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Cornell University Library 
 
 arW9736 
 
 A dictionary of Roman and Greek antiquit 
 
 3 1924 031 428 737 
 olin,anx 
 
A 
 
 DICTIONARY 
 
 J OF 
 
 EOMAN AND/^EEBK ANTIQUITIES 
 
 ■WITH NEAELY 2000 ENGEAVINGS ON WOOD 
 
 FROM ANCIENT ORIGINALS 
 
 ILLUSTRATIVE OF THE 
 
 INDUSTRIAL AETS AND SOCIAL LIFE OF THE GEEEKS AND ROMANS 
 
 ANTHONY E,ICH, B.A. 
 
 SOMETIME OF CAIUS cWIeGE, CAMBRIDGE 
 
 FOURTH EDITION— REVISED AND IMPROVED 
 
 Segnius irritant animos demissa per aurem 
 Quam quEE sunt oculis subjecta fidelibus 
 
 HOR. A. P. 
 
 LONDON 
 LONGMANS, GREEN, & CO. 
 
 1S74 
 
PREFACE' 
 
 TO THE THIRD EDITION. 
 
 ^ ti 
 
 With the present impression this book has attained the permanent 
 form and substance that it will ever receive from myself; and, as 
 the title states that it has been revised and improved, a few 
 words may not be out of place to explain exactly what is meant by 
 that announcement, lest it should be understood as a mere conven- 
 tional formula, or as implying either more or less than is intended. 
 
 Large additions or material alterations are not to be expected. 
 But the pages have been submitted to a careful revision throughout ; 
 and such changes or improvements introduced, as a fresh perusal of 
 them after many years might suggest. If anything seemed redun- 
 dant, it has been retrenched ; if deficient, more fully set out ; if 
 matters, upon which the opinions of scholars differ, appeared to have 
 been affirmed somewhat too positively, such affirmations have been 
 modified ; if with too much hesitation, greater decision has been 
 expressed ; and, in general, if the language in which any explanation 
 or description was conveyed seemed involved or confused, it has 
 been studiously corrected in order to render it clear, precise, and free 
 from ambiguity. These alterations, small in themselves individually, 
 but not unimportant in the aggregate, have reference to the manner 
 more than the matter of the work ; but they serve to remove imper- 
 fections and give unity to the whole, hke the finishing touches put by 
 
IV PREFACE TO TEIIRD EDITION. 
 
 artists into their pictures, which improve the general effect, though 
 they do not alter any of the material parts. 
 
 The Greek synonyms and the Index to them have received some 
 considerable additions. It was not at first intended to insert any 
 Greek terms at all ; but the advisability, if not the necessity, of doing 
 so, became apparent as the work progressed, and they were introduced 
 amongst the articles as memory served, mostly while the pages were 
 going through the press. 
 
 Some few additional illustrations have been introduced from ori- 
 ginals discovered in excavations made since the previous publication, 
 or which were at that time unknown to me, or had escaped my 
 memory. Some few articles have likewise been added ; and others 
 have had more matter introduced into them, if interesting in itself ; 
 but always with extreme sobriety, so as not to destroy the original 
 design, which was to produce a large book in a small compass, 
 entitled to take its rank as an authority amongst scholars, and be a 
 safe guide to the student, whilst it would serve no less as a manual 
 of ready reference for artists, archaeologists, and all who interest them- 
 selves about the history and manners of bygone ages ; and especially 
 of those two great and gifted families of the human race to whom 
 our modern civihzation is so largely indebted. 
 
 How far that object has been accomplished is not for me to decide. 
 But as the volume has been translated into the three principal lan- 
 guages of Europe,— French, Italian, and German,— without any con- 
 cert with myself, and therefore presumably because it supplied a want 
 previously experienced, it may be permitted me to indulge a behef 
 that the time and trouble expended upon it has not been altoo-ether 
 bestowed in vain. 
 
 A. R. 
 
 Heene, January 1873. 
 
DICTIONARY 
 
 ROMAN AND GREEK ANTIQUITIES. 
 
 ABAC'ULUS(<i/3aWcr/co!). 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. [Plm.B'.N'. 
 xxxvi. 67. Moscliusa/. Athen. v. 41.) 
 
 The illustration represents part of the 
 a"."iCient mosaic pavement in the church 
 of ^. Croce in Gerusalemme, at Rome. 
 
 AB'ACUS (&§a^). 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. 
 
 I. A tablet employed in making 
 arithmetical calculations, on the plan 
 
 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 
 byVelser. (Histoj: 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. Sal. 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 hiiius 
 duodecim scripto- 
 rum, or the game 
 of the twelve lines. 
 Caryst. ap. Athen. 
 A. 46. 
 
 The illustration is copied from an 
 A 
 
 ^ 
 
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 
 backgammon 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, nins down the 
 centre, but has been omitted for con- 
 venience in the woodcut ; the mean- 
 ing of it, according to the translation 
 of Salmasius, is as follows : — "In 
 playing thus at the throws of the dice, 
 Jesus 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 
 Christie {A nciefz^ Greek Games, p. 42.), 
 in which a game of this description 
 is described in detail. 
 
 3. Also the play-board used in 
 another ancient game of skill, — the 
 ludus iatrunculorum, — having a closer 
 resemblance to our chess and draught 
 boards. (Macrob. &/. i. 5.) Although 
 games of this description were of very 
 great antiquity, and are represented 
 
 both by the Egyptian and Greek ar- 
 tists, 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 L.\TRUNCULARIA. 
 
 4. A "side-board" for setting out 
 the plate, drinking vessels, and table 
 utensils in tire triclinium, or dining- 
 room. {Cic. Verr/vi. 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 
 tAvo 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 per- 
 forated 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 mostnatural interpretation of 
 the multiplices cavernce (Sidon. ApoU. 
 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 caverna 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. I.) 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. N. 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 
 Callus, p. 23. n. II. Transl., is clearly 
 mistaken in refemng 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. I. II. 
 
 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 oth.er 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 
 capital. These varieties are fully 
 
 explained 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 1 740 
 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 
 improved and embellished until it 
 eventuated in the most perfect of all 
 structures, the Greek Doric temple. 
 There is no base, nor plinth ; the 
 columns are fluted ; the capital con- 
 sists of a mere abacus ; a single beam 
 or architrave forms the entablature, 
 and supports a sort of sculptural cor- 
 nice, intended to imitate a thatching 
 of reeds ; and as there is no frieze 
 (zophorus) between it and the archi- 
 trave, we may infer that it is illustrative 
 of a period when buildings were merely 
 covered by an outer roof (tectum) 
 without any sofiit or ceiling [cerium), 
 for the beams which formed the 
 ceiling or under roof were shovrai ex- 
 ternally by the member subsequently 
 termed a frieze. [ZoPHORUS.] 
 
 ABOLLA. A cloak or mantle made 
 of cloth doubled (Serv. ad Virg. yEn. 
 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 
 
ABS/S. 
 
 ACATrUM. 
 
 or foreign invasion (Varro, ap. Non. j'. 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. 75. Suet. Cal. 
 35.) It does not differ 
 very materially from 
 the sagiim ; but was 
 made of finer material, 
 and somewhat smaller 
 dimensions, whence 
 Martial recommends 
 persons addicted to 
 thieving not to wear an aholla, be- 
 cause it was not large enough to 
 conceal the stolen articles beneath 
 it. Mart. Ep. viii. 48. 
 
 2. Abolla piajor. The large wrap- 
 ping blanket of the Greek philoso- 
 phers, more especially 
 of those who affected 
 austerity in manners 
 and dress, the Cynics 
 (Mart. Ep. iv. 53.) and 
 Stoics (Juv. Sat. iii. 
 115.), where the ex- 
 pression facimts ina- 
 joris abolliE^ means a 
 crime committed by 
 one who is clothed in 
 the garb of those sects ; 
 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." (Plin. 
 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 
 Emperor Hadrian. Compare also the 
 illustration to Adytum, where the 
 ground-plan of a similar member is 
 seen. 
 
 ACAPNA, sc. Ligna (S.Kairi'a, poet. 
 davd, KdyKava). A word adopted from 
 the (ireek 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 bums 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, Ii. R. 130. Plin. H. N. xv. 
 8.) : 3d. by hardening and scorching 
 it over the fire until it lost the greater 
 part of its moisture, without being 
 entirely reduced to charcoal ; this last 
 was also designated by a special name, 
 Cocta or Coctilia. Mart. E,p. xiii. 15. 
 
 2. Acapnon ind. 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 (AKinov). 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 stem rounded 
 
ACATIUM. 
 
 AC CENSUS. 
 
 and bent inwards {iiiAexa, Plin. //. N. 
 ix. 49.), a very common form in the 
 marine of tlie 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 vjford 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 mainsail, which would be 
 handier for working and better for 
 sailing in fair weather than the 6rdi- 
 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 (rd /ityaXa 
 icrri'a), and consequently the heavy 
 masts to which they belonged, and 
 
 fitted the ships with masts and sails 
 (dKarioif), 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, prae- 
 tors, and governors of provinces. 
 (Varro, Z. Z. vii. 58. Liv. iii. 33.) 
 He was generally the freedman of 
 the person whom he served (Cic. 
 ad Q. Fr. i. i. 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. /. c. 7.), and to pro- 
 claim the hour at ' sunrise, mid-day, 
 and sunset. Plin. H. N. vii. 60. 
 
 2. The mihtary 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 arina- 
 iura, 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 
 
 {pugnisetlapidlbusdepugnabant,N2ccxa 
 ap. Non. s. Decm-iones, p. 520. Mer- 
 cer), precisely as shown in the annexed 
 
6 ACCINCTUS. 
 
 figure, which is copied from the 
 Colamn 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 Roiarii, 
 from whence they could be advanced 
 to assist in desultory attacks as occa- 
 sion required. Liv. viii. 8. and lo. 
 
 ACCINCTU.S. In a general sense, 
 girded, equipped, or provided with 
 anything. IJut the word is more 
 especially applied to the military, and 
 then impUes 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, 7niles iton ac- 
 cinchis, means a soldier without his 
 sword, or, as we should say, without 
 his ^^ side-arms" which, under a lax 
 sy-;tem 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 
 Column of Trajan. Under a strict 
 system, this was not allowed ; the 
 shield and helmet only were laid aside, 
 but the soldier was always accinctits, 
 or had his sword on. Tac. Ann. xi. 
 1 8. 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 
 
 ACCUBO. 
 
 seen in the two next illustrations. 
 Valerian, ap. Trebell. Claud. 14. 
 
 ACCUBITTO (raroKXiffic). The 
 act of reclining 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 
 
 J5 =0 
 
 acculio, accumbo, accubitus, in their 
 strict sense refer to the act of a single 
 person, it is but reasonable to con- 
 clude that the accttbitiim 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 Atitichi, 
 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. 
 
 ACCUBO (fcaraKft/iai, KaraKK'i- 
 I'O/iai). To recline at table, an attitude 
 
ACCUMBO. 
 
 ACERSECOMES. 
 
 meals, instead of our habit of sitting. 
 Tlie 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 
 explained under the word Lectijs 
 Tricliniaris. 
 
 During the later periods of Roman 
 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 (crena fei-alis). The 
 same practice was also observed by 
 the Romans, before the corruption 
 of manners incident tfpon 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 dis- 
 
 tinguished from Discumbo, which has 
 reference to several persons or the 
 whole company. But these distinc- 
 tions are not always observed. 
 
 ACERRA (Xt/Savwrpif). A small 
 square box with a lid to it (area tu- 
 ralis. Serv. 
 ad Virg. ^n. 
 V. 745.), in 
 which the 
 incense used 
 at a sacrifice 
 was contain- 
 ed. {Acerra 
 iuris ctistos. 
 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 
 implements 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 turicrema, 
 and compare Cic. Leg. ii. 24. 
 
 ACERSECOMES (riefpirfKo^ijc). 
 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. 
 
 ACLIS. 
 
 by the «W/«c^ Romans, 
 among whom it w<as 
 only adopted for young 
 slaves who waited at 
 table, an instance of 
 which is given in PlN- 
 CERNA; or for the boys 
 {Camiili) who acted as 
 attendants upon the 
 priesthood at tlie altar, 
 as in the illustration an- 
 nexed, which is copied 
 from the Vatican Virgil, 
 and represents one of 
 these attendants. 
 
 ACETAB'ULUM (o^vfia^ov). A 
 vinegar cruet, or rather cup, which 
 the ancients used to '^^ 
 place upon their tables A' 
 at dinner, to dip their 
 bread in. (Isidor. Orig. 
 XX. 4. 12. Apic. viii. 7. 
 Ulp. Dii^' 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 6'^v^atpov is inscribed un- 
 derneath it. Panofka, Recherches sur 
 les vh'itables Nojns des Vases Grecs. 
 
 2. The cup used by jugglers of the 
 class now called "thimble-riggers," 
 joueiirs 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 
 m the same way as now (Alciphron, 
 Ep. iii. 20., where the process is 
 circumstantially detailed). The 
 " thimble-rigger " was called >|/77^o- 
 KXtTTTTjQ or yprjtpoTTatKTTic by the Greeks 
 (Athen. i. 34. Suidas.) ; the Romans 
 have left no specific name, except the 
 common one for all jugglers, pnss- 
 tigiator. Seneca, /. c. 
 
 3. 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. 
 
 ACI'NACES (dKivdKiic). 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. 
 riorus, iv. II. 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 
 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 Brac^ ; 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 (hal- 
 teus) on the left. 
 
 ACIS'CULUS. A small " piek;' 
 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. 
 
 ACLIS or ACLYS. A massive 
 weapon used by the Osci, and some 
 foreign nations, but not by the Greeks 
 or Romans (Virg. ^"«. 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 
 
ACRA TOPHOR UM. 
 
 ACTUARIUS. 
 
 mixed to- 
 copied 
 
 it might be recovered again after it 
 had been launched (Serv. ad Virg. 
 I.e.) ; but it was only known to Servius 
 by tradition, having fallen into disuse 
 long before his time. 
 
 ACRATOPH'ORUM (i.Kpa.ra- 
 <t>f>pov). Properly a Greek term, but 
 familiarized in the Latin language 
 as early as the time of Varro (Varro, 
 R. R. i. 8. 5. Cic. Fin. iii. 4. ), and 
 employed to designate the vessel in 
 which pure or unmixed wine was 
 placed upon the table. (Pollux, vi. 
 99.) It was, therefore, in some 
 measure, an oppo- 
 site to the Crater, 
 a larger vessel, 
 used for a similar 
 purpose, but con- 
 taining wine and water 
 gether. The illustration 
 from a marble vase (Buonarotti, Vast 
 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 suffi- 
 cient 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 inter- 
 pretation seems to be, 
 the low square plinth 
 commonly seen vmder 
 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 Vatican Virgil. 
 This acropodium formed a component 
 part of the statue itself; but it also 
 served as a sort of upper basement or 
 
 podium (&Kpov ttoSioi') for the figure to 
 rest on, when it was placed in an ele- 
 vated position, or upon a regular base 
 constructed for the purpose, as in the 
 illustration. 
 
 ACROTE'RIA {aKpoT-fipia). 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'RIOLUIVL Diminutive of 
 ACTUARIUS. A small vessel, or open 
 iboat, 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. Kaves aeluariee, 
 or simply Actuaria. A large class of 
 open vessels worked by sweeps and 
 
 sails, in contradistinction to the mer- 
 chantmen, or sailing vessels {onerariee). 
 
lO 
 
 AC us. 
 
 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 (Li v. xxv. 30.), for 
 keeping a look-out, and by pirates 
 (Sallust. Fragm. ap. Non. /. c], and 
 were never fitted with less than 
 eighteen oars. (Scheffer, Mil. Nav. 
 ii. 2.) The illustration is from the 
 Vatican Virgil. 
 
 2, Ac/iiani. .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. lo. 17. 
 Aurel. Vict. p. 293. 
 
 ACU.S (aK^crrpa, §e\bvr)^ pa(pis). 
 Seems to have designated in the 
 Latin language both a/m for fasten- 
 ing, and a needle for sewing ; as the 
 specific senses in 
 which the word is 
 applied 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 j)ass 
 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. 
 
 I. Mart. Ep. ii. 66. Id. xiv. 24. Apul. 
 Met. viii. p. l6l. Varior.) The illus- 
 tration is taken from the fragment 
 of a statue in the Ducal Gallery at 
 Florence, which shows the mode of 
 , wearing these hair-pins ; but a great 
 variety of originals have been dis- 
 covered at Pompeii and elsewhere, of 
 different materials and fancy designs, 
 which are engraved in the Museo 
 Borbonico (ix. 15.), and in Guasco 
 (Delle Ortuiti-ici. 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. 
 Trebell. 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 aeu stupas Inmiore 
 carentes. Virg. Moret. 11. 
 
 5. A dibble for planting vines. 
 Pallad. i. 43. 2. 
 
 6. A surgeon's probe (Fumaletti, 
 s. V.) ; but he does not quote any 
 ancient authority, and the proper term 
 for that instrument was specillum 
 
 ADMISSA'RIUS, sc. equus (dm- 
 /SctTijs). 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. I. Columell. vi. 27. 3. 
 
 2. Also used of other animals, as 
 
A DOR A no. 
 
 ADYTUM. 
 
 of asses. Varro, Ji. R. ii. 8. 3. Pal- 
 lad, iv. 14. 2. 
 
 ADORA'TIO {wpoaKiiniiTts, Soph. 
 Electr. 1374). The act of adoration, 
 a mark of reverence exhibited by 
 passers-by to any person or object 
 towards which they wished to show 
 extreme 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 
 Gorlasus (Dactylioihec. p. ii. No. 63.). 
 ADULA'TIO {TrpoffKvyrjcris, 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. K//<?//. 
 
 2. Curt. viii. 5. ), as represented in the 
 annexed gem (Gorlsus, Dactyliotliec. 
 "■ 396.), in which a worshipper is 
 performing adulation to the god Anu- 
 bis. The Latin poets also designated 
 this act by such expressions as pro- 
 cumbere (Tibull. i. 2. 85.), or pronus 
 adorare (Juv. Sat. vi. 48.). 
 
 ADVERSA'RIA, so. 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. p-o 
 Rose. Com. 2. 
 
 AD'YTU-M (fiSuTOp). A private or 
 secret chamber in a temple, from 
 which every person but the officiating 
 priests were strictly excluded. (Cks. 
 B. C. iii. 105. Virg. ^n. vi. 98.) 
 That the adytum was distinct from 
 the cclla, 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 penetrate remoiiFatidicitm — 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 aimexed 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 
 
ADVrUM. 
 
 MDITUUS. 
 
 site of which the church of S. Niccola 
 in Carcere now stands. It is copied 
 from the work of Labacco, who sur- 
 ve3-ed it in tlie i6th century, Libra 
 delf Arckilettiij-a, Roma, 1558. 
 
 Apartments of this description were 
 constructed for the purpose of enabling 
 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 country 
 of the Marsi, now Alba, on the Lake 
 of Fucino, aiTord ample confirmation 
 that the illustration introduced 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 chamljer is not 
 placed behind the absis, but is con- 
 structed 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. 
 
 ^EDES [Do.MUS, Templum.] 
 
 ^DIC'ULA. A shrine, taber- 
 nacle, or canopy, with a frontispiece 
 supported by columns, constructed 
 witfiin the cella of a 
 temple, and under 
 which the statue of 
 the divinity was placed 
 — quadrigce inaiiratj; 
 ill CapiioUo posit(B in 
 cella Jovis supra fas- 
 tigiuni (Ediculct. (Liv. 
 XXXV. 41.) The illustration repre- 
 sents the statue of Jupiter under « 
 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, 
 .^lia 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 inajorum), 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 
 Museum, and represents an a:dicnla, 
 in which the bust of Protesilaus is 
 deposited. Compare Ovid. Her. xiii. 
 150-158. 
 
 ^DIT'UUS, ^DITTISIUS, or 
 ^DIT'UMUS (rao^ta.af, lepofi\a^, 
 peuK6pos). A sacristan, or guardian, to 
 whose surveillance the care of a temple 
 was committed. (Varro. Z. Z. viii. 
 12. Gell. xii. 10.) He kept the keys. 
 
^GIS. 
 
 13 
 
 opened it at the appointed hottrs fLiv. 
 XXX. 17.). attended to the sweeping 
 and clear.ir.g lEurip. 
 Ion. S0-150. 1, and 
 acted as a guide to 
 strarigen by ex- 
 plaining the rarities 
 and works of art 
 it contained. Plin. 
 xxx^-i 4. § 10. The 
 appciintmenE was an 
 lionourable onei Sen-, 
 ar/ Virg. ^n. ix. 
 64S. ), for it was a 
 place of trust and re- 
 sponsibility ; as nay 
 also be inferred from the =:yie and 
 dress of the figure annexed, which 
 affords a rare example of the Greek 
 KiUuu:, from a ba=-reKef at Dres- 
 den, -.vho^ office is indicated by the 
 broom of laurel leaves, which was 
 used for s-.veeping the temple at 
 DeiphL Eurip. Ion. II. cc. 
 
 yEGIS •o.l-/.^>. In its primary 
 sense a goat^s skin, which the primi- 
 tive inhabitants of Greece used, as 
 well as the skins of other animals, as 
 an article of clothiing and defence. 
 This would be riaturally 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. iVis.onti, 
 Mu:. Pio. Clem, il tav. 21.) It thus 
 farmed the original type of the Kgis, 
 
 as worn by Jupiter and Minerva, 
 which was made out of the goat 
 
 
 J:'^-:- 
 
 Amalthea, which suck'ed T---.ter in 
 his infariC}', Hygin. ^--/ra?2. ;i. 13. 
 
 The iiiustration exhibits a figure 
 of Minen^a on a f.ctile lamp 'but 
 imitated frora a ver.' ancient f.-t;e , 
 wearing the segis a; described above, 
 which covers the breast, and fai'.s down 
 behind the back as low as the knees. 
 The snakes of the Gorgon's head 
 placed upon it, form a fr.nge round 
 the edges in the same manner as 
 Homer '//, ii 44S. 1 dscribes the 
 tasstls on the Eegis of Jove. 
 
 2. -A^ such a mantle formed a 
 cumbrous appendage to a statue in 
 the ideal style of Greek sruipture, 
 it was trans.''omied by the ar.ist-s 
 
 ! of that count r.' 
 into a small and 
 elegantly formed 
 
 ■ breast- plate, co- 
 
 I vered v.dth s cales. to 
 
 I imitate armour, and 
 
 i decorated with the ' 
 
 I Gorgon's head in 
 the centre, as in the -_ , ^^.^ _ 
 figure of Minen-a J f M '^ 
 
 here given, also 
 from a fictile lannp. Erom this the 
 v.-ord ^'^: v.as subsecuentiy used to 
 designate ifu breast-plate of a diz-:nity, 
 but more especially of Jupiter and 
 
 I Minerva, as contradistinguisi'ied from 
 
 ' Loriea, the brea:t-plate of mortals. 
 
 I Ovid. M-:t. vL 79. Id. ii. 755. .Ser.-. 
 ad Virg. ALn. viiL 435. 
 
 3. At a still later period the same 
 v.ord was used 
 
 I to designate the 
 ordinary cnirass 
 
 '' 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. 
 viL I . ), which 
 they adopted amongst its other orna- 
 ments in token of the divine cha- 
 
14 
 
 ^NEA TOR. 
 
 MRO. 
 
 racter and authority they assumed, 
 as in the example, from a statue at 
 Rome. 
 
 4. The translation of jegis, a shield, 
 conveys an idea quite remote from 
 the original and true meaning of 
 the word ; for almost every figure in 
 the worlcs 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 CuPEATUS Chla- 
 myde), and as represented by the 
 figure annexed, which is copied from 
 
 1^ 
 
 a very ancient statue of Minerva in 
 the Royal Museum at Naples. 
 
 ^NEA'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, 
 Cornicines, and Tubicines. Suet. Jul. 
 32. Aram. Marc. xxiv. 4. 22. 
 
 ^OLIP'IL^, or ^OLIP'YL/E. 
 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. 
 
 ^QUIP0N'DIUM((r7}Ka)/ia). The 
 equipoise or moveable weight 
 attached to a steel - yard 
 (statera), and balajice {libra, 
 Vitruv. x. 3, 4.). A great 
 many of these have been 
 found at Pompeii and else- 
 where, mostly made of 
 bronze, and of some fanci- 
 ful device, such as the ex- 
 ample produced, which is 
 taken from a Pompeian ori- 
 ginal. 
 
 ^RA'RIUM. T]xe public treasury 
 of the Roman state, as distinguished 
 from the exchequer, or private trea- 
 sury of the emperors (fiscus) ; 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. ^K?;. iii. 51. Liv. iii. 69.) 
 During the republic the temple of 
 Saturn 'Has used as the treasury. 
 
 2. yErarium sanctius. A private 
 department of the same, in whicn 
 
 i were kept the monies and treasures 
 acquired by foreign conquest, and the 
 fees paid by slaves for their manu- 
 mission (auruiii vicesimarium), and 
 which was never opened but upon 
 great emergencies. Liv. xxvii. 10. 
 Compare Quint, x. 3.3. 
 
 3. ALrarium militare. The army 
 pay-office, a separate treasury estab- 
 lished by Augustus to provide for 
 the expenses of the army, for which 
 purpose some new taxes were im- 
 posed. Suet. Octav. 49. 
 
 ^RO. 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 which '-— - - 
 
 the annexed illustration is taken. 
 
 The word, however, is only a coUo- 
 
yERUCA. 
 
 AGGER. 
 
 qtiial term employed by the common 
 people, or in familiar language. Do- 
 r.at, ap. Terent Phorm. L 2. 72. 
 
 yER-U'CA. A bright green colour 
 artificially made to imitate the natural 
 verdi;jris (arugo) which bronze ac- 
 quires by age. Vitruv. vii. 12. Com- 
 pere Plin, /i. N. xxxiv. 26., who de- 
 scribes the different proceises for 
 making this colour, but which he 
 terms csrugo. 
 
 ^RU'GO (Uj% xo^ko"). The 
 bright gieen rust which bronze ac- 
 quires from age, as distinguis?ied from 
 the bro\vn ruit of iron ijirrugo, ru- 
 bigo, 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. Staria delle Arti, vii. 2. 10. 
 
 ^RUSCA'TOR {xo.\Ko\ir,oi). A 
 charlatan or begging impostor ; liter- 
 ally one who collects small pieces of 
 money (cera, x"-^"^-, TheophrasL 
 Char. vL) by imposing upon the 
 credulity of others. AuL Gell. xiv. 
 1.2. Comp. ix. 2. 2. 
 
 yE.S 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 
 
 implements, from an ancient painting 
 representing a set of baths, and -.vhicii 
 are there iu=pended at the windows. 
 Blanchini. In:trunient. JIu:. J'et. tav. 
 vii. Xo. 8. 
 
 A'jA'SO iiTnroKouxjSi. A slave at- 
 tached to the stables, who dressed the 
 horses, led them out, and he.d them 
 till his master mounted ; a groom, 
 ostler, or stable boy iLiv. vliii 5. 
 
 Mart. 
 
 water for the baths was ready. 
 Ef. xiv. 163. 
 The illustration shows two of these 
 
 I Plin. H. N. XXXV. 40. § 29.), as seen in 
 
 ! the example from the Vatican Virgil. 
 
 2. Sometimes also applied to those 
 
 I who have the charge of other animals, 
 
 such as donkeys (ApuL .1/e/. vi. p. 
 
 j 121., Varior.), and in a more general 
 
 I sense transferred to any of the lower 
 
 j class of slaves. Hor. Sat. ii. 8, 72. 
 
 I AGATHOD^MOX (dYtiSoSai- 
 
 luisv). The Greek name for a good 
 
 spirit or guardian angel, for which the 
 
 Latin term is Genius, q. v. Lamprid. 
 
 Elagab. 28. Inscript af. Visconti, 
 
 Mies. Pio. Clem. tom. i. p. 153. 
 
 AGE'A. The passage or gangway 
 by which the boatswain {hortator) ap- 
 proached the rowers (Isidor. Orig. xix. 
 ! 2. 4. Ennius, ap. Isidor. I. c.) ; also 
 termed aditus in less technical lan- 
 ■ guage. Ovid. Met. iiL 623. 
 
 AGGER (xii/to). Generally any 
 thing which is thrown together — 
 I qiwd adgeritur — to fill up a void, or 
 I raise a moimd, whether of earth, 
 wood, or rubbish, from whence the 
 following more special senses are 
 derived. 
 
 I. An artificial mormd 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 
 
i6 
 
 AGGER. 
 
 commonly a large embankment of 
 earth, surmounted on the top by 
 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 
 bnishwood, &c., as in the illustration 
 
 from (he 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 viaisct on 
 fire. Cees. Bell. Civ. ii. 14. 
 
 2. Agger vnirorum. (Virg. ^«. 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 {torviejita belliea) 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 promottis ad 
 urbeni, 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..<^?;. 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. /. 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. 
 Itnier. 39. 
 
 6. An artificial embankment or 
 
 dyke upon the sides of a river to pro- 
 tect the country from inundations 
 
AGINA. 
 
 AGITA TRIX. 
 
 (Virg. j^n. iL 496.), and also a mar- 
 gin of masonry, forming the quay of 
 a port, to which the vessels were inade 
 fast (Ovid. Met. xv. 690. Id. Trist. 
 iii. 9. 13.) The illustration repre- 
 sents a dyke of rough stones formed 
 at the confluence of two rivers from 
 the Column of Trajan. 
 
