000 feet below the highest
summit. The remainder, which lies
but a few feet below the surface of
the earth, is entirely vaulted in
brick ; of which material the arch-
way through which the water was
discharged into the river Liris, is
composed ; but the embouchure
fronting the lake presents a fine ar-
chitectural elevation of masonry.
EMPLEC'TON (tfurteitTov). A
method of constructing walls intro-
duced by the Greeks, and copied by
the Roman architects, in which the
outside surfaces on both sides were
formed of ashlar laid in regular
courses, as shown by the upper part
of the annexed illustration (letter E),
and the central space between them
filled in with rubble work (G), layers
of cross stones (diatoni, F) being
placed at intervals in regular courses,
and of sufficient size to extend
through the entire thickness of the
wall from side to side, and so act as
girders to bind the whole together.
Vitruv. ii. 8. 7. Plin. H.N. xxxvi. 51.
EMPO'RIUM (e>-<$p, OJ /). A mart
or factory ; i. e. a large building,
containing ranges of bonding ware-
houses, in which foreign merchan-
dize, brought by sea, was deposited,
until disposed of to the retail dealers.
(Vitruv. v. 12. 1.) The site was
always enclosed by lofty walls, and
often strongly fortified (Liv. xxi.
57.), if the town which contained the
emporium was situated in an exposed
part of the country. The annexed
engraving is a ground-plan of some
very extensive ruins on the banks
of the Tiber under the Aventine hill,
believed to be the remains of the
emporium of Rome. (Liv. xxxv.
10.) The single line outside shows
the circuit of the external wall en-
closing the factory ; o, a flight of
steps leading down to the river, as
mentioned by Livy ; a b, and c d,
portions of wall containing the colon-
nades down to the river side, as
directed by Vitruvius ; m to n, re-
mains of the walls which enclosed
the range of warehouses. The parts
actually remaining when the survey
was made are marked by the dark
lines ; but it will be perceived that
these remains are sufficiently exten-
sive to authorize the completion of
the circuit, as given in a lighter tint.
EM'POROS (^TO/JOS). Properly,
a Greek word, and, consequently, il-
lustrative of Greek customs ; but
used in a Latin form by Plautus
(Merc. Prol. 9.), and Ausonius
(Epist. xxii. 28.). It designates a
person who acted in the double capa-
city of merchant and seaman ; being
appointed by some shipowner or
capitalist to a vessel which he con-
ducted on a voyage of traffic for the
advantage of his employer ; hence,
L L
258
ENCARPA.
ENDROMIS.
in Plautus (7. c.), he is styled emporos
Philemonis ; i. e. who imports for his
principal Philemon.
ENCAR'PA (7/cop7ro). Festoons
of fruit and flowers, employed as a
decorative ornament in sculpture or
painting (Vitruv. iv. 1. 7.)> as shown
by the example, from a Roman se-
pulchral monument.
ENCAUS'TICA (tyrawrrw^).
The art of encaustic painting ; i. e.
in colours mixed with wax, and
afterwards hardened by the action of
fire. This art, as practised by the
ancients, is now lost, nor has the
process actually adopted by them
ever been thoroughly ascertained ;
although the Count Caylus imagined
that he had discovered the secret,
and wrote an express treatise on the
subject. They appear to have pursued
several methods, and to have con-
ducted the operation in very different
ways : either with colours mixed
with wax, laid on with a dry brush,
and then burnt in with a cautery
(cauterium) ; or by marking out the
drawing with a hot etching iron (oes-
trum) upon ivory, in which process
wax does not appear to have been
used at all ; or, lastly, by liquifying
the wax with which the colours were
mixed, so that the brush was dipped
into the liquid compound, and the
colour laid on in a fluid state, as it is
with water colours, but subsequently
smoothed and blended by the opera-
tion of heat. Plin. H. N. xxxv. 41.
Ib. 39. Vitruv. vii. 9. Ov. Fast. iii. 831.
ENCOMBO'MA (*x*f/*ft/*a).
Properly, an article of Greek attire ;
viz. a sort of apron tied round the
body in a knot (whence the name
arose), and worn by slaves to keep
the tunic clean
(Longus. ii. 33.),
by young girls
(Varro, ap. Non.
s. v. p. 542.), and
also on the comic
stage. (Jul. Pol-
lux, iv. 18.) Both
of these latter uses
are exemplified by
the annexed figure
of a young female,
playing on the
double pipes, from
a marble bas-relief,
representing a scene from some play.
EN'DROMIS. A large blanket,
or wrapper of coarse woollen cloth,
in which it was
customary to en-
velope the body in
order to prevent
the chance of tak-
ing cold after the
violent exertions of
gymnastic exerci-
ses. (Juv. iii. 103.
Mart. iv. 19. Id.
xiv. 126.) It is
frequently depict-
ed in scenes il-
lustrative of life
in the gymnasium,
upon figures in re-
pose, similar to the one in the an-
nexed engraving, from a fictile vase,
representing a youth who has just
gone through his exercises, standing
before his teacher ; but though the
word itself is Greek, and has especial
reference to the customs of that
people, it is only amongst the Latin
authors that it occurs in the sense
explained. Compare No. 3.
2. Endr&mis Tyria. A wrapper
of similar character and object, but
of a finer texture, adopted by the
Roman ladies, who addicted them-
selves to masculine habits, and af-
fected the same pursuits as men.
Juv. vi. 246.
3. (epSpoyufe). In Greek, the word
ENDROM1S.
has a very different meaning, being
employed to designate the boots ori-
ginally invented and worn by the
EPH1PPIATUS.
259
Cretan huntsmen (Nonn, Dionys. v.
p. 154.), and thence adopted by the
Greek artists as the characteristic
chaussure of Diana in her quality of
a huntress. (Callim. Hymn, in Dian.
16. Jul. Pollux, vii. 93.) Conse-
quently, they are seen on a great
number of statues of that goddess, on
which they appear like the example
in the annexed illustration, from a
bronze of Herculaneum, with the
toes exposed, and a broad band just
above them (fascia primos sistitur ad
digitos, Sidon. Apoll. Carm. ii. 400.),
to which the two side leathers are
attached. These open down the
front, but are pierced with holes on
their edges, for the thong to pass
through which binds them on the
legs, in the same manner as with our
lace -up boots (Galen. Comment, in
Hippocr. de ArticuL and Spanheim
ad Callim. /. c. ) The cross laces,
which are omitted in our bronze,
may be seen on other statues. (Mus.
Chiaramont. tav. 17. Mus. Pio-Clem.
ii. 15. iii. 38.) The Latin poets al-
ways dress Diana in cothurni, which
were close boots, enveloping the
whole foot (see COTHURNUS, and the
illustrations there given) ; but erSpo-
jut'Ses received their name because
they were peculiarly fitted for per-
sons who required great activity and
agility in running (Galen. /. c.) ;
which, it is obvious, would be mate-
rially assisted by the free play al-
lowed to the foot from the exposure
of its extremities, instead of the
whole being constrained by an upper
leather ; consequently, they are ap-
propriately worn in this form by a
Faun and by a shepherd, in the Nea-
politan Museum. (Mus. Borb. viii.
23. ib. 25.) These considerations,
as well as the uniform testimony of
ancient statues, seem to warrant the
distinction above drawn, though it does
not depend upon any positive verbal
authority ; while at the same time,
it helps to explain the real difference
between the names of three kinds of
hunting boots commonly received as
synonymous terms: KdQopvos, which
reached up to the calf, was laced in
front, but covered the entire foot ;
fvSpo/ji.is, also reaching up to the calf,
and laced in front, but leaving the
toes uncovered ; and ctpgvAr;, a half
boot, laced in front, but only reaching
up to the ankle.
ENSIC'ULUS (i<t>l8iov). Dimin-
utive of ENSIS ; a little sword, for a
child's toy. Plaut. Hud. iv. 4. 112.
and CREPUNDIA.
ENSIS (Ityos). A sword. Used
mostly by the poets, but synonymous
with GLADIUS. (Quint, x. 1. 11.)
See also FALX, 6.
EPHEBE'UM (^rjgeToy). A
spacious apartment in the Greek
gymnasium, where the youths per-
formed their exercises in the presence
of their masters. (Vitruv. v. 11.
Strabo, v. 4. 7.) See the illustration
s. GYMNASIUM (letter c), which will
give an idea of its usual locality and
relative size, as compared with the
other divisions of the establishment
EPHE'MERIS (l^epk). A
journal or diary, kept by an indivi-
dual, in which he noted down the
daily occurrences, actions, or expen-
diture. Cic. Quint. 18. Nepos,
xxv. 13.
EPHIPPIA'RIUS. A saddler,
who makes ephippia. Inscript. ap.
Fabrett p. 712. n. 339.
EPHIPPIA'TUS. One who rides
upon a saddle pad (EPHIPPIUM) in-
L L 2
260
EPHJPPIUM.
EPIDROMUS.
stead of the bare back. See the illus-
trations s. EQUES. Caes. B. G. iv. 2.
EPHIP'PIUM (tyfrnrioO. ^pad
saddle for horses (Varro, R.R. ii. 7.
of which wine was poured at an en-
tertainment into the cup from which
it was drunk ; and adopted by the
Romans, as they advanced in civili-
15. Caes. B. G. iv. 2.), used by the
Greeks and Romans. It is very
commonly represented in works of
art as a piece of cloth doubled several
times into a thick square pad (see the
second illustration s. EQUES) ; but
also occurs in many instances under
the form of a regularly stuffed pad,
like the annexed example, from the j
Antonine Column. Similar ones are j
likewise seen in the paintings of i
Herculaneum and Pompeii, and on
the arch of Septimius Severus ; but j
the pad is more frequently concealed
by the housings (stragula), which
covered both sides of the animal.
EPH'ORI (fyopoi). Literally,
overseers ; but the word was espe-
cially used as the title of five magis-
trates elected annually by the people of
Sparta, to whom very great political
powers were entrusted, which enabled
them to exercise a control over the
kings and all the other magistrates ;
and thus, in the Dorian constitutions,
the Ephori enjoyed a position some-
what analogous to that of the tribunes
at Rome. Aristot. Polit. ii. 10. Cic.
Leg. iii. 7.
EPIB'AT^E (fcriedToi). Marines
of the Greek navy ; a body of troops
who served exclusively on board
ship, entirely distinct from the land
forces, from the seamen, and the
rowers. (Herod, vi. 12. Hirt. B.
Alex. 11. Vitruv. ii. 8. 14.) The
Romans designated the marines of
their navy by the term CLASSIARH.
EPICH'YSIS(lirr xt ,<m). A Greek
jug, with a small and narrow lip, out
zation, instead of the less elegant
guttus, previously used by them for a
similar purpose. (Plaut. Rud. v. 2.
22. Varro, Z. L. v. 124.) The illus-
tration represents an epichysis, with
the receiving cup of glass, from a
Pompeian painting, and a Nereid
pouring wine out of one into a patera,
from a painting of Stabia. In all
the numerous pictures of Pompeii,
&c., which represent the act of pour-
ing wine from a jug, the jug is con-
stantly formed with a small neck and
narrow lip, like those exhibited
above ; which identifies the epichysis,
and establishes its difference from the
eiver, or water jug (gutturnium, irpo-
Xoos), which had a thicker throat and
wider lip.
EPIC O' PUS (friKuiros). Pro-
perly, a Greek word, used to desig-
nate a row boat, as contradistin-
guished from a sailing vessel. Cic.
Att. xiv. 16.
EPIC'ROCUM (MirpoKwO. Pro-
perly, a Greek word, used to designate
a woman's garment; but whether it
meant of a fine texture, or of a saffron
colour, is matter of doubt, for it may
be derived from Kpoicr) (subtemen'), of
from KpoKos (crocus), Naevius ap.
Varro, L. L. vii. 5. Varro, ap. Non.
s. Habitare, p. 318. Festus, *. v.
EPIDIP'NIS (<hrf57ms). Pro-
perly, a Greek word, which desig-
nates the last course at a dinner.
Pet Sat. 69. 6. Mart. Ep. xL 31.
EPIIXROMUS (brtopoftos). A
running rope attached to the neck of
a tunnel net (cassis), and passing
EPIGRUS.
through a set of rings affixed to the
mouth of the purse, by pulling which
the huntsman, who lay in ambush,
closed the net like a bag, when the
game had been driven into it. Plin.
H. N. xix. 2. 2. Jul. Poll. v. 29.
Xen. Cyneg. vi. 9.
2. The sail on the mast nearest to
the stern in vessels fitted with more
EPISTYLIUM.
261
than one mast (Jull. Poll. i. 91.
Isidor. Orig. xix. 3. 3.) Pollux and
Isidorus differ in some degree from
each other, one giving the name
to the sail, the other to the mast;
but probably the term included the
mast with the sail belonging to it.
The illustration is copied from a bas-
relief of the Villa Borghese.
3. Enumerated by Varro (R. R.
xiii. 1.) amongst the articles neces-
sary for the furniture of an oil press
room (torcularium), but without any
context to explain what is meant.
EPIGRUS. See EPIURUS.
EPILIM'MA. A sort of unguent
of the cheapest and most common
description. Festus, s. v.
EPIRHE'DIUM. A hybrid
word, composed from the Greek
preposition ITT! and the Gallic term
Rheda ; the true meaning of which
is not settled. Scheffer and Ginzrot
believe it to have been a square or
oblong cart, en-
closed with four
sides, in the
same manner as
the rheda, and
consequently to be represented by
the annexed figure, from a bas-relief
in the Museum at Verona. Others
consider that the word has reference
only to the ornamental decorations of
a rheda, or that it designates the har-
ness of the horses which drew it
Juv. Sat. viii. 66. Schol. Vet. ad I.
Scheffer, R. V. ii. 23. Ginzrot,
Wagen und Fahrwerke, xviii.
EPISTOM'lUM (eiTLffr6^.iov).
The cock of a water pipe, or of any
vessel containing liquids to be drawn
off in small quantities when required.
(Vitruv. ix. 8. 11.) The illustration
represents an original bronze water
cock found at Pompeii, similar in
constructive principle to those now in
use, but of a more tasteful design.
Seneca says (Ep. 86.) that in his day
the baths of Rome, even for the com-
mon people, were furnished with
silver cocks.
EPISTYL'IUM ( iTntTTv'Ai OV).
Properly, a Greek word adopted by
the Roman architects to designate
the architrave or main beam laid
horizontally over the capitals of a
column, from one to the other, in
order to form a continuous bed for a
superstructure to rest upon. When
the architrave was made of timber,
it was properly called trabs ; when
of stone or marble, epistylium, though
262
EPITHALAMIUM.
EQUES.
that word, as a general term, may
with equal correctness be applied to
both. (Vitruv. iii. 5. 11. Varro,
R. fi. iii. 5. 11. Festus, s.v.) The
example, from a tomb sculptured in
the rock at Beni Hassan, explains the
original use and early application of
the epistylium to columnar architec-
ture. In this instance, it has no
other members over it ; merely form-
ing a connecting surface for the roof
(tectum) to rest upon ; but the next
engraving shows its finished state as
one of the principal members of an
entablature.
2. Epistylia; in the plural, the
epistyles; which comprise the whole
superstructure above the abacus of a
column, forming what our architects
term collectively the entablature,
otherwise divided by them into three
distinct mem-
bers ; the
chitrave
or epistylium) at
bottom ; the
frieze (zophorus)
next above ; and
the cornice over
all, for which
the Romans had
no collective
name, but always
described it by I
enumerating the separate members
which it contained. See CORONA, 15.
EPITHALAM'IUM (4*iOa\d-
Mioi'). The nuptial song, sung in
chorus by a company of young
girls outside the door of the bridal
chamber. Quint, ix. 3. 16, Theocr.
Id. 18.
EPITOX'IS. (Vitruv. x. 10. 4.)
A particular part of the catapulta, in
which, as it is conjectured, the missile
was placed.
EPITY'RUM (Mrvpov). An eat-
able composed of the flesh of the
olive seasoned with oil, vinegar,
rue, mint, &c. (Cato, R. R. 119.);
more common in Greece and Sicily,
than in Italy. Varro, L. L. vii. 86.
Columell. xii. 49. 9.
EPIU'RUS (fcrfowpos). A wooden
pin t used as a nail (Isidor. Orig.
xix. 19. 7. Pallad. xii. 7. 15.) ; but
the readings differ, some having epi-
grus and eir'iKovpos.
EPULO'NES. The members of
one of the four great religious corpo-
rations at Rome, originally composed
of three persons (triumviri epulones,
Liv. xxxi. 4.), but afterwards in-
creased to seven (septemviri epulones ,
Lucan. i. 602.); whose chief duty
consisted in preparing a sumptuous
banquet, termed LECTISTERNIUM,
for Jupiter and the twelve gods, upon
occasions of public rejoicing or ca-
lamity (Festus, s.v.), when the
statues of the deities were placed
upon couches in front of tables (Val.
Max. ii. 1. 2.), spread with delica-
cies, which the Epulones afterwards
consumed.
EQUA'RIUS, sc. medicus (iWi'o-
rpos). A horse doctor, or veterinary
surgeon. (Val. Max. ix. 15. 2.) The
illustration represents a veterinary,
and shows the ancient manner of
bleeding horses, from a Roman bas-
relief discovered in the south of
France.
2. Absolutely; a groom or stable
boy. (Solin. 43.) Same as EQUISO.
EQUES (faWy). In a general
sense, any one who sits upon a horse,
a horseman or rider. (Mart. Ep. xii.
14.) Both the Greeks and Romans
rode without stirrups, and either
upon the bare back (Varro, ap. Non.
p. 108. Mercer), as in the annexed
engraving, representing an Athenian
youth, from the Panathenaic frieze
KQUES.
263
(compare the illustrations s. CELES
and DECURSIO, which are Roman) ;
or upon a saddle pad (ephippium),
which is mostly covered and con-
cealed by a piece of coloured cloth
thrown over it (see the next and sub-
sequent illustrations) ; but never
upon a regular saddle made, like
ours, upon a tree or frame, which
was a late invention, towards the
decline of the Empire. The women
rode sideways,
like our own, up-
on a pad, or
ephippium, as
proved by the
expressions mulie-
briter equitare, or
equo insider -e (Am-
mian. xxxi. 2. 6.
Compare Achill.
Tat. de Amor. Clitoph. et Leucip.
Agathias iii.) ; and the same fashion
was sometimes practised by men, as
shown by the annexed illustration,
representing a Pompeian gentleman
taking a country ride, from a land-
scape painting in that city.
2. A knight; i. e. one of a body
originally, as is supposed, appointed by
Romulus, and consisting of three hun-
dred men selected from the patrician
families, who served on horseback,
and were mounted at the public ex-
pense, to act as a garde du corps for
the king. Their numbers, however,
were considerably increased at diffe-
rent periods, and a property qualifi-
cation, instead of birth, made essential
for admission into" the body, which
thus constituted the cavalry branch
of the old Roman armies, and formed
a separate order in the state, distin-
guished from the senatorian by the
outward badge of the CLAVUS AN-
GDSTUS, and from the commonalty
by a gold ring on the finger. As
this class had ceased to serve in a
distinct military capacity before the
termination of the republic, and the
remaining monuments which delineate
military scenes are all posterior to
that period, we have no genuine re-
presentation of a Roman knight of
this description, beyond what is af-
forded by the devices on some of the
censorial coins, which are too small
and imperfect to give minute or cha-
racteristic details. They appear, how-
ever, on these coins simply draped
in the tunic (tunica), and holding a
horse by the bridle before the censor,
who sits in his curule chair ; which
accords so far with the account of
Polybius (vi. 25.), who says that the
old Roman cavalry had no body
armour before their intercourse with
the Greeks had taught them to adopt
the same accoutrements as the horse
soldiers of that country.
3. A cavalry trooper ; who did not
receive his horse from the state, but
possessed sufficient means to mount
himself, and so avoid the greater
hardship of serving on foot. (Liv.
264
EQUES.
v. 7. Id. xxxiii. 26. Caes., &c.)
These troops received pay from the
state, and eventually constituted the
Roman cavalry, after the regular
equestrians had ceased to do military
duty. Soldiers of this class are fre-
quently represented on the columns
and triumphal arches of the Imperial
period, similar to the figure annexed,
from the Column of Antoninus, in a
helmet, and with a cuirass of scale
armour, a lance, small round shield,
no stirrups, and pad saddle covered
with housings.
4. Eques legionarius. A legionary
trooper ; evidently, as the epithet im-
plies, distinct from the knights, and
from ordinary cavalry, which was
usually stationed on the wings, and
very frequently furnished by the allies.
The name leads naturally to the con-
clusion that these men formed a body
of heavy -armed cavalry, like the in-
fantry of the legion ; and the annexed
figure from the Column of Antoninus
so far confirms the conjecture, as it
shows that in that age at least there
was a class of mounted Roman troops
who wore cuirasses of exactly the same
description as the legionary of the
same period, as will be seen by com-
paring the illustrations s. LEGIONA-
RIUS and LORICA SQUAMATA, with
the present figure, the lower portion
of which is concealed in the original
by the groups before it. Liv. xxxv.
5. Veg. Mil ii. 2.
5. Eques prcetorianus. See PR.E-
TORIANI.
6. Eques Sagittarius. A mounted
archer ; a class of troops mostly com-
posed of foreign auxiliaries ; but also
equipped by the Macedonians (Quint.
Curt. v. 4.), and the Romans (Tac.
Ann. ii. 16.), who sometimes armed
their own citizens in that manner, at
least under the Empire, as shown by
the annexed example, which repre-
sents a Roman soldier on the Column
of Antoninus.
7. Eques cataphractus. See CA-
TAPHRACTCS.
8. Eques alarms. The allied ca-
valry which accompanied the Roman
legions, so termed because they were
always stationed upon the wings.
Liv. xl. 40. Cses. B. G. i. 51.
9. Eques extraordinarius. A
trooper selected from the allied ca-
valry, and formed into a picked body
for the service of the consuls. Liv.
xl. 31. and 27. Id. xxxiv. 37.
10. A mounted gladiator, who
fought like a cavalry soldier, on
horseback (Inscript. op. Orelli, 2569.
2577.) ; two of whom are shown in
the annexed engraving, from a bas-
relief on the tomb of Nsevoleia Ty-
che at Pompeii. It will be perceived
EQUILE,
EQUUS.
265
that their armour assimilates closely
with the figure of the legionary
trooper, No. 4.
EQUFLE Owen-owns). A stable
for horses. (Varro, R.R. ii. 7. 15.
Suet. Cal. 55.) The engraving re-
presents an ancient stable on the bay
of Centorbi in Sicily, probably the
only genuine specimen of such build-
ings now remaining. It is constructed
of masonry, and vaulted at the top :
is not divided into stalls, each animal
being separated from his neighbour
by a swinging bar,, if necessary. The
manger, which recedes gradually in-
wards from the top, is also of ma-
sonry> and divided into a number of
cribs (Qarry&fjMTa), a separate one for
each horse, and not formed in one
long line, common to all. The rope
of the head stall passed through a
small aperture in front of each crib,
and was fastened by a block on the
opposite side of the wall, which will
be readily understood from the draw-
ing and the horse introduced for that
purpose.
EQUFSO. A groom who leads
out horses to exercise. Varro, ap>
Non. s v. pp. 105. 450. Val. Max.
vii. 3. Ext. 1, 2.
2. Equiso nauticus. One who
tows a boat up the stream by a rope.
Varro, ap. Non. //. cc.
EQUUL'EUS. Literally, a young
horse, or colt ; whence transferred,
in a special sense, to a wooden ma-
chine upon which slaves were placed
to extract evidence from them by
torture. (Cic. Mil 21. Quint. Curt,
vi. 10.) The ancient writers hare
not left any description by which the
exact nature of this contrivance can
be ascertained ;
and their artists
never depicted
scenes calculated
to awaken painful
emotions. But
the expressions
used to describe
the treatment of
the sufferer in
equuleo ; or, in
equuleum imposi-
tus lead to the
conjecture that it
was something in
the nature of the
crux, and the
punishment a
sort Of impale-
ment ; the criminal being made to
sit bare on a sharp point, with heavy
weights attached to his arms and
legs, in order to increase the natural
pressure of the body, as shown
by the annexed engraving, which
represents an instrument of punish-
ment formerly used at Mirandola,
in the north of Italy, and which, in
confirmation of the suggestion, was
called by the same name, the colt,
il cavaletto.
EQUUS. A stallion-, properly
distinguished from equa, a mare> and
from canterivs, a gelding.
2. Equus publicus. The horse al-
lotted by the state to each of the old
Roman knights (equites), for the per-
formance of cavalry duty, which was
purchased and kept at the public
expense. Liv. v. 7. Cic. Phil. vi.
5. Plin. H. N. xxxiii. 9.
3. Equus curtus. A horse which
had its tail docked (Prop. iv. 1. 20.);
not a common practice amongst the
ancients. Horace applies the same
epithet to a mule (Sat. i. 6. 104.),
apparently in disparagement ; but a
crop-tailed horse was offered annually
as a sacrifice to Mars (Festus, s. Oc-
tober equus~); and possibly the small
bronze cast, from which the annexed
266
EQUUS.
ERGASTULUS.
figure is copied, was intended to com-
memorate that custom.
4. Equus Trojanus. The Trojan
horse, by means of which the Greek
soldiery enclosed in its belly were
enabled, according to the fable, to
open the gates of Troy to their com-
rades, and thus captured the city.
(Cic. Muren. 37. Hygin. Fab. 108.)
Many ancient representations of this
stratagem remain in painting, sculp-
ture, and engraved gems, correspond-
ing generally with the figure annexed,
which is copied from a miniature in
the Vatican Virgil, showing the plat-
form and wheels by which it was
moved, the door which Sinon opens
to let the inmates out, who descend
to the ground by sliding down a
rope, all as minutely detailed by
Virgil, JSn. ii. 257264.
5. Equus bipes. A sea-horse; a
monster composed of the fore-hand
and two front legs of a horse, with
the body ending in a fish's tail ; fa-
bulously and poetically attached to
the marine chariot of Neptune and
Proteus. (Virg. Georg. iv. 389.
Per vigil Ven. 10.) The example is
from a Pompeian painting.
6. Equus fluviatilis. The river
horse, or hippopotamus. Plin. H.N.
viii. 30.
7. Equus ligneus. Poetically, for
a ship. Plaut. Rud. i. 5. 10.
8. A battering engine for beating
down walls (Prop. iii. 1. 25.) ; subse-
quently, and better known by the
name of the ram. (Plin. H. N. vii.
57. ) See ARIES.
ERGASTULA'RIUS. A person
who had the charge of superintending
an ergastulum, and the slaves confined
in it. He acted as gaoler and task-
master, to see that their work was
done, and was himself a slave, though
placed in a confidential office. Co-
lumell. i. 8. 17.
ERGAS'TULUM. A sort of
prison and place of correction at-
tached to the farms and country villas
of the Romans, in which those of the
slave family who were kept in fetters
(compediti, nexi, vincti) were lodged
and made to work in irons ; whereas,
the rest, who were not chained, were
provided with separate accommodation
(cellcB, contubernia) in other parts of
the establishment. (Columell. i. 6.
3. Compare 8. 16. Apul. Apol. p.
482. Brut, ad Cic. Fam. xi. 13.)
As Columella recommends that such
places should be constructed under-
ground, we may conclude that it was
not the universal practice to do so.
ERGAS'TULUS. A slave con-
demned to the ergastulum. Lucil.
Sat. xv. 8. ed, Gerlach.
ERGATA.
EVOCATI.
267
ER'GATA (e/>7aT7js). A capstan
or windlass, for drawing up vessels
on to the shore, and for moving
heavy weights generally. Vitruv.
x. 4.
ERIC'IUS. Literally, a hedge-
hog ; a name also given to a contri-
vance for defending the gates of a
camp or any fortified place, consisting
of a long beam, studded with iron
spikes, and planted across the opening
that required defence. (Cses. B. C.
iii. 67. Sallust, Hist. ap. Non. p.
555.) The beam across the gate-
way represented in the engraving s.
CATARACTA, 3., if furnished with
spikes, would afford an example of
the ericius.
ES'SEDA or ES'SEDUM. An
uncovered car or cart, upon two
wheels, open in front, but closed be-
hind, and drawn by two horses, com-
monly used in warfare by the ancient
Britons, Gauls, and Belgee. (Cses.
B. G. iv. 33. Id. v. 16. Virg. Georg.
iii. 204. Serv. ad /.) The Romans
also constructed carriages after the
same model, which they employed for
ordinary purposes, and designated by
the same name (Cic. Att. vi. 1. Ov.
Pont. ii. 10. 34. Suet. Col. 51.) > but
no representation either of the ori-
ginal British car, or of the Roman
imitation of it, is known to exist in
any authentic monument.
ESSEDA'RIUS. A British,
Gaulish, and Belgic warrior, who
drove and fought from a war car
(essedwri) in the manner described
by Csesar (B. G. iv. 33. ). Cic.
Fam. vii. 6.
2. A captive from either of the
above nations, who was made to ex-
hibit his national mode of fighting,
from the essedum, as a gladiator in
the Roman amphitheatre. Suet. Cal.
35. Claud. 21.
EURFPUS (%7ros). Any artifi-
cial canal, or water course, of greater
or lesser extent, such as were made
to ornament a villa (Cic. Leg. ii. 1.
Seneca, Ep. 83.); to afford a body
of water for a spectacle to display
amphibious or aquatic animals from
foreign parts (Plin. viii. 40.) ; and
especially, a moat filled with water
constructed by Julius Caesar round
the interior of the Circus Maximus
(Suet. Cats. 39. Plin. H. N. viii. 7.),
in order to protect the spectator from
the sudden irruption of any animal,
when hunts and shows of wild beasts
were exhibited in it. This was
afterwards filled up by Nero (Plin.
/. c.) ; and the name of euripus trans-
ferred, at a subsequent age, to the
barrier (spind) which ran down the
centre of the course. Tertull. adv.
Hermog. 31. Sidon. Carm. xxiii. 356.
EUSTYLOS (efrrrvAos). A co-
lonnade in which the intervals be-
tween the columns ^
have the width of
two diameters and a
quarter; the style
considered to be the
most perfect in re-
spect of solidity of
structure, beauty of appearance, and
general convenience. (Vitruv. iii.
2. 1.) The annexed diagram shows
the five different kinds of inter colum-
niation used by the ancients, with
their relative intervals, amongst
which the eustyle occupies the third
line.
EVERRIC'ULUM. The ordinary
fishing-net (Varro, R. JR. iii. 17. 7.
Apul. Apol. p. 457. Non. s. v. p.
34) ; which, as represented in the
annexed wood-cut, from a fresco
--*-
--**-
-*--
painting in the palace of Titus at
Rome, appears to have been very
similar to those used by the fisher-
men of our own days.
EVOCA'TI. Veterans who had
served their time, but enlisted again
M M 2
268
EXACISCULATUS.
EXCALCEATUS.
as volunteers. They were not sub-
ject to the common military duties of
the gregarian
or legionary
soldier, but
seem to have
held a supe-
rior rank, and
to have acted
in the capa-
city of centu-
rions, whose
costume and
badges of dis-
tinction they
enjoyed; being represented on se-
pulchral monuments with the vine-
rod (vitis) in one hand, a sword on
the left side (parazonium), and a roll
of paper, indicating, perhaps, their
carte of discharge, in the other ; as
shown by the annexed figure, from a
sepulchral marble, which also bears
the inscription AUR . JULIANUS .
EVOK. Cic. Fam. iii. 6. Cses. B. G.
vii. 65. B. C. i. 17.
2. The same title was subsequently
conferred upon a body of young men
selected from the equestrian families,
and formed into a corps, by the em-
peror Galba, to which the duty of
keeping guard at the doors of the
imperial bed-chamber was entrusted.
Suet. Galb. 10.
EXACISCULA'TUS. Dilapi-
dated, destroyed, or pulled out with a
"pick" (aciseulus) ; a common way
of breaking into tombs, for the pur-
pose of stealing the valuables depo-
sited in them. Hence, the word
is of frequent occurrence on sepul-
chral inscriptions, in the form of a
caution to the public against the com-
mission of such an offence. Inscript.
ap. Mur. 1028. 2. op. Don. cl. 12.
n. 27.
EXA'MEN. The tongue on the
beam of a balance, rising perpendi-
cularly from the beam, and moving
in an eye affixed to the same, by
which it serves to point out the
equality or inequality of weight be-
tween the objects in the scale. ( Virg.
JEn. xii. 725. Pers. Sat. i. 6.) The
illustration represents a scale beam
I I
furnished with such a tongue and
eye, from an original of bronze pre-
served amongst the Roman antiqui-
ties in the British Museum.
EXASCIA'TUS. Hewn out of
the rough, and into shape, with a
carpenter's adze (ascia) ; and, as this
was the first operation before finish-
ing and polishing with other and
finer tools, the expression opus exas-
ciatum implies a work already some-
what advanced ; i. e., in which all the
preliminaries have been successfully
got through. Plaut. As. ii. 2. 93.
EXCALCEA'TUS. Literally,
without shoes (cakei, Suet. Vesp.
8.); thence, in a special sense, a
comic actor (Seneca, Ep. 8.), as con-
tradistinguished from a tragic one
(cothurnatus\ who wore upon the
stage a close boot, which enveloped
the whole foot ; whereas the chaus-
sure of the comedian was not a close
shoe or regular calceus, but a mere
sole bound on with leather straps,
which left the toes and great part of
the foot exposed, as shown by the
annexed figure, from a bas-relief re-
presenting a comic scene.
EXCUBITORES.
EXOMIS.
269
EXCUBITO'RES. Sentries and
watchmen, including those who per-
formed military as well as civil
duties (Cses. B. G. vii. 69. Columell.
vii. 12.), and who kept watch by
night or day (excubice) ; in which
respect they are distinguished from
Vigiles, a name given only to night
watches.
2. Under the Empire, the same
term was specially applied to a
body of soldiers belonging to the
imperial cohort to whom the duty of
guarding the emperor's palace was
entrusted. Suet. Nero, 8. Compare
Otho, 6.
EXCUBITO'RIUM. The post
where a corps de garde is stationed ;
of these there were fourteen in Rome
itself, one for each of the regions
into which that city was divided.
P. Victor, de Reg. Urb. Rom.
EXCU'SOR (xAeus). A copper-
smith (Quint, ii. 21. 10.); but the
reading is not certain.
EXED'RA (6eV) An assem-
bly room, or hall of conversation ; a
large and handsome apartment, some-
times covered in (Vitruv. vi. 3. 8.),
and sometimes open to the sun and
air (Vitruv. vii. 9. 2.), constituting
one of the dependencies to a gymna-
sium, or to a private mansion of the
first class. It was, in reality, a place
fitted up for the reception of a party
of savans to meet and converse in
(Vitruv. v. 9. 2. Cic. N. D. i. 6.), as
the philosophers were accustomed to
do in the Greek Gymnasium and the
Roman Thermae. For this purpose,
it was frequently constructed with a
circular absis (Plut. Alcib. 17.), in
which rows of seats were arranged
for the company ; and, in fact, is so
delineated in a bas-relief of the Villa
Albani (Wink. Mon. ined. 185.),
representing a scientific discussion
between several philosophers. Con-
sequently, in our ground-plan de-
scribing the ruins of the GYMNASIUM
at Ephesus (s. y.), the name of exedra
is assigned to each of the two divi-
sions at the bottom of the lateral
). Dimin-
Cic. Fam. vii. 23.
See EXSEQTTIJE.
A particular
tunic, afterwards
corridors, which terminate with a
similar absis.
EXED'RIUM
utive of EXEDBA.
EXEQ'UIvE.
EXO'MIS
kind of Greek
adopted by the
Romans, with-
out sleeves, ve-
ry short (sub-
stricta), and
entirely open
down the right
side, so that,
when put on,
the right shoul-
der (iDyuos), as
well as the
arm and breast,
were left ex-
posed. (Aul.
Gell. vii. 12. 1.) It was the usual
dress of persons employed in active
and laborious occupations, such as
slaves, rustics, artizans, and hunts-
men ; hence, in works of art, it is
frequently worn by Vulcan, Charon,
Daedalus, and Amazons, all of whom
pursued a life of toil or industry, and
in a similar form to that on the an-
nexed figure, representing a slave in
attendance on a hunting party, from
a Roman bas-relief.
2. The same term was also applied
to the pallium (irepi\Tfj/j.a, Jull. Poll,
vii. 48.), when
it was arranged
upon the per-
son in such a
manner as to
present a simi-
lar appearance
to that of the
tunic last de-
scribed ; cover-
ing only the
left shoulder,
but leaving the
right one with
the arm and breast exposed, as ex~
hibited by the annexed figure from
the Vatican Virgil.
270
EXOSTRA.
EXSEQUI^E.
E X O' S T R A ( QAffrpa). A
wooden bridge or platform projected
from a movable tower to the walls of
a besieged town, over which the as-
sailants passed on to the ramparts.
Veg. Mil iv. 21. and 17.
2. A machine employed upon the
stage of the ancient theatres, for the
purpose of revealing to the spectators
the results of certain actions which
could not be perpetrated before their
eyes, such, for instance, as a murder,
or any other atrocity which might
wound their moral or religious feel-
ings. The precise character of the
machine, and the manner in which it
was made to operate, is not tho-
roughly ascertained ; further than
the fact, that it was pushed forward
from behind the scenes, and made to
turn round by springs and wheels, so
as to expose to view the object re-
quired ; a dead body, for example,
indicative of a murder or a suicide
Cic. Prow. Cons. 6. Jul. Pollux, iv.
128, 129.
E P A P I L L A' T U S. Literally,
having one breast exposed; an ex-
pression intended to describe the
appearance of a person who wears
his tunica or pallium adjusted in the
manner explained and illustrated un-
der the article EXOMIS. Plaut Mil.
iv. 4. 44. Non. s. v. p. 103.
EXPEDI'TI. Literally, free and
unencumbered ; whence applied,
in military lan-
guage, as a de-
scriptive name
for the light-
armed troops in
general (velites,
Festus, s. Adve-
litatio) ; or to the
heavy-armed le-
gionaries (Sisenn.
a p. Non. s. v. p.
58. Cic. Alt viii.
9.), when equip-
ped for a rapid march ; i. e. when
the more cumbrous parts of their
accoutrements and luggage (impedi-
menta') were transported in carts, and
their offensive and defensive arms
disposed about the person in the way
most convenient for rapidity of transit.
The annexed figure, representing one
of the legionary soldiers in the army
of Trajan in a hurried line of march,
compared with the illustration to IM-
PEDITUS, will afford a precise notion
of the meaning conveyed by the term.
EXSEQ'UIJE. A funeral, or fu-
neral procession and solemnities
(Tac. Hist. iv. 62. Cic. Mil. 13. Id.
Quint. 15. Suet. Tib. 32.) The
poorer classes of the Romans were
buried at night, and without any
kind of show ; but wealthy persons
were carried to their final home with
much pomp and ceremony, accom-
panied by a long procession of rela-
tives, friends, and dependants, ar-
ranged by an undertaker (designator),
and in the following order. First
came a band of musicians playing
upon the long funeral pipe (tibia
longa) ; and immediately behind
them, a number of women hired to
act as mourners (prceficce), chanting
dirges, tearing their hair, and singing
the praises of the deceased. Then
followed the slaughter-man (victi-
marius') ; whose business it was to kill
the favourite animals of their deceased
master, horses, dogs, &c., round the
funeral pile. Next came the corpse
upon a rich bier (capulum, feretrum,
lectica funebris), immediately pre-
ceded by persons who carried the
busts or images of his ancestors (ima-
gines), as well as any public presents,
such as coronce, phalerce, torques, which
he might have possessed, and by a
buffoon (archimimus\ dressed up to
imitate the person and deportment of
the deceased. After the bier, fol-
lowed a long line of slaves and at-
tendants, leading the animals intended
to be sacrificed at the burning of the
body, and finally the whole proces-
sion was closed by the empty car-
riage of the dead man, which brought
up the rear in the same way as is still
customary amongst ourselves. All,
or nearly all, of these particulars are
EXTISPEX.
FABRILIA.
271
exhibited in the order above stated
upon a bas-relief, on a Roman sarco-
S'lagus, representing the funeral of
eleager ; a device which would be
appropriately selected for a person
who during his life-time had been
addicted to the chase and sports of
the field. It is engraved by Bartoli
(Admirand. Rom. plates 70. and 71.),
and several figures have been selected
from it to illustrate the different
words bracketed in this article ; but
the entire subject contains too many
figures to bear a reduction propor-
tionable to the size of these pages.
EX/TISPEX (r)7raTO<r/<*7ros, <nr\ayx-
voffic6iros). A soothsayer, or divi-
ner who affected to interpret the will
of the gods, and the results of futu-
r ity by inspecting the entrails of
victims slain at the altar (Cic. Div.
ii. 18.), as shown by the annexed
illustration, from a bas-relief of the
Villa Borghese, the only ancient re-
presentation of this practice yet dis-
covered.
EXTISPIC'IUM (^TrcmxncoTn'a).
An inspection of the entrails of ani-
mals for the purpose of predicting
events from their appearance ; as
represented in the preceding engrav-
ing. Accius, ap. Non. p. 16. Suet
Nero, 56.
F.
FABATA'RIUM. A large bowl
or dish in which beans, or bean- flour,
made into a stir-about (puls fabacia^
Macrob. Sat. i. 12.) was served up.
Lamprid. Heliog. 20.
FABER (re'/nW). The name
given indiscriminately to any artizan
or mechanic who works in hard
materials, such as wood, stone, metal,
&c., in contradistinction to one who
moulds or models in soft substances,
like wax or clay, who received the
appellation of plastes. It is, conse-
quently, accompanied in most cases
by a descriptive epithet which deter-
mines the calling of the workman
alluded to ; as faber tignarius, a car-
penter (see the next illustration) ;
faber ferrarius, a blacksmith (see the
illustration s. FERRARIUS) ; faber
(eris, marmoris, eboris, a worker in
bronze, marble, and ivory ; arid so
on. The Greek term has not quite
so extensive a meaning as the Latin
one, being rarely applied to a worker
in metal, who was expressly called
Xa\Kfvs or (n7jpeus, though some pas-
sages occur where it is so used.
FAB'RICA. In general, the
workshop of any mechanic who
works in hard materials, but especi-
ally in wood ; as the shop of a car-
penter, or a cabinet maker. (Terent.
Ad. iv. 2. 45. Lucret. iv. 515.) The
illustration represents a carpenter's
shop, from a painting found at Her-
culaneum, in which the workmen
are represented under the form of
genii, pursuant to the usual treatment
of the ancient schools, for subjects of
this nature, in which scenes of ordi-
nary life are depicted.
FABRI'LIA. Mechanics' tools;
a general term under which is in-
272
FACTOR.
FALCIFER.
eluded all the different kinds of tools,
implements, and instruments em-
ployed by carpenters, smiths, and
other artizans who work in marble,
stone, ivory, or other hard materials.
Hor. Ep. ii. 1. 116.
FACTOR. A term used at the
game of ball, which went by the
name of datatim ludere, or catch-ball ;
and given to the player who threw
the ball upon receiving it from the
dator. Plaut. Cure. ii. 3. 18.
FACTO'RIUM, sc. vas. A re-
ceiving vessel which held the exact
quantity of olives proper to be put
under the press at one making (fac-
lum). Pallad. xi. 10. 1. Compare
Cato, R. R. 67. 1. and Varro, R. R.
i. 24. 3.
FAC'ULA. Diminutive of Fax.
A small or common kind of torch ;
also, a strip or lath of resinous wood,
out of which torches were made, by
tying them up into bundles. Cato,
R. R. 37. 3.
FALA. A wooden tower of se-
veral stories high, employed in
sieges, but the characteristic proper-
ties of which are unknown. Festus,
s. v. Ennius ap. Non. s. v. p. 114.
2. A wooden tower of similar
nature, erected occasionally in the
circus, upon the vacant part of the
arena, between the barrier (spina)
and circumference (euripus), when
the military spectacle of a sham fight
(decursio) was to be exhibited. Juv.
vi. 589. Non. I.e. Serv. ad Virg.
Mn. ix. 705.
FALA'RICA. A peculiar kind
of spear intended to be discharged as
a missile from the hand, and em-
ployed in warfare as well as the
chase. (Virg. Mn. ix. 705. Liv.
xxxiv. 14. Grat. Cyneg. 342.) It is
described as a missile of the largest
dimensions (Non. s. v. p. 555.) ; with
an immense iron head, and strong
wooden shaft, weighted near the top
by a circular mass of lead (Isidor.
Orig. xviii. 7. 8.), exactly as repre-
sented by the annexed figure, from
an ancient monument published by
Alstorp (de Hastis Veterum, p. 178.).
Another specimen of very similar
character is exhibited on a sepulchral
marble discovered at Aquileia, pub-
lished by Bertoli (Antichita di Aqui-
leja, p. 153.)-
2. A missile invented by the peo-
ple of Saguntum, similar in many
respects to the preceding, but of a
still more formidable description. It
was chiefly employed in sieges, and
discharged with prodigious violence,
by the assistance of machinery (Lu-
can. vi. 198.), from the lofty wooden
towers called falce, which also sug-
gested a motive for its name. (Fes-
tus, s. v.) It is described by Liv.
(xxi. 8.) and Vegetius (Mil. iv. 18.),
who give it a character very similar
to the preceding specimen, with the
exception that the iron just under the
head was enveloped in tow steeped in
pitch or other inflammable materials,
which was ignited before the weapon
was discharged.
FALCA'RIUS. A maker of
scythes and sickles (fakes). Cic.
Cat. i. 4. Id. Sull. 18.
F ALC AS'TR UM. An instrument
employed in husbandry for clearing
away any thick overgrowth of weeds
and bushes ; consisting of the blade
of a sickle (falx) affixed to a long
straight handle (Isidor. Orig. xx. 14.
5.), similar to what is still used for
the same object amongst ourselves.
It was probably only a provincial
term in use amongst the labouring
population ; for educated people and
the agricultural writers used RUNCO.
FALCA'TUS (Speiroi/Tj^opos).
Furnished with scythes ; as, currus
falcatus (see CURRUS, 5.): or, like
a sickle ; as, ensis falcatus. See
FALX, 6.
FALCIC'ULA. Diminutive of
FALX. Pallad. i. 43. 3.
FAL'CIFER. Bearing a scythe
or a sickle ; both of which imple-
FALCIGER.
FALX.
273
ments were emblematically ascribed by
poets and artists to old Saturnus, in
allusion to
his having
first intro-
duced agri-
culture into
Italy, or to
his mythical
character, as
the personi-
fication of Time (Cronos, Kpovos),
the destroyer of all things. (Ovid,
Ib. 216. Macrob. Sat. i. 7. and 8.)
The latter is introduced in the illus-
tration, as of less common occurrence,
from a medal struck in honour of
Heliogabalus.
FAL'CIGER. Same as FALCIFER.
Auson. Ed. de Per. Rom, 36.
FAL'CULA (Speirdjttov). Dimin-
utive of FALX. Cato, R. R, xi. 4.
Columell. xii. 18. 2.
F A L E' R E, An architectural
term employed by Varro (R.R. iii.
5. 14. and 16.), of doubtful signifi-
cation, but conjectured to mean a low
wall of masonry constructed as an
artificial embankment round the
margin of a pool of water.
FALX (SpeTrdvrj, SpeTravov, apirr]').
In a general sense, an instrument for
cutting, with a curved blade and
single edge ; but made in various
forms, as best adapted for the pur-
poses to which it was applied, each
of which was consequently distin-
guished by a characteristic epithet
denoting the particular kind in view
as :
1. Foenaria and Veruculata. A
scythe for mowing grass (Cato, R. R.
x. 3. Pallad. i. 43. 1. Columell. ii.
21. 3 ), always represented in ancient
works of art with a long and straight
handle, as in the annexed example,
which is Egyptian ; but the specimen
in the preceding cut, and other in-
stances on gems and coins, all present
a similar figure.
2. Stramentaria and Messoria. A
sickle for reaping corn. (Cato, R. R.
x. 3. Pallad. i.
43. 1.) The
illustration re-
presents an ori-
ginal discovered,
amongst various
other agricultural
implements, in
the city of Pompeii.
3. Denticulata
A toothed sickle, employed, instead of
the common one,
for reaping in
some parts of
ancient Italy,
Greece, and
Egypt (Colu-
mell. ii. 21. 3.)
The blade, which
had its edge notched like a saw, was
attached to the end of a short stick
slightly bent in the back (Varro,
R. R. 50. 2. ) ; and, when in use,
was held with the point upwards, in
the position shown by our example,
from an Egyptian painting, so that
the reaper worked upwards, cutting
the stalk a little below the ear (Job,
xxiv. 24. " cut off the tops of the ears
of corn."). The different modes of
handling the toothed and the common
sickle may be seen in two paintings
from the tombs at Thebes, engraved
by Wilkinson (Manners and Customs
of the Egyptians, vol. iv. pp. 89. 98.).
4. Arbor aria and Silvatica, The
common hedge-
bill, or bill-hook
(Cato, R.R. x. 3.
Id. xi. 4), em-
ployed by wood-
men, hedgers,
and labourers of
that kind ; and
similar in every respect to the in-
strument used by the same class of
N N
274
FALX.
FANUM.
persons in our own day, as shown by
the example, from an original found
at Pompeii.
5. Vinitoria, Vineatica, and Puta-
toria. The vine dresser's pruning-
hook (Cato, E. R. xi. 4.
Pallad. i. 43. 1. Columell.
iv. 25. 1.) 5 which was a
complicated sort of instru-
ment, furnished with a
variety of different edges,
in order to adapt it for the
many nice operations re-
quired in the pruning of
vines. Each of these parts
bore an appropriate name,
which will be readily understood by
referring to the annexed engraving,
representing one of these instruments
from the MSS. of Columella. The
straight edge immediately above the
handle was termed culter, the coulter ;
the curved one beyond, sinus, the
bend or hollow ; the edge between
the hollow and the point, scalprum,
the knife ; the hook itself, rostrum,
the beak ; the projecting spike be-
yond, mucro, the point ; and the
lunated edge at the back, securis, the
axe.
6. A falchion (Cic. Mil 33. Stat.
Ach. ii. 419.) ; which has the upper
extremity of its blade very
much curved, so as in some
respects to resemble a
sickle; whence it is also
expressly designated ensis
falcatiis (Ovid, Met. i. 718.
ib. iv. 726.), or hamatus.
(Id. Met. v. 80.) A wea-
pon of this form is fre-
quently assigned by poets and artists
to Mercury and Perseus, and is re-
presented in the annexed engraving,
from a terra-cotta lamp (Bartoli,
Lucerne, iii. 13. Compare Wink.
Mon. Ant. Ined. 84.), where it appears
in the hand of a young warrior de-
signed in the heroic style, with
shield, helmet, and mantle of skin.
7. Supina. The knife with a
curved edge, and pointed blade, em-
ployed by the class of gladiators
(T
called Thracians (Thraces), which
received its designation from the
manner in which it was handled ;
being held rather down, and, as it
were, on its back (supina, Juv. Sat.
viij. 201.) ; i. e. with the edge up-
permost, so that the thrust was made
at the bottom of the belly, and the
wound carried in a ripping direction
upwards, precisely as the modern
Italians now use their knives, and, as
indicated by the annexed engraving,
representing one of the above-named
gladiators, on a terra-cotta lamp.
8. Muralis (SopuSpeVctJ'oi'). An
instrument employed in warfare, both
naval and military, for cutting away
the masts and rigging of an enemy's
vessel, clearing the battlements of
their defenders, or tearing down the
stones and stockades which formed a
bulwark. (Cses. B. G. iii. 14. Stra-
bo, iv. 4. 1. Liv. xxxviii. 5. Cees.
B. G. vii. 86.) This may be readily
imagined, with a massive iron head,
in the shape of a sickle, affixed to
the end of a strong pole or beam,
which could be worked by the hand
or machinery, so as to mow, cut, or
pull out, in the manner described.
9. Poetically used for DOLABRA
(Prop. iv. 2. 59.); an instrument
which has one of its sides made in a
curved form, approximating to the
shape of a sickle.
FANUM. A place which had
been consecrated, by the solemn for-
FARCIMEN.
mula of the augurs (effatum), to some
deity (Varro, L. L. vi. 54. Liv. x.
37. Cic. Div. 1. 41.); and, as a
sacred edifice was generally raised
and dedicated upon such places, the
same term also signified the edifice
or temple, with the consecrated pre-
cinct surrounding it.
FARCI'MEN. Stuffing; made
of minced ingredients inclosed in the
inside of any eatable. Varro, L. L.
v. 111. Isidor. Orig. xx. 2. 28.
FARRA'GO. A particular kind
of green crop, consisting of grain,
barley, tares, and leguminous plants
sown together broad-cast, and cut
while green, as fodder for cattle,
during the latter end of winter and
commencement of spring ; whence
the term was metaphorically used to
signify a confused jumble of things.
(Varro, R. R. i. 31. 5. Columell. ii.
11. 8. Piin. xviii. 41. Nemes. Cy-
neg. 283.
FARRA'RIUM. A barn for
storing the grain called far, or spelt.
Vitruv. vi. 9. 5.
FAR'REUM. A cake made of
far or spelt. Plin. H. N. xviii. 3,
FARTOR (o-treuTTJs). A slave
whose especial business it was to
fatten poultry for the table; or one
who kept and sold fatted poultry.
(Columell. viii. 7. 1. Inscript. ap.
Grut. 580. 15.) In the following
passages, Plaut. True. i. 2. 11. Ter.
Eun. ii. 2. 26. Hor. Sat. ii. 3. 229.,
the word is commonly supposed to
mean a maker of sausages, or of
pastry filled inside with sweetmeats ;
but there is no reason for the distinc-
tion, and the presence of a poulterer
would be equally accordant with the
context in all of them. Becker,
Gallus, p. 138. Transl.
FARTU'RA. The cramming,
or fattening of poultry (Columell.
viii. 7. 4.) ; whence the term was
adopted by builders to designate the
mass of rubble employed for filling
up the internal part of a wall between
the outside surfaces, when the wall
was not constructed of solid masonry
FASCIA.
275
or brickwork (Vitruv. ii. 8. 7.), as
shown by the annexed specimen of
Roman building.
FAS'CI A. In a general sense, any
long narrow strip of cloth employed
as a bandage ; such, for in-
stance, as the swaddling-
band (virapyavov) in which
the ancients were accus-
tomed to envelope the bo-
dies of newly-born children.
(Plaut. True. v. 13. Com-
pare Amphitr. v. 1. 52.)
It consisted of a long and
narrow cloth-band twined,
like a mummy, completely round the
body from head to foot, so as to leave
nothing but the face uncovered, as is
plainly shown by the annexed en-
graving, representing an infant which
is held in the arms of a tragic actress,
in a Pompeian painting, and re-
sembling in every respect the man-
ner in which an Italian peasant
woman swaddles her offspring at the
present day.
2. A band worn round the head
as an emblem of royalty (Seneca,
Ep. 80.); more specially termed
DIADEMA.
3. (a7ro8eo>ios). A bandage fast-
ened round the chests of young girls,
in order to restrain the growth of the
bosom by its pressure (Mart. Ep.
xiv. 134. Ov. A. Am. iii. 247. Prop,
iv. 9. 49. ) ; a subdued breast being
considered essential to grace and
beauty in the young -female figure.
It was worn next to the skin, as
N N 2
276
FASCIA.
shown by the two examples here
annexed. The front view is copied
from a bronze statuette (Caylus, vi.
71.), and the back one from a Pom-
peian painting, in which it is coloured
red. But it is not to be considered
as a part of the ordinary dress, nor
of universal use, either in Greece or
Italy ; being only applied where the
person inclined to excessive deve-
lopement, or by mothers over anxious
to promote the personal attractions of
their daughters. Ter. Eun. ii. 3. 21.
4. A bandage fastened round the
leg from the knee to the ankle (crus,
Quint, xi. 3. 144. Val. Max. vi. 2.
7. whence termed cruralis, Ulp. Dig.
34. 2. 25.), like the annexed exam-
ple, from a consular diptych. It
was not worn as an ordinary part of
the national costume ; but only upon
certain occasions, or by particular
individuals ; as a legging for persons
in delicate health (Quint. /. c.), or
whose occupations made it necessary
that the skin and leg should be well
protected by some defence which
would not impede agility of move-
ment, like the drivers in the Circus,
of which an example is afforded by
the engraving ; or those who followed
the active and perilous sports of the
field (Grat. Cyneg. 338. Pet. Sat
405.), of which an instance occurs in
the Vatican Virgil, where JEneas,
when equipped for a hunting excur-
sion with the queen of Carthage, has
his legs protected by bandages ex-
actly like those of the charioteer here
introduced.
5. (TroSeToi', or iro'Seioi/). A sock or
stocking (Cic. Fragm. ap. Non. s.
Calantica. Lamprid. Alex. Sev. 40.),
which entirely enveloped the foot,
and was worn with shoes (Cic. Att.
ii. 3. Varro. ap. Non. s. Ephippium,
p. 108.), and more particularly by
women. (Cic. Fragm. I, c.) It ap-
pears on the legs of several female
figures amongst the Pompeian paint-
ings, one of which is represented by
the annexed engraving ; where, it
will not fail to be observed, the ma-
terial is evidently elastic, since it fits
tight to the leg, but does not lace
in front ; that it has no sole, and is
fastened by a sort of band or garter
at the top, thus intimately resembling
the hose of a Scotch highlander,
whose costume, in more respects than
one, betokens a very early original ;
and if the sock of the ancients, as is
not improbable, was ornamented by a
checked pattern, like the Scotch one,
which imitates the interlacing of a
bandage, it would explain why it was
called fascia pedulis (Ulp. Dig. 34.
2. 25.), which assuredly means "a
sock," for the same term " la pedule "
is retained in the modern Italian
language to designate the foot part of
a stocking.
6. A band of coarse and strong
cloth, forming what is now called the
sacking, or ticking, which supports
the mattress of a couch or bed. (Cic.
Div. ii. 65.) Several of these bands
were stretched across the framework,
and interlaced with cords (restes)
to strain them tight, in the same
manner as still practised. This is
FASCICULUS.
FASCIS.
277
clearly to be inferred from Mart.
Ep. v. 62.
7. An imaginary circle in the
heavens ; also called CIRCULUS and
ZONA ; which see. Mart. Capell.
vi. 196.
8. A dark belt of clouds forming
round the horizon, indicative of bad
weather. Juv. Sat. xiv. 294.
9. In architecture ; the fascia, or
facia, as it is now called, is a member
produced by dividing an even surface
into separate parts, which thus possess
an appearance of long flat bands
lying parallel to each other. They
are frequently introduced in archi-
traves, more especially of the Ionic,
Corinthian, and Composite orders,
which are divided into two or three
of these bands, as in the annexed ex-
ample, from the temple of Bacchus at
Teos, thence termed respectively the
first, second, and third fascia, begin-
ning from the lowest. Vitruv. iii.
5. 10.
FASCIC'ULUS. Diminutive of
FASCIS. A small quantity of any
thing tied up into a
roll or fascine ; as a
nosegay (Cic. Tusc.
iii. 18.); a bundle of
flax (Plin. H. N. xix.
3.); or of books (Hor.
Ep. i. 13. 13.), which
last are shown by the
engraving, as they were found in a
library at Herculaneum.
FASCFNA. Same as FASCIS, 1.
Cato, R. R. xxxvii. 5.
FAS'CIOLA. Diminutive of
FASCIA. A small bandage, or one
made of fine materials, for infants
(Vopisc. Aurel. 4.) ; the head (Varro,
L.L. v. 130.); feet and legs (Cic.
Har. Resp. 21. Hor. Sat. ii. 3. 255.) ;
as explained in the article FASCIA.
FASCIS (<J>o/ceAos and <a'/feAAos).
Accurately, a packet of things, but
more especially wood (Hirt. B. G.
viii. 15. Tac. Ann. xiii. 35.), wattled
together, and made up into & faggot or
fascine, for the convenience of car-
riage ; as in the illustration, from a
sepulchral painting of the Christian
era ; and contradistinguished from
SARCINA, which is applied to such
things as are wrapped up into a pack
or bundle.
2. In the plural. Fasces (at fid-
Sot). The fasces carried by the
lictors before certain of the Roman
magistrates ; with which malefactors
were beaten before execu-
tion. They consisted of a
number of rods cut from
the birch (Plin. H. N. xvi.
30.), or elm tree (Plaut.
Asin. iii. 2. 29.), wattled
together, and bound round
with thongs into the form
of a fascine. During the
reign of the kings, and
under the first years of
the republic, an axe (secu-
ris) was likewise inserted
amongst the rods ; but after
the consulate of Publicola,
no magistrate, except a dictator (Liv.
ii. 18.) was permitted to use the
fasces with an axe in the city of
Rome (Cic. de Rep. ii. 31. Val. Max.
278
FASC1S.
FASELUS.
iv. 1. 1.); the employment of both
together being restricted to the con-
suls at the head of their armies (Liv.
xxiv. 9.), and to the quaestors in their
provinces. (Cic. Plane. 41.) The il-
lustration affords an example of the
fasces as they appeared with the axe
inserted, from a bas-relief of the
Mattel palace at Rome.
3. Fasces prceferre and submitter e.
The lictor walked before the ma-
gistrate to whose service he was
attached with a rod (virga) in his
left hand, and the fasces on his
left shoulder, as shown by the an-
nexed figure, from a bas-relief in
the Museum of Verona. This is ex-
pressed by the phrase fasces prce-
ferre; but if a magistrate of inferior
rank met a superior, the lictor re-
moved the fasces from his shoulder,
and lowered them, as a mark of re-
spect, till the great man had passed,
as our soldiers ground arms in the
presence of great personages. This
is expressed by the phrase fasces
submittere.
4. Fasces laureati. When a gene-
ral had achieved a victory, he had
the fasces, which were borne before
him, decorated with laurel leaves (lau-
reati, Cic. Div. i. 28. Id. Att viii.
3.) ; and the emperors also added a
similar ornament to their own fasces
in compliment to any of their officers
who had obtained a brilliant success.
(Tac. Ann. xiii. 3.) The method
adopted was, upon such
occasions, either to in-
sert a branch of laurel
into the top of the rods,
as shown by the left-
hand figure in the an-
nexed engraving, re-
presenting the fasces
carried by a lictor in
attendance on the Em-
peror Vespasian, from a bas-relief;
or to fasten a laurel wreath upon
them, as in the right-hand example,
from a consular coin.
5. Fasces versi. In mourning, or
at the funeral of commanders, the
fasces were reversed (versi, Tac. Ann.
iii. 2.) ; that is, carried with the axe
downwards, as our soldiers carry
their muskets upon similar occasions ;
and sometimes, as at the funeral of
Drusus, the staves were broken
(fracti fasces, Pedo Albin. El. i. 177.).
FASE'LUS Oao-rjAos). A light
craft invented by the Egyptians,
supposed to have received its name
from some resemblance to the pod of
a faselus, or kidney bean. It was
made of the papyrus, of wicker-work,
and sometimes even of baked earth
(jictilis, Juv. Sat. xv. 127.), all of
which materials accord with the
fragile character ascribed to it by
Horace (Od. iii. 2. 28.), and account
for the great speed for which it was
likewise remarkable. (Catull. 4.)