 AGIOTA. 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- 
 
 vwg.i,\.) Both the a^'«a 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. 
 
 I. Agitator aselli {iirrika.T-q'i) . A 
 donkey boy, or donkey driver. (Virg. 
 
 Georg. i. 273.) From a fictile lamp 
 formerly in the possession of Fpbretti. 
 {Col. Tr. Addend, p. ult.) 
 
 2, Agitator eguorum (^I'oxos). A 
 coachman, or charioteer, who drove | 
 
 another person in a carriage, whether 
 a chariot of war or not (Virg. ^n. 
 ii. 476.) The illustration is from a. 
 
 If. 
 
 m 
 
 terra colta, representing Paris carrjin^' 
 away Helen. Wink. Mon. Ined. 1 1 7. 
 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. (Plant. Men. i. 2. 50. 
 
 Suet. A^ero, 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- 
 
AGMINALIS. 
 
 AHENUM. 
 
 varum agitatrix, a huntress^ who beats 
 up the woods and covers (Aniob. iv. 
 p. 141), particularly apphed to Diana 
 (he 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. cquus. 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. J-. 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 (dyui/oehris). 
 The president at the public games in 
 
 Greece, always a person of distino 
 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. n. 8.) A 
 body formed into a college by the 
 Roman emperors, andpaidbythe state. 
 
 AHE'NUM. (xaX/ceiop). Properly 
 a copper or boiler for heating water, 
 which was suspended 
 over the fire, in 
 contradistinction to 
 the saucepan {caca- 
 bus) for boiling meat 
 or vegetables, and 
 which was placed 
 upon it (Paul. Dig. 
 33. 7. 1 8. Serv. ad 
 Virg. AL7t. 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. (to xaAKeia. Theophr. Char, ix.) 
 The coppers which contained the water 
 for supplying a bath. (Vitruv. v. lO. I.) 
 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- i-^r^mmr^ 
 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 (tepidariuni), 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 {frigidarium) 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 of 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. ^n. 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 aiforded 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 restora- 
 tion of the atrium of the house of 
 Sallust at Pompeii, and in which the 
 entrance to the alK 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 Pffistum 
 affords an existing specimen ; see 
 also the illustration to Basilica), 
 these side aisles appear to be termed 
 Ales by Vitruvius (iv. 7. 2.) ; and, 
 in consequence, Professor Becker 
 [Callus, p. 107. Transl.) wishes to 
 establish that the aim of 'itfiVate 
 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 cavcedium 
 from the atriiun, — 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 
 cavEedium, and the peristyle beyond ; 
 all which, though plausible enough 
 in theory, receives no corroboration 
 from any thing yet brought to light ; 
 and, therefore, in the absence of posi- 
 tive authority, the interpretation given 
 under No. 2. seems most entitled 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. Also applied to a body of cavalry 
 containing 300 men and upwards, 
 whether Roman troops or furnished 
 by the allies, which were posted upon 
 
20 ALABASTER. 
 
 each flank of tlie legions. Cincius ap. 
 Gell. xvi. 4. 4. 
 
 ALABASTER or ALABAS- 
 TRUM (d\dj3acrT/9os and 
 small vase for holding oint- 
 ments of a choice de- 
 scription (Cic. Fragm. ap. 
 Non. J-. V. p. 545. Mercer. 
 Pet. Sat. Ix. 3.) ; mostly 
 made out of an onyx stone 
 (Plin. 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 rosebud, 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, Myriothcc. i. 47. 
 
 ALA'RII. The troops stationed 
 on the wings of a Roman army, 
 including both the infantry and 
 cavalry, which were 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. Fai}i. 
 ii. 17. Ca;s. B. G. i. 51.) Bodies of 
 such troops are represented in several 
 battles on the Column of Trajan, as 
 of the German auxiliaries, and Sar- 
 matian cavalry, &c., each in the 
 costume of their respective countries. 
 
 ALBA'RIU.M or OPUS ALB 
 (Kovia./j.a). 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. JT. iV. xxxvi. 55. ib. 59. 
 
 ALBA'RtUS {KoviaT-fis). A plas- 
 terer, whose trade it was to cover the 
 walls with cement, and make onia- 
 mental cornices, friezes, and reliefs 
 in stucco. Inscript. ap. Grater. 642. 
 II. Compare Plin. //". JV. xxxvi. 59. 
 
 ALBA'TUS. Clothed in white. 
 Thus iu the Circensian games, auriga 
 
 ALEXANDRINVM OPUS. 
 
 albatiis (Plin. H. N. viii. 65.), a driver 
 who wore the white colour, or be- 
 longed to the white company (factio 
 albata). 
 
 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 o. 
 spike of olive 
 wood projecting 
 from the top, pre- 
 cisely as seen in 
 the illustration taken from a medal 
 strack in honour of Marcus Anto- 
 ninus. Festus. J. V. Varro. ap. Gell. 
 
 X. 15. 4- ^ , 
 
 ALBUM (KevKuiia). 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 
 
 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. Sal- 
 ient. 1. i. t. 14. Seneca. £p. 48. Cic. 
 Orat. ii. 12.) The illustration is a 
 facsimile, upon a reduced scale, of ati 
 albiini 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 MARCUII . cerrinium . vatl\m . 
 AEDILEM . ORAT . UT . FAVEAT . 
 SCRIBA . ISSUS . DIGNUS . EST., i.e., 
 Issus, the scribe, solicits the patron- 
 age of M. Cerrinius Vatia, the sedile ; 
 he is a fit person. 
 
 ALEXANDRI'NUM OPUS. A 
 particular kind of mosaic work, 
 
ALICULA. 
 
 ALIPTES. 
 
 e=pecia'!y 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 tv.o 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. Al:x. 
 .'iev. 25.) The words of Lampridius 
 seem to imply that this description of 
 mosaic was first introduced by Seve- 
 
 ^ 
 
 i LT 
 
 
 -1 r 
 
 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 LacedEemonian marble. 
 
 ALICULA. A short cloak or 
 mantle resembling the chlamys in 
 form, but of smaller dimensions, 
 fastened by a brooch in front, and 
 
 'Pet. Sat. xl. 5.), ar.d ly young 
 persons (Ulp. Di~. 34. 2. 24. 1. I: is 
 often seen in v.orks of ai-.cier.t art, 
 like the example, which is from a 
 painting at Pompeii, in all of v.htch 
 the cesigr.ation is clearly ey.pla-.r.ei 
 by the resemblance it bears to a pair 
 of little ii-in^s, as the wind or motions 
 of the wearer raise it floating from 
 his shoulders. 
 
 A'LIPES' rrfpo-ovs;. Having v. iri~s 
 on the feet, an epithet e=peciaily given 
 
 <?3l: 
 
 worn by persons of humble means 
 (Mart. Ep. xii. 82.), by sportsmen 
 
 to the god Mercury, as in the ex- 
 ample from a terra cotta lamp. Ovid. 
 Fa:t. V. 100. Id. Met. iv. 753. 
 
 ALIPlLUS()rap(iTiXTpM)s . .\ 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, Ef. 56. Compare Juv. Sat. 
 xi. 157. Cratin. 'V.p. 2. 
 
 ALIPTES or ALIPTA {i\dTn-ri%). 
 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 ru'j 
 the bodies of the Athlete 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 
 (AristoL Eth. X. 2. 6. 7. Pindar, 
 Olymp. viiL 54-71.); and also to 
 give them advice respecting their 
 
ALLIGATI. 
 
 ALT ARE. 
 
 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. i. 
 2. A slave attached to the baths, 
 for whom the genuine Latin term is 
 tinctor, whose business it was to rub the 
 bather dry, scrape off the perspiration 
 with the strigil, and then anoint the 
 body with ungnents. (Seneca, .£/. 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 Bella 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 ; T/p) 
 i.e., the two to- .dssi'r 
 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 
 
 {TranquiU. i. 10.), alligati sunt qui al- 
 ligaverunl. (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 {suggestitm), 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 alta ara], * 
 which was dedicated only to the gods 
 above (Serv. ad Virg. £cl. v. 66. 
 Festus, s. v.), whilst the yira 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, Gemvie, 
 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 
 
ALTARIUM. 
 
 ALVEOLUS. 
 
 ones, and which seem to illustrate 
 such a passage as inter aras et altaria 
 
 (Plin. PanegA.t^. Compare YVia.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 satisfactory ; for in the 
 passage of Quintilian (Declam. xii. 
 26.), arts altaria inifona-e, the read- 
 ing is doubtful ; and that of Justin 
 (xxiv. 2.), sumptis in manus altaribus, 
 will bear a very different interpre- 
 tation. 
 
 ALTA'RIUM, i. q. Altare. Sulp. 
 Sev. i. 19. 
 
 ALTICINCTUS (i^ltoims). 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. S- u-) 
 
 The example is copied from the Vati- 
 can Virgil. 
 
 ALU'TA. Leather dressed with 
 alum (almnen) 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 {ajiTivoi, ci/n/SXcs). A 
 beehive, in which the bees make their 
 combs and deposit their 
 honey. (Columell. ix. 
 II. I.) Amongst the 
 ancients these were 
 sometimes made of 
 metal, of which an 
 example is introduced 
 {s. fori) 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 
 (y»-?(/a) sewed together; and the next 
 best of basket-work (Columell. ix. 
 6. I. Virg. Georg. iv. 33.), as in the 
 example, which is taken from a, 
 Roman bas-relief, in which it is intro- 
 duced as an emblem accompanying 
 the figure of Hope. Montfauc. Antiq, 
 Expl. i. 204. 
 
 ALVEA'RIUM {afniviiv). 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 shtUtle, 
 which was used for conveying the 
 threads of the woof {subtemen) through 
 the warp {stamen). (Hieron. Ep. 
 130. ad Demetr. «. 15. ad torquenda 
 subtemina in alveolis fusa vclvantur.) 
 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 scoped into the 
 
 shape of a boat, with a cavity in the 
 
24 
 
 ALVEUS. 
 
 centre, into which the pin of the bobbin 
 was inserted ; precisely Ulce the figure 
 here introduced, which represents a 
 common kind of shuttle used in some 
 parts of this and other countries, but 
 which corresponds so exactly 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 volvantur) and deliver oat the 
 thread. 
 
 A L' VE U S . From rtA'KJ, 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 ^^gg 
 
 for holding liquids or (^ 
 
 any other articles ; 
 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 
 singletree. (Veil. ii. 107.) The ex- 
 ample 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 resembles in every respect the 
 canoes represented on medals which 
 commemorate 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. iii. 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 
 duodecirft scriftorum, in which, as in 
 our backgammon, the move was 
 decided by a throw of the dice. The 
 alveus, therefore, must have resembled 
 in some respects our backgammon 
 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 
 latter 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 
 original 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 con- 
 tained the Labruni (Vitniv. v. 10. 4. 
 Marquez, Case degli Antichi Romani, 
 
 § 317.), and furnished with a step 
 at the bottom, which formed a seat 
 for the bather when he descended into 
 it. (Auctox. 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- 
 
ALVVS. 
 
 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, /;, 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. //. N. vii. 
 13.) [Alveare.] 
 
 AI>VUS, i. q. Alveare. Varro, 
 Columell. Plin. 
 
 AMANUENSIS (moypa.<p€m). A 
 slave or a freedman employed as a 
 secretary or amanuensis, to write 
 letters which his principal dictated 
 aloud. Suet. Tit. 3, 
 
 AMA'ZON ('A/iafcjf). An Amazon, 
 a female warrior of Scythian race, 
 whose armour consisted of a helmet, 
 a shield of peculiar form call«d /<?//«, 
 a bow and arrows, a sword, and double 
 axe (bipennu), all of which acces- 
 sories are shown in the illustration 
 which is copied from a sarcophagus 
 in the Museum of the Capitol at Borne. 
 
 The common derivation of the name 
 from (ttafis, 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. 
 
 AMENTUM. 25 
 
 Amazons are also frequently re- 
 presented on horseback, in which 
 
 case they are armed with a spear, like 
 the ordinary cavalry of other nations ; 
 as in the example from a fictile vase. 
 
 AMBIVTUM ((Sft.^o5os). Anyroad 
 or street that leads round a place. 
 Varro. ap. Non. j'. £guisones, p. 450. 
 Mercer. Aristoph. Fra^m. 304. 
 
 AM'BRICES. The cross laths («- 
 giiU^) inserted between the rafters and 
 tiles of a roof. Festus. s. v. 
 
 AMBUBAI'^. 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. iV"«-(7, 27. Hor. Sat. 
 i. 2. I. Compare Juv. iii. 62, 65. 
 
 AMEN'TO. To hurl a spear or 
 javelin by the assistan-ce 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 
 Oral. i. 57. 
 
 AMENTUM (t6 a,a//a tSiv aKov- 
 rloiv). A thong fastened to the shaft of 
 a spear or javelin at the centre of 
 
 gravity, in order to give it a greater 
 impetus when thrown. (Liv. xxxvii. 
 41. Ovid. Met. xii. 221. Sil. Ital. iv. 
 
26 
 
 AMITES. 
 
 14.) This illustration is taken from 
 one of Sir \\'. 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. v.), as in the example from 
 a marble statue at Rome, where the 
 amentU7n 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 {sokis sine aviento 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. 
 
 AMTTES. A/a!><?/j/i«/?.r, 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. Columell. ix. i. 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.); andbyMa- 
 nilius (Astr. v. 371-373.), where he 
 describes the various ways of taking 
 birdi : Attt nido captare suo, raitiove 
 sedentem, Pascentevive siipe7' 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 modem Italians. All these cir- 
 cumstances seem sufficient to autho- 
 rise the interpretation given ; though 
 it should not be concealed that Festus 
 [s. V.) and the scholiast on Horace 
 [l. c.) make the word synonymous 
 with ancones, or varae, and explain it 
 by the gloss furculae ancupatoriae, 
 which is received by Doering, Orelli, 
 and the commentators generally. But 
 it is not probable that the Romans 
 would have invented three different 
 words to express one and the same 
 
AM ICTUS. 
 
 AMPHITAPUS. 
 
 27 
 
 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 neglected, 
 both of which apply to poles placed 
 in a horizontal and parallel position, 
 as distinct from those whjch are set 
 upright, or stuck in the ground. 
 
 AMJC'TUS (iiTL^-liiJM., iiiariov. 
 Alciphr. Jip. iii. 42. 10.). A general 
 term expressive of all the various 
 j articles of outer clothing, which were 
 i 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, Paludavientum, &c. (Virg. 
 ^n. V. 421. Quint, xi. 3. 137. Com- 
 pare Indutus.) The two figures 
 here represented, both from Etruscan 
 
 works, will explain distinctly what is 
 meant by the term. The one stand- 
 ing is just beginning to put on his 
 amiclus, 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 
 Oral. iii. 32. 
 
 AMICULUM. 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 pre- 
 ceding word, such for instance as the 
 Chlamys, Sagulum, and also the bridal 
 Flammeum. Festus. s. v. Corolla. 
 
 AMPHIMAL'LUM (d/i0i/iaXXo>'). 
 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 
 carpeting, out- 
 side coverings in 
 very cold weather, 
 and seems to have 
 been, originally at 
 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 wiU be observed 
 that the long nap is seen on the 
 inside, where the edges turn over, the 
 same as on the outside. 
 
 AMPniPROS'TYLOS (d/t0c7rp4- 
 (TTuXos). Applied 
 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. 
 
 AMPHIT'APUS (afjjptTairos). De- 
 signates a particular kind of cloth, 
 
28 
 
 AMPHITHEA TR UM. 
 
 which, like the amphimaUuni, 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 (iiutudia- 
 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 oral wall, divided into one or 
 more stories of arcades, according to 
 
 the size of the building, and decorated 
 with columns, pilasters, &c., accord- 
 ing to the taste of the architect, as 
 shown by the illustration introduced, 
 which represents the external wall of 
 an amphitheatre still remaining 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 foUovving 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, resei-ved 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 {pTaecinctiones) and raised 
 walls {baltei) ; and, vertically, into 
 compartments in the form of an in- 
 verted triangle or wedge (ciinei) by a 
 number of staircases (scalce), which 
 communicated with the avenues of 
 ingress and egress {vomitoria) within 
 the shell of the building. On the 
 top of all was a covered gallery, 
 appropriated 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 compar- 
 ing it with the plan subjoined in the 
 following page, which is a restored 
 section and elevation of a portion of 
 the amphitheatre at Pola, by the Canon- 
 ico Pietro Stancovich (Anfiteatro di 
 
AMPHITHEA TR UM. 
 
 AMPHORA. 
 
 29 
 
 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 vicEnianum (l), 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 maniamim (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 manianum (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 com- 
 pany entered or left the amphitheatre. 
 AMTHORA {aix<t>opeii). 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 
 contain a large quantity, and only 
 occupy a small space. The- illus- 
 tration represents two amphorae of 
 
30 AMPULLA. 
 
 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 (XijKuM- ^bottle; 
 a general term, like our own, for a 
 vessel of various shapes and materials, 
 but more accurately one with a nar- 
 row neck, small mouth, and swelling 
 body (Plin. Ep. iv. 30. 6. ) ; whence 
 
 the word is figuratively used in the 
 plural by the Romans and Greeks to 
 signify turgid or inflated language. 
 (Hor. A. P. 97. Cic. Att. i. 14. 3. 
 Compare Hor. Ep. i. 3. 14., and 
 Strabo, xiii. i. 54.) The illustration 
 affords an example of various originals 
 excavated at Rome. 
 
 2. Ampulla olmria (KiqKvdos i\ai7]pd. 
 Jul. Poll. X. 62. Id. iii. 154.). An oil 
 flask, such as was used for carrying oil 
 to the baths for pour- 
 ing 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-. 
 
 AMUSSIUM. 
 
 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, lentkulari forma, tereti 
 ambitti, pressiUa rotunditate. 
 
 3. Ampulla rubida. A flask co- 
 vered with leather, like our hunting 
 flasks, and used bypersons on a journey 
 to hold wine, vinegar, or oil. Plaut. 
 Stick, ii. I. 77. Festus. j-. tj. Rubida. 
 
 AMPULLA'RIUS. One who fol- 
 lowed the trade of covering glass 
 bottles with leather. Plaut. Rud. 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 
 examussivi is equivalent to accurately, 
 i.e., according to line and rule. Mac- 
 rob. Sat. i. 4. Aul. Gell. i. 4. I. 
 
 AMUSSITA'TUS. Made with ac^ 
 curacy and precision, as tested by 
 the instrument amussis ; hence, figu- 
 ratively, in Plautus [Mil. iii. I. 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. 
 
 3r 
 
 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 (i.va.^a.9pov). 
 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 B O L' lU M {i.va.^o\a.iov). 
 Properly a Greek word, whicli 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. I. 
 n. gi.) It is derived from the Greek 
 ina^dWu, " to cast up," and used to 
 
 of males and females, when the end 
 was thrown up so as to cover the 
 shoulder (Isidor. Ori^. xix. 25. 7.), 
 in the manner represented by the 
 female figure of the preceding engrav- 
 ing, 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 afford a greater length for 
 casting over the shoulder. It may be 
 remarked 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 {ava:<\Lv- 
 Tripioji). The head-board of a sofa 
 or sleeping couch, upon vvhich the 
 squab and pillow for the support of 
 
 designate a particular mode of 
 wearing the pallium, or any similar 
 object of the outward attire, both 
 
 the head rested. (Spart. Ael. Ver. 5.1 
 The example is from a bas-relief at 
 Rome, which represents the death of 
 Meleager. 
 
ANADEMA. 
 
 ANCILE. 
 
 ANADE'MA (avi^fia). 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. Hipfol. 83. Lucret. 
 iv. 1 126. Paul. Dig. 34. 2. 27.) The 
 example is from a Pompeian painting. 
 
 ANAGLYP'TA or ANAG'LY- 
 V'iiK{avi.'{KviTTa,6.v6ri\v<pa). Objects 
 cast in low relief; a bas-relief in 
 marble, metal, ivory, &c. Mart. iv. 
 39. Plin. H. N. xxxiii. 49. 
 
 ANAGNOS'TES (ivayviiaryjs). 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. 
 Nepos. 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. 
 I.), like the recitatori, or spiegatori of 
 modern Naples. 
 
 ANALEM'MA (di'dXTjM/'a). Pro- 
 perly a Greek word, used to designate 
 anything 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 Siib- 
 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 (Alciphr. Ep. iii. 4. 
 Winkelm. Mon. Ant. Ined. No. 157. 
 
 185.) ; but Vitruvius, who uses the 
 word, applies it incorrectly to the dial 
 itself. (Vitruv. ix. I. I. Schneider c</ 
 /.) In the illustration, copied from a 
 silver cup found at Porto d'Anzio, only 
 a portion of the aiialemma 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. 
 
 ANANCiE'UM. A vessel for 
 holding liquids (Varro. ap. Non. j. 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 drinking 
 bouts, which it was compulsory to 
 empty at a draught, upon the authority 
 of Plautus {Rud. ii. 3. 33.) ; but the 
 reading of the passage is doubtful. 
 Weise has tvix-^Ko-lwi. 
 
 ANATHE'MA (dwiSij^a). Pro- 
 perly ? Greek word, which includes 
 anything 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. 
 
 ANCI'LE (t6 i.-^K<)\mv). The sacred 
 shield found, according to tradition, 
 in the palace of Numa, and 
 supposed to have fallen 
 from heaven. According 
 to the grammarians, it was 
 made of bronze, and of an 
 oblong oval shape, but with 
 a semicircular incavation 
 on each side, similar to 
 that on the top of the pelta (Varro,. 
 L. L. vii. 43. Festus. s. v. Maniur.), 
 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 evidently 
 formed from the Greek d.yKv\-q, 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. 
 
 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 
 
 vi'ith the language of Ovid (Fast. iii. 
 3770 : Idque ancile vocat^ quod ab 
 ovirji parte recisuvi 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. 
 
 ANCLA'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 
 diviners. (Festusj. v. Id. j. Escaria.) 
 The example represents a small bronze 
 table found at Pompeii, which from 
 its diminutive size, and the hollow 
 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 
 
 ANCON. 33 
 
 about seven wide. In one of the 
 Pompeian paintings a priest is repre- 
 sented carrying one of these tables to 
 ' the sacrifice. Pitture di Ercolan. iv. 
 tav. r. 
 
 ANCON {iriKiov). Literally an 
 elbow ; 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 
 (norma), which is employed r— ■ ' ■ 
 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. Aq. 73. 
 
 2. {irapiorls — oOs t(3 virepdCpci). In- 
 script. in Elgin collection of Mus. 
 Brit.) The trusses or consoles which 
 support an ornamental cornice (hyper- 
 thyrum) 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. 
 
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 
 m.arble 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 (vans), which the an- 
 cient sportsmen used to hang 
 their nets upon. (Grat. Cyneg. 87.) 
 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 
 setting up the net is shown. 
 
 6. A particular kind of bottle or 
 vessel for holding wine used in the 
 Roman taverns (Faxi, Dig. 33. 7. 13.), 
 
 of 
 
 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'CORA (6rfKipa). 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. ALn. 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. II. N. xvi. 
 16.) The buoy itself (o-Tj/ieioi' dY/tiypas. 
 Paus. viii. 12. i.) was made of cork, 
 and was attached by means of the 
 ancorak 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^. A class of gla- 
 diators who fought hoodwinked, or 
 with a close helmet which had no 
 opening in the visor to see through. 
 (Hieron. adv. Jov. i. 36. Cic. Fam. 
 vii. lo, 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 
 ludicrous contest, both the driver and 
 Andabata being blindfolded. 
 
ANDRON. 
 
 ANGUIS. 
 
 35 
 
 ANDRON {ivtpiiv). 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 estab- 
 lishment. (Vitruv. vi. 7. 4. Festus, 
 s. V.) It consisted of an open court 
 
 A 
 
 7 
 1 
 
 
 I 
 
 r^ 
 
 y 
 
 1 ^i 
 
 9 
 
 A- 
 
 e 
 
 '■V- 
 
 n 
 4 
 
 • 
 
 E] 
 
 I 
 
 • I-- 
 
 "■j « 
 
 tJ 
 
 J r 
 
 3 
 2 
 
 
 e 
 
 
 > 
 
 8 
 
 
 ir 
 
 pa 
 
 
 
 1 
 
 * 
 
 1 
 
 J_J„l 
 
 UlliiliJ 
 
 {aiiXiril, suiTonnded 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. I 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 {hv^puvXrii). Sy- 
 nonymous with Andron, No. i. 
 
 ANGIPORTUS or ANGIPOR- 
 TUM ((7re!'U7r6s). A narrow or 
 back street, whether in the nature 
 of a court which had no thorough- 
 fare (Terent. Adelph. iv. 2. 40.), and 
 which was then properly termed _/»«- 
 dula ; or merely a small bacTc street 
 leading from any of the principal 
 ones to the less frequented parts of 
 the city. (Hor. Carm. i. 25. 10. Plant. 
 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. 
 
 ANGUIS. I. 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. ^n. v. 
 
3C 
 
 ^ NC US TIC LA VI US. 
 
 ANSA. 
 
 SS) 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. iij. 
 
 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 : 
 
 lOVEM ET JUNONEM ET DUODECIM 
 DEOS IRATOS HABEAT QUISQUIS HIC 
 MINXERIT AUT CACARIT. 
 
 2. A military ensign made in imi- 
 tation of the figure of 
 a seipent, and which 
 was adopted in the 
 Roman armies for 
 the ensign of a co- 
 hort. {Claud. 171 Ru- 
 fin. ii. 5. 177. Sidon. 
 ApoU. 5. 40.) It 
 was more common- 
 ly termed Draco, 
 under which name the materials, char- 
 acter, 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 angustus, a 
 distinctive badge of the equestrian 
 order. Suet. Otko, 10. [Clavus.] 
 
 ANQUI'NA (iyKoiva). The collar 
 by which the yard-arm of a vessel is 
 fastened to the mast, technically called 
 
 the "truss'' by our sailors. Isidor. 
 Oiig. xix. 4. 7. Helvius Cinna ap. 
 Isidor. /. 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 
 ar7n. The dyKoiva 5t7rXTj, 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 {dyKO!, c'l-yKri). 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 : — 
 
 I. (Aa/3^ — TO. cSra). The handle of 
 any vessel for containing liquid.s, 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 after thoughts. The 
 illustration is taken from a bronze 
 jug found at Pompeii, with a single 
 
ANSA. 
 
 ANSA TUS. 
 
 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, Ji. R. 
 113. Virg. Ed. iii.45. Ov. Her. xiv. 
 252. Id. Met. viii. 653. 
 
 2. Ansa ostii (iinffiraffT'^p, Kopihvri, 
 pStTTpop). The handle of a door by 
 which it is pulled open or shut to, 
 and which also served as a knocker. 
 (Pet. Sat. 96. I.) 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 crepida (iIykiJX?;). 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 ansis 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 staterm. The eye or handle 
 
 3s 
 
 "" '" 
 
 on the top of a steel-yard, by which 
 
 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 {oiaQ. The 
 handle of a rudder (Vitruv. x. 3. 
 5.), which was the top of the rudder 
 pole (aa in the illustration), which 
 the helmsman held with both his 
 hands, when the rudder consisted of a 
 mere oar without any tiller {clavus), 
 as in the right-hand cut. But in 
 
 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 
 (i.yKvXuiTbi, (i,yKv\i]T6ii,/ji.e<rdyKvKop). 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. 
 
 weapons by the soldiers before going 
 into battle, or upon an emergency, as 
 occasion required (Plutarch. 2. p. i8o. 
 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 
 mittuntde tiirribits hastas (Ennius, ap. 
 Non. J. V. Ansata, p. 556.) ; or as a 
 stay for the hand which gave force to 
 the thrust when used at close quar- 
 ters, ansaiis concurrunt tiiis (Ennius, 
 ap. Macrob. Sat. vi. I.). Both of 
 these uses are indicated by the illus- 
 tration, copied from a painting on the 
 walls of a warrior's tomb at Paestum 
 (Nicolai, Antic hith di Festo, tav. vi.) ; 
 and which is valuable for the au- 
 thority it affords respecting the true 
 meaning of the 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 kno^vn, being a mere thongj 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 anstr^ 
 employed by Pliny (H. N. xxxv. 36. 
 
 ANTECESSORES. 
 
 § 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 attsa and 
 ansula strictly taken. 
 
 ANT^ (TrapdiTTaSe!). 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. I.) 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 
 Trapaardai. (Vitrav. 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 pi'cvent 
 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. 
 
 for a halt or a camp. Hirt. Bell. 
 Afr. 12. Suet. Vit. 17. 
 
 ANTECURSU'RES. Same as 
 Antecessores. Cxs. Bell. Civ. 1.16. 
 
 ANTEFIX'A. Ornaments in 
 terra-cotta, invented by the Etruscan 
 architects, from whom they were 
 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- 
 tour. Hence the name is specially 
 applied to the following distinct 
 objects. 
 
 I. Long flat slabs of terra-cotta 
 with designs in relief, which were 
 
 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. 
 J. V.) They represent 
 the "gurgoils" of Gothic archi- 
 tecture, but are of a. more simple 
 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 
 
 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 imh-ex, 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, qua in cubnine erat,fubnine 
 icta decussaque ad Victorias, qucs in 
 antefixis erant, hcesit, &c. 
 