It was constructed of different sizes,
and for various purposes ; the smaller
as a mere row boat (hence styled
brevis. Serv. ad Virg. Georg. iv.
289.) ; the latter being of consider-
able length (Aero, ad Hor. /. e.),
fitted with sails, and employed in
warfare and on distant expeditions
(Sail. ap. Non. *. v. p. 534. Cic. Att.
i. 13.), whence it is mentioned as
forming an intermediate class be-
FASTI.
FAUX.
279
tween the navis longa, or war galley,
and the navis actuaria, or transport
and packet boat. (Appian. Sell.
Civ. v. 95.) The illustration, from
an engraved gem of the Stosch cabi-
net, may be regarded as affording the
probable type of a faselus of the
smaller kind, both on account of its
shape, the material (papyrus") of
which it is made, and because it is
placed under 'the Egyptian deity
Horus, the son of Isis and Osiris.
FASTI. Year books or almanacks
engraved on stone or bronze, and ex-
posed in some public parts of the city
for general inspection and informa-
tion. They were of two kinds :
1. Fasti sacri, or kalendares ;
which were very similar to our al-
manacks, containing a list of the days
and months in the year ; the rising
and setting of the fixed stars ; the
market days ; holydays ; the days
on which the courts of law sat ; those
which were regarded as ill-omened
and unlucky ; together with a chro-
nological table, enumerating import-
ant events in the history of the
state, such as the anniversary of a
great battle, the dedication of a tem-
ple, &c. &c., as is collected from a
variety of original fragments still
preserved.
2. Fasti annales, or historici. Re-
gisters containing the names of con-
suls and other magistrates, with the
dates of their entrance upon, and re-
tirement from office, inscribed upon
slabs of marble or bronze, and pre-
served in the public archives. A
long list of the Fasti consulares, sup-
posed to have been engraved during
the reign of Tiberius, is still displayed
in the Capitol at Rome.
FASTI'GIUM. Strictly the top
or crowning part of a pediment,
formed by the two converging sides
of the roof; whence it came to be
used, in a more general sense, for the
entire pediment or fronton of a re-
ligious edifice, including the whole
triangular figure, consisting of the
cornice of the entablature which
forms its base, the two converging
cornices at the sides, and the tympa-
num or flat surface, A, within them.
Vitruv. iii. 5. 12. and 13. Cic. Orat.
iii. 46. Liv. xl. 2.
2. When applied to private houses,
it designates a roof rising to a point
at the top, in contradistinction to a
flat one (Cic. Q. Fr. iii. I. 4.); or
implies that the front of the house
was covered by a portico and pedi-
ment like the pronaos of a temple ;
an honour not allowed to individuals,
but decreed by the Romans to their
Imperial rulers, as a token of divinity.
(Cic. Phil. ii. 43. Florus, iv. 2.)
FAT'UI and FAT'U^E. Idiots
of both sexes, who were purchased
as slaves, and kept in great Roman
families for the purpose of exciting
merriment by their stupidity. Senec.
Ep. 50.
FAUX. From its original mean-
ing, the gullet or entrance to the
stomach, is used to designate any
narrow pass or confined entrance
either in natural or artificial objects ;
and expressly to a narrow passage
which formed a communication be-
tween the two principal divisions of
a Roman house, the atrium and peris-
tylium. It was situated by the side
of the tablinum ; and as there were
frequently two of these, one on each
280
FAVISS^E.
FEMINALIA.
side of the above-named apartment,
the word is commonly used in the
plural (fauces, Vitruv. vi. 3. 6.)
The object of it was to obviate the
inconvenience of making a passage
room of the tablinum, as well as to
afford a ready access from one part
of the house to the other, when that
apartment was closed in with screens.
The relative position which it bore
to the other members of the house
will be understood by referring to
the ground-plan at p. 248., where it is
marked E, and its general appearance
in elevation by the annexed engrav-
ing, which presents a view from the
house of the Dioscuri at Pompeii, with
the ceiling only restored. The fore-
ground shows the interior of the
atrium, with its impluvium in the
floor ; the large deep recess on the
left at the back is an open tablinum,
showing the peristyle through it ;
and the low dark door at the side is
the faux, which opens at its further
end into the peristyle in the same
way as it does upon the atrium on
the side here shown.
2. Also in the plural ; the stalls
or stables for the horses and chariots
in the Circus. (Ennius ap. Cic. Div.
i. 48. Cassiodor. Var. Ep. iii. 51.)
See CARCER, 2., where the object
is described and illustrated.
FAVIS'S^. Pits, or cellars con-
structed underneath a temple, in
which the sacred implements, orna-
ments, furniture, or other property
belonging to the edifice were stowed |
away after they had become unfit for
use. (Varro, ap. Gell. ii. 10. Broc-
chi, Suola di Roma, p. 152.) Three
pits of this nature were discovered
under the ruins of an ancient temple j
at Fiesole, filled with broken musical
instruments, various implements and !
utensils in ivory and bronze, as well j
as idols, lamps, and fictile vases, all |
damaged and mutilated. Giornal \
Arcad. torn. iii. p. 119.
FAVUS. A flag, tile, or slab of
marble cut into a six-cornered figure
of the same shape as the cell in a
honey -comb (faints), used for making
pavements of the kind termed sec-
tilia. (Vitruv. vii. 1. 4.) The illus-
tration represents a piece of pave-
ment in the Thermae of Titus at
Rome ; the honeycomb pattern is
laid with slabs of fine marble, of the
kind called pavonazzetto.
FAX ($av6s). A torch; which
was made out of a piece of resinous
wood cut into a point, and
dipped into oil or pitch ;
or of tow impregnated
with wax, tallow, pitch,
rosin, or any inflam-
mable materials enclosed
in a tube of metal, or in
a bundle of wattled
laths (faculce*), as shown
by the illustration, from
the Column of Antoninus. Virg.
Georg. i. 291. Liv. xxii. 16. Plin.
H. N. xix. 7.
FECIA'LIS. See FETIALIS.
FEMINA'LIA or FEMORA'-
LIA. Short breeches, or drawers
which covered the thighs
(femora), being fastened
round the waist, arid
terminating a little be-
low the knee (Suet.
Aug. 82. Isidor. Orig.
xix. 22. 29.), like the
annexed figure, from the
Column of Trajan. They
were not, however, usu-
ally worn by the Ro-
mans in early times, ex-
cept, perhaps, by some
few individuals of delicate constitu-
tion, like Augustus ; as in ordinary
cases the long and ample toga ren-
dered such a precaution unnecessary.
But when that garment fell into dis-
use, they seem to have been very
generally adopted; particularly by
FEMUR.
FENESTRA.
281
the troops engaged on foreign service
in cold and northerly climates ; for
they appear invariably on all the
figures of the triumphal arches and
columns, both officers and men.
FEMUR (juip6s). In architec-
ture, the long flat projecting face
between each channel (canaliculus)
of a triglyph (Vitruv. iv. 3. 5.);
three of which are seen on each tri-
glyph, in the annexed engraving,
from the frieze of a Doric temple
formerly existing at Rome.
FENESTEL'LA or FENES-
TREL'LA. Diminutive of FENES-
TRA. A small window, or one which
is less than the usual size. (Colu-
mell. viii. 3. 3. Pallad. i. 24.) The
annexed illustration represents two
admitted, and the casement or shut-
ters, whether glazed or otherwise,
by which it is closed. The illustra-
tion represents three ancient win-
dows of different designs; the one
on the left hand, from a Greek bas-
relief in the British Museum ; that
on the right from the Vatican Virgil ;
and the centre one from a marble
of the windows in the house of the
Tragic Poet at Pompeii, on the street
side. They are situated on the
ground floor, at a height of six feet
six inches above the pavement, and
are not quite three feet by two in
size. By the side of each is a
wooden frame for the shutter to slide
into when the window was opened.
FENES'TRA (dupfe). A window;
inclusive of the aperture (lumen) in
the wall, through which the light is
fia
sarcophagus of a later period, found
in the Vatican cemetery.
2. Fenestra biforis (Stvpts 5tKA.fr).
A window opening in two leaves
from top to bottom, such as we call a
French window. Ovid. Pont. iii. 3. 5.
3. A loop hole in the walls of a
fortress, from which missiles were
discharged. (Caes. B.C. ii. 9.)
The illustration, which presents a
view of the Porta Asinaria at Rome,
constructed by Honorius, shows
several of these apertures. The low-
roofed building in front is a modern
structure.
4. A hole pierced in the lobe of
the ear for the pur-
pose of receiving the
ring of a pendant or
ear-ring. (Juv. i.
104.) Many statues
have been discovered
with holes bored in
the marble, into
which real ear-rings
were inserted ; of
which the annexed
o o
282
FENESTRULA.
FERETRUM.
engraving, from a bust found at Her-
culaneum affords an example. The
holes in the ears still remain, and
the pupil of the eye is also hollowed
to receive an artificial one.
FENES'TRULA. Same as FENES-
TELLA. Apul. Met. ix. p. 208.
FER'CULUM. In a general
sense, that on which anything is
borne ; a contracted form for FERI-
CULUM ; especially a tray, on which
a number of dishes were brought up
at once from the kitchen into the
eating room (Pet. Sat. 36. 2. Id.
39. 1. Suet. Aug. 74.) ; whence the
same word frequently implies the
dishes displayed upon it, constituting
what we term a course or remove.
Hor. Sat. ii. 6. 104. Plin. H.N.
xxxiii. 47. Juv. i. 94.
2. A sort of portable platform
borne by a number of men upon
their shoulders, in solemn proces-
sions and other pageants, upon which
any object of attraction was placed
in order that it might be exposed
to the general gaze from an ele-
vated position; as, for example, the
images of the gods at the Circen-
sian procession (Suet. Jul. 76. Com-
pare Cic. Off. i. 36.) ; the spoils of
conquered nations at a triumph
(Suet. Jul. 37.) ; and even the cap-
tives themselves, when of sufficient
consequence, were subjected to this
cruel exposure. (Senec. Here. Get.
110.) The illustration, from a bas-
relief on the Arch of Titus, repre-
conquest of Jerusalem, carrying the
spoils of the temple, the " table of
gold" (1 Kings, vii. 48.) and trum-
pets on a ferculum ; another bas-
relief on the same arch represents a
group transporting the golden candle-
stick in the same manner ; a frieze
shows a statue of the River Jordan
personified, similarly transported ;
and a sarcophagus of the Pio-Cle-
mentine Museum affords an example
of three captives, two males and a
female, borne aloft upon a ferculum
of the same description, by six sup-
porters.
FERENTA'RII. A corps of
soldiers in the Roman armies, classed
amongst the levis armatura, or light-
armed troops. (Veg. Mil i. 20.
Non. s. v. p. 554.) They were not
armed for close conflict, having no
defensive weapons, and only such
offensive ones as were intended to
be discharged from a distance (quce
ferrentur, non quce tenerentur. Non. s.
Decuriones, p. 520. Festus, s. u.),
whence they are sometimes ranked
with the Accensi. They were posted
on the wings in the battle array ;
and were chiefly employed to com-
mence the attack by a discharge of
missiles (Sal. Cat. 60. Veg. I.e.)-,
or sometimes, like the Rorarii, to
annoy the enemy from between the
ranks of the heavy -armed troops.
Tac. Ann. xii. 35.
2. Equites ferentarii. A mounted
corps of the same description, fur-
nished with javelins for throwing at
a distance, instead of the fixed cavalry
lance ; qui ea modo habebant arma
qua ferrentur, ut jaculum. Varro,
L. L. vii. 57.
FER'ETRUM and FERET'RUM
Strictly speaking, a
sents eight Roman soldiers at the
triumph of that emperor, after the
Greek word, which the Romans ex-
pressed by capulus (Serv. ad Virg.
FERRARIA.
FIBULA.
283
y. vi. 222.); the bier, on which a
dead body was carried to the grave,
or to the funeral pile (Virg. JEn. vi.
222. Ov. Met. iii. 508.), represented
by the illustration, from a marble
tomb at Rome.
2. Same as FERCULUM, 2. Sil.
Ital. x. 566. Id. xvii. 630.
FERRA'RIA, sc. fodina and offi-
cina. An iron mine ; an iron foun-
dry ; and a blacksmith's workshop.
Cses. B. G. vii. 22. Liv. xxxiv. 21.
FERRA'RIUS, sc.faber, or abso-
lutely. A smith, blacksmith, ar-
mourer, who works in iron, as con-
tradistinguished from other metals.
(Plaut. Rud. ii. 6. 47. Inscript. ap.
Spon. Misccll. Antiq. p. 66.) The
engraving represents Vulcan and his
companions at their forge, from a
Roman bas-relief.
FE'RRITER'IUM. A prison
where slaves were kept in chains.
Plaut. Most. iii. 2. 55. Same as
ERGASTULUM.
FERRIT'ERUS. A slave kept
in chains. Plaut. Trin. iv. 3. 14.
See COMPEDITUS.
FERRIT'RIBAX. (Plaut. Most.
ii. 1. 9.) Same as preceding.
FERULA (ydpe-nZ). The fennel;
a plant much used by the an-
cients for the infliction of slight
punishments ; as a schoolmaster's
ferule for chastising boys on the
hand (Juv. Sat. i. 15.), or the back
(Apul. Met. ix. p. 196.) ; a riding
switch (Ov. A. Am. i. 546.) ; and a
cane for punishing slaves guilty of
minor offences. (Hor. Sat. i. 3. 119.
Juv. vi. 479.) As an instrument of
punishment, the ferula was thus the
mildest of those employed by the
ancients.
FES'TRA. An antiquated form
of writing FENESTRA. (Festus, s. v.
Pet. Fragm. xxi. 6.)
FESTU'CA. A slight rod, with
which the lictor of a praetor touched
the head of a slave whose owner had
restored him to freedom. (Plaut. Mil.
iv. i. 15. Id. Pers. v. 174.) Also
called VINDICTA.
FETIA'LES (</>eT$Ae/s and ^n-
o'A'rts). The members of a college of
heralds at Rome to whom was en-
trusted the duty of seeking redress
of grievances from hostile states,
carrying declarations of war, and
assisting in the conclusion of treaties
of peace. They carried with them a
wand (caduceus), as the emblem of
amity, and a spear, as the token of
war, which they hurled across the
hostile frontier when hostilities were
decided on. (Cell. x. 27.) The an-
nexed figure, from an engraved gem,
is supposed to represent a Fetialis
about to depart upon a hostile mis-
sion from the columna bellica, on
which the figure of Minerva is seen
in the act of discharging a spear, as
above described.
F I B' U L A Oreprfwj, Wpmj, eVer^).
A brooch, employed in fastening
various parts of the dress, both in
male and female attire (Liv. xxvii.
19. Ov. Met. ii. 412. Id. viii. 318.);
such as the chlamys, palla, pallium,
oo2
284
FIBULA.
sagum, and paludamentum, but not
the toga, which was wrapped on the
body by the ampli-
tude of its own
folds, and did not
require anything to
fix it. Brooches
were made of vari-
ous materials and
patterns, in bone,
ivory, bronze, the
precious metals, and
of valuable stones
set in gold; upon
the same principle
as is still adopted,
with a sharp pin
which shifted into a catch on the
rim of the ornament, and were com-
monly used to fasten loose draperies
under the throat, or on the point of
the shoulder, like the annexed ex-
ample, from a fictile vase.
2. A clasp; such as were used
more particularly for fastening belts,
girdles, and articles of a like nature
(Virg. jEn. iv. 139.), made with a
hook instead of a pin, which fastened
into an eye on the opposite end of
the belt from that to which the fibula
is fixed, as in the annexed example,
representing an original military belt
discovered at Psestum; which like-
wise illustrates such expressions as
fibula adunco morsu (Calpurn. Eel
vii. 81.), and fibula mordaci dente.
Sidon. Carm. ii. 397.
3. A buckle; employed in fasten-
ing girdles, belts, straps, harness, and
v. 313. Id. xii. 274.) : usually made
in the same form as our own, as
shown by the annexed examples, all
from ancient originals. But buckles
were often made in a much more
costly style, and of elaborate work-
things of that description (Virg.
manship, as productions of art, in-
tended to be bestowed as rewards
of valour upon the military (Liv.
xxxix. 31.), or worn by persons of
wealth and rank (Plin. H.N. xxxiii.
12.) ; a specimen of which is afforded
by the annexed engraving, from an
original of silver found at Hercula-
neum. The square part was rivetted
on to a belt by studs passing through
the four holes visible in the en-
graving; the other part, which is
slightly mutilated at the end, formed
the buckle, with an ornamental
tongue, which worked upon a pin
run through the centre of the orna-
ment.
4. A buckle, was also employed
for fastening the fillet or bandeau
(tcenia, vitta) which
young women wore
round the head, to
keep their hair in
set Virgil de-
scribes Camilla
with her hair con-
fined in this way
(;En. vii. 815.);
and the annexed
bust, from a bronze
statue found at Herculaneum, shows
the end of the bandeau passed under
a guard beyond the buckle in the
same manner as is customary at the
present day.
FICTILE.
F1GULUS.
285
5. In a more general sense, the
word is also used to designate many
things which fasten various objects
together ; as a trenail in carpentry
(Cses. B. G.iv. 17.); an instrument
employed in the olive press room
(Cato, 7?. 7?. iii. 5.) ; a band which
braces the withies in a basket toge-
ther (Cato, JR.R. xxxi. 1.) ; and
a contrivance adopted by surgeons
for closing wounds (Greek, dyKrrip),
which compressed the lips of the
orifice, and held them together, when
sewing (sutura) was either inexpe-
dient or impossible. Celsus. v. 26.
23. Ib. 7. 4.
FIC'TILE (/ce'pa/uoj/). A general
name given to any thing made of
earthenware or potter's clay ; in-
cluding vessels, moulds, or casts in
terra-cotta, bricks, tiles, &c.
FICTOR (TrAaVrrjs). A general
term for any artist who models in j
clay, wax, or any plastic material, as
contradistinguished from one who
works in bronze, marble, wood,
ivory, or other solid substances.
(Cic. Fragm. ap. Lactant. ii. 8. Plin.
Ep. i. 10.) The annexed figure, ,
from a bas-relief of the Villa Al-
bani, represents an artist of this
description, as is manifest from the
small wooden stick held in the left
hand, which artists still universally
make use of to form their models in
clay ; the very fine or delicate con-
tours were also finished with the
fingers and nails, which gave rise to
the expression ad unguem factus homo
(Hor. Sat. i. 5. 32.), meaning a
finished gentleman.
2. A sort of confectioner, or artiste,
who executed models in pastry or
wax of different animals required for
sacrifice in certain religious rites,
but which could not be themselves pro-
cured for the purpose. Ennius ap.
Varro, L. L. vii. 44. Serv. ad Virg.
jEn. ii. 116.
FIDE' LI A. A sort of vessel,
jar, or pot made of earthenware, or
glass (Columell. xii. 38. 1.), the dis-
tinctive properties of which are not
known ; further than that it was
employed for holding cement (Cic.
Fam. vii. 29.), as well as various
other things. Plaut. Aul. iv. 2. 15.
Pers. Sat. v. 183. Columell. xii.
10. 4.
F I D E S or F I D I S. Apparently
from the Greek ox/u'Sr;, cat-gut; whence
used as a general term for a stringed
instrument, such as the lyra, chelys,
cithara. Varro, R. R. ii. 5. 12. Ov.
Fast. v. 104.
FID'ICEN. A general term for
a male performer on any stringed
instrument. Cic. Fam. ix. 22.
FIDIC'INA. A general term for
a female performer on any stringed
instrument. Ter. Phorm. i. 2. 59.
FIDIC'ULA. Diminutive of
FIDIS. A small or thin musical
string. Cic. N. D. ii. 8.
2. Mostly in the plural, FIDICULJE j
a contrivance for torturing slaves,
consisting of a number of thin cords ;
but the exact nature of the appara-
tus, as well as the manner in which
it was applied, is involved in uncer-
tainty. Suet. Cat. 33. Seneca, Tra,
iii. 3. and 19.
FIG'ULUS (Kepo/iefo). Any artist
or mechanic who works in clay ; as,
one who makes figures and ornaments
in terra-cotta (Plin. H. N. xxxv.
43.), represented by the preceding
illustration ; a brick-maker (Juv. x.
171.), represented by the engraving
s. LATERARIA ; a potter (Varro,
7?. R. iii. 15. 2.), of which trade the
286
F1MBR1A.
FISCELLA.
annexed figure, from an Egyptian
painting, affords an example. The
potter sits on
the ground be-
fore his wheel
(rota), on the
top of which
is placed the
lump of clay,
which he forms
into shape with
his thumbs and fingers, exactly in
the same manner as now practised.
An engraved gem (Caylus, Recueil,
&c. iv. 62.) represents an artisan of
the same description, with a model-
ling stick in his hand, sitting before
a fictile vase, which is situated on the
top of a miniature kiln, to indicate
that he is giving the last finish before
sending it to the oven.
FIM'BRIA (M<ravot, pooW). A
fringe, or ornamental border to a
piece of cloth
(Celsus, ii. 6.
Varro, L. L.
v. 79.), gene-
rally produced
by leaving the
extremities of
the warp
threads upon
the cloth after
it had been removed from the loom
(see TELA RECTA) ; but rich tassels
and fringes were sometimes made
separately, and sewn on to the fabric
at pleasure. Julius Caesar wore
them round the wrists of a long-
sleeved tunic. (Suet. Cces. 45.) The
illustration is from a painting at
Pompeii.
FIMBRIA'TUS (.Wai/amk).
Furnished with tassels or fringes.
The preceding wood-cut shows a
table napkin ornamented in this way ;
but fringes upon wearing apparel in
works of art are more especially
introduced to characterise royal per-
sonages of foreign and barbarous
nations, like the captive princes on
the Arch of Constantine, or the
Egyptian priesthood, especially Isis
and her attendants, one of whom is
represented in the annexed engrav-
ing, from a Pom-
peian painting, in
the exact costume
which Herodotus
ascribed to that
class (ii. 81.). It
was a mark of sin-
gularity in Julius
Caesar that he wore
a fringe on the
sleeve of his tunic
(Suet. Cces. 45.);
for amongst both
Greeks and Ro-
mans such an appendage was re-
garded as exclusively feminine.
2. As applied to whips, see FLA-
GRUM, 3.
FISCEL'LA. Diminutive of Fis-
CINA. A small basket made of
wicker work or
rushes, of common
use in gardening,
farming, and dairy
operations ; parti-
cularly to hold a
sort of cheese made with curdled
cream (Tibull. ii. 3. 15.), called
ricotta by the modern Italians; one
of which is represented in the cut,
with the cheese in it, from an origi-
nal, as it was found at Pompeii.
2. (^ds). A small basket put
over the noses of oxen, as a muzzle,
to prevent them from cropping the
young shoots of the vines when
ploughing (Cato, R. R. 54. 5. Plin.
H. N. xviii. 49. 2.) ; and of other
animals of a vicious nature to prevent
their biting, as shown by the an-
nexed engraving, from the Theodo-
sian Column. Ginzrot, 85. 3.
FISCELLUS.
FISTULA.
287
FISCEL'LUS. Diminutive of
Fiscus. Same as FISCINA. Colu-
mell. xii. 38. 6.
FIS'CINA. A. large basket, made
of osiers, Spanish broom, or rushes,
employed in all kinds of out-door
work, in gardens, orchards, vine-
yards, and agricultural operations, in
the same manner as the fiscella ; as
a fruit basket (Cic. Fl 17.) ; a cheese
basket (Mart. i. 44.) ; a muzzle for
horses (Plin. xxxiv. 19. 7.) ; and
in the wine and oil press room for
containing the grapes or olives whilst
under the action of the press beam
(Columell. xii. 39. 3.), the use and
action of which are explained and
exhibited by the article and illustra-
tion, s. TORCULAR, 1.
FIS'CUS. A large basket of the
same description and uses, as de-
scribed under the two preceding
words; and especially employed in
the squeezing of grapes and olives.
Columell. xii. 52. 2. Ib. 47. 9.
2. It would appear that the Ro-
mans made use of a basket of this
kind for the custody of coin (Cic.
Verr. i. 8. Phsedr. ii. 7.) ; whence
the term fiscus came to be applied
under the Empire to that portion of
the public revenue which was ap-
plied to the maintenance of the sove-
reign, like our " civil list," as con-
tradistinguished from the personal
and private property of the prince
(res privata Principis, ratio Ccpsaris},
and from the Exchequer, or Treasury
of the State (cerarium), out of which
the expenses of the government were
defrayed. But this distinction is not
always strictly observed.
FIS'SIPES. Cloven footed;
whence used to designate a reed pen
(Auson. Epist. vii. 50.), which was
made, like our own, with a split at
the nibs ; see the illustration s.
ARUNDO, 5.
FISTU'CA. A rammer, with
which walls of masonry, floorings,
and pavements were levelled and
consolidated (Plin. H. N. xxxvi. 61.
Cato, 7?. 7?. 28. 2. ), as shown by the
annexed example, from the Column
of Trajan ; also employed for driving
piles under water
(Caes. B. G. iv. > | \
17,) ; but that,
from the nature
of the service
performed, must
have been a
much larger and
more powerful
instrument, and probably was worked
by machinery.
FISTUCA'TUS. Beaten down,
consolidated, or driven in with a
rammer (fistuca). Vitruv. vii. 4. 5.
Plin. H. N. xxxvi. 63.
FISTULA (<A^). A water
pipe. (Cic. Rabir. perd. 11. Frontin.
Aq. 25.) These were generally
made of lead ; but in the Villa of
Antoninus Pius at Lanuvium, a por-
tion of one has been discovered,
weighing between thirty and forty
pounds of pure silver, so that the
description of Statius (Sylv. i. 5.
48.), which records a similar extra-
vagance, is not a poetic fiction. The
example here given represents part
of an original excavated in Rome,
where many similar specimens have
been found, all of which possess the
same peculiarity of form as here ob-
servable, being compressed at the
top, but circular below.
2. (ffvpiyl-). A Pan's pipe, made
of the stalks of the reed, cane, or
hemlock. (Virg. Ed. ii. 36. Tibull.
ii. 5. 31.) See ARUNDO, 6.
3. A writing pen made of reed or
cane. (Pers. iii. 14.) See ARUNDO, 5.
4. (/caflcr^p). A metal catheter,
distinguished by the ancient surgeons,
as well as our own, into two sorts,
the male and female. (Celsus, vii.
26. 1.) See CATHETER.
5. An implement employed by
the shoemaking trade ; perhaps, a
288
FISTULATOR.
FLAGELLUM.
shoe-maker's punch. Plin. H. N.
xvii. 23.
6. A rotting pin for making pastry.
Apic. 42.
7. Fistula farraria, ferraria, or
serrata. Supposed to be a machine
for grinding corn (Plin. H. N. xviii.
23. Cato, R. R. 10. 3.), but the read-
ings are uncertain ; some of the old
editions of Cato have fiscella fari-
naria.
FISTULA'TOR. One who blows
the Pan's pipe (fistula), Cic. Or. iii.
61., in which passage it is specially
used to designate a piper employed
by the Roman orators to assist them
in keeping their voices at a proper
pitch, one of whom, it is insinuated
by Cicero, always accompanied
Gracchus when he spoke in public.
FISTULA'TUS. Hollow, perfo-
rated, or fitted with tubes. Suet.
Nero, 31.
FLABELL'IFER. In a general
sense, any one who carries a fan
(flabellum) ; the name is specially
given to young
slaves of the
male or female
sex (Plaut.
Trin. ii. 1. 29.),
whose business
it was to carry
their mistress's
fan, and fan
her when re-
quired. The
illustration re-
presents Cupid
as the fan-
bearer of Ariadne, lamenting her de-
sertion, in a Pompeian painting;
other designs in that city, as well as
on fictile vases, exhibit females in a
similar capacity.
FLABELL'UM (0r/0- A fan.
(Terent. Eun. iii. 5. 50.) The fans
of the Greek and Roman ladies
were made with the leaves of the
lotus plant, of peacock's feathers
(Prop. ii. 24. 11.), or some expansive
material, painted in brilliant colours
(Mart. iii. 82.) ; were not constructed
to open and shut, like ours, but were
stiff, and had a long handle, the
most convenient
form for the
manner in which
they were used ;
viz. for one per-
son to fan an-
other, a slave
being always
employed for
the purpose. (FLABELLIFER.) The
left-hand figure in the illustration
represents a fan of lotus leaf, from a
Pompeian painting; the right-hand
one, of peacock's feathers, from a
painting discovered at Stabia.
FLAGELLUM 0*<m). A cat,
or scourge ; made with a great num-
ber of knotted and twisted tails, like
the numerous feelers of the polypus,
which are consequently designated
by the same name (Ov. Met. iv.
367.); chiefly employed for the
punishment of slaves. (Juv. vi. 478.
Hor. Sat. i. 2. 41. Ib. 3. 119. Mar-
cell. Dig. 48. 19. 10.) Though a
diminutive of FLAGBDM, it was in
reality an instrument of greater seve-
rity ; the diminutive only applying to
the fineness of the fibres which com-
posed it, but which, by their very na-
ture, increased the sufferings inflicted.
! Consequently, it is characterised by
' the epithet horribile ; in some cases,
even producing death (Hor. II. cc.) ;
and the nature of the wound pro-
duced by it is always specified by
words which are descriptive of cut-
ting, such as ccedere, secare, scindere
FLAGRUM.
FLAMEN.
289
(Hor. Juv. //. cc. Ov. Ibis, 183.), in
contradistinction to those connected
with flagrum, which express an
action of thumping or pounding, such
as pinsere or rumpere. The scourge
held by the upright figure in the il-
lustration, which is copied from the
device on the handle of a bronze jug
found at Pompeii, is no doubt in-
tended to represent one of these in-
struments; but it will be readily
conceived from the minuteness of
the design, consequent upon the
confined space allotted to it, that it
affords only an imperfect idea of the
real object.
2. A driving-whip (Virg. JEn. v.
579. Sil. iv. 440.) ; in which case
we may infer that it designates one
of a severer description than those
commonly used ; with two or three
thongs, for instance, instead of a sin-
gle one like the scutica. The speci-
men here introduced is used by a
Triton in a Pompeian painting.
3. The thong attached to a har-
poon (aclis), for the purpose of draw-
ing it back again to the person who
had launched it. Virg. 2En. vi. 730.
Servius ad I.
F L A' G R U M. An instrument
employed chiefly for the punishment
of slaves (Plaut.
Amph. iv. 2. 10.
Mart. xiv. 79.),
consisting of se-
veral chains with
knobs of metal at
their extremities (whence durum,
Juv. v. 172.), appended to a short
handle, in the same manner as a
whip ; but which dealt out heavy
blows rather than lashes ; conse-
quently the effects produced by it
are described by words expressive of
thumping, pounding, and breaking
(pinsere, Plaut. Merc. ii. 3. 80. rum-
pere, Ulp. Dig. 47. 10. 9.), and not
of cutting, or lashing, which is cha-
racteristic of the flagellum. Livy
(xxviii. 11.), however, has ccesa
flagro. The illustration is copied
from an original found at Hercula-
neum, in the houses of which city
other specimens have been found,
with two and five tails, but otherwise
of similar character to the present.
2. Flagrum talis tessellatum (>o<r-
rt aa-Tpaya\<ar-f]~). A whip com-
posed of a number
of long lashes (pro-
lixe fimbriatum),
with the pastern
bones (tali) of sheep
tied up in them,
and affixed to a
short handle, with
which the priests of
Cybele affected to
flog themselves for
the purpose of ex-
citing compassion
amongst the ig-
norant multitude.
(Apul. Met. viii.
p. 173.) The ex-
ample annexed,
corresponding in every respect with
the above description, is copied from
a marble bas-relief representing Cy-
bele surrounded by various imple-
ments employed in her worship, of
which the above forms one.
3. Flagrum fimbriatum (Apul. /. e.),
furnished with a number of lashes,
which hang together like a fringe
(fimbria), whence the name.
FLAMEN. A Flamen ; the title
given to any Roman priest attached
to the service of some single divi-
nity (Cic. Leg. ii. 8.), each being
distinguished by the name of the
deity to whom he ministered (Varro,
L. L. v. 84. ) ; as Dialis, of Jupiter ;
Martialis, of Mars ; Quirinalis, of
Romulus. His pontifical dress was
the Icena, fastened by a brooch at the
throat, and the cap called apex, with
an olive stick and flock of wool on
its crown. Serv. ad Virg.
iv. 262.
P P
290
FLAMINICA.
FOCULUS.
FLAMIN'ICA. The wife of the
Flamen Dialis. Festus, s. Flamen.
FLAMMEA'RIUS. One who
makes, or deals in, fiammea. Plaut.
Aul. in. 5. 35. and FLAMMEUM.
FLAMM'EOLUM. Diminutive
of FLAMMEUM ; not, however, mean-
ing small in size, but of a very fine
and thin texture ; consequently, of
greater value. Juv. x. 334.
FLAM'MEUM. The marriage
veil, worn by a Roman bride on her
wedding day. It was of
a deep and brilliant yel-
low colour (Plin. H, N.
xxi. 22.), like a flame,
from which circumstance
the name arose ; and of
large dimensions, suffi-
cient to cover the whole
person from head to foot.
During the ceremony it
was worn over the head,
to shield the downcast
looks of virgin modesty J
(Lucan. ii. 361.), as exhibited in the
above figure, from a Roman marble,
representing a bride (nupta) at her
wedding ; and was so kept until she
arrived at her new home, when she
was unveiled by her husband; as
exemplified by the annexed figure,
also from a Roman marble, which.
represents a young bride sitting on
a couch, with the flammeum still on
her shoulders, though unveiled, and
exhibiting a very natural gesture of
feminine modesty, or regret for the
loss of her old friends and com-
panions.
FLAM'MULA. A banner used
in late times by some of the cavalry
regiments of the
Roman armies (Ve-
get. Mil ii. 1. Id.
iii. 5.) ; which may
have received the
name from being of
a yellow colour, like
the bridal veil (flam-
meum) ; or from be-
ing notched at the
end into long pointed forks, like a
flame (flammd), a specimen of which
is exhibited in the annexed wood-cut
from the arch of Septimius Severus.
FOCA'LE
wrapper for the neck
and jaws (fauces,
quasi faucale), like
our neck-cloth or
cravat ; originally
only worn by deli-
cate persons and in-
valids (Hor. Sat ii.
3. 255. Quint, xi. 3. 144.), not as an
ordinary part of the Roman costume,
as it is of ours ; but when the exten-
sion of the Empire forced the Roman
soldier to endure the severities of
northern climates, it seems to have
been generally adopted in the army -,
for it is universally worn by the
troops in the armies of Trajan, An-
toninus, and Septimius Severus, in
the manner shown by the annexed
example, the ends of which hang
down over the chest exactly as de-
scribed by the Scholiast on Horace
(/. c.), a collis dependentia, adfoven-
dum collum, et fauces contra frigus
muniendas.
FOCA'RIUS. One of the lowest
class of household slaves, attached to
the kitchen department, where he
had to attend to the fire, and pro-
bably perform the common drudgery
of the place. Ulp. Dig. 4. 9. 1.
2. Focaria. A female slave em-
ployed in the above services ; a kit-
chen-maid. Ulp. Dig. 33. 7. 12.
Pomp. ib. 15.
FOC'ULUS. Diminutive of Fo-
FOCUS.
291
!
wl
ji.
s ; any small or portable fire-place ; | the altar of the household gods also
especially in the following specific I stood (see ARA, 5.) : hence the frequent
senses and uses : juxtaposition of the words pro aris et
focis in solemn adjurations. It con-
1. The cavity on the top of an
altar for burnt-offerings, within
which the fire was kin-
dled (Liv. ii. 12.);
whence also used for
the altar itself. (Cic.
Dom. 47.) The exam-
ple represents a small
marble altar, showing
the foculus at the top,
from an original found at Antium.
2. (eo-xdpiov ). A brazier, or cha-
sisted of a square platform of stone
or bricks, raised a few inches only
from the ground, as is manifested by
numerous instances still visible at
Pompeii ; upon this the fire was
kindled with logs of wood resting
upon andirons (yarce\ but in most
cases without any flue or chimney to
carry off the smoke.
2. Same as FOCULUS, 1. The
hollow part at the top of an altar, for
ting-dish'," in which charcoal or wood- burnt- offerings, in which the fire was
ashes were burnt, for the purpose of : kindled ; thence, the altar itself.
warming apartments. Many of these i Ov. A. A. i. 637. Tibull. i. 8. 70.
have been discovered in the houses 3. Focus turicremis. A brazier
of Herculaneum and Pompeii both ! or fire-pan, made of metal and fur-
nished with han-
dles for the
convenience of
transport from
place to place,
round and square, but similar in ; and placed upon
general character to the specimen solemn occa-
annexed, from an original of bronze, sions before the
3. A small portable stove or fire- \ altar or statue
place, employed for culinary and of a divinity, to
other purposes. (Plaut.
Capt. iv. 2. 67. Juv.
Sat iii. 262.) The ex-
ample, from a painting
found in Herculaneum,
shows the stove raised
upon a stand supported
on three legs, in order
to give room for venti-
lation underneath, the
door in front through which the
serve the pur-
pose of a censer
j for burning pas-
| tiles of frankincense. (Ov. Her. ii.
18. Marini, Fr. Arv. p. 311.) The
illustration, from an ancient Roman
fresco, exhibits a female with a dish
I of pastiles in her left hand, and the
' focus turicremis burning on the ground
I beside her, into which she drops them
one by one.
charcoal was to be inserted, and a i 4. A sort of hot plate, invented by
vessel on the top, containing the in- | the luxurious Romans for the pur-
gredients which the figure stirs round pose of having their soups and ra-
gouts thoroughly hot when brought
to table. It was made of metal, and
contained a fire of kindled charcoal,
as well as the dish or vessel with
the viands ready cooked, all of which
whilst they boil.
FOCUS (4(m'a, V X apa). A fire-
place ; the hearth of a house. (Cic.
Sen. 16. Hor. Od. i. 9. 5. Tibull. i.
1. 6.) Amongst the Romans, the
hearth was consecrated to the Lares,
and held as a sacred spot in the
house ; consequently, it was situated
in the public hall, or atrium, where
were thus carried up at once from
the kitchen to the dining-room, which
Seneca expresses by saying the kit-
chen accompanies the meal culina
p p 2
292
FODINA.
FOLLIS.
ccenam prosequitur. (Senec. Ep. 78.)
The illustration represents an utensil
of this kind, from an original in
bronze found at Pompeii, with a
section of the inside, and a drawing
of the pan which contained the viands,
placed between them. The charcoal
was inserted and replenished through
the small door at the bottom ; the
smoke escaped through two aper-
tures at the sides, each ornamented
by a lion's head ; the handles at the
top served to carry it ; and the pan
was let in at the top, where it was
supported over the fire by the rim
round its surface.
FODI'NA OeVaAAoj/). A mine
from which minerals, &c. are dug ;
each particular mine being marked by
a distinguishing epithet ; as, auri fo-
dina, a gold mine ; argenti fodina, a
silver mine ; which are also fre-
quently written as one word. Ulp.
Dig. 27. 9. 3. Vitruv. Plin.
FCENIS'ECA, FCENISEC'TOR,
FCEN ISEX'. A mower of grass with
a scythe, as contradistinguished from
a reaper of corn with a sickle. Co-
lumell. ii. 18. 5. Id. xi. 1. 12. Varro,
R. R i. 49. 2.
FOLLICULA'RE (&r/c,ua), The
shaft of an oar at the point where it pro-
trudes from the
oar port, which
was encircled
by a leather
cap or bag
(folliculus), to
ease the wear
and tear of the oar, and prevent the
water in heavy seas from entering
the vessel through the port. Both
the form and situation of this cap are
clearly shown by the illustration,
which represents several oars fur-
nished with the guard described, as
they are seen on the side of a vessel
in a bas-relief of the Villa Albani.
FOLLIC'ULUS. Diminutive of
FOLLIS.
FOLLIS. A ball inflated with air,
and of large dimensions, which, from
its lightness, was peculiarly adapted
for the amusement of very young
or old people, as affording exercise
without violent exertion. (Mart,
xiv. 47.) The annexed illustration
is from the device on a coin of Gor-
dian iii., as published by Mercurial!
(Gymn. p. 126.) ; and resembles, both
in the size of the inflated bladder,
and the manner in which it is em-
ployed, an amusement still common
in Italy, known as the game of the
big ball (il giuco del pallone), at which
the players have their right arms,
from the elbow to the wrist, covered
with a guard like that exhibited in
the engraving ; with this they strike
the ball, which another person de-
livers to them, as the bowler does at
cricket.
2. A cushion or mattress inflated
with air, instead of stuffed with fea-
thers, which latter was considered
more luxurious, Lamprid. Elag. 25.
3. A large leather bag for holding
money (Juv. xiv. 281.); especially
used in the army as a military chest
for keeping the soldiers' pay. Veg.
Mil ii. 20.
FORCEPS.
FORFICULA.
293
4. (<pC<ro). A pair of bellows ;
consisting of two boards, with an
air- valve (parma), united
by a skin of ox or cow
hide, so as to form a
machine similar to what
we now use, as shown
by the annexed figure,
from a terra-cotta lamp,
in the collection of Lice-
tus (Lucern. vi. 24. 2.),
Cic. N. D. i. 20. Pers.
v. 11. Bellows, also
made of goat's skin (folles hircini),
are mentioned by Horace (Sat. i. 4.
19.) ; and of bull's hide (folles tau-
rini) by Virgil (Georg. iv. 171.); but
this latter is only to be taken as a
poetical expression, or was written in
ignorance of a well known fact, that
bull's leather is unfit for making
bellows. Beckman, Hist, of Inven-
tions, vol. 1. p. 64. London, 1846.
5. Folli fabrilis. A blacksmith's
bellows (Liv. xxxviii. 7.) of large
dimensions, such as employed in our
forges; of which an instance is af-
forded by the engraving s. FER-
RARIUS.
FORCEPS (irvpdypa'). A pair of
tongs, such as were used by smiths
for taking the heated metal out of
the fire, and holding it upon the
anvil, whilst being worked. (Isidor.
Orig. xix. 7. 3. Ov. Met. xii. 277.
Virg. jEn. viii. 453.) The example
represents a pair of Vulcan's tongs,
from a marble bas-relief. Compare
illustrations s. MARCUS and MAR-
CULUS.
2. (pidypa). A particular kind of
dentist's instrument, in the form of
pincers, employed for extracting the
roots of decayed teeth (Celsus, vii.
12. 1.) ; a purpose which medical
men have assigned to the instrument
here figured, from an original dis-
covered, amongst other surgical in-
struments, in a house at Pompeii,
and for which it seems well adapted.
3. (oSovrdypa). A pair of pincers
for drawing teeth (Celsus, vii. 12.
l.\ which were constructed with
bent claws (uncis). Lucil. Sat. xix.
11. Gerlach.
4. (apSioe-fipa. Serv. ad. Virg.
JEn. xii. 404.) A pair of pincers
expressly constructed for the purpose
of extracting spear or arrow heads
from wounds. Virg. and Serv. /. c.
5. In military language ; same as
FORFEX, 3. Cato, ap. Fest s. Serra.
FORFEX (iJrcAfc, fj.dxaipa 5nr\rj,
Pollux, ii. 32.) A pair of scissors,
clippers, or shears, em- ^g^gga^^^
ployed for snipping "*
(Columell. xii. 44. 4.), clipping the
hair or beard (Mart. vii. 95.), shear-
ing sheep (Calpurn. Eel. v. 74.), and
other similar purposes. The exam-
ple represents a pair of sheep shears,
as seen over the figure of a ram in
an engraved gem ; and the wood-cut
at p. 208. shows an instrument of
exactly the same form, used as a pair
of scissors by a party of garland
makers. The form of the instru-
ment, moreover, which is round at
the bottom, as Galen describes the
Greek ^oAiy, not only identifies that
word with the Latin 'forfex, but also
accounts for the secondary meanings
which it bore ; viz. a vault, an
absis, and an arched aqueduct.
2. A pair of shears for raising
weights. Vitruv. x. 2. 2.
3. In military language, a tenaille,
or body of 'troops disposed in the
form of the letter V, to receive the
attack of another advancing in the
shape of a wedge (cuneus), which it
admitted within its position, and then
closed upon its flanks. Veg. Mil.
in. 18. Gell. x. 9.
FORFIC'ULA (^aA./Stoj/). Di-
minutive of FORFEX. Plin. H. N.
xxv. 23.
294
FORI.
FORIS.
FORI. Plural of FORUS. The
ship's floors (Latin and Anglo-Saxon
Glossary of the 10th century). This
includes the flooring of the deck
(Gell. xvi. 19. 3.); the gangways
by which the mariners passed about
the vessel (Cic. Sen. 6. Lucan. iii.
630.), those between the rowers'
benches (Virg. jEn. vi. 412.), and
perhaps the benches themselves.
Isidor. Orig. xix. 2.
2. The standing-places on a tem-
porary platform erected for the ac-
commodation of spectators at a public
show. Liv. i. 35. Festus, s. Forum.
3. The floors, one above the other,
by which the Roman agriculturists
sometimes divided their beehives
(Virg. G. iv. 250.) into a number
of separate stories; as shown by the
annexed example, from an original of
FORIS; a window-shutter. (Varro,
R. R. i. 59. 1.) See the illustration
s. FENESTELLA, which shows a shal-
low recess on the outside of the wall,
to receive a wooden shutter when it
was pushed back from the window.
FORIS (<ravis, K\iffids, Ovperpov').
The door itself, as distinct from the
doorcase (Liv. vi. 34. Cic. Verr. ii.
1. 26. Plaut. Cure. i. 3. 1.) ; and
especially of one which opened out-
wards. (Serv. yn. i. 449.) The
doors of the ancients were generally
made in two leaves, like our folding-
doors (illustration s, JANUA) ; conse-
quently, the word foris is mostly
used in the plural; but when it
occurs in the singular, we are to
understand that one only of the
leaves is meant (Ov. Her. xii. 150.),
or that the door consisted of a single
leaf, which the ancients sometimes
bronze discovered at Pompeii. The
left-hand figure shows the outside ;
the right-hand one, a section of the
inside divided into stories ; and the top
one the moveable lid with its handle.
4. Narrow furrows in a field or
garden formed into parallel lines by
the hoe. Columell. x. 92. 1.
FOR' 1C A. A set of public
privies, like the cabinets d'aisance of
Paris, distributed in various parts of
the city for the convenience of the
population. A small fee charged for
the accommodation, together with
the profits arising from the sale of
the contents, induced individuals to
take such premises on lease, as a
means of gaining a livelihood. Juv.
iii. 38. Ruperti ad I. ; but compare !
Furnaletti, Lex. Facciolat. s. v.
FORICA'RIUS. The lessee of a
FORICA. Paul. Dig. 22. 1. 17. S 5.
FORIC'ULA. Diminutive of
used in the interior of their houses,
as shown by the illustration, from the
Vatican Virgil.
2. Fores career is. The doors
which closed the front of a stall in
the circus, in which the horses and
chariots were stationed before they
started for the race, as shown by the
annexed wood- cut, from a bas-relief
FORMA.
in the British Museum. Ov. Trist.
v. 9. 29.
FORMA (TJ^TTOS). A model, mould,
or form, by which other things of a
plastic, fusible, or ductile nature are
made to assume any shape required ;
as
1. A mould for taking terra-cotta
casts. These were made of stone,
with the design engraved upon them
in intaglio, into which the wet clay
was pressed, and then put into an
FORMlDO.
295
oven to be baked in its mould. The
illustration shows an original mould
on the right hand, found at Ardea,
with the cast from it (ectypus) on the
left.
2. (xdavos). A mould for fusible
metals, casts in bronze (Plin. H. N.
xxxvi. 49.), coins (Lamprid. Alex. Sev.
39.), and similar objects, also made of
stone, sufficiently hard to resist the
molten heat ; or of baked earth ; of
which material the annexed example
is composed, representing an original
mould for coins, with a specimen of
the money upon a rather larger scale
by the side. A number of models,
with a reverse of the device engraved
on both sides, are arranged in the
case, at a distance from one another
corresponding with the exact thick-
ness of the intended coin ; the liquid
metal was poured into the groove at
the side, from which it flowed through
the holes there seen, and produced a
perfect coin between each layer of
the types.
3. A mould for making bricks.
Pallad. vi. 12.
4. A mould in which cream
cheeses were pressed, made of box-
wood (Columell. vii. 8. 7.) ; also de-
signated by the diminutive Formula.
Pallad. vi. 9. 2.
5. (/caAaTTovs). A shoemaker's last ;
made of wood, like our own, and
with a handle to
it, as shown by the
annexed example
from a painting of
Herculaneum, re-
presenting two genii as shoemakers
engaged at their trade. Hor. Sat. ii.
3. 106. Ulp. Dig. 9. 2. 5. 3.
6. The water-way, or channel of
an aqueduct, or that part of it which
is conducted underground, instead of
being raised upon arches (Frontin.
Aq. 75. 126.). and which are conse-
quently embedded in earth, like a
cast in its mould.
FORMA'CEUS. See PARIES.
FORM EL' LA. Diminutive of
FORMA. Either a small mould for
giving an artificial
and fanciful form
to fish when dressed
up for dinner, or
probably a mould
in the shape of a fish, like the an-
nexed specimen, from an original
found in Pompeii. Apic. ix. 13.
FORMFDO. A sort of scare-
crow, employed by huntsmen for the
purpose of driving their prey in a
particular direction, to where the
toils were laid. It consisted of a
long line stretched across any given
district, to which a number of fea-
thers of different colours were at-
tached ; and as these fluttered in the
wind, they frightened the animals,
and deterred them from retreating
towards the site where the scarecrow
was exhibited. (Grat. 85. 88. Ne-
mes. 304. Virg. JEn. xii. 750. Senec.
Ira. ii. 12.) Hence the allusion of
Horace (Sat. i. 8. 3.), when he terms
296
FORMULA.
FORNAX.
Priapus the terror of thieves furum
formido.
F O R' M U L A. Diminutive of
FORMA.
FORNACA'RIUS, FORNACA'-
TOR, FURNACA'TOR. The
slave who attended an oven, or a
furnace at the baths. Ulp. Dig. 9.
2. 27. Paul. Dig. 33. 7. U. Inscript.
in the baths at Pompeii.
FORNAC'ULA. Diminutive of
FORNAX. A small furnace for
smelting metals (Juv. x. 82.); or for
heating,? boiling, 'or melting anything
nace and flues employed for heating
the thermal chamber in a set of
baths (Fronton, ad M. Cces. I.
Ep. 2.), which are plainly shown in
the annexed engraving, representing
the section of a bath-room excavated
at Tusculum ; the furnace is seen on
the left, with the boilers over it,
and the flues extending under the
whole flooring of the room towards
the right.
FORNAX (/COMPOS). An oven or
kiln for baking pottery. (Cic. N. D.
i. 37.) The illustration shows the
of a liquid or fusible nature. The
illustration represents an ancient
Roman fornacula in elevation, like
one of our coppers, from an excava-
tion near Wansford in Northampton-
shire, and was intended for making
the glaze employed in a neighbour-
ing pottery, to varnish
over the outsides of
the earthenware vessels
there made. The small
cut, let into the text,
presents a transverse
section of the copper and furnace,
and shows how they were con-
structed.
2. Fornacula balnearum. The fur-
remains of a Roman pottery kiln,
discovered near Castor in Northamp-
tonshire. The low door in front is
the entrance to the furnace (prafur-
niwri) ; the circular building at the
back, the kiln in which the vessels
i were baked upon a floor suspended
j over the furnace. The floor still re-
mains entire, as shown by the ele-
j vation ; but the manner in which it
was supported by a central pillar, the
locality of the furnace, the situation
of the vessels, and the vaulting which
covered-in the
oven, will be
better under-
stood by the
annexed section
of the structure,
in which all
these particulars
are visible ; and
nothing is added but some vases and
a dotted line to complete the original
form of the kiln.
FORN1CATUS.
FORNIX.
297
2. Fornax ceraria. A smelting fur-
nace (Plin. H. N. xi. 42. Virg. JEn.
vii. 636.) ; of which an example is
given at p. 104. s. CAMINUS.
3. Fornax calcaria. A lime kiln
(Cato, 7?. R. xxxviii. 4.); constructed
in the following manner: An exca-
vation was made in the earth of
sufficient depth to form a spacious
vault (fornix) for the furnace, and
provided with an entrance mouth
(preefurnium), both in front and
rear ; the former for introducing the
fuel, the latter for removing the em-
bers. The gulley or shafts (fauces)
which formed the approaches to the
mouths of the furnace, were sunk in
a perpendicular direction, in order to
screen the furnace and its apertures
from currents of wind. The part of
the kiln above ground (summa for-
nax") was then built up with bricks
or rough stones (ccementa), coated
with clay to confine the heat, and of
a conical form, six feet wide at
bottom, converging to three at the
top. where it ended in a circular
aperture or chimney (orbis summus).
4. Fornax balinei. (Labeo. Dig.
19. 2. 58.) The furnace of a bath.
See FORNACULA, 2.
FORNICA'TUS. See PARIES.
FORNIX. An arch; a mechani-
cal construction in the form of a
segment of a circle, formed by intra-
dos and voussoirs which hold them-
selves together by mutual gravitation.
(Cic. Top. 4. Seneca, Ep. 90.) Same
as ARCUS, 4. which see.
2. An archway, erected by some
individual to commemorate himself,
and ornament the city (Cic. Verr. i.
7. ii. 63. Liv. xxxiii. 27. Id. xxxvii.
3. ) ; but not a triumphal arch (arcus
triumphalis), as is proved by the
above passages from Livy ; one of
which has reference to an archway
erected by Scipio Africanus before
the commencement of a campaign,
the other by L. Stertinius at the
conclusion of his command, which
ended without a triumph. Thus the
archway which forms one of the en-
trances into the Forum at Pompeii
would be properly termed a fornix ;
that of Titus, of Septimius Severus,
or of Constantine at Rome, an arcus;
though the external appearance, in
respect of ornament and design, was
the same in both. See ARCUS, 5.
and the illustration there given.
3. A vault, or vaulted chamber ; es-
pecially of a confined and common
description, such as was inhabited by
slaves and poor people ; hence, the
cell of a common prostitute (Hor.
Sat. i. 2. 30. Juv. xi. 171.), for at
Rome such persons pursued their
vocation in vaults of this description ;
which practice has given rise to the
modern term fornication. The illus-
tration represents a set of small
rooms constructed in this manner
amongst the ruins of a Roman villa
on the bay of Gaieta. The doors
and wall which closed them in front
have perished; but the remains are
sufficient to give a clear notion of the
construction termed fornix.
4. A vaulted sally -port in the
towers and walls of fortified places,
by which the defenders might make
a sudden irruption against their as-
sailants. (Liv. xxx vi. 23.) The
illustration represents one of the
towers belonging to
Q Q
walls of
298
FORNUS.
FORUM.
Pompeii, in its present state, with a
sally-port, on the left, at the bottom ;
the two dark arches, exposed above,
contain the staircases, and were con-
cealed by the external wall, when the
tower was in its original state.
FORNUS. Same as FURNUS.
Varro, ap. Non. s. v. p. 531.
FORPEX. (Cato, R. R. x. 3.
Suet. Aug. 75.) Same as FORFEX.
A pair of tongs.
FORT AX. (Varro, R.R. xxxviii.
4.) Applied to masses of chalk ar-
ranged together in the form of an
arch (fornix) over the fire in a lime
kiln, so as to support themselves by
mutual gravity, and the whole mass
above them in the kiln, while under
the process of burning for making
lime.
FOR'ULUS. A dwarf bookcase,
or cabinet for books (Juv. iii. 219.) ;
not permanently fixed to
the walls, like the ar-
marium, but forming a
small moveable reposi-
tory (Suet. Aug. 31.), for
a few favourite authors,
like the example an-
nexed, from a bas-relief
on a sarcophagus, now
used as the receiving
basin of a fountain in one of the
streets at Rome.
FORUM. In its original sense,
implied the uncovered space of ground
left in front of a tomb, and in which
the same right of property existed as
in the sepulchre itself. Festus, s. v.
Cic. de Legg. ii. 24.
2. (0170^0). A market-place; con-
sisting of a large open area in the
centre, where the country people ex-
hibited their produce for sale, sur-
rounded by outbuildings and colon-
nades, under which the different
trades erected stalls, and displayed
their wares or merchandise. In
small towns a single forum would
suffice for different markets ; but in
large cities, like Rome, almost every
class of provision dealers had a mar-
ket of their own, distinguished by
the name of the produce sold in it ;
as forum boarium, the cattle market ;
olitorium, the cabbage or vegetable
market; both of which are repre-
sented in the annexed illustration,
from an ancient painting, containing
views of several sites in the city of
Rome, with their names inscribed
upon each. The illustration also
shows distinctly the manner in which
an ancient market-place was laid out
and enclosed. Varro, L. L. v. 146.
3. The Forum ; i. e. a large open
area, of a nature somewhat similar to
the last described ; but laid out upon
a much more magnificent scale, and
intended as a place for holding public
meetings in the open air, and for the
transaction of judicial and commercial
business, rather than a mere provision
market. (Varro, R.R. v. 145.) It
was surrounded by the principal
public buildings and offices of state,
courts of justice, basilicse, places of
worship, and spacious colonnades
of one or more stories, in which the
merchants, bankers, and money
dealers had their counting-houses, and
transacted their business. (Vitruv.
v. 1. 2.) Of the famous Roman
forum nothing now remains but the
ruins of some of the edifices which
stood in or around it, still rising in
solitary grandeur on the spot, or
interspersed amongst the modern
buildings which encumber the site.
Its former level lies buried beneath a
depth of twelve or fourteen feet of
earth and rubbish, so that the very
site it occupied, its bearings and di-
mensions, form one of the most dis-
puted points of Roman topography.
FORUM.
299
But the excavations of Pompeii have
opened the Forum of that city, the
remains of which are sufficiently
circumstantial to enable us to trace
the ground-plans of the various edi-
fices surrounding it, and to assign
some probable use to each of them ;
and will thus afford a general notion
of the usual appearance of these places,
and of the manner in which they
were laid out. The central area is
paved with large square flags, on
which the bases for many statues still
remain, and surrounded by a Doric
colonnade of two stories, backed by
a range of spacious and lofty build-
l
[JQJ
ings all round. The principal en-
trance is through an archway (for-
nza?)(A), on the left-hand corner of
the plan, and by the side of a temple
of the Corinthian order (B), supposed
to have been dedicated to Jupiter.
On the opposite flank of this temple
is another entrance into the Forum,
and by its side the public prison (car-
eer) (c), in which the bones of two
men with fetters on their legs were
found. Adjacent to this is a long
shallow building (D), with several
entrances from the colonnade, sur-
mised by the Neapolitan antiquaries
to have been a public granary (hor-
reum). The next building is another
temple of the Corinthian order (E),
dedicated to Venus, as conjectured
from an inscription found on the
spot. It stands in an area, enclosed
by a blank wall and peristyle, to
which the principal entrance is in a
side street, abutting on the Forum,
Q Q 2
300
FORUM.
FOSSOR.
and flanking the basilica (F), beyond
which there are three private houses
out of the precincts of the Forum.
The further or southern side of the
square is occupied by three public
edifices (G, H, i), nearly similar to
one another in their plans and dimen-
sions. All these have been deco-
rated with columns and statues,
fragments of which still remain on
the floor ; but there are no sufficient
grounds for deciding the uses for
which they were destined. The first
is merely conjectured to have been a
council chamber (curia) ; the second,
the treasury (cerarium) ; and the last,
another curia. Beyond these is an-
other street, opening on the Forum ;
and, turning the angle, are the remains
of a square building (K), for which
no satisfactory use can be suggested.
The space behind is occupied by the
sites of three private houses. The next
object is a large plot of ground (L),
surrounded by a colonnade (portions)
and a cloister (crypto), and decorated
in front, where it faces the Forum,
by a spacious entrance porch or ves-
tibule (chalcidicum), all of which were
constructed at the expense of a female
named Eumachia. Beyond this is a
small temple (M) upon a raised base-
ment, attributed by some to Mercury,
by others to Quirinus ; and adjoining
to it, an edifice (N), with a large
semicircular tribune or absis at its
further extremity, supposed to have
been a meeting-hall for the Augustals,
or a town-hall (sehaculum) for the
Pompeian senate. The rear of both
these structures is covered by the
premises belonging to a fuller's es-
tablishment (fullonica). The last
structure (o) is a magnificent build-
ing, with various appurtenances be-
hind it, commonly called the Pan-
theon, from twelve pedestals placed
in a circle round an altar in their
centre, supposed to have supported
the statues of the Dii Magni, or
twelve principal divinities; but the
style of the decorations, and the sub-
jects of the numerous paintings which
ornamented its walls, afford consider-
able weight to another ingenious con-
jecture which has been hazarded, that
it was a banquetting-hall belonging
to the Augustals.
4. (Perhaps imoXiiviov). A parti-
cular part of the press-room, where
wine or oil was made. Varro, i. 54.
2. Columell. xi. 2. 71. Id. xii. 18. 3.
In all these passages, it is enumerated
with the presses and other instru-
ments and vessels employed in the
operation ; and the name would be
well adapted to the parts marked H H
on the plan of the press-room exca-
vated at Stabia, which illustrates the
word TORCULARIUM.
FORUS. Same as FORUM. Lu-
cil. Sat. iii. 23. Gerlach. Pompon.
ap. Non. p. 206.
2. Forus aleatorius. A dice-board.
Suet. Aug. 71. Senec. Cons, ad Po-
lyb. 36.
FOSSOR (opu/mjs). An excava-
tor (Inscript. ap. Murat. 1970/3.);
or a miner (Stat.
Theb. ii. 418.);
i. e. a labourer
who digs out,
or deep into,
the ground with
a sharp-pointed
instrument, like
the mattock (do-
labra fossoria),
as shown by the
annexed illus-
tration, which
represents an
excavator at
work amongst
the Roman catacombs, from a sepul-
chral painting of the Christian era.
The lamp at his side indicates that
the scene of his operations is laid
underground.
2. But as the excavator made use
of the spade (pala) to clear away the
soil which had been loosened by his
mattock (dolabra), the word is also
employed to designate a digger, or
agricultural labourer, who turns up
or trenches the ground with a spade,
FRACES.
(Virg. Georg. ii. 264. Pallad. i. 6.
11.), in the manner shown by the
FRIGIDAR1UM.
301
annexed example, from a paint'ing of
the same description as the last.
FRACES (o-reVpvAa). The husks
of the olive, after the juice had been
extracted by bruising and squeezing
the fruit. Cato, R.R. 56. 2. Id. 67. 2.
FRAM'EA. The spear used by
the Germans, which had a short, but
very sharp iron head, and was em-
ployed both as a pike at close quar-
ters, and as a miss'ile for hurling
(Tac. Germ, 6.), in which manner it
is used by the annexed figure, repre-
senting a German warrior, on the
Column of Antoninus.
FRENUM (xaAivrfs). A horse's
bridle, including the bit, head-piece,
and reins. (Cic. Hor. Virg.) The
example is copied from the arch of
Septimius Severus.