 ANTEN'NA {ii^Upiov). 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— a?2- 
 tennis totum subnectite velum (Ovid, 
 Met. xi. 483.) Small yards of a 
 single piece are represented in several 
 
4° 
 
 A NTEPA GMENTUM. 
 
 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 cardlnalis) 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, j'i'. R. 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 
 
 ANTERIDES. 
 
 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. AntepaE^menhim supcrms. Vitruv. 
 iv. 6. I. 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 Frincipes, as they were 
 respectively called. Liv. viii. 8. 
 
 ANTE'RIDES {ipd<rfMTa). 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. 
 
 construction, but may be regarded 
 as vestiges of the repairs which the 
 sewers underwent upon the occasion 
 
 ANTLJA. 
 
 41 
 
 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 
 ■ ;nemy. Cses. i?. C i. 57. Liv. xxii. 5. 
 Id. ix. 3q. 
 
 AXTES'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. Plant. 
 Pei-s. iv. 9. 10. Hor. Sat. i. 9. 78. 
 Plin. //. N. xi. 103. 
 
 ANTI^. The ringlets of a 
 woman's head of hair, which hang 
 
 down to the ears from the temples 
 (Festus, J. V. Isidor. Orig. xix. 31. 8.), 
 and Hkewise 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 (dirXia). 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 {,ap. 
 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 :— i. Rota Aquaria ; 
 2. Tympanum ; 3. Tolleno ; 4. Gir- 
 
42 
 
 ANULARIUS. 
 
 GILLUS ; 5. Ctesibica MACHINA 
 and SiPHO ; 6. Cochlea. 
 
 ANULA'RIUS and ANNULA'- 
 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. 201 5. 5. 
 
 ANULA'TUS and ANNULA'- 
 TUS. In general, having or being 
 furnished with rings ; whence 
 
 I. Anulati pedes, having fetters on 
 ihe 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. Anulata: aures. Ears with rings 
 in them (Plant. Pcen. v. 2. 20.), as 
 
 in the example, from a Pompeian 
 painting. 
 
 A'NULUS or AN'NULUS (Sok:- 
 ruAtos, (T^payts). 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 
 
 ANULUS. 
 
 to the senators, chief magistrates, and 
 equites. (Plin. //. A': xxxiii. 4.) The 
 example represents an original from 
 the Dactyliotheca of Gorteus. 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, sedcre ad 
 anulos alicid (Eum. Pancg. 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 (IMart. 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. Aniilus 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 
 Gorlseus (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 illustration an- 
 nexed, which re- 
 presents Plotina, 
 the wife of the 
 emperor Trajan, from an engraved 
 gem. The female peasantry in many 
 parts of the Roman and Neapolitan 
 states still continue to an-ange 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, /- 
 more particularly 
 intended for cook- 
 ing 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 kitchen 
 at Pompeii, which, it is believed, 
 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 Flaniines 
 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. .v. 
 15. 3. Liv. vi. 41. 
 
 2. (/cuKos). The ridge on the top 
 of a helmet to which the crest of 
 
 horse-hair was afiixed. (Isidor. Orig. 
 xviii. 14. 2. Virg. Ain. 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'TU.S or APHRAC- 
 TUM {dippuKTov). A ship without a 
 deck, or only partially covered fore 
 and aft, in the manner which we term 
 
44 
 
 APIARIUM. 
 
 A POSPHRA GISMA . 
 
 half-decked. (Cic. Att. v. 13.) The 
 iUustration 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 ships instanced j. v. Navis 
 CONSTRATA, the different construction 
 of the two will be readily apparent. 
 
 APIA'RIUM (fjceXiucwy, fieXiaao- 
 rpocpeiov). An apiary, or place where 
 a number of bee-hives are kept. 
 Columell. ix. 5. 6. 
 
 APIA'RIUS (/ieXitro-ftJs — 01576s). 
 One who tends and keeps bees. Plin. 
 //. N. xxi. 31. 
 
 APICA'TUS. Wearing the apex 
 or pointed cap of the Flatnen Dialis. 
 'Ovid. Fast. iii. 397.) See the en- 
 graving in the preceding column, and 
 article Flamen. 
 
 A P L U S' T R E and A P L U S'- 
 TRUM (&t(i\a<!Tov). 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. 5S6. 
 Lucret. iv. 439. 
 The illustration re- 
 presents 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 woodcut. 
 
 APODYTE'RIUM {i-iroivT-hfiLov). 
 An undressing-room ; especially a 
 chamber in the baths (Cic. Q. Fr. 
 iii. I. I. PHn. 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. 
 Co"/. 26.) The illustration repre. 
 
 sents the interior of the Apodytenum 
 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 
 Balinete, 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 {aTrof6pvTa). 
 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 tele of 
 the Saturnalia. Suet. Ca/. 55. Id. 
 Fesp. 19. 
 
 APOSPHRAGIS'MA (dwo<T<ppd- 
 yi-aixa.). The device or impression 
 upon a signet ring. (Plin. Epist. x. 
 55- 3O See the illustrations 0. v. 
 Anulus. 
 
APOTHECA. 
 
 APOTHE'CA (cnroeitKr,): A 
 store- room or repository for any de- 
 scription of stoclc. (Cic. Vatin. 5. Id. 
 Phil. ii. 27.) This word contains 
 tile 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 
 tipper part of the house (whence 
 Horace, Od. iii. 21. 7. descende testa; 
 VXm.Ep. ii. 17. 13. Plin. H. N. xiv. 14. 
 6. and 7-)) where it was kept to ripen 
 in amphora, or, as we might say, " in 
 bottle ; " whereas the new wine in 
 dolia and cupa, or, according to our 
 expression " in the wood," was placed 
 below in the cella vinaria. [Cella.] 
 
 APOTHEO'SIS ((iTToeEwais). 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, Scrib^, Via- 
 TORES, &c. Cic. Q. Fr. i. i. 4. Suet. 
 Tib. II. 
 
 2. In the army, the servants who 
 waited upon the military tribunes. 
 Hirt. B. Afr. 37. Lamprid. Alex. 
 Sev. 52. 
 
 AQU^DUCTUS (u^paywyf.oi/). 
 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.xVu. 
 6. Frontinus de Aquaduct.) 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 
 
 AQUARIUS. 
 
 45 
 
 above another ; and others were built 
 with two or three tiers of arches, 
 
 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. Plant. 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 (!j5poc)>opos). 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 
 
45 
 
 AQUIL4. 
 
 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 pn from the main. Front. Aq. 
 
 AQUILA. The eagle, the prin- 
 cipal ensign of the Roman legion 
 (PHn. 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 ChauS5e [Reeueil 
 d'Antiq. Romaines, 
 V. 15.). The manlier 
 in which it was carried is shown by 
 the illustration to the following word. 
 
 2. (aJeris, deriis, d^TU/ia). In archi- 
 tecture the triangular face included 
 by the horizontal and sloping cornices 
 of a pediment, to which latter it 
 
 i^.i. 
 
 formed, as it were, a support {sus- 
 tinentis fastightm aquilcs. Tac. Uist. 
 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, 3S 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 principal 
 
 ARA. 
 
 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. 
 ensign of a Roman 
 legion, who carried 
 the eagle. (Cses. 
 B. G. V. 37. Suet. 
 Aug. 10.). There 
 was but one aqtdlifer 
 to each legion, though 
 there were many 
 signiferi, or standard 
 bearers. (Veget. Mil. 
 ii. 13. Compare Tac. 
 Ami. 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. j. v. p. 547. Ulp. 
 Dig. 34. 2. leg. 19. n. 12. 
 
 AKA [dvT-qpiov, ^un6$). 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. 
 
 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 Itfcus, or 
 sacred grove, before the statue of the 
 divinity to whom it was consecrated 
 (Hom. //. 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 die bottom of the steps 
 which lead up to the entrance door. 
 
 4. In the streets of 2 town (Plant. 
 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 iinpliivimn 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 itnphivium is seen in the 
 foreground, with the altar on its 
 margin, traces of which were dis- 
 
48 
 
 covered when the excavation wab 
 made. 
 
 6. Ara iuricrenia. An altar on 
 which frankincense was sprinkled 
 and burnt. (Lucret. ii. 353. Virg. 
 Ain. 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 tiiri- 
 crema was also ap- 
 plied very generally 
 to every kind of 
 altar, because the 
 incense was commonly used with all. 
 
 7. Ara sepukri or arafuneris. The 
 funeral pile upon which a dead body 
 
 ).', ,;^ >..r 
 
 P^-i 
 
 was burned (Virg. y^«. 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 illus- 
 
 ARATOR. 
 
 tration 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^OSTY'LOS ((ipaioaTv\oi). 
 Araostyle ; applied to a building or 
 colonnade in which the _ 
 columns are situated at ^ 
 wide intervals, of not ©~'-# 
 less than 3^ or 4 of their ®~2i-# 
 own diameters apart ®— 5— -® 
 
 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 arceostyle 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 [dporfip). One who 
 ploughs ; a ploughman (Plin. H. N. 
 
ARATRUM. 
 
 ARCA. 
 
 49 
 
 xviii. 49. § 2, ). Also a ploughing 
 ox, for the word is equally applied to 
 animals (Ovid. Fast. i. 698.). Both 
 are sliown 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. 
 
 ii'- 55- 
 
 ARA'TRUM {(iporpov). A plough. 
 The plough most commonly repre- 
 sented on ancient monuments is a 
 very simple machine, consisting of 
 the branch of an elm tree (whence 
 aratrum cwvum, Lucret. v. 93 1 . Virg. 
 G. i. 494. incurvum) either naturally or 
 artificially bent into a crook (buris) at 
 one end, wliich when sharpened to a 
 point, and cased with iron, answered 
 the purpose of a share (vomer) ; an- 
 other 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 suffi- 
 cient depth into theground. The whole 
 of these parts and details are distinctly 
 shown by the preceding woodcut. 
 
 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 {yiT)%), 
 the plough-tail, the opposite end of 
 which forms the pole {tenio, lara- 
 ^oti%) ; B, dentale (iXv/ia), the share- 
 
 beam ; c, vomer (livi/is), the plough- 
 share ; D is a truss which binds the 
 share-beam more firmly to the pole 
 
 and plough-tail, and which some 
 arch9eologists distinguish by the name 
 fulcrum, but without quoting their 
 authority ; EE, aures (Trripd), the 
 earth 'boards ; F, stiva (ixirXti), the 
 handle by which the plougiiman 
 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 (culter), 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. I. Woodcut, No. 2. E E. 
 
 5. Aratrum sittiplex. A plough 
 without mould-boards. Pallad. /. c. 
 Woodcut s. Arator. 
 
 ARBUS'CUL^ {aixaKo-KoSts). 
 Strong wooden collars, or rings 
 fastened underneath a cart (plaustrum) 
 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. I. Ginzrot, Wagen und Falir- 
 ■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 arbuscula were 
 
 not necessary. 
 ARCA (ki/3wtos). 
 
 Any large and 
 
 strong box or chest in which clothes, 
 money, or any kind of property was 
 D 
 
.^o 
 
 AJ!CA. 
 
 ARCERA. 
 
 kept (Cato, S. R. ii. 3. Cic. Parad. 
 vi. I. 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 
 quKstor kept the public moneys. 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 those people who 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. Gaii, Dig. ii. 7. 7. 
 
 3. (Xtji'iSj) 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. I/. 
 
 N. xiii, 27. Val. Max. i. 1. 12.). The 
 illustration shows the plan and eleva- 
 tion 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 re- 
 ceiving 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 
 
 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. 
 
 ARCAT<II. Officers who kept the 
 accounts of the emperor's privy purse 
 (fiscus), whence they were termed 
 Ctesariani ; their offices were situated 
 in the Forum of Trajan. Lamprid. 
 /ilex. Sev. 43. Fragment, jur. ante 
 Justi7iean. 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. Scaev. 
 
 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, 
 
 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 more sightly ap- 
 pearance, and conceal the rough 
 boarding of which it was made (Gell. 
 XX. I. 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. 
 
ARCHIMIMUS. 
 
 ARCULVM. 
 
 51 
 
 /. r.) The original also shows a 
 bundle of drapery placed on the roof 
 in a heap, intended to be spread over 
 the whole carriage, as mentioned 
 above. 
 
 ARCHIMI'MUS (apx-Vi/^ios). The 
 leader of a company of buffoons, who 
 were engaged at funerals to dance and 
 play the meny-andrew in the pro- 
 cession, the leader of the party enact- 
 ing a mock rei^resentation 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. 
 II. 
 
 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/eductus. 
 
 ARCUA'TUS. In general arched, 
 or built upon arches. Plin. Ep. x. 
 47. 2. See cut of Aqij^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' Romani). 
 
 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-bcnv ; 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 (/«/3c6rioc). Diminutive 
 of Arca, 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. I7- 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- 
 tianised 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. Plant. 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. ^'irg. ALn. 
 iv. 137. 
 
 2. Or Arculus. A porter s knot ; 
 especially the linen cloth rolled up 
 and twisted into a circle which tlie 
 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 
 [caneslra, cistcr), which they carried 
 
52 
 
 ARCUMA. 
 
 ARCUS. 
 
 in the Panathenaic and other fes- 
 tivals. (Festus, s. V.) 
 Tliis contrivance is 
 frequently represented 
 in sculpture upon figures 
 carrying any sort of 
 burden on their heads, 
 such as the Canephor^, 
 Caryatides, Telapwnes, 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 posi- 
 tion. 
 
 AR'CUMA. A small cart {plaus- 
 irum) or truck, in which a single 
 person could be conveyed. (Festus, 
 s. V.) The illustration, from u. se- 
 
 pulchral bas-relief at Rome, agrees 
 so precisely with the definition of 
 Festus as to leave no doubt of its real 
 name. 
 
 ARCUS (/3ios, ToKov). 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- 
 
 tile vase ; the other, wlien unbent, 
 had a circular form, like a bay (sinus\ 
 
 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 ira- 
 XivTovov {II. viii. 266.). The two 
 forms are also distinguished by the 
 Latin writers with the epithets pa- 
 tidus (Ov. Met. viii. 30.), and sinu- 
 osus or siniiatiis {Id. Met. viii. 380. 
 Am. i. I. 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- 
 bram 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:- — I. Hercules made 
 use oi two bows (Herod, iv. lo.) ; one 
 of which, as he received it from 
 Apollo (Apollodor. ii. 4. 11.), was 
 necessarily a Greek one ; the other, 
 %vhich 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 out- 
 line 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 re- 
 cessed into two bays, one larger and 
 more circular, the otlier smaller, and 
 receding less, the bow itself. 4. 
 Euripides (cip. Athen. x. 80.) intro- 
 duces a countryman who had seen 
 the name of Theseus, which he could 
 not read, somewhere inscribed, en- 
 deavouring to explain the characters 
 of which it was composed by some 
 familiar image ; and he compares 
 the fourth letter, the Greek Sigma, 
 to a lock of hair twisted into curls 
 like the tendrils of a vine, pdffrpvxos 
 fi\iyiiims. 5. Whilst Agathon (a/>. 
 Athen. /. c), in relating the same 
 story, makes his nistic 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 f, or thus ?, 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 
 modem 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 affinity with 
 any one of them, except indeed the 
 letter C ; but if that were admitted, 
 all the rest would be utterly inappro- 
 priate. 
 
 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 pulcrum 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, i., and with the epi- 
 thet triumphalis, Cenotaph. Pisan. C. 
 Casaris. August. F.). 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. xxxvn. 3.) are termed 
 fornices, and were not erected to com- 
 memorate the honours of a triumph. 
 (See Fornix.) But imder 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, L. L. v. 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 ; — 
 
 I. 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. I. 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. 
 ifrb. Rom. 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 distin'guished 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 sufHciently 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. 
 
 of the vestibule (Vestibulum, Plin. 
 JPaneg. 52. 3. Inscript. ap. Nardini, 
 
 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 Ixidy burnt. 
 (Stat. Theb. vi. 57. TertuU. 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. (dXwi). ) A threshing-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 
 
 ARENARIUS. 55 
 
 present day, and clearly shown by the 
 example from a, painting in 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. 
 
 ARENA'RIA or ARENA'RIUM. 
 A sand-pit. Cic. Varro. Vitruv. 
 
 ARENA'RIUS. 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. 
 
 out his calculations or diagrams 
 upon a tray covered with sand. Ter- 
 tuU. Fall. 6. Abacus, i. 
 
 ARE'OLA. Diminutive of Area ; 
 a small open square or place (Plin. Ep. 
 V. 6. 20.) ; a small bed for flowers or 
 vegfetables, &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 perfoiTnance 
 of religious rites (Liv. i. 22.), and 
 visited, it would appeal', in succession 
 (Ov. Fast. iii. 791. Aul. Gell. x. 16. 
 4.), upon certain festivals, like the 
 Stazioni of modern Italy. 
 
 2. Images or Manikins, made of 
 bulrushes, thirty in number, which 
 were annually cast into the Tiber 
 from the Sublician bridge, on the Ides 
 of May, by the pontifices and Vestals ; 
 the origin and meaning of which 
 custom are involved in obscurity. 
 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. Plant. Epid. 
 ii. 2. 17. Liv. xxvi. 27, 
 
 ARGENTA'RIUS. A private 
 banker, as contradistinguished from 
 the public banker {lilensarius) ; 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. Casein. 6. 
 Plant. Aul. iii. 5. 54. Suet. Nero, 5. 
 
 ARTES (Kpi.6s). A battering-ram • 
 an instrument composed of a powerful 
 wooden beam, fumi.shed at one extre- 
 
 ARMARIUM. 
 
 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. 
 II. Virg. Aln. 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 (Vitrav. x. 13. i.), 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 (Vitrav. /. c), as here shown, 
 from the triumphal arch of Septimius 
 Severus. 
 
 A R M A' R I U M. An armoire, 
 cabinet, or cupboard, for keeping 
 domestic utensils, clothes, money, 
 curiosities, or any of the articles in 
 daily use. It was a large piece of 
 
ARMENTARIUS. 
 
 fuf-niture, usually fixed against the 
 walls of a room, divided by shelves 
 
 ARM7LLA. 
 
 57 
 
 into compartments, and closed in front 
 by doors. (Cic. Cliient. 64. Plaut. 
 Capt. iv. 4. 10. Pet. Sat. xxix. 8. 
 Plin. I/. N. xxix. 32.) The example 
 here given represents one of these 
 cupboards 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. Prref. 7. Vopisc. 
 Tac. 8. 
 
 ARMENTA'RIU-S. 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 superintend- 
 ence 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. JR. ii. 5. 18. Virg. G. iii. 
 
 344- 
 
 ARMILLA (4'eXXioi' or i^eXiov). 
 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, i. V. Isidor. Orig. xix. 31. 
 16.), generally worn by the Medes 
 and Persians, and also by the Gauls 
 
 (Clalud. 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 (Li v. 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. (Li v. 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. {d^tpidea) x^iSwj/, inpiKapTnov, 
 TTcpiaipipiov). 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. £p. 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. 
 
ARMILLA TVS. 
 
 ARTOPTICIUS. 
 
 3. An iron ring fastened upon the 
 head of a beam, to prevent it from 
 splitting. Vitruv. x. 2. II. 
 
 ARIMILLA'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. Cal. 52, 
 Compare Armilla. 
 
 2. Armillatus canis. A dog with 
 an armilla or collar round his neck, 
 
 "^'^^W**^ 
 
 as in the example, from a mosaic at 
 Pompeii. Propert. iv. 8. 24. 
 
 ARMILLUM. A vessel for wine, 
 which Varro {ap. Non. j. v. p. 547.) 
 describes as a kind of urceolus, and 
 Festus (j. V.) 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 ar<r«.f ; bowmen, iox 
 whom the more usual name is Sagit- 
 TARii. Festus, s. V. 
 
 AR'TEMON (dprf^w^, 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 — dirigendc2 potius navis causa, 
 quani celcritatis — which would seem to 
 indicate a sail attached to a low mast, 
 slanting over the stern, like that 
 which is frequently used in our 
 lishing-boats, and in the small crafts 
 of the Mediterranean, which the 
 sailors there call the Irinchetto. 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 viainsail, 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 (iproXiyavov). 
 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 (apTOTTTn). A mould 
 in which pastry and bread were 
 sometimes baked. 
 Plaut. Anl. ii. g. 
 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. 
 
 ARTOPTICIUS, sc. pants. 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. 
 
 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. ff. 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. 
 Ain. 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. Riid. ii. i. 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 
 
 A R UNDO. 59 
 
 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 fo 
 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. 674-677. Pet. Sat. 109. 7. 
 Bion, Id. II. 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. 
 
6o 
 
 ARJC. 
 
 Pers. Sat. iii. Ii. A-a%on. Efist. y'u. 
 
 5°- 
 
 6. A fandean 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 ariindo ccrata 
 (Ovid, Met. xi. 1 54. 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, wliich thus served as a 
 broom for sweeping and cleansing 
 the ceilings of a room. Plant. Sttch. 
 ii. 3. 23. Compare Mart. £p. xii. 48. 
 and the broom in the hands of the 
 ^DITUUS, 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 Xo. 8. 
 
 1 1 . An espalier of canes for train- 
 ing vines. Varro, R. R. i. 8. 2. 
 
 ARX (dicpoTroX/y). 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 
 
 AS. 
 
 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. 
 
 z. Of the Arx at Rome no positive 
 traces now . remain, the site upon 
 which it formerly stood being en- 
 tirely covered with modem buildings. 
 It occupied, however, the most 
 northern and lofty of the two 
 summits into which the crown of the 
 Capitoline hill was divided, facmg 
 towards the Via Flaminia and Mons 
 Esquilinus, and upon a 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 (Is, pronounced aj by 
 the Tarentines). A piece of money, 
 which represented the unit of value 
 in the Roman and early Italian coin- 
 
ASCAULES. 
 
 ASCI A. 
 
 6r 
 
 age. Originally it weighed one pound, 
 hence called as libralis ; and was 
 
 composed of a mixture of copper 
 and tin {as), hence also called as 
 grave ; but the value was much 
 reduced 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 lo 
 oz. lo gr. 
 
 ASCAU'LES (darawXr;!). A word 
 coined from the Greek, signifying 
 a bag-piper. (Mart. 
 Epigr. 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 \x 
 common people, as is 
 clearly to be in- 
 ferred from the pas- 
 sage of Martial (/. 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. 
 
 A S' C I A. The name given to 
 several different implements em- 
 ployed in separate trades, and for 
 distinct purposes, all of which were 
 classed under the same tenn, because 
 they possessed a general resemblance 
 in form, or the manner in which they 
 were handled. They are as fol- 
 lows : — 
 
 I. {pKiTTafivov). An instrument 
 said to have been invented by Dae- 
 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 J. 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. (ruKosand 7-uxos). An instrument 
 
 of nearly similar ^ :;;> 
 
 form, employed ^.gaasMM- - ' 'I'n i ia gg 
 by masons and 
 
 builders, to which allusion is often made 
 in sepulchral inscriptions. It had a 
 
62 
 
 ASCIO. 
 
 hammer at one end, and a blade, like 
 a bird's bill, at the other (Aristoph. 
 Av. 1 138. Schoh ad /.), 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 
 
 figiu'e employed in the process de- 
 scribed. 
 
 4. A short-handled hoe, used by 
 gardeners, agricultural labourers, &c., 
 for breaking up 
 the ground, ex- 
 cavating earth, 
 and similar pur- 
 poses. (Pallad. 
 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 modem Italian peasant. 
 
 AS'CIO (fficETrapi/iJw). When ap- 
 plied to wood - workers, to chop. 
 
 form, or fashion with a carpenter's 
 
 ASPEESIO. 
 
 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 Daadalus 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 (I'wKotrhpa). 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, K. R. 
 i. 18. I. 
 
 ASPERGIL'LUM (-^if-ippavTi,- 
 piov). See the next word. 
 
 ASPER'SIO {Tripippavuts). Ast. 
 ad. Theophrast. xvi. p. 143. The act 
 of sprinkling with water, as a purifi- 
 cation, before making sacrifice to the 
 gods below (Cic. Le^. ii. 10. Com- 
 pare Ov. Fast. V. 679. Virg. yEn. iv. 
 ^35-1 ; whereas the whole body, or 
 the hands and face, were immersed 
 previous to a sacrifice offered to the 
 gods above. (Broiler, dc Adorat. cap. 
 12.) This ceremony was performed 
 
ASSSR. 
 
 ASSERCULUM. 
 
 63 
 
 either with a branch of laurel ; as in 
 the example from a medal, which re- 
 
 presents Lucilla, the daughter of M. 
 Aurelius, breaking off a branch to 
 sprinkle the young children, whilst a 
 priestess is drav/ing water from the 
 river ; or with a whisk made expressly 
 for the purpose, as in the annexed 
 
 engraving, also from a medal, and 
 which the Greeks termed -ntpippav- 
 TYipiov or pavTitjTpov. The corre- 
 sponding Latiii term is unknown ; for 
 the word aspergillum, employed by 
 modern philologists, is not supported 
 by any ancient authority. 
 
 AS'SER. In general, a small 
 wooden beam, pole or post fixed in 
 or upon anything (Liv. Caes. Tac.) ; 
 whence the following more special 
 meanings are deduced ; — 
 
 I. The pole by which a palanquin 
 (lectica) was carried on the shoulders 
 of its bearers. (Suet. Cal. 58. Juv. 
 jii. 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 
 perinanently affixed to the body of the 
 carriage, or at least only removable 
 upon occasion. The asser was passed 
 
 under a thong [lorum, strttppus) at- 
 tached to these shafts, like the back- 
 
 band in single harness, and then 
 raised upon the shoulders of the 
 bearers (fecticarii), 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 
 tlie 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 ornaments called 
 dentils (Denticulus, 2.) in Ionic 
 and Corinthian elevations. Vitruv. 
 iv. 2. I. and 5. 
 
 ASSER'CULUM and ASSER'- 
 
64 
 
 ASS IS. 
 
 ASTRAGALUS. 
 
 CULUS. Diminuflve of ^^^^r ; any 
 small pole or stake, and so used for 
 a broom-handle. Cato, H. R. 152. 
 Woodcut, s. ^DITUUS. 
 
 ASSIS (aavl^). A flat board or 
 plank. Caes. 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. 
 (Vitrav. X. 7. I.) 
 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 «arf^^; 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. i. i. 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. 20S. 
 
 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. 
 
 ASTRAGALIZONTES (do-TpaTct- 
 X/fovres). A Greek name used to 
 designate persons engaged 
 in playing with the knuckle- 
 bones of animals (affrpa- 
 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. I.) 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. 
 100-104. Eust. Od. i. p. 139(7. 34. sq. 
 and Talus. 
 
 ASTRA G' ALUS {6.i!Tpi.-iakoi). 
 The Greek name for one of the ver- 
 tebral bones, the ball of the atikle-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 
 which it bears, in its alternation of 
 round and angular forms, to a row of 
 knuckle-bones [affrpdyakos, and last 
 cut but one), placed side by side ; 
 and called a bead or baguette by the 
 modems, because it closely resembles 
 a string of beads or berries. It is 
 
 Ui:C Mi. yy'K >;A yrfZ 
 
 more especially characteristic of the 
 Ionic order, in which it is employed 
 to form the lowermost member of the 
 capital immediately under the ecAi- 
 nus, to divide the faces of an archi- 
 trave, or in the base, where it is a 
 
ASTURCO. 
 
 plain moulding, similar to the torus, 
 but of smaller dimensions. (Vitruv. iv. 
 I. II. 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. 
 
 ATHLETE (ae\T]Tai). A gene- 
 ral name for the combatants who con- 
 tended for a prize (a9\ov), 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 {'ArXavTis). 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 speci- 
 men at Pompeii. 
 
 ATRAMENTA'RIUM {niXav- 
 So^i;). A vessel for holding atra- 
 tnentum, 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 iiitfamilia 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 maltre 
 cChUel in the present day ; for he exer- 
 
 A TRIUM. 
 
 65 
 
 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. Plant. 
 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. I. i. Id. Att. 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 {/ocus), 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 (imphnium), to receive the 
 rain water which flowed in through the 
 opening (see the next woodcut). The 
 roof itself was frequently supported 
 upon columns, which thus formed a 
 colonnade or open cloister round its 
 sides (see woodcut No. 3.). But as 
 E 
 
66 
 
 A TRIUM. 
 
 the roof was constracted and sup- 
 ported in several different ways, 
 each of which gave a different char- 
 acter to the interior, these varieties 
 were classed under the following 
 separate names, to distinguish the 
 different styles adopted in their con- 
 struction : — 
 
 I. Atrium Tnscanicimi. 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 
 mortised at equal distances from the 
 wall, so as to form a square opening 
 
 in the centre between them (Vitrav. 
 i. 6. 2.), as seen in the engravinff 
 above, which presents a restoration 
 of the Etruscan atrium to the house 
 of Sallust at Pompeii. 
 
 2. Atrium Tetrastylitm. The te- 
 
 trastyle atrium, so termed because 
 its roof was supported upon four 
 columns, one at each angle of the 
 imphivitim. The illustration affords 
 a specimen of this style from a house 
 at Pompeii, excavated by General 
 Championet ; from the preceding 
 e.xample, 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. Atnum 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 
 
 its roof were more numerous, and 
 placed at a distance back from the 
 impluviuin. 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 Ilerculaneum, 
 and an elevation of which is intro- 
 duced in the article DoMUS. In this 
 style of constraction, 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 
 
A TTEGIA. 
 