FRIGID A'RIUM. A cool place
or larder for preserving meat. Lucil.
Sett. viii. 7. Gerlach.
2. One of the chambers mentioned
by Vitruvius, as connected with the
bathing department of a gymnasium
(Vitruv. v. 11. 2.); the actual use
and precise nature of which he does
not state, nor is it easy to determine.
However, it was certainly distinct
from the cold-water bath (frigida la-
vatio), with which it is enumerated,
but situated in an opposite angle of the
edifice, and adjoining the oiling room
(elceothesium), precisely as represented
in a painting from the Thermae of
Titus, introduced at p. 142. Reason-
ing from analogy and the sense in
which the term is used by Lucilius
(see No. 1.), we might fairly conclude
that it was a chamber which did not
contain a bath, but was merely kept
at a low temperature, in order to
brace the body after the exhaustion
of the Laconicum, or vapour bath, by
a process less violent than that of
plunging immediately into cold water
a common practice amongst the
ancients. The difficulty experienced
in attempting to establish a distinction
between the two expressions frigida-
rium and frigida lavatio, in the pas-
sage of Vitruvius above cited, has
induced Marini, and Professor Becker
with him, to alter the former reading
into tepidarium ; but the painting
referred to, from the Thermae of
Titus, which shows a frigidarium
adjoining the elaeothesium, as Vitru-
vius directs, is sufficient to establish
the original reading as genuine.
3. Ahenum, or vas. The vat or
cistern containing cold water in a set
of baths. (Vitruv. v. 10.) The in-
genious manner in which the ancients
uniformly contrived to arrange the
different coppers and vats required
for the supply of their baths, so as to
incur the least possible waste of water
and fuel, is very clearly exhibited
by the annexed woodcut, from a
302
FKIT1LLUS.
FUCUS.
painting in the Thermse of Titus at
Rome. The boiler for the hot water
(caldarium) was
placed immedi-
ately over the fur-
nace ; above that,
or at a greater
elevation from the
fire, was another
copper (tepida-
rium), which im-
mediately supplied
the vacuum created
in the boiler as the
hot water was
drawn off, by an
equal quantity of
fluid already raised
to a moderate temperature ; and was
itself, in like manner, filled up di-
rectly from the cold cistern (frigida-
rium), which, as shown by the en-
graving, was completely removed
from the heat of the furnace.
FRITIL'LUS (0i/*(fe). A dice-
box; of similar construction to those
still in use, with graduated intervals
on the inside to give the dice a rota-
tory motion during their descent, as
shown by the annexed example and
section of an original found in an
excavation at Rome. Juv. xiv. 5.
Mart. iv. 14. Id. xiv. 1.
FRONS. Applied to books;
mostly in the plural, frontes gemince
(Ov. Trist. i. 1.
11. Tibull. iii. 1.
13.); the two out-
side surfaces or
bases of a roll of
papyrus, &c. when
it was rolled up so
as to form a volume (yolumeri), and
which were smoothed and polished
with pumice stone, and dyed black,
when the roll was completed. The
illustration represents a box of books,
from a Pompeian painting, in which
there are eight rolls, each with one of
their frontes uppermost.
FRONTA'LE (&fnrvfi. A front-
let, or head-band, placed across the
foreheads of horses
(Plin. H. N. xxxvii.
74.), as seen in the
annexed example,
from a fictile vase.
It sometimes con-
sisted of a plate of
gold (Horn. //. v. "1^*^ \
358.), and, amongst
persons of regal state, was often en-
riched with precious stones. Plin. I.e.
2. The Greek writers also make
use of the same
word to designate a
bandeau placed in a
similar manner over
the forehead of fe-
males, more espe-
cially of Divinities
(Horn. //. xxii. 469.
Hes. Theogn. 916.); as shown in
the annexed woodcut, from a fictile
vase.
3. (irpofJLeTctiritiiov. Gloss. Vet.) A
plate of metal, placed as a defence
over the forehead and frontal bone of
horses belonging to the heavy cavalry
of the Greeks and Romans. ( Arrian.
Tact. p. 15. Xen. Cyr. iv. 1. Id.
Anab. i. 7.) This practice was in-
troduced by the Medes or Persians ;
and elephants, when caparisoned for
action, were provided with a defence
of the same nature. Liv. xxxvii. 40.
FUCA/TUS. Rouged or painted,
as explained in the next paragraph.
FUCUS Otkos). Rouges an ar-
ticle frequently employed by the
Greek and Roman women, as it is by
those of modern Europe, in order to
give the appearance of a brilliant or
youthful tint to a complexion already
used up or naturally sallow. (Plaut.
Most. i. 3. 118. Prop. ii. 18. 31.)
It was prepared from a certain kind
of moss (Lichen roccella L.), and was
FULCRUM.
FULLON1CA.
303
id on with a brush, as in the an-
nexed example, from a fictile vase ;
or with the finger, as exhibited in
other designs of the same nature.
FULCRUM. A stay or support
upon which any thing rests ; as a
staff or walking-stick (Ovid. Pont. iii.
3. 14. BACTJLUS) ; the foot of a sofa,
couch, or bed (Suet. Claud. 32. Prop,
iv. 8. 68. CLINOPUS), whence some-
times put for the bed itself (Prop. iv.
7. 3.) ; and, in later times, the high
pummel in front of a riding-saddle,
made upon a tree. (Sidon. Apoll. Ep.
iii. 90. SELLA EQUESTRIS.)
FULLO (KvaQffo). A fuller, a
cleaner and scourer of cloth. (Mart.
xiv. 51.) The fullers, who formed
a very important body of tradesmen,
were extensively em-
ployed in the same
capacity as are our
washerwomen, for
cleaning and whiten-
ing garments after
they had been worn ;
an operation which
was effected by tread-
ing the clothes in
large vats of water
mixed with urine (Plin. H. N. xxviii.
18.), collected from vessels exposed
in corners of the streets for the pur-
pose. (Mart. vi. 93.) The cloth
was then dried and bleached upon a
semicircular frame (cavea viminea),
placed over a pot of sulphur ; after
which it was hung up, and had the
nap loosened and laid with brushes,
or with a thistle (cdrdo fullonicus),
from which it was removed to the
press (pressorium), where it was
finally smoothed and condensed by
the action of a screw. The illustra-
tion represents a fuller at work in his
tub, from a painting in the Fullonica
at Pompeii.
FULLO'NICA and FULLO'-
N I U M (KvaQeiov). A fuller's wash-
house and premises. (Ulp. Dig. 39.
3. 3. Ammian. xiv. 11. 31.) An
extensive establishment of this kind
has been excavated at Pompeii, of
which the ground plan is annexed, as
it will serve to convey a very accurate
notion of the numerous conveniences
required for conducting the different
processes of the business, and the
manner in which they were applied.
A. The principal entrance from the
main street. B. The porter's lodge.
c. The impluvium, like that in or-
dinary houses, surrounded by a colon-
nade, supported by twelve square pil-
asters, upon one of which the figures
of fullers at work, represented in the
last and following woodcut, are painted.
D. A fountain with a jet of water, a
representation of which is introduced
under the word SIPHO. E. A spacious
apartment, opening upon the peristyle
or courtyard of the premises, and
perhaps used for drying the clothes.
F. A tablinum, with a room on each
side of it, where customers were pro-
bably received, when they came upon
304
FULLONICA.
FUMARIOLUM.
business. G. A closet or wardrobe, in
which the clothes were deposited after
they had been scoured, and kept until
called for ; the marks of the shelves
are still visible against the walls.
H. An adjoining room ; the first on
the right hand, which is within that
part of the premises where the active
operations of the trade were carried
on. i. The large wash-house with a
tank, where the clothes were cleansed
by simple washing and rinsing. K.
The place where the dirt and grease
were got out by rubbing and treading
with the feet. LLLLLL. Six niches
constructed on the sides of the room,
and separated from one another by low
walls, about the height of a man's arm-
pits, in each of which was placed a tub
where the fuller stood, and worked out
the impurities of the cloth, by jumping
upon it with his bare feet, an operation
which he effected by raising himself
upon his arms, while they rested on
the side-walls, in the manner exhibited
by the annexed engraving from one
of the pictures above mentioned.
MMM. Three smaller tanks, either
for washing, or, more probably, in
which the clothes were left to soak
before they were washed. N. A
fountain or well for the use of the
workmen, o. A back gate opening
on a small street, contiguous to that
portion of the premises in which the
active part of the trade was performed.
PP. Rooms for which no particular
use connected with the trade can be
assigned. Q. The furnace of the
establishment. R. An apartment con-
tiguous to the furnace, s. Stairs as-
cending to an upper story. TTf.
Apartments opening upon the peri-
style, painted in fresco, and probably
appropriated for the use of the master
and mistress of the establishment.
The rooms at the bottom of the plan,
without references, are shops facing
the street, and belonging to other
tradesmen, as they have no connection
nor communication with the Fullonica.
FULLO'NIUS or FULLO'NICUS.
Applied to any of the implements or
articles used by fullers ; as pila or
creta fullonica (Cato R.R. x. 5. Plin.
H. N. xvii. 4. ), fuller's earth ; saltus
fullonius (Seneca Ep. 1 5.), the jumping
and stamping which fullers practise
in scouring clothes, as represented by
the last woodcut, and explained by
the text which accompanies it.
FULMEN'TA (/oW^a). An
abbreviation of fulcimenta, used to
designate a thick, or probably extra,
sole attached to a shoe or boot. (Lucil.
Sat. xxviii. 40. Gerlach. Plaut. Trin.
iii. 2. 94.) In the example, from a
Greek statue of Minerva, three soles
are observable, one above the other,
which, when thus conjoined, are
termed fulmentce, in contradistinction
to the ordinary sole of one piece (solea\
for in the passages where the word
occurs, it is constantly used in the
plural number. They were made of
cork, and were employed by the
Greek and Roman ladies as a protec-
tion against damp in winter, as well
as from motives of vanity, to give
them an appearance of being taller
than they really were. Plin. H. N.
xvi. 13.
FUMA'RIOLUM. Diminutive of
FUMAR1UM. The vent or aper-
FUMARIUM.
FUND A-
305
ture in a volcanic mountain, through
which the smoke and vapour make
their egress. Tertull. Pan. 12.
FUMA'RIUM. The smoke-room ;
a chamber in the upper part of a
house in which the smoke from the
kitchen fires, or from the furnaces of
the bath-rooms, was allowed to collect
itself before finding a vent into the
air; and which was also used as a
storeroom for ripening wine (Mart.
x. 36. Compare Hor. Od. iii. 8. 11.);
and for drying the moisture out of
wood, in order to make it fit for fuel.
Columell. i. 6. 19.
FUNA'LE. A link, torch, or
taper, made of the papyrus, or the
fibres of other plants twisted together
like a rope (funis), and smeared with
wax or pitch, as exhibited in the an-
nexed woodcut, from a sepulchral
marble preserved in the church of
St. Justina, at Padua. Isidor. Orig.
xx. 10. 5, Cic. Sen. 13. Virgin.
i. 731.
2. A contrivance for holding torches
of this description, upon which many
of them were lit and burnt at the
same time, like our chandeliers. Isidor.
Orig. xx. 10. 5. Ov. Met. xii. 247.
FUNA'LIS sc. Equus (irap-fiopos,
(reipa</><Jpos). An out-rigger or trace-
horse in a carriage drawn by more
than two horses. (Stat. Theb. vi. 462.
Isidor. Orig. xviii. 35.funarius.) The
traces were made of ropes, as is still
the practice in Italy, which gave rise
to the term. When the carriage had
four horses attached, there were two
out-riggers, one on each side of the
yoke horses (jugales) ; and then the
one on the right, or off horse, was
called dexter jugalis (5e|to<retpos) ; the
left hand one, or near horse, sinister
or Icevus funalis (Suet. Tib. 6. Auson.
Epitaph, xxv. 9.). The illustration is
taken from a painting at Herculaneum.
FUNAM'BULUS (ffxaivoedrys).
A rope dancer. (Terent. Hecyr. Prol.
i. 4. Compare Hor. Ep. ii. 1. 210.)
The illustration, which represents one
of nine figures, dancing on the tight
rope, from a painting at Herculaneum
(all of whom are in different attitudes,
and exhibiting some characteristic
feat), indicates the general degree of
perfection to which the ancients had
carried this art, as the figure is
playing upon the double pipes, while
he dances on the rope to his own
music.
FUND A (o-<pev86vri). A sling, for
discharging stones, or leaden plum-
mets (glandes); a
weapon common-
ly used in warfare
by the Spaniards,
Persians, Egyp-
tians, and other
foreign nations ;
and also occa-
sionally by the
Romans, as is
shown by the
annexed figure,
R R
306
FUNDA.
FUNDULA.
representing a Roman soldier in the
army of Trajan, from the column
erected in honour of that emperor.
Plin. H.N. vii. 37. Virg. Georg.
i. 309. Serv. ad I Id. JEn. ix. 586.
FDNDITORES.
2. (an<plGX-ri<TTpov). A casting-net;
employed, like our own, for taking
fish in rivers
(Virg. Georg. i.
141. Servius ad I.
Isidor. Orig. xix.
5. 2.) ; but appa-
rently cast from
behind, and over
the right shoulder
(instead of being
discharged from
the left shoulder,
and in front of the
person throwing it, as is now the prac-
tice); that is, if the annexed figure,
from a mosaic in the Thermae of
Titus, affords a faithful representation
of the manner in which it was
thrown. The expression of Virgil,
however, verberat amnem, gives an
exact description of the manner in
which the casting-net falls upon the
waters.
3. A bag or pack slung over the
shoulders, for the convenience of
carrying money, or any other small
articles (Macrob. Sat. ii. 4.); pro-
bably so called because, with the
straps which fastened it, it had the
appearance of a sling, as shown by
the annexed example, from the device
on a bronze lamp.
4. (o^ei/Son?, 7rue\k). The bezil of
a ring ; that is, the rim in which the
gem is set ; and which holds it as a
sling does its stone ;
more especially so
called when the set-
ting is transparent,
or an jour. (Plin.
H. N. xxxvii. 37.
and 42.) The example is from an
original.
FUNDIB'ALUS and FUNDIB'-
ALUM. A military engine for dis-
charging stones, belonging to the class
of Ballistce ; but the distinctive cha-
racteristics are unknown, further than,
as the name implies, that its action
was that of a sling.
FUNDITO'RES (o-^So^TaO-
Slinyers ; mostly with reference to
foreign nations. But, amongst the
Romans, the slingers were a body of
men selected from the fifth class of
the Servian census, who were formed
into a corps, and attached to the levis
armatura, or light-armed division of
the army. They were scarcely con-
sidered as regular troops, being ranked
in the lowest grade amongst the super-
numeraries, trumpeters, and band (Li v.
i. 43.) ; and, consequently, like them,
wore no body armour, nor any offen-
sive weapon, besides their sling (see
the examples. FUNDA, 1.), with which
it was their duty to annoy the enemy
from any part of the field to which
they were ordered. (Sal. Jug. 99.
Val. Max. ii. 7. 9. and 15.) The
difference between the Accensi, Fun-
ditores, and Ferentarii, who are dis-
tinguished by Vegetius (Mil. i. 20.),
appears to be this, that the first used
nothing but their hands for throwing
stones ; the second employed a sling
for the purpose ; and the last, who
were of a higher grade than the other
two, probably used other missiles as
well as the sling.
FUN'DULA. A street which has
no thoroughfare ; a cul de sac (Varro,
L. L. v. 145.) ; one of which is repre-
sented by the annexed view, taken in
the town of Pompeii. The street
terminated in a house, of which some
remains are visible in the engraving,
FUNDULUS.
FURCA.
307
and two small
are indicated
underneath it.
FUN'DULUS. The piston and
sucker of a hydraulic organ, which
moves up and down (hence termed
ambulatilis), like the sucker of a
pump (embolus). Vitruv. x. 8. 1.
FUNERE'PUS. (Apul. Flor. i.
5. Ib. iv. 18. 1.) Same as FUNAM-
BULUS.
FUNUS. A funeral, so termed
because, in ancient times, the Romans
were always buried by torch light,
twisted ropes (funalia) smeared with
pitch being carried by the mourners
for the purpose. (Isidor. Orig, xi. 2.
34. Donat. ad Terent Andr. i. 1.
81.) Subsequently, however, the
practice of night burial was confined
to the poorer classes, who could not af-
ford the expense of a pompous display.
2. Funus publicum, or indictivum.
A grand and public funeral, celebrated
in the day-time, and to which the
public were invited by proclamation,
to witness the gladiatorial shows and
military pageants often displayed upon
such occasions. Tac. Ann. vi. 11.
Cic. Leg. ii. 24. Festus s. v.
3. Funus gentilitium. A funeral, at
which the busts and images of cele-
brated characters belonging to the
same clan (gens} as the deceased, were
carried in the procession. (Plin. H. N.
xxxv. 2.) This was the usual kind
of funeral assigned to persons of dis-
tinguished rank or ancient lineage ;
and a description of the other customs
and ceremonies which mostly accom-
panied it, will be found under the
term EXSEQULE.
4. Funus taciturn, or translatitium.
An ordinary or common funeral, con-
ducted without any pomp or show,
such as was usual with private indi-
viduals of the middle and poorer
classes. Suet. Nero, 33. Ov. Trist.
i. 3. 22.
5. The funeral pyre. Suet. Dom.
15. PYRA, ROGUS.
6. A dead body or corpse (Prop. i.
17. 8.) ; whence also the ghost or
shade of a deceased
person (Prop. iv.
11. 3.), which the
ancient artists were
accustomed to re-
present in a corpo-
real form, shrouded
in grave clothes,
but endowed with
the powers of mo-
tion; as shown by
the annexed figure,
from a bas-relief,
representing a fe-
male whom Mer-
cury, in the original, is conducting
to the shades below.
FURCA (Stopwov). A two-
pronged fork, such as a stable-fork,
hay -fork, pitch-fork. (Virg. Georg. i.
264. Hor. Ep. i. 10. 24.) The an-
nexed example represents the iron
head of a hay-fork, supposed to be
Roman, but certainly of great anti-
quity, which was dug out of a bog
forming the bank of the old river at
the junction of the Nen at Horsey,
near Peterborough.
2. A fork with a long handle to it,
employed in taverns, kitchens, and
larders, for the purpose of taking down
provisions from the carnarium (Pet.
Sat. 95. 8.), which was fixed to the
ceiling, by sticking one of the branches
into the object, or putting it under
the loop by which it was hung upon
its hook (see the illustration s. CAR-
NARIUM) ; resembling, no doubt, the
instrument which our butchers use
for taking down a joint of meat, and
other tradesmen whose articles are
R R 2
308
FURCA.
FURNUS.
hung out of reach. From the ex-
pression of Petronius, furca de car-
nario rapta, it would appear that an
instrument of this kind was usually
suspended from the carnarium, ready
for use.
3. Anything made in the shape of
a fork, to be used for a prop or stay ;
as a prop for vines (Virg. Georg. ii.
259.); for fishing-nets (Plin. H. N.
ix. 9.) ; for supporting planks to
stand on. Liv. i. 35.
4. (orfjpfyl, <TT-fipiy/j.a). The pole
of a cart or of a carriage ; or rather
that part of it which fastens into the
axle, when it was made with two
branches, like a fork, as it appears in
the annexed example, from aPompeian
painting. (Plutarch, Coriol 24. Lysias
ap. Poll. x. 157.) It likewise appears
from the above passages that the same
name was also given to the trestle
upon which the pole of a two- wheeled
carriage was sometimes supported
when the horses were taken out, like
what we use to rest the shafts of our
gigs upon.
5. An instrument made with two
wooden handles or prongs, like a
fork, employed for
carrying burdens on
the neck, in the man-
ner shown by the an-
nexed woodcut, from
the Column of Trajan
(Plaut. Cos. ii. 6.
37.) ; and which was
frequently adopted as
an instrument of punishment for free-
men and slaves, when the arms of the
culprit were tied down to the bars
of the fork, while he was flogged
through the streets. Plaut. Pers. v.
2. 73. Liv. i. 26. Suet. Nero, 49.
6. A contrivance for the infliction
of capital punishment, on which slaves
and robbers were hung ; a gallows or
gibbet. Callist. 1%. 48. 19.28. Paul.
Dig. 33. Ulp. ib. 13. 6.
FUR'CIFER. Literally, one who
carries burdens on & furca, as shown
by the preceding illustration ; or who
bears the furca as a punishment.
But as this penalty was for the most
part inflicted upon the unfortunate
slave class, the s word is commonly
used as a term of contempt, equiva-
lent to our slave, villain, gallows-
bird. Plaut. Amph. i. 1. 132. Ter.
Eun. v. 2. 22. Cic. Vatin. 6.
FURCIL'LA. Diminutive of
FURCA. A small fork, but still of
considerable size, according to our
notions ; as a hay-fork (Varro, R.E.
1. 49. 1. Cic. Ait. xvi. 2.) ; a vine-
prop, two feet high. Varro. ib. i. 8. 6.
FUR'CULA. Diminutive of
FURCA ; but applied to objects of con-
siderable size ; as a wooden prop,
made use of to support the walls of a
town which were mined underneath.
Liv. xxxviii. 7.
FURFURAC'ULUM. A gimblet
(Arnob. vi. 200.) ; so termed because
it makes dust like bran (furfur) ; but
the more common word is TEREBRA,
which see.
FURNA'CEUS sc. panis. Bread
baked in an oven (furnus) ; as contra-
distinguished from focacius, which
was baked on the hearth, and cliban-
cius, which was baked in a clibanus.
Plin. H. N. xviii. 27.
FURNA'RIUS. A baker by trade.
(Ulp. Dig. 39. 2. 24.) Compare
COQUUS.
FURNUS (t7rj/(fr). An oven-, for
baking bread (Plaut. Cas. ii. 5. 1.
Ov. Fast. vi. 313.), or anything else.
(Plin. H.N. xx. 39. Id. xxviii. 29.)
The excavations of Pompeii have re-
vealed two bakers' shops, with their
ovens, both constructed upon a simi-
lar plan, and in a considerable state
of preservation ; one of which is re-
presented in the annexed woodcut as
it now appears, with some of the mills
for grinding flour in the shop before
FUSCINA.
it. The small arch at the bottom
contained the fuel ; the one above, the
FUSCINULA.
309
oven itself, over which there is a
flue to carry off the smoke.
2. A baker's shop. (Hor. Sat. i.
4. 37.) The preceding illustration
shows a baker's shop, with some mills
for grinding flour on the left hand,
and the oven at the bottom.
3. A hot air or vapour bath, as
contradistinguished from balneum, a
warm water bath. (Hor. Ep. i. 11.
13.) See CALDARIUM, SUDATIO.
FUS'CINA (rpiWa). A large
fork with three or more branches,
employed by fishermen for spearing
fish, as represented in the annexed
woodcut, from a mosaic picture in
an ancient temple of Bacchus near
Rome. It was likewise given by
artists and poets to Neptune instead
of a sceptre, as the more appro-
priate symbol for the god of the ocean.
Cic. N.D. i. 36. and woodcut s.
TRIDENS.
2. A weapon of similar form and
character, used by the class of gladi-
ators called Retiarii, with which they
attacked their adversaries, after they
had hampered them by casting a net
over their heads, as exhibited in the
annexed engraving, from an ancient
mosaic. Suet. Col. 30. Juv. ii. 143.
FUSCIN'ULA. Diminutive of
FUSCINA. A carving-fork and eating-
fork. (Vulg. Exod. xxvii. 3.) The
absence of any express name for
articles of this description amongst
the genuine old Greek and Latin
authors now remaining to us, has
induced a very general belief that
the ancients were unacquainted with
this convenient piece of table furni-
ture ; though it is well authenticated
that the use of it was introduced into
Europe from Italy, where it was
in common use long before other
nations had learned the advantage
of such a luxury. (Coryate, Cru-
dities, p. 60. London, 1776.) But
the two specimens here exhibited
are sufficient to establish the fact of
forks being employed by the ancients
at least partially, and for the same
purposes as they now are, although
the positive name by which they
were called may not have been dis-
covered. The first represents a two-
pronged silver fork found in a ruin
on the Via Appia (Caylus, Recueil,
iii. 84.) ; the other, with five prongs,
one of which is broken off, resem-
bling our silver forks, in a tomb at
310
FUSCINULA.
FUTILE.
Pacstum, and is now preserved in the
Museum at Naples. The authenticity
of the first has been doubted by those
who are unwilling to admit that the
ancients were acquainted with such
contrivances (Beckman, Hist, of In-
ventions, ii. pp. 407 413. London,
1846.) ; and it is certainly possible
that Count Caylus may have been im-
posed upon by the person from whom
he purchased it ; though the tasteful
character of the article affords an
evidence of its genuineness, corre-
sponding as it does with the usual
style of ancient manufactures, in
which the arts of design were uni-
versally exerted to embellish even
the commonest utensils employed for
the most ordinary purposes of daily
life ; but the fork from the Psestan
tomb will not admit of suspicion.
This same tomb abounded in objects
of antiquarian interest, and has fur-
nished more than seven illustrations
for these pages, several of them
unique in their kind ; the spear with
an ansa, at p. 38. ; the gridiron, p.
212; the fire-dogs, s. VAR^; ; the
war truncheon, s. PHALANGA ; the
helmet, greaves, belt, and breast-
plate S. BUCCULJE, OCREA, ClN-
GULUM, 4., LORICA, 1. ; besides
several others of more common
occurence. Whether the Romans
really used the word now under
illustration to designate an eating-
fork, may, however, be a matter
of dispute; for it certainly has no
classic authority to rest upon. The
Greek Kpedypa undoubtedly corre-
sponds with the Latin harpayo, a
flesh-hook ; furca, fuscina, furcula,
and furcilia are all applied in the
passages where they occur to instru-
ments of much larger dimensions
than eating-forks ; but the precise
meaning conveyed by diminutives
in the Latin language is very varied
and arbitrary. Certainly, furcula or
furcilia might have been appropri-
ately used for a two-pronged fork,
like the top figure, and fuscinula, or
fuscinella (which occurs as a cogno-
men ap. Grut. Inscript. 1141. 1.), for
one with a greater number of prongs,
like the lower one.
FUSO'RIUM. A drain or cess-
pool from a kitchen sink, &c. Pal-
lad, i. 37. 4. ib. 17. 1.
FUSTER'NA. The upper portion
of a fir pole, which is thick set with
branches, as contradistinguished from
the lower part (sapimis), which is
free from knots. Plin. H. N. xv.
76. 1.
FUSTIB'ALUS. A contrivance
for throwing stones, consisting of a
four foot pole, which had a sling
attached in the centre, and being
whirled round with both hands, dis-
charged the stones with great vio-
lence. Veg. Mil. iii. 14.
FUSTUA'RIUM (Cv\oK<nrla).
A punishment inflicted upon soldiers
for desertion or other serious offences ;
in which the offender was beaten to
death with heavy sticks (fustes) laid on
by his comrades. Liv. v. 6. Cic. Phil.
iii. 6. Serv. ad Virg. JEn. vi. 825.
FUSUS (fcrpcwrros). A spindle;
usually made of a stick about twelve
inches in length, and /
used with the distaff (co-
ins'), for twisting or spin-
ning the fibres of wool
or flax into thread (Plin.
H.N. xi. 27. Ovid. Met.
vi. 22. Tibull. ii. 1.
64.); a process de-
scribed at length
under the word
NEO. The small
figure in the en-
graving represents
a spindle used by Leda in a Pom-
peian painting ; the other two are
from an Egyptian original, the right
hand showing the instrument before
being used, the other as it would
appear with the thread wound round
it, after it has been twisted.
FU'TILE. A vessel with a broad
mouth and sharp-pointed bottom,
like the annexed example, from an
original found at Rome. This form
was originally adopted for the ser-
t
GABALUS.
GALEA.
311
vice of Vesta, in order that the mi-
nisters of that god-
dess might not be
able to set it down
when filled with
water ; it being con-
trary to religious
punctilioes that
water used in her
ceremonies should
ever have stood
upon the ground.
Serv. ad Virg. Mn. xi. 339. Donat.
ad Terent. Andr. iii. 5. 3.
G.
GAB'ALUS. A word said to be
formed from the Hebrew language,
and equivalent to the Latin CRUX, a
cross or stake upon which criminals
were impaled (Varro ap. Non. s. v.
p. 117.); whence the same word is
also used to designate a worthless fel-
low, or one who deserved impalement.
Macrin. Imp. ap. Capitolin. 11.
GAB' AT A. A particular kind
of dish for table service, in fashion at
Rome during the time of Martial ; but
respecting its characteristics nothing
is known. Mart. vii. 48. Id. xi. 31.
G^E'SUM (yauTov). A very strong
and weighty javelin, which appears
to have been made, both head and
stock, of solid iron (Pollux, vii. 156.),
and to have been employed as a mis-
sile, rather than as a spear (Cses.
B. G. iii. 4.), each warrior carrying
two as his complement. (Varro, ap.
Non. s. v. p. 555.) The weapon was
of Gaulish origin (Virg. JEn. viii.
662.) ; though it was sometimes used
by the Romans (Liv. viii. 8.), by the
Iberians (Athen. vi. 106.), the Car-
thaginians (Liv. xxvi. 6. Sil. Ital.
ii. 444.), and the Greeks. (Stat.
Theb. iv. 64.)
GALBANA'TUS. Wearing gar-
ments of a yellow dye (galbana).
Mart. iii. 82.
GAL'BANUM. A garment of a
yellow colour ; regarded as a sign
of foppishness or effeminacy when
worn by men. Juv. ii. 95. Compare
Mart. i. 97.
GAL'EA (xpuvos, K6pvs, irepiKtQd-
Xaios). In its strict sense, this word
was originally employed to designate
a helmet of skin or leather, in contra-
distinction to cassis, which implied a
casque of metal; but as the latter mate-
rial was generally substituted amongst
the Romans instead of leather as
early as the time of Camillus, the
original distinction was soon lost
sight of, and the term galea came
into common use, signifying any
kind of helmet. (Isidor. Orig. xviii.
14. Ov. Met. viii. 25. Virg. JEn. v.
490. The annexed illustration pre-
sents the front and side view of an
original Roman helmet of bronze
found at Pompeii, in which city
several others of similar form and
character have been discovered. It
contains all the parts usually belong-
ing to the ordinary Roman helmet ;
the ridge at the top of the scull-cap,
to which a crest of plumes or horse-
hair was attached; a projection in
front and at the back, to protect the
forehead and nape of the neck ; the
cheek-pieces, by which it was fast-
ened under the chin ; and a perfo-
rated visor, which covered the entire
face like a mask. The small orna-
ment at the side of the head-piece,
resembling a shell, was intended to
hold a feather, in the same manner as
shown by the figure s. SICARIUS.
2. The ordinary helmets worn by
the Roman soldiers on the triumphal
arches and columns, are of a more
simple character, being smaller, and
without visors, but with cheek-pieces,
and in place of the crest, a knob or
312
GALEA.
ring at the top, as exhibited by the
annexed specimens, from the column
of Trajan.
3. The helmets of the centurions
had the scull-piece of a similar cha-
racter to those of the soldiery, exhi-
bited in the last woodcut ; but were
furnished with a ridge at the top,
like that shown by the first wood-
cut, which was plated with silver,
and adorned with dark plumes tower-
ing to a considerable height (Polyb.
vi. 21.), and placed transversely on
the ridge (Veg. Mil ii. 16.), so that
they drooped forwards all round, in
the manner represented by the an-
nexed engraving, from one of the
slabs on the arch of Constantine,
which originally belonged to the
arch of Trajan.
4. The helmets of the generals and
superior officers were more elabo-
rately ornamented, and resembled
the latter styles of Grecian helmets.
They are seldom exhibited in sculp-
ture or painting, as great personages
are for the most part represented
bareheaded.