 AUGUR. 
 
 67 
 
 right angles to the walls, or in other 
 words, recede from them, which is 
 what is meant by the expression of 
 Vitruvius, 3 farietibus recedunt. 
 
 4. Atrium displuviatum. An 
 atrium, the roof of whiclr 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 testudinatitm. The tes- 
 tuclinated or covered atrium, which 
 had no compluvium, the 
 whole apartment being 
 entirely covered over 
 by a roof of the kind 
 termed testudo (Vitruv. 
 V. X.), 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 (i'?£U7-^s, opj/iOfur^s). 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 fainilia 
 rustica, something like our " game- 
 keeper," whose employment consisted 
 in taking and sellmg 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 
 (ti-ausetijice), clap-nets (amites), a call- 
 bird (avis illex], and cage for the same 
 (cavea) ; the manner of using all 
 which is described, and illustrated 
 under each head. 
 
 AUDITO'RIUM. Any place in 
 which orators, poets, and authors 
 generally, assenjbled an audience to 
 hear their compositions recited. 
 Quint, ii. II. 3. Id. x. i. 36. 
 
 2. A lecture-room, in which philo- 
 sophers and professors delivered their 
 lectures. Suet. Tib. II. 
 
 3. A court of justice where trials 
 were heard. Paul. Dig. 49. 9. I. 
 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. I. 54. 
 
 AUGUR (o/MvoffKoTTos). 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 
 
68 
 
 AUGUR ALE. 
 
 A ULJEA. 
 
 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- 
 toriuin) 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 c-eremonies connected with 
 the worship of the Lares Compi- 
 iales, 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 AugustaUs, or simply 
 Augustaks. 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. Jjiscr. i. 12. 
 
 AULA (aiiAij). 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. 
 l6j.), 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 aula: are marked respectively C 
 and E. In allusion to this sense of 
 the word, Virgil uses it for the cell of 
 the queen bee. Ain. 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 
 
 S 
 
 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 
 (aiiXala). A piece of tapestry or arras 
 hangings used to decorate the walls of 
 a dining-room (Hor. Sat. ii. 8. 54O) 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 ox 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 
 
A ULyEA. 
 
 in their places, wlien the excavation 
 was made. In the illustration, from 
 a bas-relief in the British Museum, 
 
 AUREUS. 69 
 
 between the acts. This curtain, how- 
 ever, was not suspended like ours, 
 and let down from above ; but, on the 
 
 the aulaum forms the background to 
 u. 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. ALn. i. 
 697.), and which hung down to the 
 ground all round it ; whence also 
 
 termed Peristroma. It is seen in the 
 preceding woodcut, 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 
 
 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. 
 111-114.); whence the expression 
 auliea premiintttr (Hor. Epist. ii. i. 
 189. Compare Apul. Alet, x. p. 232.), 
 " the drop scene is let down," implies 
 that the play is about to commence ; 
 and aulcea tolluntur (Ov. Met. I. c.), 
 " the scene is raised up," that the act 
 or play was ended. 
 
 AULCE'DUS (avhifUi). 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 j-. v. Aratrum 2. by 
 the letters E E. 
 
 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 
 17J. %\d. ; but the intrinsic value, as 
 compared with our gold coinage at 
 
70 
 
 A [/RIGA. 
 
 the present day, would nearly equal 
 i/. IS. ifi/. (Plin. JI. N. xxxiii. 13. 
 
 Suet. Cal. 42. Id. Doin. 8. Hussey 
 on ancient Weights and Money.) The 
 illustration is from an original in its 
 actual state. 
 
 AURI'GA {i\vioxo^). In general 
 any person who acted as a coachman 
 or charioteer, as shown by the ex- 
 ample from a terra-cotta bas-relief. 
 
 Virg. JEn. xii. 624. Ovid. Met. ii. 327. 
 2. But, more especially, the driver 
 of it 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 wliich these men drove was 
 peculiar, and differed materially from 
 
 the ordinary style, shown in the first 
 cut, as will be perceived by the 
 annexed example, which is copied 
 
 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 bacl<, 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 bVaced his 
 body, as seen in front of the left side 
 in the preceding figure, in order to 
 cut them on tlie 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, Ain. xii. 85.) ; 
 for a helmsman (Ovid. Trist. i. 4. 
 16.) ; and generally for a horsemaa 
 or rider. (Auct. Paneg. ad Pison, 
 'J 9.) 
 
AURIGARIUS. 
 
 AXICIA. 
 
 71 
 
 AURIGA'RIUS. Same as 
 Auriga. Suet. Nero, 5. 
 
 AURIGA'TOR. SameasAuEiGA. 
 Inscript. ap. Gnit. 340. 3. 
 
 AURI'GOand AURI'GOR. To 
 drive a chariot in tlie races of the 
 Circus, as described under Auriga. 
 Suet. Nero, 24. Plin. H. N xxxiii. 
 27. 
 
 AURISCALP'IUM {iiroy\v<pis). 
 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. Alt, 
 ii, 7. Hor. Od. iii. 27. 8. 
 
 AUTHEP'SA {aWi^m). 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 differ- 
 ing in the pattern or design. 
 
 AUTOPY'ROS(ai>r67ri;pos). Bro-un 
 bread, made of coarse flour with the 
 bran in it. Plin. //. A\ 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. 
 TibuU. 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 aver/a, or 
 sad'dle-bag, upon his rump. Impp. 
 Valent. et Valens. Cod. Theodos. 8. 
 5. 22. 
 
 AVIA'RIUM. A poultry yard. 
 Varro, Ji. R. iii. 3. 7. 
 
 2. An aviary, in which birds of 
 choice kinds, and rare breeds were 
 kept. Yarro, /. c. 
 
 3. A decoy or preserve for aquatic 
 birds. Columell. viii. I. 4. 
 
 AVIA'RIUS. A slave who had 
 the charge of breeding, feeding, and 
 fattening poultry. Columell. viii. 3, 
 4. seq. 
 
 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. 
 
 the Roman toilet, if regard is had to 
 the difference of ancient habits. 
 
 AXIS (dKcov). The axle-tree of a 
 carriage to which the pole is affixed, 
 and round which the wheels revolve 
 (Ov. Met. ii. 3l7-)> which is clearly 
 seen in the illustration from an 
 ancieqt 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 soclcets let into the 
 upper and lower lintel, and so formed 
 a pivot upon which the door turned 
 when opened orshut. Stat. 77ii?i. 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. 
 
 BACILLUM. 
 
 B. 
 
 BABYLONTCUM. A shawl of 
 Babylonian manufacture, which was 
 highly prized amongst the Romany 
 for its fine texture and brilliant 
 colours. Lucret. iv. 1027. P. Syrus 
 ap. Petr. Sat. 55. 6. 
 
 BACCHA {V,axxn]. 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 
 mad women 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 (fiaKTi)oiov). A 
 
 {"■'W^. 
 
 small staff, stick, or cane ; a walking- 
 stick, sometimes as with us artificially 
 
BACULUS. 
 
 BALINEM. 
 
 n 
 
 bent into form. (Cic. Fin. ii. ii. 
 Juv. Sat. iii. 28.) The example is 
 from a painting at Pompeii, and 
 represents Ulysses. 
 
 2. Varro, R. Ii. 50. 2. See Falx 
 JDENTICULATA. 
 
 BACULUS and BAC'ULUM 
 (jiaKTpov). A long stick or staff, 
 such as was com- 
 monly carried by 
 travellers, rustics, 
 shepherds, 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. {aKnvTpov.) A long staff, which, 
 in early times, was carried by kings 
 
 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 orna- 
 mented with gold and silver. (Florus, 
 iv. II. 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, of 
 a sceptre, by the Latin writers, is 
 mostly adopted in order to character- 
 ise, and to ridicule, foreign, and espe- 
 cially Asiatic, manners. Florus. //. cc. 
 
 BAJULATO'RIUS. Which 
 serves or is adapted for caiTying. 
 Sella bajulatoria. See Sella. 
 
 BAJ'ULUS (voiTO(p6pos, 4)opTTjy6s). 
 A porter, or any person who carries 
 
 and persons in authority, both as a 
 mark of distinction and a defensive 
 weapon. In works of art it is always 
 
 burdens on his back, as shown in the 
 illustration from a painting in a 
 sepulchral chamber at Rome. Plant. 
 Pan. 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, 
 yuhan. n. 1. 
 
 B A L I N' E ^ or B A L' N E ^ 
 {Ba\avc2ov St] ixSaiov. Plut. P/ioe. p. 
 302. Reiske). A set of public baths, 
 including conveniences 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 
 establishments of the Romans were 
 
74 
 
 BALJNEM. 
 
 aiTanged, and the ingenious method 
 of their construction, will be l)est 
 understood by the annexed ground- 
 plan and description of the double 
 set of baths at I'ompeii. Views and 
 elevations of the various apartments 
 in detail are given separately under 
 each of their respective names. They 
 
 had six distinct entrances, i, 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 (i), at the bottom of the plan on 
 the left hand. 
 
 a. Lat7-ina^ a privy. 
 
 b. An open court, surrounded by a 
 colonnade 011 three of its sides, which 
 formed a sort ol 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, eitlier in- 
 tended as a waiting-room for visitors ; 
 or probably appropriated to the use of 
 the superintendent 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 frigida7-ium, or chamber 
 containing the cold water bath {bap- 
 iisterium). 
 
 g. A room for the use of the garde- 
 ri5?i', who took chargeof the wearing ap- 
 parel, keptfor its ownerswhilebathing. 
 
 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 
 retuiTied 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 (h) a hot 
 water bath (alveus) at one extremity, 
 and the Laconiaim, with its basin or 
 labrum (j), 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. 
 See the illustration to SuSPENSURA 
 and Hypocaustum. 
 
BALINEM. 
 
 BALINEUM. 
 
 75 
 
 /. 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 
 
 «. The tepidariuin, or copper for 
 tepid water. 
 
 o. The cold water cistern. 
 
 /. 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 furnace. 
 
 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. Tliey 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 m. the larger set. 
 E. The apodyterium, with seats on 
 two of its sides [tt), and which, like 
 the one first described, communicates 
 with tlie frigida7'iuin, or cold water 
 bath (f), and with the tepidarium, or 
 tepid chamber ((;), 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 (jc), 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 cor- 
 responding apartment of the larger set. 
 
 2. Vitruvius (vi. 5. I.) used the 
 same term to designate a private bath 
 in a man's own house ; but this, 
 according to Varro (/. c), is not a 
 strictly accurate usage. See the 
 following word. 
 
 BALIN'EUM or BAL'NEUM 
 {^aXtxvelov tdiwTiKbv. Plut. Demetr. p. 
 41. Reiske. Alciphr. £p. i. 23.). A 
 private bath, or the suite of bathing 
 rooms belonging to a private house 
 (Varro, Z. L. ix. 68. Cic. Fam. xiv. 
 20,) ; as contradistinguished from the 
 plural Balinea, applied to the public 
 establishments, which commonly com- 
 prised 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 Diomides at 
 Pompeii, with those of the public 
 baths described and illustrated in the 
 preceding article. The baths and 
 
 their appurtenances occupied an 
 angle at one extremity of the whole 
 pile of building, and were entered 
 from the atrium through a door at a. 
 Immediately on the right of the 
 
76 BALLISTA. 
 
 entrance is a small room {b), perhaps 
 used as a waiting-room, or intended 
 for the slaves attached to this de- 
 partment of the household. Beyond 
 tliis is the apodyterhtm, 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 {tepidat ium), 
 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; f, 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 c, and at the 
 letter /; in the preceding woodcut. Cic. 
 Att. ii. 3. Pet. Sat. 72. Celsus, iii. 24. 
 
 BALL'ISTA or BAL'ISTA 
 (\i9o/3oXos or -ov\ 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 
 
 BALKEARIS. 
 
 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 modem antiquaries to restore a 
 specimen from the words of Vitru- 
 vius (x. II.) 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 
 iiiajores and jninores (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 Carroballist^, one 
 of which is represented on the 
 column of Antoninus, and is subse- 
 quently introduced as an illustration 
 to that word. It may seem to con- 
 vey a general sort of 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 
 i5a/&te are kept. Plant. Fcen. i. I. 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 Ealtne.*. 
 
 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. 
 
 BALXEA'RIS, sc.fur. Xp-arioKKt-K- 
 TTjs, Diog. Laert. vi. 52. XuttooiJt))!, 
 Id. id. CatuU. xxxiii. I. A fellow 
 who made a livelihood by stealing the 
 clothes of poor people, who had no 
 slaves of their own to take care of 
 them, from the public baths while 
 
BALNEARIA. 
 
 BALTEUS. 
 
 77 
 
 Iheir 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 apartments (Cic. Cal. 
 26. ), the object of which was to pre- 
 vent 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. i. i. See Baline^ 
 and Balineum. 
 
 BALNEA'TOR {^aXaviii). The 
 keeper of a set of baths. Cic. Cal. 
 26. Also the bath-man ; a slave who 
 attended to the baths in a private 
 house. Alciphr. Ep. i. 23. 
 
 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. 
 
 BALTERA'RIUS. The master 
 or keeper of the belts {baltd), an 
 officer in the Imperial household, 
 whose duty it was to provide and 
 keep in the wardrobe those articles 
 of use and ornament. Inscript. ap. 
 Reines. cl. 8. n. 69. Spon. Miscell. 
 Erud. Ant. p. 253. 
 
 BALTE'OLUS. Diminutive of 
 Balteus. 
 
 BAL'TEUS or BAL'TEUM 
 (TeXa/tc6i'). 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. yEn. v. 314.), and frequently 
 enriched with studs {bullce) of gold or 
 precious stones (Virg. /. c"), both 
 which particulars are distinctly visible 
 in the illustration, fVom a trophy at 
 
 Rome, commonly known as " the 
 trophies of Marius," but in reaUty 
 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. Hom. //. 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. jEn. 
 V. 313. Nemes. Cyneg. 91.), and a 
 musical instrument, like the lyre or 
 guitar from the neck. (Apul. Flor. 
 ii. 15. 2.) See the illustration 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 stud.s, or with 
 embroidery, which 
 was placed round 
 a horse's neck and 
 breast, below the 
 7iionile 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. 
 
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 
 seats {Manianum) and another. 
 
 (Calpum. Ed. 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 Pompeii, and 
 shows a portion of two mceniana, 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 igradus) in which their respec- 
 tive places were situate. Another 
 balteus is seen above, also with two 
 of its doors, which separated the 
 second muenianiim from the seats 
 above. It will also be observed that 
 the covered passage which encircles 
 the first incenianum 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 {I3a,pe:av). A dyer's 
 establishment. Inscript. a/. Carli, 
 Antkh. Ital. torn. 3. p. 14. Procura- 
 tori Baphii Cissie Histrice. Lamprid. 
 Alex. Sev. 40. Strabo, xvi. 2. § 23. 
 
 BAPTISTE'RIUM {^a-KTiar-h- 
 pwv) Properly ^ Greek word (Si- 
 
 don. Ep. il 2.), though not extant 
 in any Greek author. A cold plung- 
 ing bath, constructed in the cella 
 frigidaria. (Plin. .£/. ii. 17. II. Id. 
 V. 6. 25.) The illustration presents a 
 view of the coldljath, and room which 
 
BARBATULUS. 
 
 contains it, as now remaining at Pom- 
 peii. Tlie bath itself {baplisterium') 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 estab- 
 lishment of Christianity, a building 
 distinct from the church in which the 
 baptismal font was placed (Sidon. 
 Ep. iv. 1 5-) ; of which the baptistry 
 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 "Ecclesiastical 
 Architecture of Italy." 
 
 BARBATULUS {vTrrivrirr]! Trpu,- 
 Toi: Ael. y. H. x. 18. Hom. //. xxiv. 
 348. ). Having a youthful beard grow- 
 ing just round the chin, without being 
 shortened or trimmed into shape by 
 the barber {Cic. Att. i. 14.), as it was 
 worn by the youth of Rome before the 
 custom of sliaving had obtained ; and, 
 subsequently, until the age of man- 
 hood, when its amjDle growth required 
 to be artificially trimmed into form. 
 Youths used to grease their faces with 
 oil from the lamps, to anticipate nature 
 in making the moustache and beard 
 grow. (Petr. Snt. 75. lo.) The illustra- 
 
 BA RBITOS. 
 
 79- 
 
 tion is taken from a statue of Drusus, 
 the son of Tiberius, found at Pompeii. 
 BARBATUS (inrriJ'-firt]S, Truyu- 
 I'l'as). Wearing the beard of its natural 
 length, as was frequently practised by 
 the Greeks, until the age of Alexander, 
 
 and universally by the Romans, until 
 the year B.C. 300 
 (Plin. I/. jV. vii. 59. 
 Compare Liv. v. 41. 
 and Cic. Ccei. 14.), 
 whence the Latin 
 writers commonly 
 use the word to de- 
 scribe the rade and 
 unpolished manners 
 of the early ages (Cic. 
 Afiir. 12. Id.Sext.S. 
 Juv. iv. 103), when 
 beards were worn like that in the ex- 
 ample 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 inscribed lipon them. 
 
 2. Barbatus bene. Having the beard 
 neatly clipped 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.), v^^ 
 
 and was generally '*=ai 
 
 adopted by the emperors from the time 
 of Hadrian, as in the annexed bust of 
 Antoninus Pius, froman engravedgem. 
 
 BAR'BITOS and BAR'BITON 
 (jSapjSiros, jSapjStroi', and ^apvfiiTov, 
 Jul. Poll. iv. 59,). A 
 stringed instrument be- 
 longing to the class of 
 lyies ; but which was 
 of a larger size and had 
 thicker strings (Pollux, 
 /. c), and, therefore, 
 produced louder and 
 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 
 fingers and the plec- 
 tru??t, or quill (Claud. 
 Proem, ad Efith. in 
 
8o 
 
 BARCA. 
 
 BASILICA. 
 
 et Mar. 9. Auson. Epigr. 44.) ; 
 and thus it may be regarded as 
 an instrument which bore the same 
 analogy to the lyre as our violon- 
 cello does to the violin. AU these 
 particulars make it highly probable 
 that the figure here introduced 
 affords 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 transporting 
 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. I. 19. Xot. Tir. p. 77. 
 
 BARDOCUCUL'LUS. A hood 
 or cowl {cucullus), which, if we 
 might judge from the name, was 
 peculiar to the Bardeei, a people of 
 lUyria (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 panula. 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. 
 
 at the side Qust near the right foot), 
 the same as in the pisnula, 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 ((32^is). A flat-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. L 96.) The 
 illustration shows one of these boats 
 
 which is copied from a sepulchral 
 bas - relief found at Langres, in 
 France. It has sleeves, which the 
 pccnula had not ; but there is a slit 
 
 with a mummy placed in it, from an 
 Egyptian painting. When Proper- 
 tius (iii. II. 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. 
 
 BASILTCA. 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. 
 
 EASTERN A. 
 
 8l 
 
 to most of our old English churclifes. 
 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 
 woodcut), 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 counsel 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 
 
 rlnlnlnininlpilnSMMR 
 
 section and elevation down the centre 
 of the ancient Basilica at Verona, as 
 restored from its remains by the 
 Count Arnaldi. These upper gal- 
 leries 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. I. 
 
 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. 
 ffht. Sacr. ii. 33. and 38.). Five 
 of these edifices at Rome still retain 
 their ancient name of basiliccc ; 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. Plant. 
 Cure. ii. 3. 80. Becker, Gallus, 
 p. 393. Transl. 
 
 BASTER'NA. A sort oi palan- 
 quin, more especially appropriated 
 to the use of females. (Poet. Incert. 
 in 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, 
 
 F 
 
62 
 
 BASTERNARIUS. 
 
 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 woodcut of the 
 :5th 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. 
 vl 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 (Van'o, R. R. 
 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. 
 Plant. 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 (Plant. 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, s. 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. 1 72. 
 
BESTIARIUS. 
 
 BICLINIUM. 
 
 83 
 
 BESTIA'R'IUS [evpioficixv!)- 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 tlris nature were exhibited 
 to the people. (Cic. Sexi. 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. 
 II.); nevertheless, they were at 
 first fully protected, hke 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 
 SavelU, now Orsini, at Rome, and 
 which is built upon the rains 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 bandages on their 
 
 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 last example, from a tomb at 
 Pompeii. This custom was first in- 
 troduced in the reign of Claudius. 
 Plin. H. N. viii. 21. 
 
 BIBLIOPO'LA ((3i;8Xio7riiX7,sy. 
 A bookseller] whose trade consisted 
 in collecting MSS. (Mart. Ef. iv. 
 72. ) ; advertising them by catalogues 
 aflixed to the outside of his shop 
 (Mart. £/. i. 118. II. Hor. Sat. i. 
 4. 71. Id. A. P. 373.) ; multiplying 
 copies by the employment of various 
 hards to transcribe them (Mart. Ep. 
 ii. 8. Compare Ep. vii. II.) ; and 
 disposing of the same by sale. (Plin. 
 Ep. ix. II.) 
 
 BIBLIOTHE'CA {pi^\ioe-/iKv). 
 A library ; ;'. e. the apartment or 
 building in which a collection of 
 books is preserved. (Cic. Earn. vii. 
 28.) A room fitted up as a library 
 was discovered in one of the houses 
 at Herculaneum, in the year I753i 
 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. 
 Earn. xiii. 77. Festus, J. 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. 
 
 BICLINTUM. A sofa, or couch, 
 adapted for two persons to recline on 
 at their meals, &c. (Plant. Bacch. 
 iv. 3. 84. and 117.) It is a hybrid 
 word, half Latin and half Greek; 
 
84 B I DENS. 
 
 (Quint, i. 5- 68.) The example is 
 
 from a Roman bas-relief. 
 
 BIDENS (5keXAa, aiiiviri). A 
 strong and heavy two-pronged hoe 
 (Ov. Fast. iv. 927.), employed for 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. TibuU. 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 ; 2lS for/ex 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, j-. v. Hor. A. P. 471. 
 Apul. Deo Socr. p. 677.) The il- 
 
 BIFRONS. 
 lustration affords a view of the re- 
 
 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 (SJSu- 
 po^). 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 
 Fre7ich windtrais s.aA folding- doors. 
 (Ovid. Pojtt. iii. 3. 5. Vitruv. iv. 6. 
 6.) See the illustration to Ante- 
 PAGMENTUM. 
 
 BIF'RONS (Si/i^TUTTos). 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 before, and 
 the unknown, which is 
 behind. (W\xg. A£n. 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 
 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 
 
BIG A. 
 
 BI LYCHNIS. 
 
 85 
 
 mostly represent male heads of dif- 
 ferent persons, very generally philo- 
 sophers, or of the Indian Bacchus, 
 united with some mythological or 
 otlier personage. 
 
 BI'GA (awapU). A pair of 
 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. ^n. ii. 
 272. CatuU. 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. 
 
 BIGATUS, sc. nummus, or argett- 
 tum bigatutn. (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- 
 
 verse (Plin. H. N. 
 xxxiii. 13.), from 
 which it received 
 its name. The ex- 
 ample is from an 
 original in the Brit- 
 ish Museum, and 
 drawn of the actual size. 
 
 BIJ'UGIS and BIJ'UGUS. The 
 same as Biga, in both senses. 
 
 BI'LANX. With two scales. Marc. 
 Capell. ii. 180. p. 42. See Libra. 
 
 B I' L I X (a/fiiTos). 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. ^n. 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. 
 
 B I L Y C H' N I S, sc. lueerna. 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. 
 
 the example, from an original of 
 bronze. 
 
 BIPAXIUM. 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 (paid). The 
 usual reach of this instrument was 
 two feet, but that could be increased 
 or diminished, by placing the cross- 
 bar either farther 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. 
 
 BIP'EDA. A large tile, two feet 
 long, used for making pavements in 
 the open air. Pallad. i. 40. 2. Id. i. 
 19. I. 
 
 B I P E N' N I F E R. Bearmg, or 
 armed with the double-bladed axe 
 (bipennis), a weapon especially char- 
 acteristic 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 (Sio-To- 
 /xos ir^XeKvs, a^lv-q). An 
 axe with a double edge 
 or blade (Isidor. Oj'ig. 
 xix. 19. II.); used as a chip axe (Hor. 
 Od. iv. 4. 57.), and more com- 
 monly as a weapon of war. (Virg. 
 ALn. V. 307. Plin. H. N. viii. 8.) 
 See the illustration and preceding 
 word. 
 
 BIREMIS. 
 
 BIPRO'RUS [SlTrpoipos). Having 
 a double prow (Hygin. Fad. 16S. 
 277.) ; which probably means a 
 vessel built sharp fore and aft, Hke 
 the fast-sailing "proas" of the In- 
 dian seas, so that it could sail either 
 way without tacking or going about. 
 Compare Tac. Anti. ii. 6. 
 
 BIRE'MIS (5//ccj7ros). 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 
 pa}"'a ratis, and abius. 
 
 2. (5(/cpo70s). Furnished with two 
 banks of oars [ordhies) ; which is the 
 
 312 
 
 more common application of the term. 
 It designates a bireme or vessel of 
 war, which has two lines of oars on 
 each side, placed in a diagonal posi- 
 tion one above the other, as in the 
 example, from a marble bas-relief of 
 the Villa Albani, each oar being 
 worked by a single rower. (Plin. 
 JI. IV. vii. 57. Ca;s. B. C. iii. 40. Tac. 
 Jlist. 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. 
 
BIROTUS. 
 
 BOIjE. 
 
 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 
 (}?ioneris) from the bireme, which, 
 therefore, had them distributed in 
 two — complei quod biremium, quceque 
 simplici ordine agebajiiur. 
 
 BIROTUS, 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. Cisiuvi^ 
 p. 86. Cod. Theodos. 8. 5. 8. 
 
 BIR'RUS. A capote, or cape, 
 with a hood to it (Schol. Vet. ad 
 
 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 
 ^% %\SS. (rigens, Sulp. Sev. Dial. 14.), 
 both of which qualities are clearly 
 recognisable in the illustration, from 
 a statue found at Pompeii, which re- 
 presents a young fisherman asleep in 
 his capote. 
 
 BISAC'CIUM, A pair of saddle- 
 bags made of coarse sacking ; the 
 original of the Italian bisacce, and 
 Sttrd/cioj/ of the modem Greeks. 
 Pet. Sat. 31.9. Anion, ad I. 
 
 BISELLA'RIUS. A person to 
 whom the privilege was accorded of 
 using a bisellium. Inscript. ap. 
 Grut. 1099. 2. 
 
 BISEULIUM. A state chair of 
 large dimensions, sufficient for hold- 
 ing two persons (Varro, L. L. v. 
 
 128.) ; though there is every reason 
 to beUeve that it was only used by 
 
 one ; as the several specimens found 
 or represented at Pompeii are usually 
 accompanied by a single footstool 
 (suppedaneuni) placed in the centre, 
 similar to the example here given, 
 which is from a Pompeian bas-relief, 
 and has its name, bisellium, inscribe^ 
 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. Inscrip. 
 ap. Mazois. Ruities 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. 
 ALn. 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'^. Probably identical with 
 the Greek kKoloI, 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^. 
 
 As. iii. 2. 5. Id. Capt. iv. 2. 109. 
 Prudent. Praf. Psych. 34. Hieron. 
 5. in Hierem. 27. 
 
 BOLE' TAR. Properly a dish 
 for serving mushrooms (boleti) upon 
 (M.irt. Ep. xiv. loi.) ; and thence 
 transferred to any kind of dish. Apic. 
 ii. I. V. 2. viii. 7. 
 
 BOTEL'LUS. Diminutive of 
 hotulus. Mart. v. 78. 
 
 BOTULA'RIUS. A maker and 
 vendor of botuli, black puddings, or 
 sausage meat. Sen. Ep. 56. 
 
 BOT'ULUS (0UO-/C7)). A sort of 
 sausage meat or black pudding, for it 
 was prepared with the blood o-f 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. i. 3.) The 
 same as BuBiLE, which is the more 
 usual form. 
 
 BRABE'UM, BRABI'UM, or 
 BRAVTUM {^pa^slof). The prize 
 given to the victor at the public 
 games. (Prudent. Ilepl Sre^. v. 
 538.) The exclamation bravo I as a 
 sign of approval, refers its origin to 
 this word. 
 
 BRABEU'TA {fipa^evr-Zi!). The 
 judge who declared the victors, and 
 awarded the prizes at the public 
 games of Greece. Suet. A^ero, 53. 
 
 BRAC'^ or BRAC'C^ (dra- 
 ^vpides). 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 breeks, 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 : — 
 
 I. dvafyplhit. 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 {OvXaKoi). 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), conse- 
 quently the usual costume of Paris. 
 
 3. Braca: virgatcs (Propert. iv. 10. 
 43.), or pictcB (Val. Place, vi. 227.). 
 Striped, checked, and embroidered 
 trowsers, which were much worn by 
 the inhabitants of Asia. See the next 
 illustration. 
 
BRACARIUS. 
 
 BRACHIALS. 
 
 BRACA'RIUS. Strictly a /rrawr- 
 viaker (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. Bracatits 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 Maeotis (Mela, ii. I.), 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 (Moii. Iiied. No. 149.), 
 which leaves exposed the portion 
 here concealed by the kilt. 
 
 3. Bracatus miles. A trowsered 
 soldiei- : 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 
 Bracce 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 (ivepii^paxi-bviov). 
 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., 
 
go 
 
 BREPHO TR OP HE UM. 
 