5. Galea pellibus tecta. The stand-
ard bearers on the arches and co-
lumns are universally represented as
Vegetius describes them (Mil. ii. 16.),
with a close scull-cap, over which the
head and skin of some wild beast is
drawn, so that the face appears
through the gaping jaws, and nothing
of the helmet is seen, except the
cheek pieces on the sides of the face ;
as shown by the annexed example,
from the column of Trajan.
6. Galea venatoria. A scull-cap
of leather or of fur, worn by hunts-
men (Nepos, Dat. 14. 3.), like the
examples s. CUDO and GALERUS, 1.
7. (auAwTi-ts). The old Greek
helmet of the heroic ages was of a
very different character to any of
those yet described, being made with
an immovable mask to fit the face,
leaving only two holes for the eyes,
so that when pulled close down, it
entirely covered and concealed the
visage, whence galeis abscondunt oras.
(Sil. Ital. xiv. 656. Compare Stat.
Theb. xi. 373.) The illustration re-
presents two helmets of this descrip-
tion, both from fictile vases ; the one
on the left drawn down over the
face, the other as it was worn when
pushed back, before or after an
action.
8. The form last described soon
fell into disuse on account of its in-
convenience, and then the regular
Greek helmets were constructed upon
a model generally resembling the an-
nexed examples, from fictile vases,
and consisted of the following indi-
vidual parts; K&VOS (apex), the
ridge on the top of the head-piece, to
which the crest was affixed ; \6<f)os
(crista), the crest, consisting of horse
GALEOLA.
GALERUS.
313
hair, and sometimes two or three
of these were worn, as in the right-
hand figure ; yfivov, a projection
over the front of the face like a pent,
sometimes moveable, but more usu-
ally fixed; irapayva6i5es (bucculce),
cheek-pieces, attached to each side of
the casque by hinges, and fastened
under the chin by a clasp or a button ;
</>dAos, a bright ornament, generally
formed by some figure in relief,
which was affixed to different parts
of the helmet. In the right-hand
figure the (f)d\os consists of two
griffins, one on each side of the ridge ;
such a helmet was thence termed Si-
4>aAos : 'in other specimens the crest
itself is supported upon a similar
figure, in the manner described
by Homer (//. xiii. 614.), just under
the plume ; and sometimes they are
seen projecting in very bold relief,
over the front and round the sides
of the casque, as in the colossal statue
of Minerva, when the helmet was
termed djj.<f>ifya.\os, and the <pd\oi in
such cases, when sufficiently large,
would touch each other, as mentioned
by Homer, 77. xiii. 132. Id. xvi. 216.
GAL'EOLA. A large vessel used
as an ACRATOPHORON, to hold the
wine before it was mixed for drinking
at table (Varro, de Vit. Pop. Rom.
ap. Non. p. 547. Interp. Vet. ad
Virg. Eel. vii. 33.); evidently so
termed from being made in a deep
and circular form like a helmet.
GALERIC'ULUM. Diminutive
of GALERUM ; both in the sense of a
fur cap (Frontin. Strateg. iv. 7. 29.) ;
and a wig. Suet, Ot/io, 12.
GALERI'TUS. Wearing a fur
cap (galerus), like the early inhabi-
tants of Latium ; and thence, by
implication, in rude or rustic attire.
Prop. iv. i. 29.
GALE'RUS and GALE'RUM
(itvveri}. A scull-cap made from
the skin of ani- ^^^
mals with the fur
left on ; worn by
rustics (Virg. Mo-
ret 121.) ; hunts-
men (Grat. Cyneg.
339. ) ; and by the old inhabitants of
Latium, instead of a helmet. (Virg.
Mn. vi. 688.) The example is given
by Du Choul (Castramet. p. 100.),
from a Roman monument.
2. A fur cap of similar character,
but made out of the skin of a victim
which had been
slain at the altar,
and having a spike
of olive wood, sur-
rounded by a flock
of wool, on the top.
(Serv. ad Virg.
Mn. ii. 683.) It
was worn by the
Pontifices (Apul. Apol. p. 441.), and
the Salii (Juv. viii. 208.), and is
shown by the annexed engraving,
from a medal of M. Antony.
3. A wig of artificial hair (Juv. vi.
120. Avian. Fab. x.), sewn on to a
scalp, in order to fit the head in the
same manner as still practised.
(Tertull. de Cult. Foem. Suet. Otho,
12. Compare Ov. A. Am. in. 165.)
Many of the female busts, and even
some of the portrait statues, preserved
in the Vatican and Capitol, are fur-
nished with a moveable scalp, some-
times executed in a different-coloured
marble from the rest of the statue,
so that it could be taken off and
changed at pleasure ; of which an
instance is afforded by the annexed
bust from a statue of Julia Soemias,
the mother of the Emperor Helioga-
balus. The entire scalp representing
314
GALLIC/E.
hair is removeable, with the excep-
tion of the two tresses on the shoul-
ders, which are carved out of the
solid block of marble. Some anti-
quaries are of opinion that these
scalps were intended to represent
wigs, and infer from thence that it
was the fashion at Rome for females
of all ages to shave off their own
hair, and wear an artificial peruke,
at the periods when these busts were
executed ; but it is far more reason-
able to attribute the practice to the
frivolous and ever changing modes
of the day, and to recognise in them
an expedient resorted to by sculptors,
in order to gratify the vanity of their
patrons, who, being unwilling to see
their own portraits in a head-dress
which was no longer in vogue, could
by this means alter the coiffure with
the change of the day, without dis-
figuring or mutilating the statue.
GALL'ICjE. A pair of Gaulish
shoes; the original of the French
galoches and of our galoshes. They
were low shoes, not reaching quite so
high as the ankle, had one or more
thick soles (Edict. Dioclet. p. 24.),
and small upper leather, which was
entirely open over the front of the
instep, like the modern galosh, and
the right-hand figure in the cut ; or
laced in front, and fastened by a liga-
ture round the top, as in the left-hanc
example ; whence they are classec
amongst the solece by the Latin
GARUM.
writers, to distinguish them from
he regular calcei, which were close-
fitting high-lows that completely
enveloped the foot and ankle. They
were partially adopted at Rome be-
bre the age of Cicero, and were
worn with the lacerna ; but such a
style of dress was regarded as inde-
corous and anti-national. (Cic. Phil.
i. 30. Aul. Gell. xiii. 21.) Under
he empire they came into more
common use, and were made for all
lasses, and of different qualities.
(Edict. Dioclet. /. c.) Both the spe-
cimens in the engraving are copied
? rom a sarcophagus discovered in the
Villa Amendola at Rome, in the year
1830, which represents a battle be-
tween the Romans and Gauls ; the
one on the left is worn by a Gaulish
prince, the other by a captive of the
same nation.
GA'NEA or GA'NEUM. An
eating-house of the lowest and most
immoral description, at which faci-
lities were afforded for every kind
of indulgence, as well as eating
and drinking. (Suet. Cal 11. Ter.
Adelph. in. 3. 5. Liv. xxvi. 2.) A
receptacle of this kind has been dis-
covered in the principal street at
Pompeii, near the entrance to the
town ; the public room is fitted up as
a wine shop, and gives admission into
a back parlour, the walls of which
are painted in fresco with a variety
of indelicate subjects, characteristic
of the purposes to which it was ap-
plied.
GA'NEO. Literally, one who
frequents a ganea; thence a glutton
(Juv. xi. 58.) ; and, by implication,
a person of loose and disorderly
habits, for the indulgence of which
such places were established. Cic.
Cat. ii. 4. Tac. Ann. xvi. 18.
GAR'UM (yapov}. A sauce made
from the blood and entrails of sea
fish salted down, like the caviare of
our day. It was used in a great
many ways both in the kitchen and
at table ; and was manufactured of
different qualities, good, bad, and in-
GASTRUM.
GENIUS.
315
different, which accounts for the con-
flicting terms in which it is spoken
of, sometimes as a choice delicacy,
and at others as an inferior kind of
food. Plin. H. N. xxxi. 43. Hor.
Sat. ii. 8. 46. Mart. vii. 27. Id. vi. 93.
GASTRUM. An earthenware
vessel, with a full swelling body or
belly; whence the name. Pet. Sat.
70. 6. Ib. 79. 3.
GAUL US (yav\6s). A large
round full-bodied vessel, which might
be put to several uses ; as, a drinking-
goblet (Plaut. End. v. 2. 32.); a
milk-pail (Horn. Od. ix. 223.); a
water-bucket (Herod, vi. 119.); &c.
2. (yav\os). A particular kind of
ship, of a round build, with a broad
beam, and capacious hold (Festus,
*. v. Aul. Gell. x. 25. 3.), employed
by the Phoenician merchants and
by pirates, in consequence of its
fitness for stowing away any quantity
of booty.
GAU'SAPA, GAU'SAPE, and
GAU'SAPUM (yafomrris). Woollen
cloth of a particular fabric, introduced
at Rome about the time of Augustus,
which had a long nap on one side,
but was smoother on the other. It
was used by both sexes for articles of
clothing, as well as for tablecloths,
napkins, bed covers, and other do-
mestic purposes. Plin. H. JV. viii.
73. Lucil. Sat. xxi. 9. Gerlach. Ov.
A. Am. ii. 300. Hor. Sat. ii. 8. 11.
Mart. xiv. 152.
2. A wig made of the light flaxen
hair, peculiar to the German races,
which colour was much
prized by the ladies of
Rome. Wigs of this kind
were also got up and worn
by men hired to represent German
captives at some of the mock tri-
umphs of the Roman emperors (Pers.
Sat. vi. 46.), when they decreed
themselves this honour without
having subdued the country. The
figure in the engraving appears on a
trophy of the column of Antoninus,
erected to commemorate the victories
of that emperor over the Germans;
an appropriate, but not very noble
symbol of their defeat.
GAUSAPA'TUS and GAUSA-
PI'NUS. Applied to any thing made
of the cloth called gausape. Senec.
Ep. 53. Mart. xiv. 145.
GEMEL'LAR. A particular kind
of case for holding oil (Columell. xii.
50. 10.) ; the characteristic properties
of which are conjectured to consist in
having two recipients, side by side,
instead of a single cavity.
GENIUS (AyaQo&altuav). A good
spirit, or guardian angel of the male
sex, believed to spring into being with
every mortal at his birth, and to die
with him, after having attended him,
directed his actions, and watched over
his welfare through life. (Hor. Ep.
ii. 2. 187. Tibull. iv. 5.) He is re-
presented as a beautiful boy, entirely
naked with the exception of the youth-
ful chlamys on his shoulder, and
furnished with a pair of bird's- wings,
in the manner represented by the
annexed engraving from a painting
at Pompeii. Compare JUNONES.
2. Genius loci. The guardian spirit
of a place ; for amongst the ancients
every spot and locality in town or
country, buildings, mountains, rivers,
woods, &c., was believed to have its
own peculiar genius, or presiding
spirit; which was portrayed under
the form of a serpent (Serv. ad. Virg.
JEn. v. 85. Inscript. ap. Grut. viii.
4. Prudent, contra Symmach. ii.
441,) ; consequently images of these
s s 2
316
GEKILK.
GLADIATORES.
reptiles are frequently represented
feeding upon
an altar ; or, as
in the example,
from a painting
in the Ther-
ma3 of Titus,
with an altar
between them,
as a sign to de-
ter passengers
from " com-
mitting a nui-
sance," out of respect for the genius
who presides there.
3. (/fa/co5aiVwv.) Amongst the
Christian writers on sacred subjects,
the Genius is represented as an evil
spirit, said to be condemned to eter-
nal punishment, for his pride and
rebellious conduct. TertulL Apol. 32.
Anim. 39. Lact. ii. 15,
GERR^ (7ep/5oi/). Any thing
made of wicker work ; whence trifles,
trumpery, mere bagatelles, Plaut. Pan.
i. 1. 9. Ep. ii. 2. 45.
GER'ULUS. A porter. (Hor. Ep.
ii. 2. 72. Suet. Cal 40.) Same as
BAJULUS.
GESTA'TIO. A part of an orna-
mental garden or pleasure-ground,
divided into shady walks and vistas
of sufficient extent for the proprietor
and his guests to be carried about
them for exercise in a palanquin (lec-
tica). Plin. Ep. v. 6. 17. Id. ii. 17. 13.
GESTICULA'RIA. A panto-
mimic actress, who expresses the cha-
racter she has to personate by dancing
and mimetic action of the hands and
feet, but without the use of language
Aul. Cell. i. 5. 2.
GESTICULA'TOR. A panto-
mimic actor, who expresses his part
by gesticulations and mimetic motions
of the body, but without speech. Co-
lumell. i. Prof. 3.
GILLO (jSauKaAioJ/, jSawaAts). A
vessel for cooling wine and water in
(Poet. Vet. in Antholog. Lat. ii. p. 369.
Burman.), made of earthenware (Cas-
sian. Institut. iv. 16.), and with a
narrow neck, which caused the liquid
to gurgle as it was poured out. Poet.
Vet. /. c. p. 406.
GIN'GLYMUS (ytyytofus). Lite-
rally, a joint which moves in a socket,
like the elbow ; thence a hinge (Xen.
Eq. xii. 6.), the action of which re-
sembles that of a joint in the human
frame. The cabinets of antiquities
contain numerous specimens of these
contrivances, framed in the different
patterns in use at this day, and of all
sizes. Of the two examples here
given, the top one is from Pompeii,
the other is preserved in the British
Museum. The Latin name is not
met with in any of their writers, and
consequently requires authority ; but
the Greek one is undoubted ; and the
Romans must have had an appropriate
name for a hinge, distinct from cardo,
which expresses a very different object.
GIN'GRINUS. See TIBIA.
GIRGIL'LUS. The roller turned
by a windlass, in or-
der to raise water from
a well by means of a
rope and bucket ; a
contrivance precisely
similar to those used
in most country places
at the present day, as
shown by the annexed
example from a mar-
ble sarcophagus of the Vatican Ceme-
tery. Isidor. Orig. xx. 15.
GLADIATORES (/iwo/irfxoi).
Gladiators. A general name given to
men who were trained to combat with
deadly weapons, for the amusement of
the Roman citizens, at public funerals,
in the circus, and more particularly
in the amphitheatres. They were
selected for the most part from cap-
GLADIATOR1UM.
lives taken in war, but were sometimes
slaves, and more rarely freeborn citi-
zens who volunteered for the occasion.
They were also divided into different
classes, with characteristic names, de-
scriptive of the weapons and accoutre-
ments they used, or the peculiar mode
in which they fought ; all of which
are enumerated in the Classed Index,
and illustrated under their respective
titles ; but the annexed figure, repre-
GLADIUS.
317
senting the portrait of a famous gladi-
ator in the reign of Caracalla, from a
sepulchral monument, will afford an
idea of the usual appearance, arms,
and accoutrements of the ordinary
gladiator, who was not enlisted in any
of the special bands.
GLADIATO'RIUM. The pay or
wages given to a free-born person who
trained and served as a gladiator for
hire. Liv. xliv. 31.
GLADIATU'RA. The practice
or art of a gladiator. Tac. Ann. iii. 43.
GLAD'IOLUS (tifiSiov-). Dimi-
nutive of GLADIUS ; same as LINGULA.
Aul. Gell. x. 25.
G L A D I U S (fyos). Like our
sword; in some respects a general
term, descriptive of a certain class of
instruments, which admit of occasional
variety both in size and shape ; but
more particularly used to designate
the straight, two-edged, cutting and
thrusting glaives of the Greek and
Roman soldiery, as contradistinguished
from the curved and fine- pointed
swords employed by foreign nations,
or by particular classes of their own
countrymen ; all of which were de-
signated by characteristic names, enu-
merated in the Classed Index, and
illustrated under their proper titles.
The Greek |t>os had a leaf-shaped
blade, no guard, but a short cross-bar
at the hilt, as in the annexed example,
and the woodcuts at pp. 146. 148., all
from fictile vases. It was not more
than twenty inches long, and was
suspended by a shoulder-strap (balteus)
against the left side, as shown by the
figure of Agamemnon at p. 73. The
Romans used a sword of similar cha-
racter to the Greek one until the time
of Hannibal, when they adopted the
Spanish or Celtiberian blade (Polyb.
vi. 23.), which was straight -edged,
longer and heavier than that of the
Greeks (Florus. ii. 7. 9.), as will be
readily understood from the annexed
example, representing a Roman gla-
dius in its sheath, from an original
found at Pompeii. On the triumphal
arches and columns, the common
soldiers wear their swords in the
manner stated by Polybius (/. c.), on
the right side, suspended by a shoulder-
band, as shown by the engravings at
pp. 6. 22. 136. ; the officers wear their
swords on the left, attached to a belt
318
GLANS.
GRABATUS.
round the waist (cinctorium, and wood-
cut, p. 1 59.) ; and the swords of the
cavalry are longer than the weapons
of the infantry.
GLANS OoAugSfs). A large
leaden slug or plummet, cast in a
mould, and used instead of a stone to
be discharged from a sling. (Sail.
Jug. 61. Liv. xxxviii. 20, 21. 29).
The engraving represents an original
found at the ancient Labicum ; the
letters FIR are for firmiter, " Throw
steadily," or Feri, Roma (Inscript. ap.
Orelli. 4932.), "Strike, O Rome!"
.
A clew, or
. ., ,
Others have been found in Greece,
inscribed with the figure of a thun
derbolt, or AEHAI, " Take this."
GLOMUS (roAi
ball of wool (Hor.
Ep. i. 13. 14. Lu-
cret. i. 360.), or flax
(Plin. H.N. xxxvi.
19. 4.), taken off
the spindle (fusus)
after it had been
spun into worsted
or thread, and rolled
up into a ball to be
ready for using in
the loom. The il-
lustration is copied
from a frieze in the forum of Nerva,
at Rome, on which various processes
of spinning and weaving are displayed,
and represents a young female carry-
ing a lapfull of clews from the spin-
ning to the weaving department.
GLUTINA'TOR. Literally, one
who sticks things together with glue
(gluten or glutinum); whence the
word is used specially to designate a
person who practises the art of orna-
menting books, and preparing the
sheets for the copyists to write upon,
by glueing together strips of papyrus
to make a page, and also the diffe-
rent pages to make a roll or volume.
Cic. Att. iv. 4. Lucil. Sat. xxvi. 42.
Gerlach.
GNO'MON (yv&iiMv). The index
or pin on a sun-dial which
marks the hour by the
shadow it casts (Plin.
H. N. ii. 74. Vitruv. i.
6. 6.), as shown by the
annexed engraving from
a silver cup of Greek
workmanship, discovered
at Porto d' Anzio, the old Antium.
GOM'PHUS (7^05). Properly
a Greek word, which signifies a large
wedge-shaped pin (Schol. Aristoph.
Eq. 463. Tertull. Apol. 12.) driven
between two objects, to increase the
firmness or tightness of contiguous
members, whence the same term was
adopted by the Romans to designate
the large, round-headed, and wedge-
shaped stones, which they used to
place at intervals between the ordi-
nary kirb stones bounding the foot-
pavements of their roads and streets
(Stat. Sylv. iv. 3. 48.), as shown by
the annexed engraving, represent-
ing a part of the road and pavement
at the entrance to Pompeii. These
stones are not only shaped like a
wedge, to produce lateral pressure,
but are much longer than the other
ones, and are formed with projecting
heads, so that they also prevent the
rest from rising upwards out of the
level.
GRABA'TULUS. Diminutive of
GRABATUS. ApuL-Jfet 1. pp.8, 9. 12.
GRABA'TUS (Kpdaros or K P a-
garos). A small low couch or bed of
the commonest description (Cic. Div.
ii. 63. Virg. Morct. 5.), such as was
used by poor people, having a mere
network of cords stretched over the
frame (Lucil. Sat. vi. 13. Gerlach.
GRADIL1S.
GRADUS.
319
Pet. Sat. 97. 4.), to support the mat-
trass, precisely as represented by the
annexed engraving, from a terra-cotta
lamp.
GRADFLIS. See PANIS, 2.
GRADUS. A set of bed-steps,
consisting of several stairs (Varro,
L. L. v. 168.), which were requisite
step by which he entered the porch
(Vitruv. iii. 4. 4.) ; the superstition
of the people leading them to think a
contrary course ill-omened.
3. The seats upon which the spec-
tators sat in a theatre, amphitheatre,
or circus. (Inscript. ap. Marini. Frat.
Arv. pp. 130. 23. Compare TESSERA
THEATRALIS.) These were deep
steps rising over one another in tiers,
as shown by the annexed view from
the larger theatre at Pompeii, in
which the seats (gradus) are the
when the bedstead was of such a
height from the ground that it could
not be reached by a simple scamnum.
The illustration represents Dido's
marriage bed in the Vatican Virgil, I
with a set of these steps at its foot.
2. A flight of steps leading up to
the porch (pronaos) of a temple. j
(Cic. Att. iv. 1. Virg. Mn. i. 448.) |
In Greek temples it usually con-
sisted of only three steps ; but the
Roman architects added a dozen or
more, and sometimes divided them
into two flights, as in the annexed
example from the ruins of a small
temple in the Forum at Pompeii. In
all cases, however, the steps were of
an uneven number, in order that the
person ascending, who naturally com-
menced with his right foot, might
place the same one on the topmost
larger steps; the smaller ones, run-
ning direct from the doors of en-
trance, being only staircases (scalce),
by which the spectator descended
until he arrived at the particular
gradus, on which the place belonging
to him was situated.
4. The parallel ridges, like steps,
on the inside of a dice-box (fritillus'),
for the purpose of mixing the dice
when shaken, and giving them a dis-
position to rotate when cast from it
(Auson. Profess, i. 28.) ; as shown by
the section in the annexed engraving,
from an original discovered at Rome.
5. The lines or wrinkles on the
roof of a horse's mouth, which re-
semble those in a dice-box. Veg.
Vet. i. 22. 11. Ib. 2. 4.
320
GR/ECOSTADIUM.
GREMIUM.
6. A studied and feminine arrange-
ment of the hair, -when artificially
disposed in parallel waves or grada-
tions rising one over the other, like
steps (Quint, xii. 10. 47.), the same
as now termed " crimping." Nero is
said to have had his head always
dressed in this manner (Suet. Nero,
51.); and a statue representing that
emperor in the character of Apollo
Citharcedus (Mus. Pio-Clem. iii. 4.)
has the hair parted in the centre, and
regularly crimped on both sides, like
a girl's.
GRjECOSTAD'ITJM. Capitol.
Antonin. 8. Same as
GR^COS'TASIS. The foreign
embassy; a building in the Roman
Forum, near the Comitium, in which
ambassadors from foreign states were
lodged at the public expense during
their mission. (Varro, L. L. v. 155.
Cic. Q. Fr. ii. 1.) Three magnificent
Corinthian columns, with a portion
of their entablature, still standing
under the north-east corner of the
Palatine hill, are supposed by some
antiquaries to be the remains of this
edifice ; but the style of the architec-
ture, which presents one of the most
perfect models now remaining in
Rome, is certainly antecedent to the
reign of Antoninus, to which period
any ruins of the Graecostasis, if they
now remained, must belong, as it was
rebuilt by that emperor, after having
been totally destroyed by fire. Capi-
tol. Antonin. 8.
GR ALL^E. A pair of stilts made,
as they still are, with a fork to em-
brace the foot ; and originally in-
vented for the actors who personated
Pan or the satyrs on the stage, in
order that they might appear with
the thin and slender legs ascribed to
these goat-footed deities. Festus. s.
Grallatores. Varro ap. Non. p. 115.
and CAPRIPES.
GRALLA'TOR (/faAoec^w*, Ka \o-
edrrjs). One who walks upon stilts.
Plaut. Pan. iii. 1. 27. Varro, ap.
Non. p. 115. and GRALL.E.
GRANA'RIUM. Often used in
a general sense as synonymous with
horreum, a granary or magazine for
storing corn (Varro, R. R. i. 57. Hor.
Sat. i. 1. 53.); but more accurately
distinguished by Palladius (i. 19. 2.),
as a cell or bin in the general depot,
which contained a great number of
these, each destined for the reception
of a different kind of grain.
GRAPHIA'RIUM or Graphiaria
Theca. A sheath or case for holding
the sharp-pointed graver (graphium),
employed for writing on tablets covered
with wax. Mart. xiv. 21. Suet.
Claud. 35.
GRAPH'IUM (ypaQlov). A sharp-
pointed instrument, or sort of graver
made of iron or bronze, employed for
writing on wooden tablets covered
with wax. (Isidor. Orig. vi. 9. Ov.
Am. i. 11. 23.) The example repre-
sents an original between eight and
nine inches long, found in an excava-
tion at Rome, which is made to open,
and shut (top figure), and affords
ample testimony to the truth of the
anecdotes which speak of persons
being wounded, even mortally, with
this instrument. Suet. Cces. 82. Id.
Col. 28. Senec. Clem. i. 14.
GREGA'RIUS sc. miles. An
orderly or common foot-soldier of the
rank and file. (Cic. Plane. 30. Tac.
Hist. v. 1.) Their accoutrements, of
course, varied according to the class
of troops to which they belonged,
and whether Romans, allies, or auxi-
liaries.
2. Gregarius eques. A cavalry
trooper below the rank of an officer.
Tac. Hist. iii. 51.
GREM'IUM. A lap ; that is, the
seat or cavity formed by the belly
and thighs of a person in a sitting
posture ; upon which, for instance,
nurses and mothers place their
GRIPHUS.
GUBERNACULUM.
321
Virg.
116.);
children (Cic. Div. ii. 41.
jEn. i. 689. Pedo Albin. i.
thence applied in
a more special
sense to the lap
or hollow made
by raising up the
lower part of a
tunic or mantle,
as women do
their aprons, in
order to form a
receptacle for
holding any-
thing. (Pet. Sat.
60. 4.) Thus,
in strictness it differs from sinus,
which was formed over the chest,
whereas the gremium fell lower down
and over the' belly, as in the annexed
illustration from a terra-cotta lamp ;
but this distinction is not always pre-
served.
GRFPHUS (yptyos and ypiiros}.
Properly a Greek word, denoting one
of the various kinds of fishing-nets
employed in Greece (Oppian. Hal.
iii. 81.) ; but of what precise nature
is not ascertained. The Romans
used the same term to designate an
engine of war (Not. Tires, p. 126.),
the characteristic properties of which
are equally unknown. From some
analogy with these objects the same
word was used in a metaphorical sense
to signify any thing doubtful or ob-
scure, such as a riddle or enigma.
Aristoph. Vesp. 20. Aul. Gell. i. 2. 2.
GROMA and GRUMA (yv&nuv}.
An instrument usedby land-surveyors,
engineers, and persons of that class ;
which was set up as an index for the
purpose of enabling them to draw
their lines, or direct their roads per-
fectly straight to any given point.
(Non. s. v. p. 63. Hyg. de Limit, p.
164. Goes.) Hence degrumari, to
make straight (Lucil. Sat. iii. 15.
Gerlach.) ; and grumce, the central
point at which four cross-roads meet.
Non. I. c.
GRYPS and GRYPHUS frpfy).
A griffin; a fabulous animal (Plin.
H. N. x. 69.), mostly represented with
the body and legs of a lion, sur-
mounted by the
head and wings
of an eagle ;
thus combining
strength with agi-
lity. It was, con-
sequently, em-
ployed as an
emblem of vigi-
lance, and is frequently represented
in tombs and on sepulchral lamps, as
it were in the act of guarding the
remains deposited therein. The ex-
ample, from a terra-cotta lamp, pos-
sesses all the qualities and character-
istics described.
GUBERNAC'ULUM (jrnUxiov}.
A rudder ; which originally was no-
thing more than a large oar, with a
very broad blade, as in the right-hand
figure, from the column of Trajan,
either fastened by braces (Junes,
Veg. Mil iv. 46. C "7 Aat Eur - Hel.
1556.) outside the quarters of a vessel,
or passed through an aperture in the
bulwarks ; but in its more improved
form it was furnished with a cross-
bar inboard, which served as a tiller,
like the left-hand figure, from a Pom-
peian painting ; and its different parts
were distinguished by the following
names : ansa, the handle, A ; clavus,
the tiller, B ; pinna, the blade, c.
The word is frequently used in the
plural ; because the ancient vessels
were commonly furnished with two
rudders, one on each quarter (wood-
cut, p. 247.), each of which had its
T T
322
GUBERNATOR.
GUTTUS.
own helmsman, if the vessel was a
large one (Scheffer,Mz7. Nav. p. 301.) ;
but were both managed by a single
steersman when it was small enough,
as in the following example.
GUBERNA'TORC/cvge^W). A
helmsman or pilot, who sat at the
stern to steer the vessel (Cic. Sen. 9.),
gave orders to the rowers, and di-
rected the management of the sails.
4. ), as in the annexed example ; but
i 1 ~
(Virg. Mn. x. 218. Lucan. viii. 193.)
He was next in command to the
magister, and immediately above the
proreta. (Scheffer, Mil. Nav. p. 302.)
The illustration is from a bas-relief
found at Pozzuoli.
GURGUST'IOLUM. (Apul.
Met. i. p. 17. iv. p. 70.) Diminutive of
GURGUST'IUM. Any small,
dark, and gloomy hovel or dwelling-
place. Cic. Pis. 6. Suet. Gramm. 11.
GUSTA'TIO. Any kind of deli-
cacy taken as a relish or stimulant
to the appetite before a meal. Pet.
Sat. 21. 6. Id. 31. 8.
GUSTATO'RIUM. The tray
upon which a gustatio was served up ;
often made of valuable materials,
and lined with tortoise-shell. Pet.
Sat. 34. 1. Plin. Ep v. 6. 37. Com-
pare Mart. xiv. 88.
GUSTUM and GUSTUS. (Apic.
iv. 5. Mart. xi. 31. and 52.) Same
as GUSTATIO.
GUTT^S. Drops, in architecture,
used principally under the triglyphs
of the Doric order, in the architrave,
and under the tsenia (Vitruv. iv. 3,
sometimes also applied under the
mutules of the order (Vitruv. iv. 3.
6.), as in the example s. Epistylia,
p. 262. They are shaped like the
frustra of cones, and represent the
drops of water which distil from
above, and hang in pendant drops
below.
GUTTUR'NIUM (*p6xoos). A
water-jug, or ewer; employed espe-
cially for pouring water
over the hands before
and after meals. (Fes-
tus, s. v.} Many of these
have been discovered at
Pompeii, with a lip in
front, upright handle be-
hind, round throat, and
full body, similar to our jugs, but of
a more tasteful outline and of richer
workmanship. The word is formed
from GUTTUS, but the termination,
urnium, is an augmentative, indicating
that it had a larger mouth, as shown
in the example, from a Pompeian
original.
GUTTUS. A jug with a very
narrow neck and small mouth, from
which the liquid poured
out flowed in small quan-
tities, or drop by drop
(Varro, L.L. v. 124.), as
the name implies. Ves-
sels of this kind were used
at the sacrifice for pouring
wine into the patera to make a libation
(Plin. H. N. xvi. 73.) ; in early times,
or by persons of moderate means, as a
wine jug at the table, before the
Greek epichysis was substituted in its
place (Hor. Sat. i. 6. 118. Varro,
I.e.); in the baths for dropping oil
on the strigil with which the bather
GYMNASIARCHUS.
scraped, in order to lubricate the
edge, and prevent it from wounding
the skin (Juv. Sat. iii. 263.) ; and
also as an oil-cruet, in general. ( Aul.
Cell. xvii. 8.) The example represents
a sacrificial guttus from a Pompeian
painting.
GYMNASIAR'CHUS (yvp.va.ffi-
apxos). A Greek magistrate who had
the superintendence of the public
gymnasia, and a jurisdiction over all
who frequented them. He wore a
purple cloak and white shoes (Plut.