 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 
 BREPHOTROPHI'UM (fipecpo- 
 rpo<l)€Lov). 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 (^(iauXos or -ov). A 
 cow-shed, cow-house, or stall for oxen. 
 
 (Phredr. ii. 8. Cato, R. R. 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. £fi. i. 6.) The example is 
 from the Vatican Virgil. 
 
 BUBUL'CUS (^ouKiXos). 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 attached to the plough (Columell. 
 ii. 5. 2, ii. 13. I. ii. 2. 25.), as shown in 
 the illustration j-. Arator ; or to a 
 waggon of any kind. Ovid. Trist. 
 iii. 12. 30. 
 
 BUCCELLA'TUM. A hard sob 
 dier's biscuit, which was distributed 
 for rations upon a march. Spart. 
 Pescenii. Nig. 10. Ammian. xvii. 8. 2. 
 
 BUCCULA (irapa-ivuBk). 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 bueeitlee 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 ti tomb at Pcestum, 
 
BUCCULARIUS. 
 
 BULLA. 
 
 91 
 
 with tlie cheek-piece depending from 
 it 
 
 BUCCULARIUS. One who 
 made, or affixed cheek-pieces (huc- 
 cula) to helmets. Aurel. Arcad. Dig. 
 50. 6. 6. 
 
 BU'CIXA and EUC'CIXA 
 (PvKdmi). A particular kind of horn, 
 formed in spiral Hvists (Ovid. Jl/d. i. 
 
 336.), like the shell of the fish out of 
 which it was originally made, as 
 shown by the annexed engTa\'ing, 
 from a small bronze figure once be- 
 longing to Blanchini. In this, its 
 earUest form, it was commonly used 
 by swine and neat-herds to collect 
 their droves from the woods (Varro, 
 Ji. R. il 4. 20. Id. iii. 13. i. 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, TTiyest. 798. ) ; and in 
 early times, to summon the Quirites 
 to the assembly, or collect them upon 
 any emergency. Prop. iv. i. 13. 
 
 2. The interna was also employed 
 as one of the three vrind instruments 
 with which signals were made, or 
 the word of command given to the 
 soldiery (Polyb. xv. 12. 2. A'irg. 
 jEn. xi. 475. VegeL Mil. iii. 5.); 
 but the military instrument was then 
 of a different form, having a larger 
 mouth made of metal, and bent round 
 underneath [qutz in senietipsa-m cereo 
 circulo flectitur, Veget. /. c), of which 
 kind a specimen is here given, from 
 
 a marble bas-relief, published by 
 •Bumey, Hist, of Music, vol. i. p. 6. 
 
 BUCIX.A'TOR or EUCCIXA'- 
 TOR {BvKo.vTfrip, or ^vKai/L<rT-r/s). 
 One who blows the horn, called 
 biuina (Polyb. ii 29. 6. Id. xxx. 13. 
 II. Cass. 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 signalises its arrival 
 by sounding the bucina. 
 
 EUL'GA. A small leathern bag, 
 which was carried on the arm - Xon. 
 J. V. p. 78. ed. Mer- 
 cer), in the same 
 manner as the mo- 
 dem reticule, by 
 traveUers, who use'i 
 it as a money bag ir 
 (Lucil. Sat. vi. p. 20. .^ 
 I. ed. Gerlach. Varro 
 ap. Xon. /. c.)\ and 
 by agriculturists, as a pouch, con- 
 taining the seed at sowing time (the 
 TT-qpa, aTr€pij.o(p6poz 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 X'eapolitan 
 Museum. Mus. Borb. xii. 47. 
 
 BULL A. Literally a water 
 bubble; whence the word is applied 
 to various ornaments of a globular 
 form, or which possess some af&nity 
 in shape to a bubble, \'iz, :— 
 
92 
 
 BULLA. 
 
 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 ^«. ix. 359.) 
 The example is from an original in 
 ivory found in the catacombs at Rome. 
 
 3. Bii/la aurea. A golden orna- 
 ment, worn by the Roman chUdren 
 
 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. Bulla scortea. An ornament of 
 a similar description, only made of 
 leather, instead of gold, which was 
 worn attached to a thong of the same 
 
 BUR A. 
 
 material (loricm, Juv. v. 165.), by 
 the children of freedmen and of the- 
 
 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 p-u:- 
 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 .i. 
 bas-relief in terra- 
 cotta, and represents 
 
 a youth with his tablet at school. 
 
 BUL'LULA. 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. m Isai. ii. 3. 18. 
 
 BU'RA or BU'RIS (yv-ns). 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 timbei", bent 
 at one end into a curi'e (Virg. Geor^. 
 i. 169.), like an ox's tail (/3o6s ou/ia), 
 
BUSTUARIUS. 
 
 from which resemblance the Latin 
 name originated. (Serv. ad Virg. 
 /. c. Isidor. Orig. xx. 14. 2.) The 
 
 BUXUM. 
 
 93 
 
 illustration represents an ancient 
 plough, from an engraved gem ; the 
 bent part on the left hand is the 
 bura ; the short hook under it, shod 
 with iron, acted as the share (vomer) ; 
 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 (tenia), to which the oxen were 
 attached. Compare also Aratrum, 
 2., where the same part is shown 
 upon a Greek plough of improved 
 construction at tlie 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. .S«. jt. 519. Cic. /Vj. 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 background. 
 
 BUS'TUM (Ti5/iij3os, KaiaTpa). 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 
 sepulchral 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, j. v. Lucret. iii. 
 919. Cic. Leg. ii. 26. Suet. Nero, 38. 
 Strabo, V. iii. 8., of the one attached to 
 the Mausoleum of Augustus in the 
 Campus Martius. 
 
 BU'TYRUM (^oiTvpov). 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, Histoty of Inventions, 
 vol. i. p. 504-7. London, 1846. 
 
 BUXUM (TriJJos). Box-wood ; an 
 article much employed by the ancients, 
 as it is with us, on account of its con- 
 sistency and fitness for working ; 
 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. 
 ^n. 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. I94-) SeePECTEN. 
 
 4. (vviiov). A box -wood tablet, 
 
94 
 
 CACABULUS. 
 
 CADUS. 
 
 covered with waXjfor writingon. (Prop, 
 iii. 23. 8.) See Cera, Tabella. 
 
 CACAB'ULUS or CACAB'- 
 ULUM {KaKKd^iov). Diminutive of 
 Cacabus. Apic. iv. i. 
 
 CA'CABUS or CAC'CABUS 
 {KaKKafirj, KaKKafiU, Ka/c/cajSos). A 
 poi for boiling mmt, 
 vegetables, ^c. (Varro, 
 /,. L. V. 127.), wliicli 
 was placed immedi- 
 ately upon the fire, or on 
 a trivet (tripus) stand- 
 ing over it. (Compare 
 Ahenum.) The com- 
 mon sorts Avere made of earthenware ; 
 whence, when other kinds are re- 
 commended, the material is always 
 specified by a characteristic epithet, 
 as a tin pot (stagneiis, Columell. xii. 
 42. I.); a bronze pot {irueus. Id. 
 xii. 48. I.); a silver pot (atgenteus, 
 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 t. 
 
 CADUCEA'TOR. a general 
 name for any person who was sent 
 out from one belligerent party to 
 another, carrying the wand of peace 
 (caduceiis) ; 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, KripiiKiov). In general, a 
 herald's wand (Cic. de Oral. 
 i. 46.), which consisted of a ^ 
 simple olive stick, ornamented 
 with garlands (Miiller, Archao- 
 logie der Kunst, 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 Mercuiy, observing two snakes 
 fighting witli one another, separated 
 them with his staff; whence a stick 
 thus decorated came to be adopted 
 as the emblem of peace. (Hygin. 
 Aslron. 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 (fcdSos). A large earthen- 
 ware jar, used chiefly for holding 
 wine (Mart. iv. 66. 8. Virg. j, 
 yEn. 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 
 
possessing the general shape of a 
 Vjoy's whipping-top {turbines cado- 
 rum, PUn. 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 
 Cella. 
 
 C^LUM (-/Xvcjiavov). The chisel 
 or graver used by persons who prac- 
 tise the art of chasing {calaturd) 
 in metals. Isidor. Orig. xx. 4. 7. 
 Quint, ii. 21. 24. 
 
 2. See CcELUM. 
 
 CyEMENTA'RIUS {\i0o'\irYOs). 
 One who builds rough walls of un- 
 hewn stones {ctztnenta). Hieron. £p. 
 
 53- 6. 
 
 CyEJIEXTI'CIUS. 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 m mth the 
 smaller chippings, as shown in the 
 illustration above, which represents a 
 portion of the very ancient walls of 
 Tiryns ; this kind they termed ca:- 
 inenticia structura antiqua. (Vitruv. 
 ii. 8. Liv. xxi. II.) The other, very 
 
 CMSTUS. 95 
 
 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 \ ilia of 
 Maecenas at TivoH, the ancient 
 Tibur. This was called ccemenlicia 
 structura incerta (Vitruv. ii. 8.), and 
 was mostly intended to be covered 
 over by a coating of cement. 
 
 C.-E-MEX'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. ; XWoi Xo7d5es, Paus. vii. 22. 3. 
 and last cut but one), as well as the 
 smallerfragments or chippings (XaruTn;, 
 (TKtSpos), more generally adopted in 
 domestic architecture. Cic. Mil. 27. 
 Vitruv. ii. 7. i. Id. vi. 6. I. and 
 last illustration. 
 
 C^SARTES. Is neariy synony- 
 mous mth Coma ; but implies also a 
 sense of beauty ; i. e., as we should say, 
 a becoming head of hair ; profuse and 
 abundant when applied to women 
 {Ovid. ^OT. iii. i. 32.); thick, long, 
 and waving, like the Greek busts of 
 Jupiter, Bacchus, and Apollo, when 
 applied to men (Plant. Mil. i. I. 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^NA. See Ccena. 
 C.^STRUM. See Oestrum. 
 C^STUS l^iii.i.vTi%, iJ.vpiJ.71^). Box- 
 ing gauntlets worn by the ancient 
 prize-fighters (Cic. Tuse. ii. I7- 
 Virg. ^K. V. 379.) ; which consisted 
 of leather thongs bound round the 
 
 hands and wrists (Prop. iii. 14- 9-) 
 
96 
 
 CMTRA. 
 
 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. Tkeca cala- 
 vtaria (KoKa/xis). A pen-holder, or 
 case for carrying writing reeds. 
 (Suet, aaiiii. 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 calaviajo^ in 
 the common language of Italy, 
 means an "ink-stand." 
 
 CALAMIS'TER, CALAMIS'- 
 TRUS, CALAMIS'TRUM (fcaXa- 
 \ds). A pair of ct0'ling-iro7is ; 
 so termed because the outer part 
 was hollow on its inside 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 Red. 1.7. 
 Pet. Sat. 102. 15.) The illustra- 
 tion is copied from a sepulchral 
 basrelief in the I'lorentine Gal- 
 lery, on which it appears amongst vari- 
 ous other articles of the toilet ; the 
 curling 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 icalamister) ; a practice very 
 prevalent at Rome, both amongst men 
 and women, in the time of Plautus, 
 Varro, and Cicero. Plaut. As. iii. 3. 
 37. Cic. Post Red. i. 6. 
 
 CAL'AMUS (KaKa.p.0%). 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 object ; as 
 
 1. An arrow. Hor. Od. i. 15. 17. 
 Arundo 2. 
 
 2. Pan's .pipes. Virg. Eel. iL 33. 
 Arundo 6. 
 
 3. A fishing-rod. TibuU. ii. 6. 23. 
 Arundo 3. 
 
 4. A fowler's lime-tipped rod. 
 Mart. Ef. 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 (Kp-fjienvov). 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 
 drawn together at pleasure, and made 
 to conceal the whole face. (Hom. 
 Od. i. 334. //. xiv. 184.) It was 
 commonly worn by the Egyptians of 
 both sexes (Riddle, s. v.), and is con- 
 sequently of frequent occurrence in the 
 paintings and sculptures belonging to 
 that nation, precisely 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. m Clod. 
 p. 115. ed. Amed. Peyron. Lips. 
 1824. 
 
 The afiinity 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 /cpas, and oew or hifuj, 
 meaning literally that which is fas- 
 tened by a ligature to the head, and 
 Nonius (/. c.) gives a similar inter- 
 pretation to the Latin one — quod 
 capiti innectitur ; whilst Ausonius 
 {Perioch. Od. 5.^ translates the 
 icpijSifivov of Homer by the Latin 
 calantica or calvatica. "The illustra- 
 
CALA THISCUS. 
 
 CALCAR, 
 
 97 
 
 tion and derivation of the Greek 
 word also explain another of the 
 senses in which it is used (Horn. Od. 
 iii. 392.); viz. a leather cap tied 
 over the mouth and bung of a vessel 
 containing wine or other liquids, 
 which the lexicographers erroneously 
 translate, "the lid of a vessel." The 
 illustration moreover will explain 
 why Cicero (/. r.) and Servius {ad 
 Virg. j^n. 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 Latia 
 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 (KaXadiuKoi). 
 Diminutive of Calathus. CatuU. 
 Ixiv. 320. 
 
 CAL'ATHUS (/caXaM- A 
 woman's work-basket (Virg. ^^;/. vii. 
 805.), made of wicker- 
 work, and gradually 
 expanding upwards 
 towards the top (Plin. 
 H. N. xxi. II.); 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- 
 
 107. 
 which 
 
 basket in shape ; as shown by the 
 figure in the illustration, held 
 by a cupbearer in one of the 
 miniatures of the ^^atican 
 Virgil. Virg. Eel. v. 71. 
 Mart. Ep. ix. 60. 15. Id. xiv, 
 
 4. The modius, or bushel, 
 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. 
 PJaut. Merc. v. 2. 11. Id. Jiiid. ii. 
 
 3- 5- 
 
 CALAUTTCA. See Calantica. 
 
 CALCAR {iyKsvTpis, Pherecr. 
 Com. ap. Poll. X. 54. /xvilixj/. Theo- 
 phrast. Char, xxi.) A horseman's spur 
 (Plant. 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 Vii^. 
 ^n. xi. 714.); whence the manner 
 of applying it is clearly illustrated by 
 G 
 
98 
 
 CALCA TOR. 
 
 the expression suhdere eqtw calcaria. 
 (Curt. vii. 4. compare iv. 16.) The 
 right-hand figure in the annexed 
 engraving represents an original 
 from Caylus [Rccudl d'Anliq. 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 aculcus 
 (Columell. viii. 2. 8., vi'here 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, repre^nting 
 an Amazon, and show the straps and 
 fastenings by which the spur Avas 
 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 cu'cum- 
 stance some antiquaries incline to the 
 belief that the ancients only rode 
 with one spur, and that one on the 
 i left leg. 
 
 2. In like manner, the spur which 
 grows out from the heel of a cock. 
 Columell. viii. 2. 8. 
 
 CALCA'TOR (\vmpdTris). One 
 who crushes grapes for making wine, 
 by treading them out with the naked 
 feet, as is still the practice in Italy. 
 (Calpum. £d. 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 olher ancient works of art, as 
 
 CALCEOLARIUS. 
 
 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 viijaria), 
 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, atpcv), in which 
 the wine was kept in bulk, for the 
 convenience of the persons who super- 
 intended its manufacture and sale. 
 (Pallad. i. iS. I.) It was so called 
 a calcando, or ab ope7'e 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 woodcut) ; 
 for a contrivance of that description 
 belongs clearly to the press-room 
 [torcularium')^ in w^hich the wine was 
 made, and not to the cellar {cella 
 vinaria), in which it was stored. 
 Cato designates the same thing by 
 the term suggestum. R. 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- 
 ?naker. (Plant. Aul. iii. 5. 38.) The 
 
 illustration is from a painting exca- 
 vated at Resina, representing the 
 mterior of a shoemaker's shop, in 
 which the two genii here figured 
 are employed at their trade. 
 
CALCEOLUS. 
 
 CALCE'OLUS (i-'MtLi.-iov\. 
 Diminutive of Calceu; ; a =mail 
 
 CALCEUS. 
 
 99 
 
 /' 
 
 
 '-.='V 
 
 shoe or boot ; and thence more espe- 
 cially applied to those worn by 
 ■nomen. (Cic. X. £>. i 29.) The 
 engra\Tng represents three specimens 
 ; of women's shoes from the Pompeian 
 pain'.L%';, 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 
 I a cord drawn in a hem round the 
 top, or have merely a slit over the 
 ir,-tep, through the sides of which 
 the lace is passed, and not lappets, as 
 I was more usual in men's shoes. (See 
 j the next illustration.) There does 
 not appear to have been any material 
 } difference between the shoes of the 
 ' Greek and Roman females ; but many 
 I of the latter wore the same as the men. 
 AeL V. H. vii. II. 
 
 CAL'CEU.S {vTTOOTJfJUL KOlXoVj KoKi- 
 
 Kwi, Polyb. XXX. 16. 3.). \slweoxboot. 
 
 made upon a last and right and left 
 (Suet. Aug. 92.), so that it would com- 
 pletely cover the foot, as contradistin- 
 guished from the sandal, slipper, &c., 
 which were only partial coverings (Cic. 
 Hor. Suet. Plin. ). The illustration re- 
 presents 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. 1 means, "to 
 become a senator.' I: was :a='.ened 
 
 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 aimexed figures, of vrl.'.ch the 
 front view is taken from a bronze, 
 the side one from a marble statue. 
 A lunated ornament, called Lu>UL.\, 
 was moreover attached to them, for 
 an account of which see that word. 
 
 3. Calceus r^-pandui. A shoe 
 with a long pointed toe bent upwards 
 or backwards. (Cia 
 Xat. Deor. L 29., but 
 the diminutive is used 
 because applied to a 
 female.) This form 
 appears to have been of a great anti- 
 quity, for it is frequently seen in 
 Egj-ptian 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 untU a 
 late period of the middle ages. The 
 illustration here given is Etruscan 
 (Gori, Mui. 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. 
 Xo. 12.), which is draped in every 
 respect as Cicero (/. 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, dt 
 Pall. 5. 
 
100 
 
 CALCULATOR. 
 
 CALDARIUM. 
 
 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. Ab.\- 
 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 (■/'^0os). 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 woodcut, 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. Mel. xv. 41. 
 
 4. A counter employed in games of 
 chance or skill, for the same purpose 
 as our chess and draftsmen ; and 
 the term is applied indiscriminately 
 to the men employed in the ludus 
 duodecim scriptoruvi or backgammon, 
 and in the ludus latmnculorum, or 
 draughts. Ov. Am. ii. 207. Val. 
 Max. viii. 8. 2. Aul. Gell. xiv. i. 9. 
 
 CALD.VRIU.M. The thermal 
 chamber in a set of baths. (Vitruv. 
 V. 10. Seneca, Ef. 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 
 gj'mnastics, for the purpose of ex- 
 citing perspiration ; he then sat down 
 in the laconicum, and underwent a pro- 
 fuse perspiration, superinduced by the 
 hot air proceeding from the flues seen 
 under the flooring of the room ; or 
 entered the warm water bath, if pre- 
 ferred, instead. It is probable that 
 in the more magnificent and extensive 
 structures, such as the Roman Thtr- 
 mce, 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 discovered, 
 and they are many, is uniformly 
 arranged in the manner described, and 
 shown by the illustration, which repre- 
 sents 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 illustrations, s. Bal- 
 INE.«, letters D and H ; and Balin- 
 EUM, letter D. 
 
 2. (iirvoKi^-qs, xaX/cfiov). The boiler 
 in which the warm water for supplying 
 a bath was heated (Vitruv. v. 10.), 
 as seen in the preceding illustration 
 (where it is marked 2.), immediately 
 over the furnace, with its conduit tube 
 
CALENDARIUM. 
 
 CALIGARIUS. 
 
 lOI 
 
 into the bath. See also Ahenum 2., 
 where the principle upon which the 
 ancients constructed and arranged 
 their coppers is explained. 
 
 CALENDA'RIUM (riticpoUyiov). 
 An ahiianack or calendar ; which, 
 like our own, contained the astro- 
 nomical, 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 
 
 MENSIS 
 
 JA1.TJAR . 
 
 DIES . XXXI . 
 
 N<^N , QUINT . 
 
 0113 . HOR . VUII3 . 
 
 KOX . HOR . xim . 
 
 BOL , 
 
 CAPRICORSO . 
 
 ITITELA . 
 
 JUSUNIS . 
 
 PALU3 
 AQUITDR . 
 
 bALlX . 
 
 HARt'NDO 
 
 CrEDITUR 
 
 SACRIFICAN . 
 
 DIS . 
 PENATIBUS . 
 
 
 ■i?! 
 
 
 
 1 
 
 E^ 
 
 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 {Kv\iiiiov). Diminu- 
 tive of Calix. 
 
 CALIDA'RIUM. See Calda- 
 
 RIUII. 
 
 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. /. c. 
 Acron. ib.) 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 higli 
 one. (Hor. /. c.) 
 Some think that the 
 ealiendntni was made 
 of hair, and was a 
 sort of wig. 
 
 CAL'IGA. The 
 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. 
 
 CALIGAT<IUS. One who fol- 
 lowed the trade of making soldiers' 
 shoes (caliga). (Lamprid. Alex. Sev. 
 33. Inscript. aj>. Grut. 649. I.) 
 
 The example is from a sepulchral 
 marble at Milan, which bears the 
 inscription Sutor Caligarius, thus 
 identifying the trade. It is of coarse 
 execution, and has suffered from age, 
 but is a valuable relic, because it 
 
CALIGA TUS. 
 
 CALONES. 
 
 proves that tlie cn/iga was a close- 
 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 tlie 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. iii. 
 322), as seen in the last cut but one ; 
 and thence by implication, a comvion 
 soldier (Suet. Aug. 25. Id. Vitell. 7.), 
 because its use was peculiar to the 
 rank and file. 
 
 CALIP'TRA or CALYP'TRA 
 {Kokij-n-Tpa., KaXu/jL^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 
 (Eurip. Iph. T. 372.) 
 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 (^sch. Ag.^ 1 149. ), and the 
 same costume is still preserved at 
 Rome for the young women who re- 
 ceive a dowry from the state on the 
 festival of the Annunciation. 
 
 CALIX (Ki5Xi|). 
 cular wine - goblet 
 of Greek invention 
 (Macrob. Sat. v. 
 21.), with a low 
 
 A shallow cir- 
 
 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 a 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 
 moreespecially.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 tlie 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 tvater-vieter ; 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 {casielhmi), 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. ^6. 
 
 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. Dear. iii. 5. Serv. ad 
 
CALPAR. 
 
 CAJIT.'.-Ui 
 
 Virj. ^ndd. vi. I. and Xonins, s. v. 
 p. 62, 
 
 2. A farm-servant (Hor. Sat. i. 6. 
 103.) ; a palanquin or sedan bearer 
 Senec. £p. no.) ; and thus a menial 
 generally. 
 
 CALPAR. An antiquated name 
 for DOLiuii ; which had already 
 grown obsolete in the time of Varro, 
 De Vit. Pop. Ro. ap. Xon. s. v. p. 
 546. 
 
 CAL'THULA. An article of 
 female attire which appears to have 
 been much in vogue at the time of 
 Plautus. (Epid. ii. 2. 49.) It is 
 supposed to have received its name 
 from the caltha (Xon. ilarc. s. v. 
 p. 548.), the calendula ojfficinalis of 
 Linnzeus, which is a flower of a 
 yeliow colour ; but it is impossible to 
 ascertain the exact nature of merely 
 local or temrjorarv fashions. 
 
 CALVAT ICA. See Calaxtica. 
 
 CALX. The same as Linf.a 
 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. lusc. I. 8. 
 
 CA.M'ARA, or CAM'ERA (ra- 
 Hdpa). Strictly speaking, is a Greek 
 word adopted into the Latin language 
 (Cic. Q. Fr. iil i. i. Pallad. i. 13. 
 I.), and used by the Roman archi- 
 tect! 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 
 ^xA fornix ; but the former was also 
 transferred in a more general sense 
 tu any kind of apartment or building 
 which had a vaulted ceiling. It con- 
 tains the elements of our word cham- 
 ber, through the modem Italian ca- 
 
 mera, their ordinary expression for a 
 room of any kind. 
 
 2. Camera -itrea. A vaulted 
 ceiling, of which the surface was 
 lined with plates of gia;?. Plin. 
 //. N. xxx-^d. 64. Compare Stat. 
 Syh. i. 3. 53. and i. 5. 42. 
 
 3. A small ve^-el used by the 
 Greek pirates, capable of containing 
 from twenty-five to thirty men. It 
 was of a ver)' 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. 'Strt>lo, 
 >.i. 2. 12. Tac. Hist. iii. 47. Anl. 
 Gell. x. 25. 3.) An old engraving 
 by F. Huiis after the elder Breuge), 
 and published by Jal {Archeologie 
 Navale, vol. ii. p. 255.), exhibits the 
 stem 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 un- 
 kno^vn. Ov. Fast. iv. 779. Pet. 
 ■5"-'- 133- §3- and 4. Id. 64. § 13. 
 
 CAAIILLV.S (KdSoKXos or KdStj- 
 Xos). An attendant V ho waited upon 
 the high priest while 
 officiating 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 famihes (Ma- 
 crob. Sat. iii. 8. Fes- 
 tus, s. Flaminius), and 
 are frequently repre- 
 sented 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. 
 
 CAMFNUS (fcdjuH'Os). A smelting. 
 
I04 
 
 CA MINUS. 
 
 furnace. '(Plin. //. N. xxxiii. 21.) 
 The illustration represents the section 
 
 — A 
 
 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- 
 CUL.A ; E, 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 /i>}-ge {Y'ng. ^n. 
 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 
 background ; and the bellows {follis), 
 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. \. 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 chimney 
 in our sense of that word, that is, a flue 
 intended to carry off smoke through 
 the different stories of a house, and 
 dischai'ge it above the roof ; as the 
 passages which might be cited for that 
 purpose are not at all conclusive. At 
 the same time, the absence of any 
 thing like a chimney on the top of a 
 building in the numerous landscapes 
 portrayed by the Pompeian artists, 
 Tind 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 
 at least with a short flue, have been 
 discovered in several parts of Italy, 
 one at Bai^, another near Perugia, 
 and a third at Civita Vecchia, the 
 plan of Avhich is given 
 in the annexed wood- 
 out, 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, imderneath 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. 
 
 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 ; 
 but if, as is most probable, 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. 
 
 CAMPESTRE. A kilt, fastened 
 round the loins, and reaching about 
 
 f^i^ 
 
 I / 
 
 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. ^/. i. II. l8. Augus- 
 tin. Civ. Dei, \!.: 17.); so called 
 because these exercises were com- 
 monly performed in the Campus 
 
 Martins. 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 camfestre, from a terra-cotta 
 lamp. 
 
 CAMPICUR'SIO. A sort of re- 
 view, or exercise performed by the 
 Roman soldiery in the Campus Mar- 
 tins. Veget. Mil. iii. 4. 
 
 CAMPIDOC'TOR (oTrXooioaicT^s). 
 A drill sergLQut, who taught the re- 
 cruits their exercises in the Campus 
 ilartius. A'eget. Mil iiL 6. and 8. 
 Ammian. xv. 3. 10. 
 
 CAXx-VLIC'ULA. Diminutive of 
 C.^XALIS ; a small drain, ditch, or 
 gutter. Varro, R. R. iii. 5. 
 
 CAXALIC'ULU.S. Diminutive of 
 Canalis ; a small drain, ditch, or 
 gutter. Columell. viii. 15. 6. Vitruv. 
 X. 9. 7. 
 
 2. The vertical channel or groove 
 carved on the face of a triglyph 
 
 I, I 
 
 (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 {aoKiiv). An open 
 
io6 
 
 CANCELLARIUS. 
 
 CAN DEL A. 
 
 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. R. iii. 5. 2. Vitruv. 
 viii. 5. 2. and 6. i., 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. I. 15.) ; 
 whence the word canaluola was in- 
 vented as a nickname 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. 1 5. 
 
 5. In architecture, the channel in 
 an Ionic capital, which is a smooth 
 flat surface lying be- 
 tween the abacus 
 and cymatiuni or eehi- 
 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 (caneelli), 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. /. c. 
 
 CANCELLI {Kiy'Xls, SpitpaKTOv). 
 Iron gratings and trellis work; in- 
 tended as an ornamental fence to en- 
 close or protect anything (Varro, 
 R. R. iii. 5. 4. Columell. viii. i. 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 recog- 
 nised in the annexed scene, from 
 
 the arch of Constantine ; along the 
 top oi 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 eandle made of 
 pitch, wax, or tallow, with the pith 
 of a bulrush for the wick (Plin. 
 // 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. .iE.71. xi. 
 143. VaiTo, Z. 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 contn- 
 
 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 an- 
 cients had in use several kinds, viz. — 
 I. (Xu^i'oCxos). A candlestick for 
 holding tapers or candles of wax and 
 
 tallow. These were either made 
 like our oivn, with a socket and 
 nozzle into which the end of the 
 candle was inserted (Varro, ap. 
 Macrob. Sat. iii. 4. Festus, s. v.); 
 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. Mn. 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, in which 
 the sharp point is seen projecting 
 from the top. 
 
 2. i^\iX'Ovxo%). 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. Jj-^£l>^i 
 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. (\ainrTTip). 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 
 
io8 
 
 CANEPHORA. 
 