Anton. 33. ), and carried a stick with
which he corrected the youths who
committed any impropriety, or were
guilty of unseemly or indecorous con-
duct whilst performing their exercises.
Cic. Verr. ii. 4. 42. Val. Max. ix.
12. 7. extr. Sidon. Ep. ii. 2.
GYMNASIUM (yv^dffiov). A
public building in which the youth
of Greece were instructed in one of
the principal branches of their edu-
cation, designed for the develop-
ment of their physical powers by the
practice of gymnastic exercises. Al-
most every town in Greece had an
institution of this kind, and Athens
possessed three, the Lyceum, Cynos-
arges, and the Academia ; all of
which were constructed upon a scale
of great splendour, and furnished
with every kind of convenience ;
covered and open apartments, colon-
nades, shady walks, baths, and other
contrivances conducive to the health
or comfort of the large concourse re-
sorting thither as performers and
spectators, or for the enjoyment of
literary and scientific conversation.
Vitruvius devotes an entire chapter
of his work (v. 11.) to a description
of the manner in which they were
disposed ; and remains of several
Gymnasia have been discovered at
Ephesus, Hierapolis, and Alexandria
in Troas ; all, however, . too much
dilapidated to afford an undoubted
model, corresponding minutely with
all his details, or which might be
produced as an authority sufficiently
perfect to clear up the many ob-
GYMNASIUM.
323
scurities still apparent in his account.
Yet enough is left of them to show
that all the three edifices were con-
structed upon one and the same
general principle, only varied in the
details and such local distribution of
the parts, as the nature of the site or
taste of the architect would naturally
induce ; a principle, however, which
is the very reverse of that adopted by
the commentators on Vitruvius, in
the conjectural plans which they have
invented to illustrate his text ; for all
of them, without exception, commit
the remarkable error of placing the
various apartments round the extreme
sides of the building, with the corri-
dors within them, surrounding a large
open area, forming the greater part
of the ground-plot, which thus re-
mains unoccupied ; whereas in all
the three examples above mentioned,
the main body of the building is
situated in the centre of the plan,
upon the very site which the con-
jectural designs leave unoccupied.
And this arrangement is precisely
similar to that adopted for the
Roman Thermae, of which the re-
mains are more complete, and which
were undoubtedly constructed after
the model of the Greek Gymnasia ;
as will be at once apparent by com-
paring the plan s. THERMS with the
one here annexed, which represents
a survey from the Gymnasium at
Ephesus, the most perfect of the
three. The dark tint shows the
actual remains ; the lighter one, the
restorations, which, although par-
tially conjectural, will be perceived,
upon a close inspection, to be in a
great measure authorised by the cor-
responding parts in existence. With
regard to the names and uses assigned
to each portion of the plan, they have
been made to accord, as near as can
be, with the words of Vitruvius,
which is satisfactorily accomplished
in all the more important particu-
lars ; sufficiently, at least, to give the
reader a clear and accurate notion of
the number and variety of parts es-
T T 2
324
GYMNASIUM.
sentially required in a Greek Gym-
nasium, and of the manner in which
they were usually distributed.
A A A. Three single corridors (por-
ticus simplices) round three sides of
the central pile of building, fitted
with seats and chairs, and adorned
with exedrce for philosophers and
others to retire and converse in.
The two divisions observable at the
bottom angles of the corridors,
each of which is constructed with
a semicircular absis, appear, from
their form and position, to have been
exedrce constructed in the three cor-
ridors (in tribus porticibus), as Vi-
truvius directs. B. A double corri-
dor facing the south (portions duplex
ad meridianas regiones conversa), so
constructed, that the inside walk
might afford shelter from the rain,
when driven inwards by windy wea-
ther. These four corridors taken
together constitute what Vitruvius
calls the peristyle (peristylium), which,
though forming a peripteral portico
round the cluster of rooms comprised
in the central pile, is still a true
peristylium in respect to the outer
parts of the edifice within which it
is situated. (Compare PERIPTEROS
| and PERISTYLIUM.) c. Ephebeum ;
\ a large hall furnished with seats, in-
i tended as the exercising-room of the
ephebi, and opening on to the centre
of the double corridor (in duplici
porticu, in media). D. Coryceum, on
the right-hand of the last' apartment
(sub dextro). E. Conisterium, the
next adjoining (deinde proxime). F.
Frigida lavatio ; the cold-water bath,
beyond the conisterium, and after the
turn in the building. Vitruvius places
it exactly in the angle (in versura) ;
I so that his design provided for three
! rooms on each side of the ephebeum
GYMNASIUM.
instead of two, as in the present ex-
ample ; but the proximate situation is
the same in both. G. Elaeothesium ;
the first apartment on the left hand
of the youths' exercising-hall (ad
sinistram ephebei). H. Frigidariwn ;
a chamber of low temperature ad-
joining the oiling-room, situated pre-
cisely as Vitruvius directs it should
be, and as it is shown to be in the
painting from the Thermae of Titus
introduced s. ELAEOTHESIUM. Be-
yond this, in the plan of Vitruvius,
was a third division, forming the
angle which corresponded with the
frigida lavatio on the opposite side,
and which was occupied by the pas-
sage which conducted to the mouth
of the furnace (iter ad propnigeum},
but which in our example is shown
at the letter N. i. The next room is
probably a Tepidarium, though not
mentioned by Vitruvius ; but its con-
tiguity to the thermal chamber re-
sembles the disposition of that apart-
ment in the baths of Pompeii. K.
Concamerata sudatio; the vaulted
sudatory, which has its warm-water
bath (calda lavatio, L) at one extremity,
and the Laconicum (M) at the other.
The apartment on the opposite side,
which is placed in the same con-
tiguity to the furnace (o), and is
constructed of similar shape and
dimensions, was probably another
sudatory, with its warm bath (p),
and Laconicum (Q), having a separate
entrance from the Ephebeum and
adjacent apartments. The use of
the three rooms yet unappropriated
(RRR) is quite conjectural; but the
larger and central one seems, from
its size and locality, to be well
adapted for the game of ball, for
which a room was provided in every
gymnasium, and consequently to be
the Spharisterium ; the two angular
ones would serve for some other of
the many games to which the Greeks
were devoted. The parts thus far
described comprise the whole of the
covered apartments which Vitruvius
appears to designate collectively the
GYN^CEUM.
325
palaestra. On the outside of these
were disposed three more corridors
(extra autem porticus tres), one (s) a
double one facing the north, which
received the company from the peri-
style (una ex peristylio exeuntibus,
qua spectaverit ad septentrionem, per-
ficiatur duplex} ; and two others
(TT), called xysti (^ytrrol) by the
Greeks, with exercising grounds in
front of them (stadiatai), furnished
with an elevated path all round, to
preserve the spectators from contact
with the oiled bodies of those en-
gaged at their exercises. Between
these and the double corridor facing
the south (B) were laid out a number
of open walks (hypeethrce ambulati-
ones, TrapaSpo/itSes), planted with trees,
and having open spaces (stationes)
left at intervals, and laid with pave-
ments for the convenience of exercise.
Beyond this was the stadium (w),
provided with seats to accommodate
the large concourse of spectators that
usually assembled to view the exer-
cises of the athletce.
GYNJECE'UM, GYNECI'UM,
and GYN^ECONI'TIS (ywaucwv,
yvvaiKtaviTis}. That part of a Greek
house which was set apart for the
exclusive use and occupation of the
female portion of the family, like the
harem of a modern Turkish residence.
(Terent. Phorm. v. 6. 22. Plaut.
Most. iii. 2. 72. Vitruv. vi. 7. 2.)
The situation of these apartments has
given rise to much controversy, and
still remains in some respects doubt-
ful. From the words of Vitruvius,
I who commences his description of a
Greek house with the Gynaeceum, it
has been inferred that it formed
the front part of the house immedi-
ately after the entrance ; but this is
so much at variance with the close
and studied seclusion in which Greek
females were kept, that it must be
given up as untenable. At the
Homeric period, the women's apart-
ments appear to have been situated
in an upper story (virepyov) ; and in
after times the same distribution
326
GYN^ECIA^RIUS.
HALTEEES.
was occasionally adopted, where the
ground-plot was of small extent,
owing to the high price or scarcity
of land. But after the Peloponnesian
war the most rational conjecture
seems to be that which would place
the Gynseceum at the back part of
the premises, behind the division
allotted for the men (andronitis) ; so
that it would occupy, with its depend-
encies, much the same position as the
peristyUum of the Pompeian houses ;
as it is laid down on the conjectural
plan of a Greek house at p. 252., on
which it is marked e.
2. Amongst the Romans, a cloth
factory, or establishment in which
only women were employed in spin-
ning and weaving. Cod. Just. 9.
27. 5. Id. 11. 7. 5.
3. The Emperor's seraglio. Lact.
Mort, persecut. 21.
GYN^CIA'RIUS or GYNJE'-
CIUS. The overseer or master of
the factory girls in a gynceceum, or
spinning and weaving establishment.
Imp. Const. Cod. 11. 7. 3. Cod. Theo-
dos. 10. 20. 2.
GYPSOPLAS'TES. One who
takes casts in plaster of Paris (gyp-
sum'). Cassiodor. Var. Ep. vii. 5.
Compare Juv. ii. 4., where gypsum
means the cast itself.
H.
HABE'NA. Literally that by
which any thing is held, bound,
drawn, or fastened ; whence the fol-
lowing more special senses :
1. (yvia.1). Mostly used in the
plural ; a pair of reins for riding or
driving, like the annexed example,
from a bas-relief in the Museum at
Verona. Virg. Hor. Ov. &c.
2. (purayuyevs). In the singular ;
a halter rope, or leading rein attached
to a horse's head-stall, as contradis-
tinguished from frcenum, which was
bitted ( Ammian. xix. 8. 7.) ; shown by
the example, from an engraved gem.
3. A short thong attached to the
shaft of a spear, to assist in hurling it
(Lucan. vi. 221.) ; poetical for AMEN-
TUM, 1., where see the illustration.
4. A strap or sandal, by which
shoes that had no upper leather were
fastened over the instep (Aul. Gell.
xiii. 21. 2.) ; same as AMENTUM, 2.,
where see the illustration.
5. The lace or strap by which the
cheek -pieces (bucculce) were fastened
under the chin. Val. Flacc. vi. 365.,
woodcut p. 90.
6. The sheets of a sail ; i. e. the
ropes by which the lower ends of
the sails are braced to or slacked
away from the wind (Val. Flacc. iv.
679. Compare Ov. Fast. iii. 593.);
poetically for PES, where see the il-
lustration.
7. The thong of a sling (Lucan.
iii. 710. Val. Flacc. v. 609.); see
FUNDA.
8. The thong of a whip for punish-
ing slaves (Hor. Ep. ii. 2. 15. Ov.
Her. ix. 81. and illustrations s. FLA-
GELLUM and SCUTICA); or flogging
a top. Virg. Mn. vii. 380.
HALTE'RES (aAr^es). Heavy
weights of stone or lead, like our
dumb-bells, intended to increase the
muscular exertion of gymnastic exer-
cises, being held in each hand whilst
leaping, running, dancing, &c.
11AMA.
HAMUS.
327
(Mart. vii. 67. Id. xiv. 49. Compare
Senec. Ep. 15. and 56. Juv. vi. 421.)
The illustration represents a youth
in the gymnasium lifting a pair of
halteres from the ground, with two
examples of the different forms in
which they were made on the left
hand of the engraving, all from de-
signs on fictile vases : the large one
at the top will afford a specimen of
the massa gravis of Juvenal (I. c. ).
KAMA (fy?). A pail or bucket;
used in the wine cellar (Plaut. Mil.
iii. 2. 42.) ; by firemen and others
for extinguishing conflagrations (Juv.
xiv. 305. Plin. Ep. x. 35. 2.); for
drawing water from a well. Ulp.
Dig. 33. 7. 12. 21.
HAMATUS, sc. Ensis. (Ovid.
Met. v. 80.) See FALX, 6.
2. See LORICA, 6.
HAMIO'TA. An angler; who
fishes with a line and hook (Jiamus),
as contradistinguished from one who
nets his prey. (Plaut. Rud. ii. 2.
5. Varro, ap. Non. s. v. p. 25.) The
illustration is copied from a painting
at Pompeii, the inhabitants of which
town appear to have been much ad-
dicted to the amusement of angling,
arising, perhaps, from their proximity
to the Sarno ; for the landscapes
painted on the walls of their houses
frequently contain the figure of an
angler, who always wears the peculiar
kind of hat here shown, or one very
similar to it, and carries a fish-basket
of the same shape as our figure.
HAMOTRAHO'NES. A nick-
name given to anglers, and to the
gaolers who dragged up the corpse of
a criminal, after execution, from the
carnificina on to the Gemonian stairs ;
both in allusion to their use of a
hook (hamus). Festus, s. v.
H A' M U L U S. Diminutive of
HAMUS. A small fish-hook (Plaut.
Stick, ii. 2. 16. Apul. Apol. p. 460.
flexus)-, a surgeon's instrument.
Celsus vii. 7. 4.
HA'MUS (&yitiffTpov). A fish-
hook, made of various sizes, and in
form and character precisely like our
own. Plaut. Cic. Hor. Ov.
2. (HyKiffTpov'). The Greeks ap-
plied the same name to a hook on
the top of a bobbin (iryviov'), round
which the thread for making the
woof in weaving was wound (Plato,
Eep. x. p. 616. c.) ;
and probably the Ro-
mans likewise, though
the word is not found
in any remaining pas-
sage with this meaning;
but the hook itself is
plainly shown in the annexed engrav-
ing, representing Leda's work-basket,
from a painting at Pompeii, which
contains two bobbins, each furnished
with a hook of this description, and
four balls of spun thread ready for
winding on a bobbin.
3. The thorn of a briar (Ov. Nux.
115.) ; whence applied to the hook
of the weapon called harpe (Ov. Met.
iv. 719), attributed to Perseus and
Mercury, which exactly resembles
the thorn of a briar, as shown by the
annexed example, from a Pompeian
328
HAPHE.
HARPAGO.
painting: it also demonstrates to
conviction the incorrectness of the
usual translation given 'to the passage
quoted ferrum curvo tenus abdidit
hamo " up to the hilt."
4. An iron hook or thorn, of which
several were set in a frame to form a
brush or comb with which tow, oakum,
or unwrought flax was carded and
pulled into even flakes. Plin. H. N.
xix. 3.
5. The hook or ring by which
each plate in a flexible coat of mail
was joined to its neighbour when
they were merely linked together,
instead of being sewn on to a sub-
stratum of linen (Virg. Mn. iii.
467.) ; as explained and illustrated s.
LORICA, 6.
6. A surgical instrument, the pre-
cise nature of which is not ascer-
tained. Celsus, vii. 7. 15.
7. A kind of cake, the nature of
which is unknown. Apul. Met. x. 219.
HAPH'E (<M). The yellow sand
sprinkled over wrestlers after they
were anointed, in order that they
might obtain a firm hold upon each
other (Mart. vii. 67.) ; hence a
cloud of dust raised in walking (Se-
neca, Ep. 57.), with which Seneca
complains that he was smothered in
the Grotto of Pausilipo. In the first
illustration to the article LUCTA, a
basket is seen on the ground between
the wrestlers, in allusion to the prac-
tice described.
HARA. A pig-sty ; especially
for a breeding sow. (Columell. vii.
9. 9. Cic. Pis. 16.) Compare SUILE.
2. A pen or coop for geese.
(Varro, R. R. iii. 10. Columell. viii.
14. 6. and 9.) Compare CHENO-
BOSCION.
HARM AM AX' A (op//ia$a). A
four-wheeled carriage, or caravan, of
Eastern origin, usually drawn by
four horses, having a cover overhead,
and curtains to enclose it at the sides ;
and especially used for the convey-
ance of women and children (Curt,
iii. 3. Herod, vii. 41. Diod. Sic. xi.
56.), but of which no authentic re-
presentation remains.
HAR'MOGE (apwh). A term
employed by painters to express the
union and blending of two adjacent
tints imperceptibly and harmoniously
together. Plin. H. N. xxxv. 11.
HARP A. A harp, with a curved
back in the form of a sickle (apirri,
falx\ like the annexed example,
from an Egyptian painting. Venant.
Carm. vii. 8. 63., in which passage it
is expressly distinguished from the
lyre, and as an instrument used by
foreigners.
HARPAGINE'TULUS. (Vitruv.
vii. 5. 3.) The reading of this word
is generally given up as corrupt ; but
a plausible authority for its genuine-
ness has been suggested by one of the
paintings at Pompeii (Pitture d 1 Er-
colano, torn. i. p. 212.), which, in-
stead of a regular frontispiece over a
row of columns, presents a fanciful
elevation covered all over with orna-
ments resembling so many little
hooks (harpaginetuli, dim. of harpa-
gines) ; which, it is thought, may be
the objects referred to by Vitruvius.
HAR'PAGO and HAR'PAGA
(apirayT)'), A particular kind of hook
constructed for grappling and draw-
ing things up, or down, or towards
the person using it, which was con-
sequently applied in various ways;
as a flesh-hook (Kpedypa), for taking
eatables out of the pot (Schol. Aris-
toph. Eq. 772.) ; a drag for bringing
things up from the bottom of the
HARPASTUM.
II AST A.
329
water, a bucket, for instance, from a
well (Ulp. Dig. 37. 7. 12. 21.); and
as a grappling-iron in naval warfare,
for seizing the rigging of an enemy's
vessel, so as to bring it up to close
quarters (Liv. xxx. 10.), and similar
purposes. The example, which is
copied from a bronze original in the
British Museum, corresponds exactly
with the words of the Scholiast on
Aristophanes (/. c.), where it is de-
scribed as an instrument made with
a number of iron prongs, bending in-
wards like the fingers of the human
hand, so as to catch in different ways.
A wooden handle was added of various
lengths, as best suited the purpose
for which it was employed.
HARPAS'TUM (a/mao-r^/). A
ball employed for a particular kind
of game in vogue amongst the Greeks
and Romans. It was of larger di-
mensions than the paganica, but
smaller than the follis. The game at
which it was used was played with
a single ball, and any number of
players, divided into two parties ; the
object of each person being to seize
the ball from the ground (whence it
is associated with the epithet pulveru-
lenta, dusty), and to throw it amongst
his own friends. The party which
first succeeded in casting it out of
bounds gained the victory. Mart,
iv. 19. Id. vii. 62. and 67. Mercurial.
Art. Gym. ii. 5.
HARPE (apirrj). A particular
kind of sword or dagger, with a hook
like a thorn (hamus), projecting from
the blade at a certain distance below
the point (mucro) ; as shown by the
figure on the top of the opposite page.
This weapon is fabled to have been
used by Jupiter (Apollodor. Bibl i.
6.), Hercules (Eurip. Ion, 191.), and
more particularly by Mercury and
Perseus (Ov. Met. v. 176. ib 69.), to
the last of whom it is universally
assigned, as a characteristic weapon,
by the ancient artists in their sculp-
tures, paintings, and engraved gems.
HARUS'PEX (Upotncfaos). A
soothsayer and diviner, who affected
to foretell future events by inspecting
the entrails of victims, and to interpret
the extraordinary phenomena of na-
ture, such as lightning, thunder, me-
teoric effects, earthquakes, &c. ; thus
assuming the combined powers of an
EXTISPEX and an AUGUR, both of
whom held a regular political office,
were appointed by the government,
and used as state engines. But the
I haruspex held no sacerdotal nor public
position ; and amongst the educated
classes was regarded with much less
respect than the other two; though
he carried his jugglery to a much
greater extent than either, in order
to trade more effectively upon the
popular credulity. Cic. Div. i. 39.
Val. Max. 1. 1. 1. Columell. i. 8.
6. Herzog. ad Sail. Cat. 47. 2.
HARUS'PICA. A female who
practises the same arts as the Haru-
spex. Plaut. Mil iii. 1. 98.
HASTA (67x0. A spear; used
as a pike for thrusting, and as a
missile to be thrown from the hand.
It consisted of three separate parts :
the head (cuspis, alxph and eiriSoparis)
of bronze or iron ; the shaft (hastile,
S6pv) of ash or other wood ; and a
metal point at the butt end (spiculum,
(ravpuT-fip or <rrupa), which served to
fix it upright in the ground, or as an
offensive arm if the regular head got
broken off. (Polyb. vi. 25.) The
top figure in the annexed illustration
represents a Roman spearhead, from
an excavation in Lincolnshire; the
u u
330
II AST A.
centre one, a point for the butt end,
from a fictile vase ; and the lowest,
the whole spear, with the three parts
put together. The manner in which
it was hurled is shown by the an-
nexed engraving, from the Vatican
Virgil, intended to represent the
attack and defence of a fortified post ;
while at the same time it illustrates
and explains the more special terms
adopted for describing the action em-
ployed. It will be observed that the
figure on the ground has the inside of
the hand turned outwards, or from
himself, so that in such a position he
must have discharged his spear with
a sort of twist to give it impetus,
which is expressed by the phrases
rotare (Stat. Theb. ix. 102.), or tor-
guere (Virg. Mn. x. 585. xii. 536.);
those above have the back of the
hand turned outwards, and the little
finger, instead of the thumb, towards
the head of the spear, which repre-
sents the ordinary manner of throw-
ing the missile, expressed by jacere,
jactare, mittere, &c. ; when held and
poised at the centre of gravity, with
the back of the hand turned down-
wards, in order to take an aim before
the cast, in which case the point and
butt would alternately rise and sink,
like the beam of a balance (libra'), the
action was designated by the word
librare, Virg. JEn. xix. 417. ix.
479., which passage makes a pointed
distinction between jacere and librare.
2. Hasta amentata. (Cic. De
Orat. i. 57.) A spear furnished with
a thong to assist in hurling it.
AMENTUM, and illustration.
3. Hasta ansata. (Ennius ap.
Non. p. 556.) A spear with a handle
fixed on the shaft, to assist in thrust-
ing and hurling. ANSATTJS, 2. and
illustration.
4. Hasta velitaris (yp6<r<j)os). The
spear or dart employed by the light-
armed troops of the Roman armies,
the shaft of which was about three
feet long, and of the thickness of a
finger, whilst the head was not more
than a span in length, but so thin and
finely acuminated, that it bent imme-
diately upon coming in contact with
any thing which offered solid resist-
ance ; consequently, if the soldier
missed his aim, it was useless to the
enemy, and could not be thrown back
again. (Liv. xxxviii. 20. Plin. H. N.
xxviii. 6. Polyb. vi. 22. ) The head
of one of these weapons is shown
by the illustration, from an original
found in a Roman entrenchment at
Meon Hill in Gloucestershire.
5. Hasta pura. A spear without
a head (cuspis), like -
the old Greek sceptre
(sceptrum), which the
Roman general used
to bestow as an hono-
rary reward upon a
soldier who had dis-
tinguished himself in
battle. (Tac. Ann.
iii. 21. Virg. Mn.
vi. 760. Serv. ad. I.
Suet. Claud. 28.) The
illustration is copied
from a painting in
the sepulchre of the
Nasonian family near Rome.
6. Hasta prcepilata, with the ante-
penult short. A spear with the point
HASTA.
HASTATI.
331
muffled, or covered with a button or
ball (pila) at the end, like our foils
(Plin. H. N, viii. 6.) used by soldiers
at their exercises (Hist. B. Afr. 72.),
and at reviews or sham fights. Liv.
xx vi. 51.
7. Hasta pampinea. The thyrsus
of Bacchus, so termed because it was
originally a spear with its head
buried in vine leaves (Virg. ^En. vii.
396. Calpurn. Eel. x. 65.), as in the
annexed example from a Pompeian
painting.
8. Hasta graminea (/co/io|). A spear
made of the tall Indian reed, which
it was usual to place in the hands of
colossal statues of Minerva, on ac-
count of its imposing length and size.
Cic. Verr. ii. 4. 56.
9. Hasta ccelibaris. A spear, with
the point of which the Roman bride-
groom parted the hair of his betrothed
on the marriage day. (Festus s. v.
Ovid. Fast. ii. 560. hasta recurva.}
The epithet " hooked " or " bent,"
which Ovid applies to this instru-
ment, plainly intimates that it was
not an ordinary spear that was used
for the purpose, but the rustic spear,
or SPARUM, which see.
10. Hasta publica. A spear set
up as the sign of a public auction
when goods were publicly disposed of
to the highest bidder (Nep. Att xxv.
6. Cic. Off. ii. 8.) ; a practice arising
from the predatory habits of the old
Romans, who, when they disposed of
the plunder taken in war, planted a
spear by the side of the booty, to in-
dicate whence the right of ownership
accrued.
11. Hasta centumviralis. A spear
which it was customary to set up as
an emblem of authority in the courts
of the centumviri ; whence the ex-
pression, centumvirale.m hastam erigere,
means to summon the centumvirs to
their judgment- seats ; or, in other words,
to open their court. Suet. Aug. 36.
Mart. vii. 63.
HASTA'RII. Veg. Mil. ii. 2.
Same as HASTATI.
HASTA'RIUM. An auction-room
(Tertull. Apol 13.) ; a catalogue of
sale. Id. ad Nation, i. 10.
HASTA'TI. In general any per-
sons armed with spears ; but in a
more special sense the Hastati were a
particular body of heavy-armed in-
fantry, constituting the first of the
three classes into which the old
Roman legion was subdivided. They
consisted of the youngest men, and
were posted in the first line of the
battle array, at least until the latter
end of the republic, when the custom
had obtained of drawing up the
Roman army in lines, by cohorts ;
and, consequently, the old distinctions
between the Hastati, Principes, and
Triarii, in regard to the respective
positions occupied by each of them,
had been abandoned. But their arms
and accoutrements appear to have
been retained, without any very im-
portant change even under the em-
pire ; for they are frequently repre-
sented upon the arches and columns
with weapons of offence and defence
similar to those which Polybius
ascribes to them at his day; viz. a
helmet, large shield, cuirass of chain-
mail, sword on the right side, and
spear, as shown by the annexed ex-
ample from the column of Antoninus.
The cuirass of chain armour (&po|
aAu(ri5T(fc), which was peculiar to the
hastati, is indicated by the markings
in the engraving, but is more promi-
u u 2
332
HA STILE.
HEMICYCLIUM.
nently apparent in the original, from
being placed in immediate contrast
with two other figures, the one in
scale armour (lorica squamata), the
other plumated (lorica plumata), both
of which are detailed with equal de-
cision and distinctness. Varro, L. L.
v. 89. Ennius ap. Macrob. Sat. vi. 1.
Liv. xxii. 5. Polyb. vi. 23.
HASTFLE. Properly the shaft
of a spear (Nepos, Epam. xv. 9.) ;
thence used for the spear itself (Ov.
Met. viii. 28.) ; a goad for driving
cattle (Calpurn. Eel. iii. 21.); or any
long stick. Virg. Georg. ii. 358.
HAUSTRUM. A scoop, box, or
bucket on a water-wheel which takes
up the water as the wheel revolves.
(Lucret. v. 517. Non. s. v. p. 13.)
These were sometimes wooden boxes
(modioli, Vitruv. x. 5. ) ; at others
only jars (cadi, Non. I. c.) ; and the
Chinese of the present day make use
of a joint of bamboo for the purpose ;
see the illustration s. ROTA AQUARIA,
which affords a clear notion of what,
is meant by the term.
HELCIA'RIUS. One who tows
a boat by the loop (helcium) of a tow-
rope. Mart. iv. 64. 22. Sidon. Ep.
ii. 10.
HELCIUM. Properly the loop
attached to a tow-rope drawn by men
(HELCIARIUS), which is passed over the
shoulder and across the breast ; whence
it is applied to a breast-collar attached
to the traces of draught animals ( Apul.
Met. ix. p. 185.), as in the annexed
example, from a painting of Hercula-
neum.
HELEP'OLIS(4AeW ls ). Literally,
the destroyer of cities, the name given
to an engine invented by Demetrius
Poliorcetes for besieging fortified
places, consisting of a square tower
placed upon wheels, and run up to the
height of nine stories, each of which
was furnished with machines for bat-
tering and discharging projectiles of
enormous size and weight. Diod, Sic.
xx. 48. xx. 91. Vitruv. x. 22. Am-
mian. xxiii. 4. 10.
HELIOCAMI'NUS (T^IO/CC^O*).
A room with a southern exposure,
which received sufficient heat from
the natural warmth of the sun, and,
consequently, required no artificial
contrivance for warming. Plin. Ep.
ii. 17. 20. Ulp. Dig. 8. 2. 17.
HEL'IX (eA<). The small volute
under the abacus of a Corinthian
capital, intended to
imitate the tendrils
or curling stalk of the
vine, ivy, or any pa-
rasitical plant, bent
down by a super-
incumbent weight.
Each capital is deco-
rated with sixteen, two under each
angle of the abacus, and two meeting
under its centre on each face. Vitruv.
iv. 1. 12.
HEMICYC'LIUM (^K{,K\IOV}. A
semicircular alcove, sufficiently large
to admit of several persons sitting in
it at the same time, for the enjoyment
of mutual converse. The ancients
constructed such places in their own
pleasure-grounds (Cic. Am. 1. Sidon.
Ep. i. 1.), and also as public seats in
different parts of a town for the ac-
commodation of the inhabitants (Suet.
HEMINA.
HEPTER1S.
333
Gramm. 17. Plut. de Garrul p. 99.).
The annexed woodcut affords an
example of the latter sort ; repre-
senting a hemicyclium at Pompeii, as
it is now seen at the side of the street,
just outside of the principal entrance
to the city from Herculaneum. The
seat runs all round the back, and the
floor is at a considerable elevation
above the level of the pavement, so
that a small stepping stone is placed
in the front of it for the convenience
of access.
2. A sundial of simple construction
invented by Berosus, consisting of an
excavation nearly
spherical on the
upper surface of
a square block of
stone (excavatum
ex quadrato) with-
in which the hour
lines were traced,
and having the an-
terior face sloped away from above so
as to give it a forward inclination (ad
enclima succisum) adapted to the polar
altitude of the place for which the
dial was made. (Vitruv. ix. 8.) The
example is copied from an original,
discovered in 1764 amongst the ruins
of an ancient villa near Tusculum :
the angle of the enclima is about 40
43', which agrees with the latitude of
Tusculum, and the whole instrument
coincides exactly with a marble of
the same description amongst the
collection at Ince Blundell, in Lanca-
shire, which has a bust of Berosus
sculptured on the base, and the name
hemicyclium inscribed upon it.
HEMI'NA (fj/Ji/a). A measure of
capacity, containing half a sextarius
( Festus, s. v. Rhemn. Fann. de Pond.
67. ); whence, also, a vessel made to
contain that exact quantity. Pers. i. 129.
HEMIOL'IA O>Afa). A parti-
cular kind of ship (Gell. x. 25.),
used chiefly by the Greek pirates
(Arrian. Anab. iii. 2. 5.) ; constructed
in such a manner that half of its side
was left free from rowers, in order to
form a deck for fighting upon. (Ety-
mol. Sylburg. ap. Scheffer. Re Nav.
p. 74.) It seems to have belonged to
the same class as the Cercurus, with
a slightly different arrangement of
the oars ; and is probably represented
by the annexed example, from an
Imperial medal (Scheff. I.e. p. 111.),
in which the central portion, not oc-
cupied by rowers, forms the deck
alluded to.
HEMISPHTE'RIUM. One of the
many kinds of sundials in use amongst
the ancients (Vi-
truv. ix. 8. ), which
received the name
from its resemb-
lance to a hemi-
sphere, or half of
the globe supposed
to be cut through
its centre in the
plane of one of
its greatest circles.
The illustration
represents a statue
of Atlas, former-
ly standing in the
centre of Ravenna (Symeoni, Epitaffi
antichi, Lione, 1557), which affords
an appropriate design for a dial of
this description ; and indicates that
the hemisphcerium was erected in an
upright position, whereas the discus,
which was also circular, was laid flat
upon its stand : thus constituting the
difference between the two.