 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 Xa/ixr^p was a sort of grate 
 raised upon legs, or on a stand, in 
 which dried wood (a«:a7rj'o>') was 
 burnt, for the purpose of giving light 
 to a room, instead of torclies, candles, 
 or lamps. Hom. Odyss. xviii. 306- 
 310. 
 
 CANE'PHORA or CANETHO- 
 ROS (Kai/ij^opoi). The basket-bearer; 
 a young Athenian 
 maiden, wlio walked 
 in the procession at 
 the festivals of De- 
 meter, Bacchus, and 
 Athena, carrying a 
 flat basket [cajiuui, or 
 canistruni^ Festus, j.t/.) 
 on her head, in which 
 were deposited the 
 sacred cake, chaplet, 
 frankincense, and knife 
 employed to slay the 
 victim. Youngwomen 
 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. 
 xx.xvi. 4. n. 7' Compare Ovid. Md. 
 ii. 711-713. 
 
 CANIC'ULA. Pers. Sat. iii. 49. 
 Same as Canis 2. 
 
 CANTS. 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, catelhis. Plant. 
 Cas, ii. 6. 37. Becker, Callus, 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 
 (Kdceoj', Ka.vT\i). A large, flat, open- 
 basket, whence termed fatiilum (Ov. 
 
 Met. viii. 675.), and latum (Id. Fast. 
 ii. 550.), 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. j'Eii. 
 viii. iSo.), 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 sottfid, or play upon, any mu- 
 sical instrument (Cic. i)iv. ii. 59-) ; 
 as lituo eanere (Cic. Div. i. 17.), 
 to sound the lituus (see woodcut 
 s. Litice.n) ; cornu eanere (Varro, 
 L. L. V. 91.), to sound the horn (see 
 CORNICEN) ; iibiis eanere (Quint, 
 i. 10. 14.), to play upon the pipes 
 (TiBICEN) ; cithara eanere (Tac. 
 Ann. xiv. 14.), to play the guitar 
 (Citharista). 
 
 2. Intits et /oris eanere ; an ex- 
 pression descriptive of the peculiar 
 mode of playing upon the lyre, 
 whiclr 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 
 /oris cane}'e ; to 
 thrum the chords 
 merely witli the 
 fingers of the left 
 hand was intus ea- 
 nere ; but when the two were used to- 
 
CANTERIVS. 
 
 CAP ILL US. 
 
 ICQ 
 
 ge'.her, ar.d both sides of the instru- 
 ment strjck at once, as in the er.- 
 gTs-vir.^-. the musician was said to 
 p'.iv on the inside and cut, /K//r_- rf 
 /ir/: canere. Ascon. ad Cic. /Irr;-. 
 :i. I. 20. 
 
 CANTERIUs. A ^^Mk^. 
 V^rr.. /". y?. iL 7. 15. Fe=:v:;. j. Z'. 
 
 2. A prop for vines. CulumeU. iv. 
 12. I. 
 
 3. A machine used for S'Lispending 
 horses v.iih broken le^s, to keep 
 their feet off the grour.d v.hiile the 
 bone is setting. Vege". Vet. iii. 47. 2. 
 
 4. In architec'-ure, Canterii id«.fi- 
 fiovTf^. rricrrd~act are the cantJurs or 
 frin:ipzi rafters in the timber v.ork 
 of a roof (see M.^iTZRi-^TiO,//); tiieir 
 upper ends meet together, and form 
 the apex of the pediment ; their 
 lower extremities rest upon the tie- 
 be^n-i? Ui^naj ; and in the finished 
 building are represented externally 
 by mutules (miituli), which are, there- 
 fore, carved to represent the project- 
 ing extremities of a series of rafters. 
 Vitmv. iv. 2. I. and 3. 
 
 CANTERIOLU.^ {6i:pl3a^). 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 acthority of 
 Riddle's English- Latin 
 Dictionary, though sufficiently appro- 
 priate, wants a p-ositive authority. 
 
 CAXTHARU.S u:dv9afosi. A gob- 
 let, or drinking cup, of Greek inven- 
 tion. It was furnished 
 with handles (Virg. 
 £cl. vi. 1 7. 1 ; and was 
 the cup particularly 
 sacred to Bacchus iMa- 
 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 
 
 •^^ 
 
 here engraved, from a f.ctile origi.nal, 
 is constantlv represented in the hands 
 of that diviiity. 
 
 2. A vase ir to which the -.rater of 
 an ornamental fountain Is discharged. 
 formed in the imitation of the drinking 
 cup. Paul. Dii- 30. 41. 
 
 3. A sort of heat, the prcui:ar 
 properties of v.hich, hov.'ever, are 
 unknown. Macrob. .S'a/. /. <r. Aristonh. 
 Pa:. 143. 
 
 CAN'THE'RIUi. See C.^nte. 
 Eirs. 
 
 CAXTHU.S fe-icc.-fc:' The 
 
 tire of a 'wkcd ; a hcoc cf iron or 
 bronze fastened on to tie felice. to 
 preserve the wood from aLrasion. 
 (Quint i. 5. S.) The Greek name 
 occurs in Homer (/.'. v. 725 ) ; the 
 Latin one, though used by I'ersius 
 (Sat. V. 71.). is noted as a bari.ar.sm 
 by Quintiiian ^l. c), v. ho considers it 
 to be a Spanish, or an African, word. 
 
 C A X T O. Used in the same 
 senses as Caxo. 
 
 C A X U iM iKavoivi. A Greek 
 basket, made of reed or osiers, more 
 usually termed C.anistrum in Latin. 
 Testus. s. c. Varro. L. L. v. 120. 
 
 CAXUSIXA'TU.-. Wearing a 
 garment wove from the wool of Ca- 
 nusium. now Canosa, Suet. .\'ero. 30. 
 Mart. Ef ix. 23. 9. 
 
 CALE'LO. An earthenware wine 
 jug, with a handle, such as was used 
 in early times at the sacrifice. (Cic. 
 Farad, i. 21 Same as Capis. 
 
 CAPEDUXCULA. Diminutive 
 of the preceding. Cic. X. D. iii. 1 7. 
 
 CAPILLAMEX'TUM. X v.dg 
 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. no. 
 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 imdressed. Cic 
 Ov. Hor. C^. Xep., &c. 
 
I lO 
 
 CAPIS. 
 
 2. Also applied to the hair of the 
 beard (Cic. Off. ii. 7. Suet. Nero, 
 I.); and to the fur of animals. Ca- 
 tuU. 25. I. Aul. Gell. xii. I. 4. 
 
 CAPIS. A wine jug (Varro, ap, 
 Non. s. ArmillunUi p. 547.) of early 
 form and usage, made of earthenware, 
 and having a single handle, from which 
 circumstances the Roman gramma- 
 rians derive its name. (Varro, L. L. 
 V. 121. Festus, s. v.) 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. Sat. 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. 
 I/. 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, J rose to the top, and 
 could be easily separated from the 
 rest. Possibly also water was em- 
 ployed in the operation. Columell. 
 ii. 9. II. Compare Apul. Met. ix. p. 
 
 193- 
 
 CAPIS'TRUM {<pop§eL&). A 
 halter or head-stall for horses, asses, 
 
 CAPITAL. 
 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 froni 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. Geoj'g. 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. Tr. 753. 
 CAPITAL. A small kerchief of 
 
CAPITELLUM. 
 
 CAPITOLIUM. 
 
 woollen cloth (Varro, L. L. v. 130.), 
 worn in early times by the Roman 
 women romid 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 
 Ts-ife of the Flamen Dialis. Varro, 
 /. c. Fe5tu3, s. z: 
 
 CAPITEL'LUM. Same as Capi- 
 
 TULUM. 
 
 CAPITIUM. An article of 
 female attire, worn upon the upper 
 part of the per=on, and over the 
 bosom (Varro, L. L. v. 131. Id. de 
 I'll. Pop. Rom. ap. Xon. p. 542.1, 
 but whether in the nature of a speyiar 
 or of a corset, it is difficult to deter- 
 mine. Aulus GeUius notes the word 
 as obsolete and pecidiar 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 st)'le, appearance, and manner in 
 which the peasant women of Italy 
 wear their corsets at the present day, 
 and with the figure here introduced, 
 — i 
 
 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 seat on which she sits, 
 whilst another figure, in the original, 
 assists at her toilet. 
 
 CAPITO'LIUM. l"he CapUol ; 
 one of the seven hills of Rome, origi- 
 
 nally called Jlcns Saiurnius, 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 
 JMons 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, L. L. v. 41, 
 42. Liv. i 55.1 The hiU was divided 
 into tn-Q summits, with a level space 
 between them . the northern and 
 more elevated one of the two, on 
 which the church of Ara Celi now 
 stands, being made into a fortress, 
 was termed the Arx, or citadel ; the 
 lower one on the south, now Jlcnte 
 Caprino, being occupied by the fa- 
 mous Capitoline temple. Kiebuhr, 
 Hist. Rom. vol. i. p. 502. transl. 
 
 2. The Cap.t^aiie 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 iccUa) 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, 
 
CAPITOLIUM. 
 
 i. e. , on the left of the spectator when 
 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 ]iediment 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. 6l.) The 
 plan here given is designed in ac- 
 cordance with the above 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 dif- 
 ferent from that usually adopted in 
 their religious buildings by the 
 Greeks and Ivomans. 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, tlie 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, wdiich 
 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 Vitravius, for the archi- 
 tects who built it were sent for from 
 Etruria for the 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 
 Olympius at Athens (Plin. H.N. xxxvi. 
 5.); which Vitravius expressly says 
 
 [Proem, vii. 17.) were Corinthian, 
 and some of them are still remaining 
 there to prove the fact ; and the same 
 plan and architectural order were 
 still preserved under Vespasian (Tac. 
 Hist. iv. 53.); as also in the fourth 
 structure raised by Domitian, as tes- 
 tified by the illustration here annexed, 
 
 which is taken Irom a bas-relief be- 
 longing to the triumphal arch of 
 Marcus Aurelius, which represents 
 that emperor performing sacrifice in 
 front of the Capitoline temple ; and 
 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, which are expressed 
 by the unusual appearance of three 
 entrance doors. It is also well 
 known to those who are 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 
 localities amongst which the action 
 expressed 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. 
 
 Minerva, and supposed to have been 
 built by "V nma This name, how- 
 ever, was not given to it until aftir 
 the erection of the more famous edi- 
 fice on the Capitoline hill, when it 
 was adopted, in order to disiing-jish 
 the two ; which Martial distinctly 
 does in the follo-.'.ing verse — inde 
 7i:i-um. -^elirem p'ro'.pici: hide jmim. 
 Mart. E^. viu 73. I-i v. 22. Varro. 
 Z. L. V. 158. Val, Majc iv. 4. 11. 
 
 CAPIT L'LUM (irUpoa/ov, klovo- 
 K^avov). The capital of a column; 
 v.hich, in the infancy of building as 
 an art, was nothing more than a 
 simple abacus, or square tabie: 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 AbjVCUS 6.) From this simple 
 beginning, it became eventually the 
 principal ornament of a column, 
 and a prominent feature by which 
 the diflferent architectural orders are 
 distinguished ; being, like them, and 
 strictly speaking, dirided into three 
 kinds, the Doric, Ionic, and Corin- 
 thian capitals, which, vinth the Roman 
 alterations, make five varieties in use 
 amongst the ancients; for the Tuscan, 
 of which no example remains, is only 
 a species of Doric ; and the Compo- 
 site b 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 stiU to be seen on the 
 arch of Titus. 
 
 I. Capitulum DoTncum. Greek. 
 The Greek Doric capital, which is 
 
 the simplest of all, 1 
 
 being divided into ' J 
 
 no more than three -...1 , . ^ ^ 
 principal parts : the ' ' 
 
 large square abacus at the top, re- 
 taining in this order its primitive 
 character to the last ; the echinus or 
 
 the exterior 
 
 I quar.er rotmd, immediately below it ; 
 and the anuli, or anuleL?. jast above 
 the neck of the shaft. The example 
 
 I represents a Diric capital from the 
 
 I Parthenon. 
 
 1 2. Roman. The Doric of tie 
 
 < Romans is more complicated and 
 varied in its parts. -— - _ ^ 
 
 Instead of the simple ~^ f " ' 
 
 1 abacus, they snbsti- >'-^^----'^---^--^ 
 tuted a monlded cy- = 
 
 I viatium and fillet ; in ' ~^ 
 
 I place of the echinus, an ovolo, often 
 broken by carving, as in the exam- 
 
 ! pie ; instead of the anulets, either an 
 astragal <a:!rag-alu:i, or a bead and 
 
 j fillet The example is from a Roman 
 
 ; Temple near Albano. 
 
 j 3. Capitulum lotiicum. GREEK. 
 The Greek Ionic capital consists of 
 f.vo leading features : 
 
 I the aiacu:, which is 
 
 I smaller and lower 
 
 j than in the Doric, but 
 still square in its plan, 
 though moulded on 
 faces ; and the volutes {voluta), or 
 =piral moiddings on each side of the 
 front, which are frequently connected 
 by a pendent hem or fold, as in the 
 example, and hang doTvn 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 ver\- 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 a 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 example 
 is from the temple of Fortuna Virilis 
 at Rome. 
 
 H 
 
114 
 
 CAPITULUM. 
 
 5. Capitulum Corinthitim, 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. t. 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 otiier. 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 tlie 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 tlie 
 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. ^i^ 
 
 (Varro, R. R. iii. 5, 
 10. ) It had an eye 
 in its centre, through 
 which a thong or 
 cord was passed, and 
 by wlrich 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 exam- 
 ple, from a Pompeian painting. 
 
 7. In military engines, such as the 
 balUsta and catapulta, the capitulum 
 appears to have been a cross-bar with 
 holes in it, through which the cords 
 
 CAPREOLUS. 
 
 passed, by the tension of which the 
 missile was discharged (Vitruv. i. i. 
 18. Id. A. 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 (diTTiXos, aiyt- 
 'Ko.rrti). A goat-herd, who drove out 
 a flock of goats to pasture ; of which 
 
 animals the ancients kept large flocks 
 upon their farms. (Varro, R. R. 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 whicli 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, R. R. ii. 3. 7.) The 
 illustration represents one of the 
 goat-herds of Virgil's Eclogues, from 
 a MS. in the Vatican. 
 
 CAPRE'OLUS. Literally a roe- 
 buck or chamois ; and thence an 
 instrament used in Jiusbandry, for 
 raking up and loosening the ^^ 
 soil, formed with two iron <l^ 
 prongs (Columell. xi. 3, 46.), 
 converging together like the 
 homs 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. 
 
 CAPRONM. 
 
 I i: 
 
 the midst of a vineyard, thus identify- 
 ing its object and name. 
 
 2. (cri7Ki7rr/js.) A brcue 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 upward, like the horns 
 of the chamois. Css. B. C. ii. lo. 
 Vitruv. iv. 2. i. 
 
 CAPRI'LE. A goat-house. Co- 
 lumell. vii. 6. 6. Varro, R. R. 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 caprimidgus was a slave be- 
 longing to \hz 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 propensities. (Lucret. 
 iv. 583. Hor. Od. ii. 19. 
 
 +.) The 
 
 illustration is taken from a Pompeian 
 painting. 
 
 CAPRO'X,-E iTrpoKbiuov). The 
 locks of hair which fall do\vn 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 the 
 amphitheatre of Capua. Non. Marc, 
 s. V. p. 22. Appul. 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 tult 
 
irO 
 
 CAPS A. 
 
 CAPULUS. 
 
 (cirrus), a very common practice. 
 Festus, s. r. Xen. Eqiicst. v. 6. 
 
 C A P S A. 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 
 Ccecil. Div. 16. Hor. Sat. i. 4. 22. lb. 
 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. iVciv, 36. Juv. Sat. a. 117. 
 
 2. (i/taTicx/iuXaJ.) 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 
 frequently occurring at Rome. Paul. 
 Dig. i. 15. 3. Compare Ov. Art. 
 Aiiiat. iii. 639. Plant. Rud. ii. 
 
 3. 51- 
 
 CAPSEL'LA. A double diminu- 
 tive of Capsa ; a very small box, in 
 which dried fruits were kept (Ulp. 
 Dig- 33- 7- 12.), or women's trinkets ; 
 sometimes suspended from a chain 
 round their necks. Pet. Sat. 67. 9. 
 
 C A P' S U L A. Diminutive of 
 Capsa ; a small box for books or 
 other things (Catull. Ixviii. 36.) ; 
 hence the expression homo totus de 
 capsula (Seneca, Ep. 1 1 5-), a fop, or, 
 as we also say, 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 Car- 
 
 PENTUM. 
 
 2. A cage or enclosure for con- 
 fining animals. Veil. i. 16. 
 
 CAP'ULA. Diminutive of Ca- 
 pis ; a small wine jug or drinking- 
 cup, with a handle to 
 it, which was used with 
 the circular drinking 
 tabletermed cilibantum. 
 (Varro, L. L. v. 121. 
 Id. de lit. Pop. Rom. 
 ap. Non. s. ArmiUum, 
 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, 
 Avhose 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 capiila, from which the name 
 originates. Cato, R. R. Ixvi. I. Co- 
 lumell. xii. 52. 10. 
 
 CAP'ULUS (/ctiTTT,). The handle 
 or haft of any implement which has 
 a straight handle, such as a sickle 
 (Columell. iv. 25. i. see Falx); of 
 a sceptre (Ovid. Met. vii. 506. see 
 SCEPTRUM), as contradistinguished 
 from ansa, which represents a curved 
 or bent pne. More especially, the 
 hilt of a sxiiord, which was made of 
 
 wood, bone, ivory, silver, or gold, 
 and sometimes inlaid with precious 
 stones, and mostly without a guard. 
 (Virg. ALn. x. 506. Tac. Ann. ii. 21. 
 Spart. Hadr. 12. Claud, deLaud. StU. 
 ii. 91.) The illustration is copied 
 from an original found at Pompeii. 
 2. Poetical for stiva ; the handle 
 
CARABUS. 
 
 of a plough, which the ploughman 
 held in his hand to direct its course. 
 (Ov. Font. 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. 
 
 CARACALLA. 
 
 117 
 
 (7(/Virg. jErt. vi. 222. Lucilius and 
 Novius, ap. Xon. s. v. p. 4.) ; whence 
 the epithet capularis is applied to de- 
 signate one who is near his death, or 
 ready for his bier. (Plaut. Mil. iii. 
 I. 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 
 
 "coracle," and covered with raw 
 hides. (Isidor. Orig. xix. I. 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 se\^'n together. The form 
 of the tiller and rudder, as well as its 
 position at the stern of the boat, 
 which is .' very unusual one, but is 
 also seen on a sepulchral marble in 
 Boldetti (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 x"'">' of tlie 
 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 
 
 modem frock-coat. (Strabo, iv. 4. 
 3. Edict. DiocleL 21. Compare Mart. 
 Ep. i. 93. 8., where it is termed /a//a 
 
 Callica.) 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 — avrX ct x^TtJivuiv 
 <JXirjrovz \upi^uirovQ ipfpovai p^xpi 
 aicoibttv KaX yXovTwv — 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 mentioned, 
 as well as some others peculiar 
 to the ancient inhabitants of Gaul ; 
 viz., the profusion of hair arranged 
 in the Gallic fashion (see the illus- 
 tration s. Cirrus i., where an ex- 
 ample is introduced upon a larger 
 scale), and not unlike the style 
 usually represented on the heads of 
 Jupiter and yEsculapius, 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 Gallic.!, 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 
 
irS 
 
 CARBASUS. 
 
 CAKCER. 
 
 very plainly indicated in both. In a 
 Ponipeian 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 
 XiTiiiv of the kind called ax^tarog ; but 
 that opened at the side {see the illus- 
 tration i-. Tunica, 5.), whereas the 
 words above quoted distinctly imply 
 that the garment they describe was 
 slit up before and behind. 
 
 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. 
 Vict. Fit. Cits. 21. Id. £pit. 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 Ro- 
 man priesthood, amongst whom it is 
 still retained under the name olsotlana, 
 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 (icapTraiToc). A fine 
 sort of flax produced in Spain , whence 
 the name is given to anything made 
 from it ; as a linen garment (Virg. 
 JEn. 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. 
 ^n. iii. 357. Velum) ; the Sibylline 
 
 books, which were made of linen. 
 Claud. B. Gil. 232., &c. 
 
 CARBAT'IN^E (rap/3anrat or 
 icapirarivai). 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 ox-hide, 
 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 mean- 
 ing of the epithets by which they 
 are described in Hesychius — fxovb- 
 TTiXnov and fiovodepfiov, 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, i. 14.. Museo Bor- 
 bon. xi. 25. and the right-hand figure 
 at p. 31. of this work s. Anabo- 
 LIUM. 
 
 CARCER (KcipKapov). A prison 
 or g-aol. THe Roman prisons were 
 divided into three stories, one above 
 the other, each of which was appro- 
 priated to distinct purposes. The 
 lowermost (career inferior, yopyipri) 
 
CARCER. 
 
 CARCHESIUM. 
 
 119 
 
 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 com- 
 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. 
 
 I All these three di-visions v.ere 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 
 Ser\'ius, 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 stor}', now de- 
 cayed. 
 
 2. The stalls in the circus where 
 the chariots were stationed before the 
 commencement of a race, and to 
 which they retumi^d 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 was appropriated to each cha- 
 riot, and the whole were situated at 
 the flat end of the race-course under 
 the oppidum, six on each side of the 
 porta pompee, 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- 
 celli), is here given, from ii bas-relief 
 in the British Museum. 
 
 CARCHE'SIUM {xapxifiov). A 
 drinking-cup of Greek invention, hav- 
 ing a tall figure, slightly contracted at 
 its sides, with slender handles which 
 reached from the rim to the bottom 
 (Macrob. Sat. v. 21.). It was used as 
 
CARCHESIUM. 
 
 CARDO. 
 
 a goblet for wine (Virg. 
 380.), or milk. (Ovid. 
 247,) The figure in 
 the engraving is from 
 a painting in the tomli 
 of Caius Cestius, one of 
 the Epulones or dlizenn 
 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. Sai. iii. 14. ed. Gerlach. 
 Lucan. v. 41S,), in which part of the 
 tackle worked (Serv. ad Virg. ^u. 
 V. 77. Non. J. zi. p. 546.), and into 
 which the seamen ascended to keep a 
 look-out, manage the sails, and dis- 
 charge missiles, as seen in the illus- 
 tration, from a painting in the 
 Egyptian tombs. It thus answers in 
 
 some respects to what cur seamen 
 call the " tops," but received its name 
 from a real or fancied resemblance to 
 the drinking-cup figured in the last 
 woodcut. 
 
 3. Carchesiwn 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 a cross- 
 bar or crane-neck inserted horizon- 
 tally into it. (Vitruv. x. 2. 10. 
 Schneider, ad I) Our seamen make 
 use of tlie yard-arm in a manner not 
 dissimilar. 
 
 CARDINA'LIS. See Scapus. 
 
 CARDINA'TQS. 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 GiNGLYMUS.) The Greeks dis- 
 tinguished each of these parts by 
 distinct names, using arpcKpiy^ for the 
 pivot, and arpoipivQ 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 {scapes cardinalis), that 
 formed the axle by which the con- 
 trivance acted. (Plin. H. N. xvi. 77. 
 ib. 84. Id. xxxvi. 24. §. 8. Plaut. 
 Asin. ii. 3. 8. Virg. Ain. ii. 480. 
 Apul, Met. i. p. 9.) The figures in 
 
 the annexed engraving will explain 
 the nature of these objects, and 
 the manner in wliich 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 (prpb- 
 (piyffi;), 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. 
 
 let into the sill and lintel of the door- 
 case to act as sockets (irrpo^clt), 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 shosvs 
 the manner in which the apparatus 
 was attached and worked. Compare 
 the illustration /. Antepagmektuu. 
 
 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. I. 
 
 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- 
 airkulatus, 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 doivn to 
 two-thirds of its original quantity. 
 Pallad. Oct. 18. 
 
 CARI'XA {rpoTTiQ). 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. 
 
 CARXA'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 fruit.s herbs, &c., 
 similar to those still used in our 
 kitchens. (Plaut. Capt. iv. 4. 6. Pet. 
 Sat. 135. 4. Id. 136. I. Plin. H. N. 
 
 x%Hii. 60.) The illustration is fi-om 
 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'XIFEX. 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. Kero, 54. 
 
 CARXIFICI'XA. 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 
 
 :>^^\SS\^ ^. > . ^ ^ ^^. ^^^^ _ ^ 
 
 the carnijicina in the state prisons at 
 Rome, constructed by Servius Tul- 
 lius, after whom it was called the 
 TuUianum, 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 
 
122 
 
 CARPENTUM. 
 
 CARROBALLISTA. 
 
 the original construction ; it gives 
 admission to a low subterranean gal- 
 lery, now filled with rubbish, but 
 wliich 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. 
 
 CARPIiX'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. Md. X. p. 224,); capable of 
 containing two or three persons, 
 usually drawn by a pair of mules 
 (Lamprid. Hdiog. 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 (iVIicali, 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 tlreir arrival at Rome (sedens 
 carpento cum iixore, Liv. i. 34.). 
 
 2. Carpetztum funebre, or pompa- 
 ticuvi. A state carpeittiim or carriage, 
 in which the urn containing the ashes 
 of the great, or tlieir statues, were 
 
 carried in 
 (Suet. Cat. 
 
 the funeral procession. 
 5. Id. Claud. II. Isidor. 
 
 Orig. XX. 12. 3.) These were like- 
 wise covered carriages, constructed 
 upon the same principle as the pre- 
 ceding, but more showy and impos- 
 ing 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. a. I. Veget. Mul. 
 Med. iv. 3. Prccf.) It was probably 
 built like the first of the two speci- 
 mens, but of coarser workmanship, 
 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. 1 10. 
 
 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. Gallien. 
 13. Veget. Mil. iii. 10. 
 
 CARROBALLISTA. A hallisla 
 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. 
 
 CARTIBULUM. 
 
 ^23 
 
 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 char- 
 acter 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 praefect 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. Carriica dormitoria. A close 
 carruca (Scaevol. Dig. 34. 2. 11.); the 
 car7iica umiique contecta of Isidorus, 
 Orig. XX. 12. 3. 
 
 CARRUCA'RIUS. Belonging to 
 a. carriua ; 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. 
 I. 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. Ctes. 
 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 
 
124 
 
 CARYATIDES. 
 
 CAS A. 
 
 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 atHum with the 
 vessels arranged upon it. (Varro, 
 Z. L. V. 125.) This accoitnt 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 imphiviuni in 
 the house of the Nereids at Pompeii. 
 Behind it is a fountain, and imder- 
 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. 
 
 C ARYAT'IDES(Knplldn^ec)• 
 ^emale 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. i. 5. 
 
 C A S A. Generally a cottage ; 
 understood in the same latitude of 
 meaning which we apply to that 
 word in our own language ; for in- 
 stance : — 
 
 I. A cottage proper (Vitruv. ii. i. 
 
 3. and 5. Pet. Sat. 115. 6.) ; the first 
 regular eifbrt 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 Romuli, Vitruv. ii. I. Pet. 
 fragm. 21. 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 pepermo), 
 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. Gittseppe Carnevali, sopra 
 alcnni Vast sepolcrali rinvenuti nella 
 vicinatiza delta antiea Alba Longa. 
 Roma. 181 7. 
 
 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 
 
CASE us. 
 
 CASTELLUM. 
 
 125 
 
 affords a good idea of the small 
 Roman country-house, with its court- 
 
 '^^i^ M- 
 
 yard, outbuildings, and live stock. 
 When Martial (Ep. xii. 66.) used the 
 words domus and casa as convertible 
 terras, 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. 
 TibuU. ii. i. 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'SEijS (rupo;-). Cheese (Varro, 
 L. L. V. 108.) ; which the ancients 
 made from the milk of cows, sheep, 
 and goats (Varro, R. R. ii. 1 1 .), and 
 ate 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 
 (Coluraell. vii. 8, 7.). Pliny {H. .W 
 
 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. Murat. 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, -idis {xopvc}. A casque 
 or helmet made of metal, as contra- 
 distinguished from Galea, a helmet 
 of leather (Isidor. Or/f. 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 (apKvf). One of the 
 nets employed by the ancients in 
 hunting wild animals, such as boars 
 and deer. (Isidor. Ori£. xix. 5. 4, 
 Ov. A. Avi. 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 mnning rope (epidromus) 
 round the neck. Yates, Textrin. 
 Antiq. p. 422. 
 
 CASTELLA'RIUS. An officer 
 who had the charge of superintending 
 the public reservoir {castcllujn) of an 
 aqueduct. Frontin. Aq.W]. Inscript. 
 ap. Gi-ut. 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. Earn. 
 
126 
 
 CASTELLUM. 
 
 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. I. Plin. //. N. xxxvi. 
 24. § 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 
 wlien it reached the city walls, the 
 casteUum was designed with a regard 
 to ornament as well as use, having a 
 grand architectural facade 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. /. c); 
 
 as seen in the illustration here in- 
 serted, which is a restoration of the 
 casteUum 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 authorised by an 
 old drawing of the structure executed 
 in the i6th 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. CasteUum 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. CasteUum domcsticum. 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 (modioU) 
 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. j. v. p. 85. 
 
CASTRA. 
 
 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 en.tire 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 btiong fencing of palisades wal- 
 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 decu7nana ; that immedi- 
 ately in front of it (b) porta pratoria ; 
 the one on the right hand (c), porta 
 principalis dextra ; the other on the 
 
 p 
 
 left (d), porta principalis sinistra. 
 The whole of the interior was divided 
 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 (praitoriuvi), 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. Tlie 
 tents and quarters of the troops were 
 then arranged as follows : — i. The 
 pratoriiojt, or general's tent. 2. The 
 gnaislorium, a space allotted to the 
 qusestor, 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 Exlraordinarii, or extraordi- 
 nary cavalry furnished by the allies. 
 7. 7. The Pedites Extraordinarii, or 
 extraordinary infantry furnished by 
 
 
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128 
 
 CASTKA. 
 
 CASULA. 
 
 the allies. 8. 8. Places reserved for 
 occasional auxiliaries. 9. 9. The 
 tents of the tribunes, and of the//'ir- 
 fecti socioriiDi, 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 whicli 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 distribu- 
 tion remained the same. 
 
 2. Castra Pmtoriana. Tlie per- 
 manent camp on the skirts of the 
 city of Rome, in which the Prietorian 
 guards were stationed. (Suet. Claud. 
 21. Tac. Attn. 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 ; /. c, a line of 
 fortification formed round the ships 
 of a fleet, to protect them from the 
 enemy, when they were drawn up 
 
 ashore. Cks. B. G. v. 22. Nepos, 
 Aldd. 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, 
 A/dl>. 9. Virg. ^11. vi. 776. 
 
 CAS'TULA. A woman's pet/i- 
 coat ; worn next the skin, and fas- 
 tened under the 
 breast, which it left 
 exposed. (Varro, 
 de Vit. Pop. Ro7ii. 
 ap. Non. s. v. Cal- 
 tula, p. 584.) In 
 early works of art, 
 it is often repre- 
 sented as the only 
 imder 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. IMus. Borb. xiv. 2. com- 
 pare xii. 57., where the castula is put 
 on over a long-sleeved tunic, but fas- 
 tened 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 
 on the lands where '^'"•■-''"'^ 
 
CATACLISTA. 
 
 CATAGRAPHA. 
 
 129 
 
 
 W 
 
 their flocks pastured ; and agricultural 
 peasants in the fields for their shelter 
 at liarvest time. (Plin. ff. ^V. 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 .itsculapius, 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 terra originated, being probably 
 a sort of nick-name, or familiar word 
 amongst the lower orders. Isidor. 
 On'g: xix. 24. 17. 
 
 CATACLISTA sc Testis (Apul. 
 J/e"/. 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. d^ 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. N\iCorA\, Mus.Pio-CUm.^ 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. Xcro, II. 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 (rd ica-aypa^a). 
 Paintings in which the figures are 
 drawn in perspective, or, as the artists 
 have it, f&reshorte^ied, so that, al- 
 though the whole figure is repre- 
 sented, only a portion of it is seen by 
 the spectator (Plin. H. X. .vxxv. 34. 1 ; 
 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 Chrj'seis 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 
 toward such a mode of treatment 
 discoverable in the whole of the 
 
13° 
 
 CATAPHRACTA. 
 
 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 arras and legs, and one horse 
 which has his back turned to the 
 .spectator, there is no attempt at fore- 
 shortening the figio'e in the sense 
 now understood, whereby an entire 
 figure is portrayed upon the canvas, 
 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. 
 
 CATAPHRACTA (Knra^pa- 
 KTije)' A term employed by Vegetius 
 to designate generally any kind of 
 breast-plate worn by the Roman in- 
 fantry from the earliest period until 
 tlie reign of the Emperor Gratianus. 
 Veget. Mil. i. 20. 
 
 CATAPHRACTA'RIU.S. Same 
 as Cataphractus. Lamprid. Alex. 
 Scv. 56. Ammian. xvi. z. 5. lb. 10. 
 8. and 12. 63. 
 
 CATAPHRACTUS (/car«0pn- 
 
 icroj). A heavy-armed cavalry sol- 
 dier (Sallust. ap. Non. s. v. p. 556.), 
 
 CATAPULTA. 
 
 whose horse, as well as himself, was 
 covered with a complete suit of ar- 
 mour (Serv. ad Virg. ALn. xi. 770.), 
 like the scaled back of a crocodile 
 (Ammian. xxii. 15, 1 5.) ; more es- 
 pecially characteristic of some foreign 
 nations; the Parthians (Prop. iii. 12. 
 12.), Persians (Llv. 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 (/3oX(s). 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. II. 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 ((caroTrarijc). A 
 military engine constructed princi- 
 pally for discharging darts and spears 
 of great substance and weight (Paulus 
 ex Fest, j. Trifax) ; whence it is 
 sometimes put for the missile which 
 it discharges. (Titin. ap. Non. s. v. 
 p. 552. Plant. Pers. i. I. 27.) This 
 machine is described in detail by 
 Vitruvius (x. 15.), and it appears no 
 
CA TAPULTARJUS. 
 
 CATARACTA. 
 
 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 balUsta, 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 woodcut. 
 
 CATAPULTA'RIUS {Kara-KtK- 
 TiKOQ). Anything used with, or be- 
 longing to, a catapult ; hence filum 
 catapultarium (Plant. Cure. iii. 5. 
 
 II ), a dart of a large and heavy 
 description, made for the purpose of 
 being projected from the catapulta. 
 (Compare Polyb. xi. II. 3.) The 
 illustration is taken from the Column 
 of Trajan, and also affords an insight 
 
 into the manner of using and working 
 these engines. 
 
 CATARA.C'TA or CATARAC- 
 TES (icarappdKnyc). A cataract, 
 cascade, or sudden fall of water from 
 a higher to a lower level, like the 
 falls of Tivoli or Terni. Plin. H. A\ 
 V. 10. Vitruv. vlii. 2. 6. 
 
 2. A sluice, flood-gate, or loch in a 
 river, either for the purpose of mode 
 rating the rapidity of the current 
 (Plin. Ef. 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 observed, that the 
 Roman artist, in accordance with the 
 practice of his school, has indicated 
 rather than expressed his meaning. 
 The floodgate itself is omitted, but the 
 waterway which it would close, and 
 the uprights by which it would be 
 kept in its place, and made to slide 
 up and down, are distinctly shown. 
 
 3. A portcullis, suspended over the 
 entrance of a city or fortified place, so 
 
 that it could be let down or drawn up 
 
CATASCOPIUM. 
 
 CA TELL US. 
 
 by iron rings and chains at pleasure. 
 (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 (icaTaaKOTvoi;). 
 A spy or scout. Hirt. Bell. Afr. 26. 
 
 2. A vessel employed as a spy- 
 ship. Caes. B. G. iv. 26. Isidor. 
 Orig. xix. I. 
 
 CATAS'TA. 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 
 Statins {Sylv. ii. i. 72. tuiio calasUr), 
 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. TitpX 
 ariip. 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 
 recovered by the person who had 
 launched it. Virg. y£n. vii. 742. 
 Serv. ad I. Sil. iii. 2 77- Isidor. On^. 
 xviii. 7. 7. 
 
 CATELLA (aXvnlhov). A di- 
 minutive of Catena ; but generally 
 used to indicate the smaller and finer 
 sorts 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. £j>. i. 17. 55. 
 Liv. xxxix. 31. Cato, B. B. 135,) 
 The example here introduced, from a 
 
 Pompeian original, exhibits ci 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. 
 
 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, 
 Quasi. Plautin. p. 63. Lips. 1837.), 
 the clog and chain having a sort of 
 affinity to a dog with its chain. 
 
 CATE'NA (aXvais). A c/iaiit, 
 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, 
 
 CATENATUS. I33 j 
 
 placed, as here, upon the naked body ' 
 
 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 
 
 of goddesses, bacchanals, dancing 
 girls, and persons of that description. 
 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. I. Id. 72. 7. Seneca, Ira, 3. 
 37.) ; as is also shown in the an- 
 
 -=*L^ 
 
 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 (aXtymctroj). 
 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 alli- 
 gatus ; but merely that he was bound 
 with chains in a manner to impede 
 
134 CATERVARII. 
 
 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. Atig. 45. Compare Cal. 30. 
 gregatim dimicantes. 
 
 CATHED'RA (raee^pa). A 
 chair with a back to it, but without 
 arms, such as 
 was used more 
 especially by fe- 
 males (Hor. Sat. 
 i. 10. gi. Mart. 
 Ep. iii. 63. ) ; 
 hence when as- 
 signed to males, it 
 frequently implies 
 a. notion that they 
 were of idle, lux- 
 urious, or effemi- 
 nate habits. (Juv. 
 Sat. ix. 52.) The illustration repre- 
 sents 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. II. Iv. 
 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 {ttoiSo- 
 TpifSne). A marble in the Capitol 
 at Rome shows the empress Agrip- 
 pina sitting in one of a similar 
 character. 
 
 CA TILL US. 
 
 3. Cathedra strata. A chair co- 
 vered with it cushion, as seen in the 
 first engraving. Juv. /. c. 
 
 4. The chair in which philosophers, 
 rhetoricians, &c., sat to deliver their 
 lectures ; a professor's chair (Juv. 
 Sat. vii. 203. Mart. Ep. I. 77.), of 
 which the last illustration probably 
 affords the type. 
 
 5. A sedan chair (Juv. Sat. i. 
 65. ) ; but the word appears to be used 
 there as an intentional misnomer for 
 sella gestatoria or lectica, to give force 
 to the satire. Cf Schaeffer. lie. Vehic. 
 ii. 4. p. 64. 
 
 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. I. 7') 5 
 from which the principal church of a 
 diocese is called "the cathedral;" 
 i.e. in which the bishop's chair is 
 placed. 
 
 CATH'ETER (raOfT-iV)- Pro- 
 perly, a Greek word, for which the 
 Romans used fistula ccnea (Celsus, 
 vii. 26. I.) ; a catheter, or surgical 
 
 instrument employed in drawing off 
 the water, when suppressed, from the 
 bladder, into which it is inserted. 
 (Ca;l. Aurel. Tard. ii. i. 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. I. 
 Val. Max. iv. 3. 5. 
 
 2. (oj'og). The upper or outer of 
 the two stones in a mill for grinding 
 corn (Paul.Z';^'-. 33. 7. 18. § 5.), which 
 served as a hopper or bowl into which 
 the corn was poured ; whence thename. 
 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- 
 
CA TINUM. 
 
 CA TOM ID 10 . 
 
 tillus, into which the unground com 
 was put ; it was then turned round 
 by slaves or animals, and as it turned, 
 
 the ears of com gradually subsided 
 through a hole at its bottom on to 
 the conical or bell-shaped stone 
 undemeath (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. I/. 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. 
 
 CATI'XUM or CAXrXUS. A 
 deep sort of dish, in which 
 tables, fish, and 
 poultry were 
 brought to table. 
 (Hor. Sat. i. 6. 
 115. lb. ii. 4, 77, 
 
 illustration, which is copied from a 
 series of ancient fresco paintings dis- 
 covered near the Church of St. John 
 in Lateran, at Rome (Cassini, PMure 
 Antiche, tav. 4. Roma, 1783.), repre- 
 senting a number of slaves bringing 
 in different dishes at a feast, shows 
 the catiniis, 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. 
 
 The 
 
 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 TUElCREMis.) The illustra- 
 tion represents a curious and valuable 
 dish of agate, which was brought 
 from Cesarea in Palestine in the year 
 iioi, and is now preserved as a 
 sacred relic in the saciiity 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 pirtook 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, era- 
 ployed for the purpose first stated. 
 
 4. An earthenware crucible for 
 melting metals. (Plin. H. N. xxxiii. 
 21.) The illu.strations represent two 
 originals, one of red, the other of white 
 
 clay, which were found in an ancient- 
 Roman pottery at Castor in Northamp- 
 tonshire. Artis. Durobriv. pi. 38. 
 
 5- A particular member of the 
 forcing pump invented by Ctesibius. 
 (Vitruv. X. 12.) See the conjectural 
 diagram in Ctesibica Machixa, in 
 which the Catinum is marked a. 
 
 CATOMIDTO {KaTu,,dlu). 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. ^Tct. ix. p. 196. Spart. Hadr. 
 
136 
 
 CA TUL US. 
 
 C A UPON A. 
 
 iS.) 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 
 rmiaway slaves, when recaptured, 
 were brought back to their masters. 
 (Lucil. Sat. xxix. 15. ed. Gerlach. 
 Cum vianuis, catulo, coliarit^ue, with 
 manacles, leading chain, and neck 
 collar.) The illustration, from the 
 
 Column of Antonine, representing a 
 barbarian capitve, 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 caudicarue. Large 
 boats employed upon the Tiber, and 
 made of coarse planking roughly 
 
 joined (Varro, de V'U. Pop. Rom. ap, 
 Non. 0. V. p. 535. Festus. s. v.) ; pro- 
 bably so constructed, because the 
 rapidity of the current rendered it 
 difficult to remount tlie 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. 
 
 C A U D I C I U S, sc. lembtis. A 
 vessel of similar character as tlie pre- 
 ceding, employed upon the Moselle. 
 Auson. Mosell. 197. 
 
 CAULA. A general name for 
 any place surrounded with fences, so 
 as to form an enclosure, as a sheep- 
 fold, &c. Festus, s. V. Virg. Ain. 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. I. 12. Gwilt, Glossary of Archi- 
 tecture, J. 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 
 o^ 2t. caupotia ; i.e. i. An innkeeper 
 CiivoioKoi;), who receives travellers 
 in his house, and furnishes them with 
 food and lodging (Cic. Div. i. 27.) ; 
 2. 3. publican (KamjXoQ-), 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 (^(voSoKuov, navSo- 
 Kiwv). An inn, for the accommo- 
 dation of travellers, where they 
 could oe furnished with temporary 
 board and lodging. (Ilor. £p. I. II. 
 12. Auk Gefl. vii. II. I.) The old- 
 fashioned counti-y 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. 
 
 CAy^DlUM. 
 
 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. (KaTTJjXtTor). 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. (saTTijXif ). A female who keeps 
 one of these places of entertainment. 
 Lucil. Sat. iii. 33. ed. Gerlach. Apul. 
 Met. i. p. 6. and 15. 
 
 CAUPO'NIUS, sc. ptur. The 
 waiter or pot-boy at a tavern, or a 
 wine-shop (Plaut. Pan. v. 5. 19.) ; 
 see on the right hand in the pre- 
 ceding woodcut, 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. Cell. 
 X. 25. 3.), the peadiar 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 (icawo-ia). A high- 
 cro%vned, and broad-brimmed felted 
 hat invented by the 
 Macedonians. (Val. 
 Max. V. I. 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 
 (jcawrTJp, Kavr/;ptoi'). A cautery or 
 branding-iron, used by surgeons, vete- 
 
 CT 
 
 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. I. 
 
 CAV^'DIUM or CAVUM 
 ^DIUM. Literally, the void or 
 hollow part of a house. To imder- 
 
138 
 
 CA VMDWM. 
 
 CAVE A. 
 
 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 Virgih This 
 hollow space received the primitive 
 name of cavum adiuvi, 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 higli, and 
 leaving only an opening in the centre, 
 (compluviiim)^ for the admission of 
 light and air. This practice they 
 learnt from the Etruscans {ab Atri- 
 atibus Tiiscis. Varro, L. L. v. l6l.), 
 and, therefore, when the cavum 
 (Eiiium 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 Downs, 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 cavadium and an atriutji 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 cavtxdium and atiiiim ; 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 cav(Editcm, 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. N. 
 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 (aucefs) 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. Div. ii. 33.) The illustration 
 
 Is " ThI 
 
 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 fuller^ 
 
 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,theuseofwhich 
 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 
 
I40 
 
 CA VERNM. 
 
 CELL A. 
 
 divided into one, two, or three distinct 
 flights, 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, nicdia cavea ; t. e., the 
 lower, upper, or middle tier ; the 
 lowest one being the post of honour, 
 where the cquiks sat. (Plaut. Amph. 
 Prol. 66. Cic. Am. 7. Id. Senect. 14.) 
 The illustration affords a view of the 
 interior, or cavca, 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 Theatrum and Amphi- 
 
 THEATRUM. 
 
 CAVER'N^ (icoiXi) or /co.'Xjj rai/f)- 
 The hold of a ship, and the cabins it 
 contains. Cic. Orat. iii. 46. Lucan. 
 i,\. no. 
 
 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. g. Festus, j. 
 V. Niebuhr, Hist. Rom. vol. i. p. 325. 
 transl. 
 
 CEL'ES (/ctXTjj). A horse for 
 riding, in contradistinction to a car- 
 
 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 
 
 class, in which each rower handled a 
 single oar on his own side, in contra- 
 
 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 bv pirates. 
 (Plin. H. N. vi. 57. Aul. Cell. 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 ((cfXjjri^oi'rfe). 
 Jockeys, who rode the race-horses in 
 the Greek Hippodrome (Plin. H. N. 
 xxxiv. 19. §. 14), as shown in the 
 last woodcut but one. 
 
 CELEUS'MA (KfXfuff/ja). The 
 chaunt or cry given out by the cock- 
 swain [hoj'tatory pausarius, KEXfuar^c,-) 
 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, — 
 
 I. Cella ifinaria {olvfioi'). A wine- 
 cellar, forming one of the principal 
 appurtenances to a vineyard. It wa.s a 
 magazine in which the produce of the 
 
CELL A. 
 
 141 
 
 year's vintage was deposited in large 
 earthenware vessels (dolia, seria, 
 &c.), or in wooden barrels {cupa), 
 after it had been removed from the 
 vats of the press room {tarcularium), 
 where it was made ; and in which it 
 was kept in bulk until sold or bottled; 
 i.e., put into amphorce, for the pur- 
 pose of being removed into the apo- 
 theca at the top of the house, where 
 it was kept to ripen. (Varro, R. R. 
 i. 13. I. Colum. xii. 18. 3. and 4. 
 Pallad. i. 18. Cic. Senect. 16.) The 
 illustration, which is copied from a 
 
 bas-relief discovered at Augsburg in 
 the year 1601, shows one of these 
 magazines for wine in the wood, the 
 usual manner of keeping 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-^oox. 
 
 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 [vinum 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 (deffbssa) 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, unvl 
 disposed of to the oil merchant. 
 Cato, R. 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. Fhil. 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- 
 
142 
 
 CELLA. 
 
 tration represents part of a long line 
 of cellce 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 
 
 CELLULA. 
 
 could be supplied through such an 
 aperture. 
 
 5. In like manner, the different 
 chambers which contained the neces- 
 sai-y conveniences for hot and cold 
 bathing in a set of baths, were called 
 cellit ; because, in fact, they consisted 
 of a number of rooms leading one 
 into another, like the cells of a honeys 
 comb, as is very clearly shown by the 
 annexed illustration, from a fresco 
 painting which decorated an apart- 
 ment in the Thermae of Titus at 
 Rome ; thus the room containing the 
 warm baths was the cella caldaria, or 
 
 caJdariuTn ; the tepid chamber, cella 
 tepidai ia, or tepidarium ; the one 
 which held the cold bath, cella fri- 
 gidaria, ox frigidarmm. Plin. Ep. v. 
 6. 25. and 26. Pallad. i. 40. 
 
 6. The niches or cells in a dove- 
 cot and poultry-house, which are 
 clustered in a similar manner. Colu- 
 mell. viii. 8. 3. Id. viii. 14. 9. 
 
 7. (ffjjicof). 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 Vinlis, 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 m-dinaTii, 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. Capf. 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. 
 
 CELLTO. Same as Cellarius. 
 Inscript. ap. Grut. 5S2. lo. 
 
 C E L L' 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. Lx. 9. 
 
 CELOX. The same as Celes 2. 
 Ennius, ap. Isidor. Orig. xxx. I. 22. 
 Liv. xxxvii. 27. 
 
 CENOTAPH'IUM {Kivora^wv). 
 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. I.), and inanis (Virg. .i^n. 
 iii. 303.), because it was erected 
 merely out of compliment to the de- 
 ceased, and did not contain any of 
 his remains. 
 
 CENSOR (ri/iTjr^c). 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. II. Suet. /4«^. 
 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. loi. 
 
 CENTAU'RUS (Kkvravpoi). 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 LapithK. But the poets 
 and artists converted them into a 
 fabulous race of monsters half man 
 and half horse, whence termed foWw- 
 bres (Virg. jEn. viii. 293. Ovid. 
 Met. XV. 2S3. ) ; in which form they 
 are represented waging war with 
 the Lapithae 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 instm- 
 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 [Kiv-rpuv). Generally, 
 any covering or garment composed 
 of different scraps of cloth sewed 
 together, hke 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 llie 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, a.i\<i 
 persons who made and sold pieces of 
 patch-work, 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 (Ctes. 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 centtin- 
 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 Museunr 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 (imrovTapxm)- 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 fank was a rod 
 {vitis), with which he used to correct 
 his men when refractory or negligent 
 of their duties. (Plin. JI. 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 FeSTUS. 
 
 Centur. Leg. XL; he has his rod 
 in the right hand, is likewise deco- 
 rated with phalera, and wears greaves 
 (ocred), 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. 
 
 CEPOTAPHTUM (ic!)7roro0iov). 
 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. 
 
 M5 
 
 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. 63.) ; and the 
 tablets themselves are distinguished 
 by the niunber of leaves they con- 
 tained ; as ceres duplices, a tablet with 
 two slabs only, like the bottom figure 
 on the left hand of the engraving ; 
 
 cercB triplices (Mart. Ep. xiv. 6.), a 
 tablet containing three leaves, one 
 between the two outsides, like the 
 top figure in the engraving ; cerce 
 qtiintuplices (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 woodcut, 
 all of which examples are copied 
 from paintings at Pompeii. When 
 the singular number is used, as prima, 
 secunda, exirema cera (Hor. Sat. iL 
 5. 53. Cic. Verr. ii. I. 36. Suet Jul. 
 83.), it indicates the first, second, or 
 last page of the tablets. 
 
 CERAU'LA (Ktpav\r\q). Pro- 
 perly a Greek word Latinised, and 
 corresponding with the Roman CoR- 
 NICEN. Apul. Met. p. 171. Ceraula 
 doctissimus, qui cornu canens adam- 
 bulabat, 
 
 CER'BERUS (K£p|8fpof). 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. iL 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. I. 
 Bartoli, Lucerne, part 2. tav. 7. Cod. 
 Vat. &c.) ; though examples are not 
 wanting in which the fabulous is 
 made subordinate to the real char- 
 acter 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 {KipKovpoQ or Kip- 
 Koipoj). An open vessel, invented 
 by the Cyprians, propelled by oars, 
 fast in its movements, and used 
 for the transport of merchandise, 
 as well as in warfare. (Liv. xxxiiL 
 19. LuciL Sat. viil 3. ed. Gerlach. 
 Plant. Merc. i. L 86. PJin. Id. N. vii. 
 57. Herod, vii. 97.) Its character- 
 istic properties are nowhere de- 
 scribed ; but Scheffer {Mil. A'av. ii. 
 2. p. 75.) is of opinion that the 
 oarage, instead of running the whole 
 K 
 
146 CERDO. 
 
 length of the vessel, only ranged 
 from the prow to about midship, so 
 
 that tlie after part would serve as a 
 hold for the freight in the manner 
 represented by the annexed illustra- 
 tion, copied by Panvinus (de Liid. 
 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 ; co-do 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. 
 Plant. Cuyc. i. 1. 9. Val. Max. iii. 6. 
 4. and Candela. 
 
 CERIOLA'RE. A stand or holder 
 for wax candles and torches, similar 
 to the example engraved at p. 107. 
 (s. Candelabrum, i.) ; 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 [af. Grut. 
 175. 4.) of bronze, with the figure 
 of Cupid holding a calathtis. Com- 
 pare Inscript. ap. Maffei, Mus. Venn. 
 p. 83. 
 
 CER'NUUS (Ki'l3i<TTt,Tr,p). Lite- 
 rally, with the face turned down to- 
 
 CEJiOMA. 
 
 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. Ain. 
 X. 894.) The illus- 
 tration represents one 
 of these tumblers, 
 from the collection in the CoUegio 
 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 intei-vals from one another, 
 with their points upwards, as repre- 
 sented in the following illustration, 
 
 from a Greek fictile vase : to perform 
 this feat vi'as tenned tig ^i<pr] or tig fia- 
 Xaipag KufSiardv. Plat. Symp. p. 190. 
 A. Xen. Synnp. ii. ii. 
 
 CERO'MA (iciipuna). 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. 
 
 fine sand (Mart. Ep. vii. 32.)'; whence 
 the same term is also used to desig- 
 nate the chamber in which this opera- 
 tion was performed. Plin. H. N. 
 XXXV. 2. Senec. Brev. Vit. 12. 
 
 C E R U' C H I (KfpoCxot). 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.) 
 
 CERYX. 147 
 
 (Suet Nero, 6. MarL xiv. 146.) The 
 
 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. 
 xllv. II.), and as a palisade or pro- 
 tection to any vulnerable or important 
 position. Cses. B. G. vii. 72. 
 
 CERVI'CAL (7rpoerK£0aXatoi', virav- 
 Xiviov). A bolster, cushion, or squab 
 for supporting the back of the head 
 and neck on a bed or dining couch. 
 
 illustration is from a painting at 
 Pompeii. 
 
 CERVI'SIA or CEREVI'SIA. 
 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 (Kripvic(iov). A 
 Greek word Latinised ; same as Ca- 
 DUCEUS. Martian. Capell. 4. p. 95. 
 
 CE'RYX (KiipvS,). A Greek word, 
 used in a Latin form by Seneca 
 {TranquiU. 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 {KrjpvKtwv, caduceus) ; his 
 
 person was held sacred and invio- 
 lable ; and his most honourable em- 
 ployment consisted in carrying flags 
 
148 
 
 CERY.Y. 
 
 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 pallium 
 thrown loosely over the arm, and the 
 hat slung behind his bade. Besides 
 this, in his character of marshal and 
 pursuivant, the Ceiyx possessed the 
 power of interposing between and 
 separating combatants, as seen in the 
 annexed example, also from a fictile 
 
 vase ; was authorised 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 
 allied to the Roman prcEco ; 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 (K^pwy/in) 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, 
 in which the Ceryx is represented as 
 
 CESTUS. 
 
 just beginning to sound his trumpet 
 by the side of the conqueror, who is 
 in the act of placing on his own head 
 
 the crown which he has just received 
 from the president (riywyoSiriif), 
 whilst on the other side of the com- 
 position a pair of Pancratiastae are 
 contending. 
 
 CESTICIL'LUS. A porter's knot, 
 for carrying burdens on the head. 
 Festus. s. V. Compare Arculus. 
 
 CESTROSPHEN'DONE (ttcrrpo- 
 a^iv^ovi]). A weapon of warfare, 
 first employed by the soldiers of Per- 
 seus in the Macedonian war, con- 
 sisting in a short dart, the head of 
 which was two spans broad, affixed to 
 a wooden stock, of thC' 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 (/ctarpo)'). 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 
 veiy obscure and uncertain. Plin. 
 H. N. xxxv. 41. 
 
 CESTUS (Kftrrdg, sc. i/iac,). In a 
 general sense, any band or tie (Varro, 
 R. R. i. 8. 6.) ; but the word is pro- 
 
CETARI^. 
 
 perly a Greek adjective, meaning 
 embroidered, wlience it is more fre- 
 quently used in a special sense to 
 designate the 
 girdle of Venus, 
 upon whicli a re- 
 presentation of 
 the passions, de- 
 sires, joys, and 
 pains of love 
 was embroider- 
 ed. (Horn. //. 
 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 ^cingulum, i.), and higher up than 
 the young women's zone {zona, or 
 cingulum, 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^ 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. 
 
 CETA'RII. A class of fishermen, 
 who took the larger kinds of fish. 
 
 CHALCWJCUM. 
 
 149 
 
 such as tunnies, upon the ceta>ice 
 (Varro, ap. Non. j. v. p. 49,), salted 
 them down, and sold them in shops 
 belonging to themselves. Columell. 
 viii. 17. 12. Terent. £un. ii. 2. 26. 
 
 CETRA. A small round shield 
 (Varro, aj>. Non. j. v. p. 555. and 
 p. 82.), covered over with hide (Serv. 
 ad Virg. .lEn. vii. 732. ) ; chiefly 
 employed by the natives of Africa, 
 Spain, and ancient Britain (Tac. 
 jlgr. 36.), the form and character of 
 which is believed to be preserved in 
 the target of the Scottish Highlanders. 
 CETRA'TUS. One who bears 
 the small round target, called ceira, 
 which was characteristic of some 
 barbarous nations, but not of the 
 Romans. Css. B. C. i. 70. 
 
 CHALATO'RIUS, %c. funis (tTrt- 
 70V0Q, sc. 'ifxao). The rope by which 
 a sail-yard is raised and lowered 
 on the mast, corresponding with the. 
 halyard of modem nautical language. 
 It was fastened on the middle of the 
 yard, and nm 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 xaKciio, to slacken, loosen, or let 
 down ; and allied to the xaKivoq, or 
 bridle of the Greek sailors. 
 
 CHALCID'ICUM (XoXki^wo^). 
 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, dd 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.), "ivhere, 
 it may be presumed, they were first 
 
iSo 
 
 CHALCIDICUM. 
 