2. The interior of a dome ; f. e.
the ceiling formed by it, which, in
fact, consists of the half of a hollow
globe ; such, for instance, as the Pan-
theon at Rome. Vitruv. v. 10. 5.
HEPTE'RIS (ITTT^TJS). A war-
334
1IERMLE.
HEROUM.
galley with seven banks of oars. (Liv.
xxxvii. 23.) See the article HEXERES,
where the method of arranging the
oars and counting the banks, when
they exceeded a certain number, is
partially explained ; and if the plan
there supposed be adopted, the ad-
dition of one oar-port to each tier
between stem and stern, will make
the rating of seven banks instead of
six ; which banks will be disposed in
the manner shown by the following
diagram.
HERBOB ('EP/MU). Mercuries; a
particular kind of statues, in which
only the head, and sometimes the
bust, was modelled, all the
rest being left as a plain four-
cornered post; a custom
which descended from the old
Pelasgic style of representing
the god Mercury. (Macrob.
Sat. i. 19. Juv. viii. 53.
Nepos, Alcib. vii. 3.) The
trunk was sometimes sur-
mounted with a single head,
more usually with a double
one, as in the example from
an original in the Capitol at
Rome; and the personages
most commonly selected for
the purpose were the bearded Bacchus,
Fauns, and philosophers. Pillars of
this description were extensively em-
ployed for many purposes ; as sign-
posts ; as the uprights in an orna-
mental fence or railing, to which use
the original of our engraving was
applied (the cavities being visible on
each of its sides, which received the
cross-bars between post and post) : in
the circus, for holding the rope or
bar which kept the doors of the stalls
(car ceres) closed until the chariots
received the signal to come out (Cas-
siodor. Var. Ep.n\. 51.); as shown
by the illustration at p. 119. ; and, in
short, for any purpose for which a
post would be employed.
HERMATHE'NA. Probably a
terminal statue, like that just de-
scribed, with the head of Athena or
Minerva on the top ; of which an
example is engraved by Spon. Re-
cherches, p. 98. No. 1 1. Cic. Att. i. 4.
HERMERAC'LES. Probably a
terminal statue (Hermd) with the bust
of Hercules on its top ; of which ex-
amples remain at Rome. Mm. Pio-
Clem. i. 6. Mus. Capitol, i. p. 13. Cic.
Att. 1. 10.
HERM'EROS. Probably a ter-
minal statue (Herma) with the bust
of Eros, or Love, on the top. Plin.
H. N. xxxvi. 4. 10.
HERM'UL^. (Cassiodor. Var.
Ep. iii. 51.) Diminutive of HERM.E.
HERO'UM (fipyov). A sepulchral
monument, built in the form of an
'i i"i
cedicula, or small temple. (Inscript.
ap. Mur. 889. 8. Plin. H. N. x. 6.)
Monuments of this kind originated
with the Greeks, and in the first in-
stance were only erected in honour
of their deified heroes ; which ex-
plains why the temple was taken as a
model ; but subsequently they were
extensively adopted by private indi-
viduals, as may be inferred from the
frequent representations of them on
fictile vases and sepulchral marbles.
The example annexed is copied from
a marble slab in the Museum at
Verona, which served as the monu-
ment of a Greek lady, named Euclea,
HEXACLINON.
the daughter of one Agatho, and wife
of Aristodemon, as the epitaph in-
scribed upon it in Greek characters
testifies.
HEXACLFNON. A term coined
from the Greek, for the purpose of
designating a dining-couch made to
accommodate six persons. Mart. ix.
60. 9.
HEXAPH'ORON. A palanquin
or sedan (lectica, sella\ carried by
six men (Mart. ii. 81. Id. vi. 77.), in
the manner described and illustrated
s. ASSER, 1. p. 63.
HEXAPH'ORI,sc./>Aafaw<mY. A
set of six men who carry any burden
by their joint exertions, united by the
aid of a phalanga (Vitruv. x. 3. 7.),
as explained in the articles PHALANGA
and PHALANGA BIT, where the illus-
trations represent the operations per-
formed by two men and by eight.
HEXASTY'LOS. Hexastyk;
i. e. which has a row of six columns
in front.
HEXE'RIS (l^prjy). A vessel
furnished with six banks of oars on
each side. (Liv. xxxvii. 23.). It is
still a matter of doubt and of difficulty
even to surmise how the oars were
disposed in a vessel rated with six
banks (ordines) ; as it has been proved
by experiments that an oar poised at
such an altitude from the water's
edge as would be required for the
sixth seat of the rower, even when
placed diagonally over the five others,
would have so great a dip for its
blade to touch the water, that the
handle would be elevated above the
reach of the rower ; or, if the oar
were made of sufficient length to
obviate this inconvenience, being fixed
as of necessity upon the thowl at
one-third of its entire length, the part
inboard would be so long that it must
reach over to the opposite side of the
vessel, and thus completely obstruct
all movement within it. The most
feasible construction seems to be that
suggested by Howell ( Treatise on the
War Galleys of the Ancients), that
when vessels had more than five
HIERONICA.
335
banks of oars, the banks were not
counted in an ascending direction
from the water's edge to the bulwarks,
but lengthwise from stem to stern ;
that these were placed in a diagonal
direction, as in a trireme (see TRI-
REMIS, and illustration), and always
five deep in the ascending line ; but
that they were rated, not by these, but
by the number of oar-ports between
stem and stern. Thus a hexeris
would have five parallel lines of oars,
with six oar-ports in each, placed
diagonally over one another, as in
the annexed diagram ; a hepteris
seven ; a decemremis, ten ; and so on.
Compare OBDO.
HIBERNAC'ULA. Apartments
in a dwelling-house intended for win-
ter occupation, which were less deco-
rated than other apartments, in con-
sequence of the dirt caused by the
smoke of the fires and lamps burnt in
them (Vitruv. vii. 4. 4.), and for
which a western aspect was considered
the most eligible. Vitruv. 1. 2. 7.
2. Tents constructed for a winter
campaign, or in which the soldiers
were lodged when an army kept the
field during the winter season ; con-
sequently, they were covered with
skins, and built of wood, or of some
more substantial material than an
ordinary tent. Liv. v. 2. Compare
xxx. 3. xxxvii. 39.
HIBERNA (x/x^a). Winter-
quarters in which the army was dis-
tributed during winter, when not kept
in the field under tents (hibernacula}.
Liv. xxiii. 13. Cic. Fam. xv. 4. Tac.
Agr. 38.
HIERONI'CA (tepovimis). Pro-
perly, a Greek term, which has ex-
clusive reference to the customs of
that nation. It was employed to de-
signate the victor in any of their public
games; viz. the Nemean, Pythian,
336
H1EROPHANTA.
IIIPPODROMUS.
Isthmian, and Olympic, which were
also called sacred
games, because they
commenced with re-
ligious ceremonies.
The illustration re-
presents a Grecian
youth, crowned and
habited as one of
these victors, whose
costume very close-
ly resembles that
ascribed to Nero,
when he entered the
cities of Italy as
a hieromca (Suet.
Nero, 25. ), after con-
tending at the Olympic races.
HIEROPHAN'TA and HIERO-
PHAN'TES (iepwtfrrns). A high
priest and teacher of religion amongst
the Greeks and Egyptians, corre-
sponding in many respects to the
Roman Pontifex Maximus. Nep. Pel.
3. Tertull. adv. Marc. i. 13.
HIEROPHAN'TRIA. A
priestess of similar character and
dignity to the hierophanta. Inscript.
ap. Grut. 538. 11.
HIPPAG'INES, HIPFAGI,
HIPPAGO'GI (fowywyoO. Horse-
transports, especially for the convey-
ance of cavalry troops. Festus s. v.
Gell. x. 25. Plin. H. N. vii. 57.
Liv. xliv. 28.
HIPPOCAM'PUS OTTOK^TTOS).
A fabulous animal, having the fore
quarters and body of a horse, but
ending in the tail of a fish, like the
annexed example, from a Pompeian
painting, which the poets and artists
of antiquity commonly attach to the
marine car of Neptune and the
Tritons. Nsev. and Lucil. ap. Non.
s. v. p. 120.
HIPPOCENTAU'ROS (imroKfr-
raupos). A horse-centaur, half-horse
and half-man (Cic. N. D. ii. 2.), as
opposed to the fish- centaur, half-man
and half-fish (ixOvoKevravpos), under
which form the giants who waged
war against the gods, were represented
(Apollodor. i. 6. 1. Mus.Pio-Clem. iv.
tav. 10.) Hippocentaurs were also
represented of the female sex (Luc.
Zeux. 3.), of which an example is
afforded by the illustration from a
bronze discovered at Pompeii.
HIPPOD'ROMUS. A hippodrome;
which, amongst the Romans, implies
a plot of ground in a garden or villa,
planted with trees, and laid out into a
variety of avenues for the purpose of
taking equestrian exercise. Plin. Ep.
v. 6. 32. Mart. xii. 50.
2. (tTTTT^S/jo/ios). A hippodrome ;
which, amongst the Greeks, implies a
race-course for horses and chariots, as
contradistinguished from the stadium,
which was appropriated to foot-
racing. Hippodromes of this kind
were frequently attached to the gym-
nasia, in which the youth of Greece
learned the art of horsemanship (Plaut.
Bacch. iii. 3. 27.) ; but the regular
Greek Hippodrome, in which the
public races took place, corresponds
more closely with the Roman Circus,
though possessing some remarkable
points of difference, and is better
known to us from the description
which Pausanias has left of the Olym-
pic race -course, than from its actual
remains, some vestiges of it merely
being still extant. (Gell. Itinerary of
HIPPODROMUS.
337
Morea, p. 36. The most important
distinction consisted in the mariner
of arranging the stalls for the horses
and chariots, which were not dis-
posed in the segment of a circle, like
the Roman circus (see the woodcut
p. 165. A. A.); but were arranged
in two lines with curvilinear sides
converging to a point in front of the
course, so that the whole plan re-
sembled the figure of a ship's prow,
with its beak towards the course, and
the base,, or extremity of the two
sides, where they were widest apart,
resting upon the flat end of the hippo-
drome, or upon a colonnade which
covered it. (Pausan. vi. 20. 7.) The
whole of this was called the &/>6<rty,
and corresponded in locality, though
not in distribution, with the oppidum
of a Roman circus. The peculiarity
of the arrangement was an ingenious
invention of the architect Cleotas
(Paus. I. c.\ and originated in the
necessity of affording abundant sta-
bling room, which required much
greater accommodation at a Greek
race-course, where the numbers were
not limited to twelve, as they were
with the Romans, but all were freely
admitted who wished to compete for
the prize. The drivers drew lots for
their stalls (Paus. I c.) ; and the fol-
lowing method was adopted in order
that those who got nearest to the
point might not possess any advantage
over the others who were posted be
hind them. A separate rope or bar
(/caAc65t<w, ua-7rA>j) was drawn as a
barrier across the front of each stall ;
and when the races were about to
commence, the two ropes which closed
the remote stalls (1. 1.) on each side,
were loosened simultaneously, so that
the two cars from the furthest end
came out first; and when they had
advanced as far as the level of the
two next (2. 2.), these were removed ;
and the four cars continued their
course until they had gained the line
of the next stall (3. 3.), when the
third barriers were slacked away ;
and so on until the whole number
j arrived on a line with the point of
I the prow (B), from whence they all
started together and abreast. (Paus.
I. c.) It is probable that a long line
was drawn entirely across the course
at this point, which answered the
same purpose as the Roman linea alba.
The whole of this design will be
clearly understood from the annexed
plan of the Olympic hippodrome, as
suggested by Visconti, to illustrate
the description of Pausanias ; though
conjectural, it possesses great seeming
probability to stamp it with a mark
of authority. At all events, it will
serve to give a distinct idea of the
J more important features of a Greek
hippodrome, and of the meaning of
the terms by which each part was
designated. A. The space enclosed
by the stalls already described. B.
x x
338
HIPPOPERA.
HOPLOMACHUS.
The point or beak of the Jtyetm,
termed cfj.o\ov by Pausanias. c. The
colonnade(oToa) forming a termination
to the flat end of the hippodrome :
perhaps this member was not always
added. 1, 2, 3. The stalls for the
horses (oiK-finara, carceres). DD.
The course (S/sJ/ios). E. A barrier,
which divides the course into two
parts, like the Roman spina, but more
simple, and less decorated, consisting
of a plain bank of earth (xfc<*) as
may be inferred from Pausanias (vi.
20. 8.). F. The goal round which
the chariots turned (yvaaa., KO/XTTT^P,
meta) ; there probably was a similar
one at the opposite end of the spina,
as in the Roman Circus. GG. The
space occupied by the spectators,
usually formed in steps cut out on
the side of a mountain ; or, if the
course was in a flat country, formed
upon a bank of earth (x^A* ) thrown
up for the purpose ; but not upon
vaulted corridors, forming an archi-
tectural elevation, like a Roman cir-
cus. One side is observed to be
longer than the other, which was the
case at Olympia (Paus. /. c.), and pro-
bably in most other places, in order
to give all the spectators an equal
sight of the race. In the centre of
the space occupied by the stalls was
a temporary altar (A), upon which a
large bronze eagle was placed ; and
on the point of the prow (B) a similar
figure of a dolphin, both of which
were worked by machinery, and em-
ployed to inform the concourse of the
moment when the race was about to
commence ; the first, by rising up
into the air, the other by plunging on
to the ground in front of the assembled
multitude. Paus. I.e.
HIPPOPE'RA (tmrmrfipa). A
saddle-bag for travellers on horseback,
but used in pairs, so that the plural
number is applied when the equipage
of a single person only is referred to.
Sen. Ep.87.
HIPPOTOX'OTA OWoro^-njy).
A mounted archer (Hirt. B. Afr. 19.);
in most cases characteristic of foreign
nations, as the Syrians (Caes. B. C.
iii. 4.), Persians (Herod, ix. 49.),
&c. ; but men thus equipped appear
to have been used amongst the light
horse of the Greeks (Aristoph. Av.
1179.), and of the Romans; at least
under the empire, as testified by the
annexed figure, which represents a
Roman cavalry bowman in the army
of Antoninus, from the column of
that emperor.
HIR'NEA. An earthenware ves-
sel used for culinary purposes (Cato,
R. R. 81. Plaut. Amph. i. 1. 273.
and 276.) ; but of which the distinc-
tive properties are unknown.
HIRNELLA. Diminutive of
HIRNEA ; employed at the sacrifice.
Festus, s. Irnella.
HIS'TRIO. A word of Etruscan
origin, which, in that language, sig-
nified a pantomimic performer and
dancer on the stage (Liv. vii. 2.) ;
but amongst the Romans was used
in a more general sense, like our
term actor, to signify any dramatic
performer who delivered the dialogue
of a play, with appropriate action
(Cic. Fin. iii. 7.), including both
actors of tragedy (Plin. H. N. xxxv.
46. ) and comedy. Plin. H.N. vii. 54.
HOPLOM'ACHUS OAo/ix<>*>
Generally, one who fights in a com-
plete suit of heavy armour, or, as we
say, armed cap-a-pie ; but specially
used to designate a gladiator who
wore such armour (Suet. Cal. 35.
Mart. viii. 74.) ; and as that was a
HORARIUM.
HORTATOR.
339
characteristic of the Samnite, it is
believed that the present term was
only a new name brought into vogue
under the empire for a gladiator of
that description. See SAMNITIS.
HOR A'RIUM. (Censorin. De Die
Nat. 24.) Same as HOROLOGIUM.
HOR'IA. A small boat employed
by fishermen on the sea-coast (Non.
s. v. p. 533. Plaut. Rud. iv. 2. 5.
Gell. x. 25.) ; the peculiarities of
which are unknown.
HOR/IOLA. Diminutive of
HORIA ; used on rivers. Plaut. Trin.
iv. 2. 100. Gell. x. 25.
HOROLOG'IUM (& P o\6yto^.
An hour-measure, or horologe ; a gene-
ral term employed for any contrivance
which marked the lapse of time,
whether by day or night, and without
reference to the agent employed ;
consequently, including the various
kinds of sun-dials (solaria\ and
water-glasses (clepsydra), which are
enumerated in the Classed Index.
Our term clock conveys an improper
notion of the ancient horologium ; for
the only instruments known to the
ancients for performing the duties of
a modern clock, were water-glasses
and sun-dials.
HORREA'RII. Persons who had
charge of the public bonding ware-
houses and magazines, in which
merchants, and also private indivi-
duals, who had not sufficient accom-
modation of their own, deposited their
merchandise and effects for safe cus-
tody. Ulp. Dig. 10. 4. 5. Labeon.
Dig. 19. 2. 60. 9.
HORR'EOLUM. Diminutive of
HORREUM. A small granary, or a
barn for the storing of agricultural
produce. Val. Max. vii. 1. 2.
HORR'EUM (wperot/). A granary,
barn, or other building in which the
fruits of the earth were stored (Virg.
Georg. 1. 49. Tibull. ii. 5. 84.) ; fre-
quently constructed, like our own,
upon dwarf piers, in order to keep
the floor dry, and free from vermin ;
in which case it was termed pensile.
Columell. xii. 50. 3.
2. A store room for wine in the
upper floor of a house, where it was
kept to ripen after it had been put
into amphorce, or, as we should say,
bottled. Hor. Od. iii. 28. 7.
3. (cHroflTj/cT/). A repository, store
room, or lumber room, in which
goods and chattels of any kind were
deposited for preservation, or to be
out of the way, when not required for
use ; books, for instance (Sen. Ep.
45.) ; statues (Plin. Ep. viii. 18.
11.) ; agricultural implements (Co-
lumell. i. 6. 7.), &c.
4. Horreum publicum (ffiTo<f>v\a-
/celbj/). A public granary, in which
large stores of corn were kept by the
state, in order that a supply might
always be at hand in times of scarcity,
to be distributed amongst the poor,
or sold to them at a moderate price.
P. Victor, de Reg. Urb. Rom. Com-
pare Liv. Epit. 60. Veil. Pat. ii. 6. 3.
Plut. Gracch. 5., from which pas-
sages we learn that the first notion of
building these granaries originated
with C. Sempronius Gracchus.
5. A bonding warehouse, where
persons of all classes could deposit
their goods and chattels, whether
merchandise or personal property,
such as furniture, money, securities,
or valuables of any kind, for safe
custody. This was also a public
building, as well as the last mentioned,
and each quarter (regio) of the city
was at one period furnished with a
separate warehouse for the use of
the neighbourhood. Lamprid. Alex.
Sev. 39. Ulp. Dig. 10. 4. 5. Paul.
Dig. 34. 2. 53. Modest, ib. 32. 1. 82.
HORTA'TOR (/ceAeuo-Hjs). On
board ship, the officer who gave out
the chaunt (celeusma), which was
x x 2
340
HORTULANUS.
IIOSTIA.
sung or played to make the rowers
keep the stroke, and, as it were,
encourage them at their work (Ovid.
Met. iii. 619. Compare Virg. Mn.
v. 177. Serv. ad /.), whence the
name (solet hortator remiges hortarier,
Plaut. Merc. iv. 2. 5.). He sat on
the stern of the vessel, with a trun-
cheon in his hand, which he used
to beat the time, as represented in
the annexed engraving, from the
Vatican Virgil.
HORTULA'NUS. A nurseryman,
seedsman, or general gardener. (Ma-
crob. Sat. vii. 3. Apul. Met. iv.
p. 64. ix. p. 199.) It is also pro-
bable that the same name was used to
designate a florist, ox flower gardener,
as contradistinguished from topia-
rius, who attended to the shrubs and
evergreens, and from olitor, the kit-
chen gardener ; for we do not meet
with any other name to designate the
person who pursues this branch of
the gardener's art ; though it is clear,
from the annexed engraving, which
is copied from a fresco painting in
the palace of Titus, that flower gar-
dening was a favourite occupation in
his day; and the original design
shows many other gardening opera-
tions, besides the two of potting and
planting out, exhibited in the above
specimen.
HOR'TULUS (KIJTT/OI'). Diminu-
tive of HORTUS. Catull. 61. 92.
Juv. iii. 226.
HORTUS (Karros). A pleasure-
ground or garden; which, from the
descriptions left us, appears to have
been very similar in style and ar-
rangement to that of a modern
Italian villa. Where space permitted
it was divided into shady avenues
(gestationes) for exercise in the sedan
or palanquin (sella, lectica) ; rides for '
horse exercise (hippodromm) ; and
an open space (xystus") laid out in
flower beds bordered with box, and
interspersed with evergreens clipped
into prim forms or fanciful shapes,
with taller trees, fountains, grottoes,
statues, and ornamental works of art
distributed at fitting spots about it.
(Plin. Ep. v. 6.) This sketch of
Pliny's garden might also pass for a
faithful description of the pleasure
grounds belonging to the Villa Pam-
fili at Rome.
2. The same term also includes the
kitchen garden ; the manner of ar-
ranging which, its cultivation, and
the different kinds of vegetables
grown in it, are detailed at great
length by Columella, xi. 3.
3. Hortus pensilis. A moveable
frame for flowers, fruits, or vege-
tables placed upon wheels, so that it
could be drawn out into the sun by
day, and removed under the cover of
a glass-house at night Plin. H. N.
xix. 23. Compare Columell. xi. 3. 52.
4. Horti pensiles. In the plural,
hanging gardens; i. e. artificially
formed, in such a manner that the
beds are raised in terraces one over
the other, like steps, supported, or, as
it were, suspended, upon tiers of
vaulted masonry or brickwork, like
the seats of a theatre. Plin. H. N.
xxxvi. 20. Compare Curt. v. 1.
HOSPIT'IUM. A general term
for any place which affords to the
traveller or stranger a temporary
accommodation of board and lodging,
whether it be the house of a friend,
a public inn, or a hired lodging.
Cic. Phil xii. 9. Id. Senect. 23.
Liv. v. 28.
2. The quarter occupied by a sol-
dier who is billeted on a private in-
dividual. Suet. Tib. 37.
HOS'TIA (kpeto*'). A victim
sacrificed to the gods ; properly, as a
peace-offering to avert their wrath,
as contradistinguished from victima,
which was offered as a thanksgiving
for favours received. Victims con-
sisted mostly of domestic animals,
HUMATIO.
HYDRAULUS.
341
such as oxen, sheep, pigs, &c., and
when sacrificed to the Gods of Olym-
pus, they were slain with the head
upwards, as in the annexed example,
from the Vatican Virgil ; when of-
fered to the deities of the lower re-
gions,^ heroes, or to the dead, with
the head towards the earth. The
larger ones were first stunned by a
blow of the mallet from the hand of
the popa, as in the annexed en-
graving, from a Roman bas-relief;
the smaller ones were stuck in the
throat by the cultrarius, as shown by
the first example.
HUMA'TIO (/COTO'KIS). Strictly
speaking, interment; i. e. in a grave
dug in the earth, which was the most
ancient manner of disposing of the
body after death, and amongst the
Romans continued to be the prevalent
custom until a late period of the
republic ; but the word is also used
in a general sense for any other mode
of burial, because the practice of
throwing a small quantity of earth
upon the bones and ashes was adopted
when the general custom of inter-
ment had been relinquished. Cic.
Leg. ii. 22. Id. Tusc. i. 43. Plin.
H. N. vii. 55.
HYDRAL'ETES (^aAeVrjs). A
mill for grinding corn driven by
water instead of cattle or men ; which
appears to have been first used in
Asia (Strabo, xii. 3. 30.), and not
introduced into Italy before the time
of Julius Caesar, at the earliest, and
then only by a few private indivi-
duals. (Vitruv. x. 5. 2. Compare
Pallad. E. R. i. 42.) The earliest
mention of public water mills is about
A D. 398, under Arcadius and
Honorius (Cod. Theodos. 14, 15. 4.),
which were supplied by the aque-
ducts : and the use of floating mills
was invented by Belisarius in the
year 536, when Vitiges besieged the
city, and stopped the mills, by cutting
off the water supplied by the aque-
ducts. (Procop. Goth. i. 9.) From
the passage of Vitruvius (/. c.), we
learn that the hydraletes was very
similar in operation to the common
water-wheel (rota aquaria') ; a large
wheel furnished with float boards
(pinna), which turned it with the
current, and thus acted upon a cog-
wheel attached to its axle, by means
of which the mill-stone was driven,
as explained s. MOLA.
HYDRAU'LA and HYDRAU'-
LES (vfyauAr/s). One who sings
or recites to an accompaniment upon
the hydraulic organ. Pet. Sat. 36.
6. Suet. Nero, 54.
HYDRAU'LUS (VSpav\os or -is).
A water organ (Cic. Tusc. ui. 18.
Plin. H. N. ix. 8. Vitruv. x. 13.) ;
in which the action of water was
made to produce the same effect
upon the bellows as is now procured
by a heavy weight. The instrument
is rudely indicated by the annexed
engraving, from a contorniate coin of
the Emperor Nero ; and in the col-
lection of antiquities bequeathed to
the Vatican by Christina of Sweden,
342
HYDRIA.
HYPERTHYRUM.
there is a medal of Valentinian,
which has a representation of a similar
instrument on the reverse, accompa-
nied by two figures, one on each side,
who seem to pump the water which
works it. It has only eight pipes, is
placed upon a round pedestal, and,
like the present example, affords
no indication of keys, nor of any
person performing upon it ; whence
it has been inferred that these organs
were only played by mechanism.
HY'DRIA (fi5p/a). A water pail,
or water can for holding
clean water ; more es-
pecially used to desig-
nate such as were of
a superior description
(Cic. Verr. iii. 19.), of
bronze or silver, and
of costly workmanship,
like the annexed example, from a
Pompeian original.
2. In a more general sense, any
kind of vessel for holding water ;
whence also used for the urn filled
with water from which the names of
the tribes or centuries were drawn
put by lot, for the purpose of assign-
ing to each one its right turn in
voting; otherwise, and more spe-
cially, termed SITELLA. Cic. Verr.
iii. 51.
HYP^ETH'ROS (faatfpos). Lite-
rally, under the sky, or in the open
air ; whence applied to a temple, or
other edifice which had no roof over
the central portion of its area, so
that the interior was open to the
sky. Hypsethral structures were
generally the largest and most mag-
nificent of their kind ; indeed, the
difficulty of roofing over a very large
area may be regarded as a principal
motive for adopting the expedient.
The great temple at Psestum affords
an existing specimen of this style ;
but no instance was to be found in
Rome when Vitruvius wrote. Vi-
truv. iii. 2.
HYPJE'TRUM. A latticed win-
dow constructed over the grand en-
trance door of a temple (Vitruv. iv.
6. 1.), as in the annexed example,
which represents the door of the
Pantheon at Rome. One of the
Xanthian marbles in the British
Museum affords an example of the
same contrivance, which possesses th e
double advantage of giving grandeur
without, and admitting air within.
HYPER'THYRUM (jbvtpQvpov}.
An ornamental member, consisting
of a frieze and cornice supported
upon trusses or consoles (ancones,
parotides\ usually placed above the
HYPOCAUSIS.
IATKALIPTA.
343
lintel of a door-frame in temples and
other great buildings (Vitruv. iv. 6.
4.) ; an example of which is given in
the annexed engraving, with one of
the trusses in profile by its side, from
the temple of Hercules at Cora, con-
structed precisely as Vitruvius directs
in the passage cited ; and the pre-
ceding woodcut affords an example
of a similar ornament, but differently
designed, placed over the hypcetrum,
in the Pantheon at Rome. This
member was intended to increase the
apparent size of the doorway, in
order to preserve the level of the
horizontal line formed by the archi-
trave of the pronaos and the antae ;
whence it is directed that the top of
the cornice of the hyperthyrum
should coincide with the tops of the
capitals belonging to the columns and
antse of the pronaos. If the doorcase
itself were made thus high, the valves
would be ill-proportioned, and cum-
bersome to open.
HYPOCAU'SIS (67r<teat,<m). A
furnace with flues running under-
neath the pavement of an apartment
in a private house or set of baths, for
the purpose of increasing the tempe-
rature of the air in the chamber
above. (Vitruv. v. 10. 1. and 2.)
It is very plainly shown in the an-
nexed engraving, representing the
sectional elevation of a bath-room,
discovered in a Roman villa at
Tusculum ; the small arch on the
left shows the mouth of the furnace
(propnigeum), over which are placed
the vessels (vasaria, Vitruv. /. c. ),
containing hot and tepid water, which
it served to heat ; and, on the right,
under the floor of the room, which is
supported upon a number of low and
hollow tubes, is an offset from the
hypocausis, which warmed the cham-
ber above it.
HYPOCAUS'TUM (W/cauo-/).
A room, of which the temperature is
warmed by means of a furnace and
flues (hypocausis) directed under it,
as represented by the last engraving,
Plin. Ep. ii. 17. 11. and 23. Compare
Stat. Sylv. i. 5. 59., where the word
seems to be applied to the flues under
the chamber rather than to the cham-
ber itself.
HYPOC'RITA, or -TES (faoKpi-
rfc). An actor or performer who
plays a part upon the stage. (Suet.
Nero, 24. Compare Quint, xi. 3.
7.) The word is properly a Greek
one ; and a corresponds with the Latin
histrio.
HYPODIDAS'CALUS (faoSfid-
ovcaAos). A sub-master, or under
teacher ; at a school (Cic. Fam. ix.
18.) ; of a Greek chorus. Plat. Ion.
536. A.
HYPOGAE'UM (jbirtyaiov). (In-
script. ap. Donat. cl. 8. n. 14. ap.
Grut. 1114. 3.) Same as
HYPOGE'UM (fa6yeiov). That
part of a building which lies below
the level of the ground (Vitruv. vi.
8.) ; whence a subterranean vault in
which the Greeks buried their dead
without burning the body (Pet. Sat.
iii. 2.) ; consequently, corresponding
with the Roman CONDITORIUM.
HYPOTRACHE'LIUM (fororpa-
X^Aioi/). The uppermost part of the
shaft of a column, where it is of the
smallest diameter, immediately under
the neck of the capital. Vitruv. iii.
3. 12. Id. iv. 7. 3.
I.
IATRALIFTA, or -TES (larpa-
Aet7TT?7s). A medical man who
treated his patients upon what was
called the iatraliptic system (Jatra-
liptice, Plin. H. N. xxix. 2.) ; i. e.
344
ICIINOGRAPHIA.
IMAGINES MA JORUM.
by the external application of un-
guents and friction, combined with a
regular gymnastic regimen. Plin.
Ep. x. 4. Cels. i. 1.
ICHNOGRAPH'IA (\xvoypwpta.).
A chart, map, or ground-plan, made
in outline by architects and survey-
ors for the workmen to build by, or
as a map of reference, (Vitruv. i.
2. 2.) The annexed engraving af-
fords a specimen of Roman mapping,
from a plan of the city engraved
upon slabs of marble, originally
forming the pavement of the temple
of Romulus and Remus ; many frag-
ments of which are preserved in the
Capitol. It is supposed to have been
executed in the age of Septimius
Severus ; and when entire, afforded a
complete guide to the city, in which
every street, house, and public edifice
was laid down in its proper place,
and in sufficient detail to show its
ground-plot and architectural design,
together with the name of each in-
scribed upon it. The fragment here
introduced shows the original plan of
the portico of Octavia surrounding
the temples of Jupiter and Juno ; of
all which buildings considerable re-
mains are still standing near the pre-
sent fish market. The dotted lines
are only cracks in the marble. Other
specimens from the same plan are
presented at pp. 67. 248. and other
parts of this work, some of which
indicate the great skill with which
the ancient draughtsmen contrived to
express constructive forms by a few
simple outlines.
IGNISPIC'IUM. A branch of
the art 