 CHARACTER. 
 
 introduced, or of the most frequent 
 occurrence ; and tliey were added on 
 to private as well as public edifices, 
 
 not merely as an ornament to the 
 fa9ade, 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. Perioch. Odyss. 23. 
 Procop. de ALdific. Justin, i. 10.) ; to 
 the basilicaa, courts of justice, and 
 merchants' changes (Vitruv. v. i.), 
 where they would serve to contain 
 the articles of merchandise, the sale 
 of which was negotiated in the in- 
 terior; to the curia, the town-hall, 
 and senate-house (Dion Cass. li. 22. 
 August. Mon. Ancyrmi. ap. Gnit. 
 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. Tlie external character 
 and appearance of these appendages 
 is sufficiently indicated by the pre- 
 ceding woodcut ; 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 
 (frypta, A), an open one (porticus, b) 
 
 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 (xo/Joi/Xmf). 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 
 XOjUni, the ground, and eXkco, to 
 draw), and probably resembled those 
 now used for similar purposes. Am- 
 mian. xvii. 4. 14. 
 
 CHARACTER {xapaxT-hp). 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. Isidor. Orig. 
 
 CHARISTIA (Xapiffna or Xapi- 
 TJ]aia). 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. I. 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 (xapiaTMv). An 
 instrument for weighing ; but of 
 what precise character, or in what it 
 differed from the balance {libra) and 
 steelyard (staterd) is not ascertained. 
 Inscript. ap. Don. cl. 2. n. 67. Not. 
 Tires, p. 164. 
 
 CHART A (xniorTjc). Writing- 
 paper, made from layers of the papy- 
 rus, of which eight different quali- 
 ties are enumerated by Pliny (H. N. 
 xiii. 23.) : — I. Augustana, subse- 
 quently called Claiidiana, 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, Leneotka, 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 
 fnerchandise, 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 (xi^^). 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. II. 7. Id. X. 10. 4. 
 
 CHELO'NIUM (xtkiiviov). A 
 bracket or collar affixed to the up- 
 rights of a certain machine for moving 
 heavy weights (machina tractoria) 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 a plaustrum 
 turned. Vitruv. x. 2. 2. 
 
 2. A collar of similar description. 
 
15-^ 
 
 CHELYS. 
 
 fastened to the top of an upright 
 beam in another kind of contrivance 
 for raising weights (polyspaston), to 
 which the blocli and pullies {trochlem) 
 were affixed. Vitruv. x. 2. 8. 
 
 3. A particular member in a cata- 
 pulta ; called also pulviims. Vitruv. 
 X. 10. 5. 
 
 CHELYS (ysAuc, Xf'^'^'"))- 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 (xijWffKOf). An 
 ornament resembling the head and 
 neck of a goose (xiji'), 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. 
 
 CHENOBOSCrON (x'Ji'o/Bo- 
 aKiiov). 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. I.) It 
 consisted of a spacious yard on the 
 outside of the farm-house and build- 
 ings (Columell. viii. I. 4.), sur- 
 rounded by a wall nine feet high, 
 which formed the back of an open 
 gallery or colonnade {portkus), under 
 which the pens ^harif) for the birds 
 were situated. These were built of 
 
 CHIRAMAXWM. 
 
 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 purpose ; 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 (xiXiapx")!' or X'^'^PXOC)- The 
 commander of a thousand men ; a 
 word more especially employed by 
 the Greeks to designate the Persian 
 vizir (Xen. Cyrop. ii. i. 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. 
 
 CHIM^'RA (Xi>nrpo). 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. 
 TibuU. Hom. &c. 
 
 CHIRAMAXTUM (xE<pa/;n?.of). 
 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 
 Museum, whicli 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 movable chair of wood, in 
 which invalids were wheeled to and 
 from the baths, establish at once the 
 meaning of the word, and the harmony 
 
CHIRIDOTA. 
 
 CHIRONOMIA. 
 
 153 
 
 between ancient customs and our 
 own in this particular. 
 
 CHIRIDO'TA (x"pi5wrof, so. 
 Xir(iii'). 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 (xeip), more especially 
 characteristic of the Asiatic and Celtic 
 races, as seen in the annexed figure, 
 from the Niobe 
 group, repre- 
 senting the tu- 
 tor (padagogus) 
 of the younger 
 children, a class 
 of men usual- 
 ly selected for 
 that duty froin 
 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. lo. 
 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 
 (yEK. ix. 616.), where the Trojans 
 are called women, and not men, 
 because their tunics had long sleeves. 
 
 CHIRONOM'IA (xiipovofiia). 
 
 The art of gesticulating or talking 
 with the hands and by gestures, with 
 or without the assistance of the voice. 
 (Quint. 1. II. 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 recognised 
 and familiar to all classes, the practice 
 itself being reduced to a regular 
 system, as is the case 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 char- 
 acter to those still employed at 
 Naples, that an unlettered lazzarone, 
 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. 
 
 CHLAMYDA TUS. 
 
 is copied from a Greek fictile vase, it 
 is self-evident tliat tlie 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 tlie figure on the 
 right, tlie 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 tlie 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- 
 tive, more especially when what is 
 said excites his astonishment and 
 displeasure. Thus these few gestures 
 represent u 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 {\npov6\iot:'). 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 {xeipovpyoQ). A 
 surgeon, who performs operations, as 
 distinguished from a medical prac- 
 titioner. The Roman doctor {m£- 
 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. Gels. Pmf. vii. Becker, 
 Galhts, p. 224. transl. 
 
 CHLAM'YDA. Same as Chla- 
 MYS. Apul. Met. xi. p. 256. Id. 
 Flor. ii. 15. 2. 
 
 CHLAMYDA'TUS (xXaf/tiJwToc). 
 Clad in the cklamys, 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 the 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. 
 Chlamts) 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 ibuckle, 
 clasp, or brooch, so that 
 the goars might be turned 
 back over the shoulders 
 {deniissa ex hiunerh. 
 Virg. JEn. 263.), and 
 the middle or longest 
 part would h.ang 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 j. Chlamys, 
 was folded down, in order to make a 
 
CHLAMrS. 
 
 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 comers hung down on the same 
 side parallel to one another, two in 
 front and two behind, as showTi 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. F/or. 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 (x^"/''^')- A light 
 and short mantle, originating with 
 the inhabitants of Thessaly or of Ma- 
 
 CHORAGIUM. 155 
 
 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 iiirilioi; 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 
 (■KTipvK) 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. Jiabir. Post. 
 10. Val. Max. iii. 2. and 3.) ; but 
 these are both mentioned as singular 
 instances. In some cases, too, it is 
 ascribed to women — to Dido by A'ir- 
 gil {^n. iv. 137.), and to Agrippina 
 by Tacitus {Ann. xii. 56.V 
 
 CHORA'GIUM (xopiiyiov). 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, " t/ie 
 p-opertv. " Festus, s. v. Plant. Capl. 
 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. I. 
 Demosth. de falsa Legat p. 403. 22. 
 Reiske). It formed one of the appur- 
 
iS6 
 
 CHORAGUS. 
 
 tenances constructed in the spacious 
 porticoes at the back of a theatre (Vi- 
 truv. /. c. ), as may be seen on the plan 
 of Pompey's theatre, introduced as an 
 illustration under Theatrum. 
 
 3. A sort of spring in hydraulic 
 machines. Vitruv. x. 8. I. 
 
 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 
 expense, but more usually from 
 moneys levied on the community, 
 and paid over to him by the sdiles. 
 Plant. Pers. i. 3. 78. 
 
 2. (xop-qyos). 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 {xopai\i]i;). 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. Phn. 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 
 Choraules inscribed upon its base. 
 
 CHORS. 
 
 CHORE'A (yope/a). 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. Ov. 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- ^■ 
 
 CHO'ROCITHARIS'TA. A mu- 
 sician who accompanies a chorus of 
 singers on the cithara. Suet. Dom. 4. 
 
 CHORS, CORS, or COHORS 
 {x^P'^^Q)- A farm or strawyard, 
 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- 
 
 rt«= 
 
 eluding sheds for the carts, ploughs, 
 and agricultural implements, as well 
 
CHOR US. 
 
 C ICON I A. 
 
 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. R. 
 I. 13. 2. and 3. Vitruv. vi. 6. I.) 
 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 (jcop'it)- 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. ALn. viii. 718. Suet. 
 Cal. 37. Hor. Od. i. i. 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 TibuU. 
 ii. 8. 88.) Same as Chorea ; where 
 see the illustration. 
 
 CHRYSEN'DETA (xP^aivhra). 
 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. xlv. 
 97. and compare Cic. Verr. iv. 21-23. 
 
 CHYT'RA {xiirpa). A common 
 kind of earthenware 
 amongst the Greeks, 
 employed for boiling 
 and cooking, or any 
 ordinaiy 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. 
 lyi. II., 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 verilables 
 No7ns des Vases Grecs, i. 28. 
 
 CHYT'ROPUS (xvTpoTTovi.). 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 [L. L. 
 V. 118.) for CiLLlBA ; which see. 
 
 CIBO'RIUM (/c(|Smpiov). 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 stork; 
 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 
 
i.S8 
 
 CICONIA. 
 
 CILICIUM. 
 
 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 
 jjreceding, 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 tlie 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 
 cross-bars 
 
 the 
 
 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. Isidor. 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\ pipes. 
 Virg. Eel. ii. 36. Lu- 
 cret. V. 13S2. 
 
 CICU'TICEN. A 
 performer on the 
 Fan's pipes, made of 
 the hemlock stalks. 
 (Sidon. Carni. i. 15.' 
 The illustration is from a small ivory 
 figure in the Florentine Museum. 
 
 CID'ARIS. (ddapig and Kirapig). 
 The jvyal bonnet worn by the kings 
 of Persia, Armenia, 
 and Parthia, which 
 had a tall, stiff, and 
 straight crown, en- nS^^//*\ 
 circled by a blue dia- yjf^:[ ^c 
 dem ornamented with I , ;|V^ i 
 
 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 eircular 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, eapulee) upon it, pre- 
 cisely as mentioned by Varro, L. L. 
 V. 121. 
 
 CILICIUM (kiXi'kioi'). 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- 
 bags. Cic. Verr. ii. i. 38. Liv. 
 
CILLIBA. 
 
 CINCTUS. 
 
 159 
 
 xxxviii. 7. Veget. Mil. iv. 6. Serv. 
 ai/Virg. Georg. iii. 313. 
 
 CIL'LIBA (KiWi^ac). 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,T.DUS (kii/oi^oc). 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.). 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 those exhibitions, and 
 thence, in a more indefinite meaning, 
 it became a term of reproach for any 
 one who indulged in the indeUcate 
 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. S. \&. pro Sext. 11 . 
 
 term mostly 
 
 CINCIX'NUS (EX.5). A ringlet, 
 or long corkscrew curl of hair, like 
 the twist of a fringe 
 (Cic. Pis. II.), or the 
 tendril of a vine 
 (Varro, R. 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 
 imphes that they were artificially 
 produced mth the curling-irons. 
 
 CINCTIC'ULUS. Diminutive of 
 ClxCTUS, -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. i.), as con- 
 tradistinguished from 
 the baldrick (balteus), 
 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 (iiaZ,b))ia,TrtpiZ,iiifia), 
 
 -ci/ 
 
i6o 
 
 CINCTUS. 
 
 CINGILLUM. 
 
 A particular 
 
 A sort of petticoat, like the Scotcli 
 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. i. 
 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, 5I-); same as CiNGULA and 
 CiNGULUM, 3. 
 
 3. Cinctus Gabinus. 
 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. y^n. 
 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, lielt, 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, I.), or, like a zone, round the 
 loins (Curt. iii. 3. and Cingulum, 
 2.) ; to men, who wore a girdle over 
 the tunic (Plaut. Cure. ii. i. 5. and 
 Cingulum, 3.) ; or their swords 
 attached to a waist-band {gladto 
 cinctus, Liv. xxxviii. 21. and ClNC- 
 torium) ; and to huntsmen who car- 
 ried their knives in a waist-band 
 (cultro venatorio cinctus. Suet. Attg. 
 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, 
 TTfpiJw^n) round the loins, as repre- 
 sented in the last illustration except 
 one. Hor. A. P. 50. Ovid. Fast. v. 
 loi. 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 coltim- 
 harium, 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. 
 Calpurnia emit columbaria n. 
 IV. ollas. n. viii. 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 ??iedia7ium), 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 {cineres), 
 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- 
 
CINGVLA. 
 
 CmCULUM. 
 
 iCi 
 
 quet of Trimalchio, she wears a yel- 
 low cingillum over a cheny-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 aj)fareret tunica, et 
 periscelides tortcs, phczcasicEque inau- 
 rat(S. 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 timic 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. Rem. Am. 236. 
 Calpum. Eel. vi. 41. 
 
 2. A man's girdle round the waist. 
 Ovid. A. Amat. iii. 444. and Cix- 
 GULUM 3. 
 
 CIX'GULUM (raii(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 sho\A'n 
 by the figure an- 
 nexed, from a 
 Greek statue. Isi- 
 dor. Orig. xix. 33. 
 
 1. Virg. .^n. i. 
 492. 
 
 2. (Siivj)). A girdle or sash also 
 worn by females, and especially 
 young unmarried 
 women, but fast- 
 ened lower down 
 the body, just 
 above the hips, as 
 sho^vn 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 
 appUed to the Cestus of Venus. 
 Festus, s. V. Val. Flacc. vi. 470. and 
 Cestus. 
 
 3. {l^uarfip). A man's girdle, 
 worn round the waist, and outside 
 the tunic, as sho'mi 
 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. 
 
 2. and Alticinctus. 
 
 4. {/iirpa, Zwarrip, Jiivij). A sol- 
 dier's belt, made of metal, or of 
 leather plated with metal, worn 
 
 L 
 
 Pet. Sat. 21. 
 
l62 
 
 CINIFLO. 
 
 CIRCINUS, 
 
 round the loins to secure the bottom 
 of the 'cuirass (see the illustration s. 
 Clipeatus I.), 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 Paestum ; 
 and over this the sword-belt (cincto- 
 riuni) was also strapped, whence Vir- 
 gil, in describing the armour of Pallas 
 (vS«. xii. 942.), indicates both of these 
 cinctures by the plural cingula, for the 
 shoulder band {balteus), which sup- 
 ported the shield, is separately men- 
 tioned. 
 
 5. (^la^wjua, '7ripit,ii)^a). 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 m 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 copied. 
 
 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. i. 2. 98.) when 
 she was dressing her mistress's hair ; 
 or, according to Servius (ad Virg. 
 ALii. xii. 611.), to procure and ad- 
 minister the powder (cinis) which 
 women employed for tinting their hair 
 of a light auburn colour. 
 
 CIPPUS (fn'tXi]). A short round 
 post or pillar of stone set up to mark 
 the boundaries between adjacent 
 lands or neighbouring states. (Sira- 
 
 '«Il«nESII»05CT»EI'"'"' 
 
 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 ( Vieenza) 
 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 ot 
 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. Caes. B. G. vii. 73. 
 
 CIR'CINUS (hafihrne) A paif 
 of compasses, employed by carpenters, 
 architects, masons, and sculptors, for 
 describing circles, measuring dis- 
 tances, or taking the thickness of 
 solids. (Cies. B. G. i. 38. Vitruv. ix. 
 
CIRCITORES. 
 
 CIRCULUS. 
 
 16.1 
 
 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 PompeiL 
 
 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. 117. 
 
 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. UIp. Dig. 
 
 14- 3- IS- 
 
 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. I. 
 
 CIRCULATOR. 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. 
 
 II. II.), as shown by the annexed 
 
 illustration, from a terra-cotta lamp. 
 
 CIR'CULUS (kukXoc). A circle ; 
 thence, applied to various things 
 which have a circular figure ; as — 
 
 I. The hoop of a cask (cupa), by 
 which the staves are bound together. 
 
 as in the example of a Roman cask, 
 from Trajan's CoUimn. Pet. Sat. 60. 
 3. Plin. II. N. xiv. 27. Id. xvi. 30. 
 
 2. A particular kind of cake or 
 biscuit, made in the foiTti of a ring. 
 Varro, L. L. v. lo5. 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 
 
164 
 
 CIRCUMCIDANEUS. 
 
 tracTc 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 
 (prehim) screwed down upon it, which 
 extracted all the juice remaining in 
 them. This operation would natu- 
 
 C IRC US. 
 
 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 
 rouna 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 [regulce], it was purposely to 
 prevent it from bulging out, and, con- 
 sequently, when so treated, there was 
 no circumcidaneuvi produced. Cato, 
 R. R. 23. 4. Varro, R. R. i. 24. Co- 
 lumell. xii. 36. Plin. H. N. xiv. 23. 
 and 25. 
 
 CIRCUMSITTUM. (N&xm,R.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 (Kiprac. Tolyb. 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- 
 piduni), 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 fomi a barrier, by 
 which it was divided into two distinct 
 parts; andateachof itsends wasplaced 
 a goal (man), round which the char- 
 iots 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 
 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- 
 cjuently 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 at the point (e), exactly 
 midway 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 u 
 chalked rope {alba linea, E) was 
 fastened across from two small marble 
 pillars {hermuliE), 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 pompee, 
 through which the Circensian pro- 
 cession entered the ground before the 
 races commenced ; another one was 
 constructed at the circular extremity 
 (i), ciS\&i porta trinmphalis, through 
 %\hich the victors left the ground in 
 a sort of triumph ; a third is situated 
 on the right side (k), called porta 
 libilineiuis, through which the killed 
 or wounded drivers were conveyed 
 away, and two others (LL)were left 
 close by the earceres, 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 AMPHlTHEATliUM ; 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, 
 
i66 
 
 CIRRA TVS. 
 
 CIRR US. 
 
 executed before that city was taken 
 by the Turks. Though a ruin, it 
 sliows 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 vieta pi ima 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 i. Of cloth fabrics (Ca- 
 pitol. Periinax. 8.) ; see CiRRUS 8. 
 
 CIRRUS. Properly, a lock of 
 curly hair, growing in a full and 
 natural curl, as contradistinguished 
 from Cinciufius, 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 commonly delineated 
 with this characteristic. See the illus- 
 tration, J-. COMATUS. 
 
 2. Cirrus in verticc (juaXAos riflXj?- 
 TBv, 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- 
 ting a pair of 
 Pancratias ti^. 
 The example 
 likewise explains 
 a passage of 
 Suetonius {Nero, 
 45-), in whicli it is related, tliat 
 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 vei-tice) 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 
 
CISIARI.UM. 
 
 CISTA. 
 
 lb-] 
 
 his forehead, when it was called ca- 
 proncs. Veget. Vet. iv. 2. 
 
 4. The fetlock tuft of a horse. 
 Veget. Vet. ii. 28. Id. iv. I. 
 
 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. 
 xxvi. 20. 
 
 7. The arms of the polypus, which 
 are divided into numerous feelers, 
 like a bunch of hair. Plin. H. N. 
 xxvi. 37. 
 
 8. The fringe on a piece of cloth 
 (Phsedr. 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. I79- 
 
 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. 
 
 CISTUM. 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. 
 Fhil. ii. 31. Id. Rose. Am. 7. Virg. 
 Catal. viii. 3.) It carried two per- 
 sons, the driver and another, was 
 open in front, and furnished with 
 shafts, to which one, or sometimes 
 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 out- 
 rigger is omitted. 
 
 CISO'RIUM. A sharp cutting 
 instrument employed by veterinaries, 
 Veget. Vet. ii. 22. 
 
 CISSYBTUM (noffv^iov). 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 {kIctti). A deep cylhi- 
 drical basket, covered with a lid, and 
 made of wicker-work 
 (Plin. H. N. XV. 1 8. 
 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 
 
i68 
 
 CIST A. 
 
 coffer or chest, of which an illus- 
 tration is introduced 
 s. Arca I. The 
 specimen here an- 
 nexed 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 (tabellte) by which their 
 votes or sentences were declared. 
 
 (Auctor. (j(^ Herenn. I. 12. Plin. H. 
 JV. xxxiii. 2. § 7. Manutius de Comit. 
 Rom. XV. p. 572. Wunder. Codex 
 Erfuteiis. p. 158. seqq.). The illustra- 
 tion is from a coin of the Cassian 
 family, and represents a voter drop- 
 ping his tablet of acquittal (marked A 
 for ahsolvo) into the cista. 
 
 5. The mystk cist; a covered 
 basket, box, or case, in which the 
 sacred utensils, and other articles ap- 
 pertaining to the rites of Ceres and 
 Bacchus 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. (CatuU. 64. 260. TibuU. i. 7. 
 48. Compare Ov. A. Am. ii. 609.) 
 TThere 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 
 woodcut 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 oiiginals 
 in bronze now preserved at Kome ; 
 one of which was found near die 
 ancient Labicum, the other at Pree- 
 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 ligtda, a sharp 
 pointed instrument like the stylus, 
 and a piece of metal of triangular 
 form, the pyramid {-Trvpafjii;), 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 
 
CIS TEL LA, 
 
 CISTOPHORUS. 
 
 169 
 
 nocturnal Bacchus (Nyctelius Pater, 
 Ov. A. Am. i. 567.), at which time 
 the orgies were celebrated (Serv. ad 
 yEti. 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 tliat the 
 vessel was presented by a female, and 
 made by a Roman artist of the name 
 of Novius Plautius : — 
 DINDIA . MACOLNIA . FILEA . DEDIT . 
 NOVIOS.PLAVTIOS.MED.ROMAI.FECID, 
 
 CISTELLA («trr<'(). A small 
 CiSTA. Plaut. Cist. iv. I. 3. Ter. 
 Eun. iv. 6. 15. 
 
 CESTELLA'TRIX. A female 
 slave, Avho had charge of her mis- 
 tress's clothes, trinkets, &c., kept in a 
 cista. Plaut. Trin. ii I. 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 canies a 
 cista, box, or burden; 2. porter. Mart. 
 Ep. V. 17. 
 
 CISTOPH'ORUS ()ci(fTo0dpoc). 
 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 cisla was carried by 
 men, as proved by an ancient marble 
 discovered on the Monte Mario near 
 Rome, which bears the following 
 inscription : — X . LARTIO . antho . 
 CISTOPHORO . ^DIS . BELLONVE, &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 hifula hang- 
 ing down in front of the breast ; in 
 the right hand a lustral branch, and 
 in the left two double axes (bi- 
 pennes), characteristic of the priests 
 of Bellona. Inscript. ap. Don. 62. 
 and 135. Compare Demosth. p. 313. 
 28. ed. Reiske. Giovanni Lami, Z>is- 
 sertaz. sopj'a le Ciste Mistiche, 
 
 2. A silver coin, worth about four 
 drachmae, which passed current in 
 Asia, whence the expression in cis- 
 topJioro (Cic. Att. xi. I.) is equivalent 
 
lyo 
 
 CIS TULA. 
 
 to saying "in Asiatic money.'' It 
 received tlie name either from having 
 an impression of the sacred cista 
 upon it, or, as is more probable, of 
 tlie shrub cistus (K^trrot). 
 
 C I S' T U L A. Diminutive of 
 Cista. Plaut. Ampli. i. i. 264. 
 
 CITH'ARA (KiHapa, xSapK). A 
 stringed instrument of very great 
 
 antiquity, resembhng in form the 
 hwnan chest and neck (Isidor. Orig. 
 ii. 3. 22.), and so corresponding witli 
 our guitar^ a term which comes to us 
 through the ItaUan chitarra ; the 
 Roman c and ItaUan ch having the 
 same sound as the Greek «:. 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 
 Greeks poets in a less special or 
 determinate meaning. See also the 
 two following words and illustrations. 
 CITHARIS'TA {KSapwrm). One 
 who plays upon the cithara, or guitar. 
 
 (Cic. Phil. V. 6.) Homer describes 
 the manner in which the player held 
 
 CLABULARE. 
 
 this instrument, by saying that it 
 was placed upon the arvi {iizoiK^viov 
 KiBapO^uv. Hymn. Merc. 432.), as 
 shown by the annexed woodcut, 
 representing an Egyptian citharista, 
 from the tombs at Tliebes. 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 ii-Ktokiviov in the same hymn 
 (v. 507.). It was sometimes sus- 
 pended across the shoulders by a 
 balteus (Apul. Flor. ii. 15. ^- and 
 next woodcut), and, like the lyre, 
 was occasionally struck with \h^ plec- 
 trum, instead of the fingers. Horn. 
 /. c. 498. 
 
 CITHARIS'TRIA (xSapwrpia, 
 KiOapiffTpii;). A female player upon the 
 cithara or guitar. (Terent. Ph. i. 2. 
 32. and compare 
 Citharista.) 
 These women were 
 frequently intro- 
 duced, together 
 with dancing and 
 singing girls, to 
 arause 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, ear-rings, 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. I. and compare Citharistria. 
 
 CITHARCE'DUS (ici0apv5oc). 
 One wlio plays upon the cithara, and 
 sings at the same time. Quint, i. 2. 
 3. Id. iv. I. 2. Cic. Mur. 13. and 
 compare Citharista. 
 
 CLABULA'RE, or CLAVU- 
 
CLASSIARII. 
 
 CLAUSTRUM. 
 
 171 
 
 LA'RE, sc. vehiculum. A large cart, 
 with open sides made of rails (davula 
 
 or davolcE), 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 dabularis. (Impp. Constant, 
 et Julian. Cod. Theodos. 6. 29. 2. 
 Ammian. xx. 4. II.) 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 authorise the interpretation 
 given, which otherwise is to be 
 regarded as more conjectural than 
 positive. 
 
 CLASSIA'RII (tjT./Harat). 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 
 [naiitce) 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. Nov. Addend. 
 
 CLAS'SICI. Citizens who be- 
 longed to the first of the six classes 
 into which the population of Rome 
 was divided by Servius TuUius (Aul. 
 Cell. vii. 13.) ; whence the expression 
 scriptores dassici, classical authors, 
 means those of the very first order. 
 Aul. Cell. xix. 8. 6. 
 
 2. The hom-blowerswho summoned 
 the dasses to the comitia by sound of 
 the litmis or the cornu. Varro, L. L. 
 V. 91. CORNICEN, LiTICEN. 
 
 3. Same as Classiarii ; including 
 the fighting men as well as the ship's 
 company. Curt. iv. 3. Tac. Hist. i. 
 31. lb. 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. ALn. vii. 637. Virg. 
 Georg. ii. 539. 
 
 CLATHRA'TUS. Closed or 
 protected by cross-bars of trellis 
 (clathri), as explained in the next 
 paragraph. Plant. Mil. ii. 4. 25. 
 
 CLATHRI. 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, P. Ji. iv. i. 
 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 
 
[72 
 
 CLAUSULA. 
 
 lock, a bolt, a bar, or other contriv- 
 ance, when there are no governing 
 words to indicate the nature of the 
 fastening intended. (Cic. Agr. r. 7. 
 Claud, in Eutrop. I. 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 j-. 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 claustrum ; and as the 
 ancient doors were commonly made 
 in two flaps, or had fastenings at top 
 and bottom, the plural claustra is 
 mostly used ; ad claustra pessuli recur- 
 riLnt, for shutting (Apul. Alet. i, p. 10. 
 Varior.) ; claustra perfringere, to break 
 open (Id. p. 8.) ; evelle7-e (Id. p. 70.) ; 
 rcvdli (Liv. v. 21. Cic. Verr. ii. 4, 
 23. ) ; claustris^ qiuB accuratlssiine 
 afflxafuerunt^ vioUntcr 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. S6. 
 
 3. A cage or den in which wild 
 beasts are enclosed. Hor. Od. iii. 
 1 1. 44. Stat. Sylv. ii. 5. 4. 
 
 4. In plural, the stalls for the 
 horses in the Circus. (Hor. Epist. i. 
 14. 9. Stat. Tkeb. 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 
 
 CLA VA. 
 
 guard all round it, as shown by the 
 annexed example, from an original 
 bronze strigil found 
 in the baths at 
 Pompeii. 'Y\it clau- 
 sula is thus contra- 
 distinguished from 
 capulus^ ■'< 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 {poTxaKov). A stout, 
 rough stick, thickening towards the 
 butt-end, such as 
 we miglit term a 
 cudgel ; sometimes 
 used in. an offen- 
 sive manner (Cic. 
 Verr. ii. 4. 43.), 
 and frequently car- 
 ried out of affecta- 
 tion by the ancient 
 philosophers, 
 instead of a walk- 
 ing-stick (Sidon. 
 Epist. iv. II. ix. 
 9. Id, CarTU. 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. II. 
 
 3. (poiraXov. Soph. 7>. 5I2.)'A 
 club or bludgeon, such as was used by 
 Hercules and Theseus. (Prop iv. 
 
 9. 39. Suet. A'ero, 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 
 
CLA VARIUM. 
 
 CLA VIGER. 
 
 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. {Kopvvij, poTTaXov aid^oqt rerv- 
 \ui^'ivov). 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 (Plant. Rud. 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. 
 
 CLAVA'TUS. Striped with gold, 
 furfle, 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 
 hab-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 
 projecting 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. /{. N. ix. 61. Clava, 3. and 4. 
 
 CLAVIC'ULA (kXuSIov). Dimi- 
 nutive of Clavis. 
 
 CLA'VIGER i^KopvvijTijQ). 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 
 
 CLA VIS. 
 
 the rustic inhabitants of Latium in 
 their contests witli the Trojans, in 
 the miniatures of the Vatican Virgil, 
 from one of which the annexed 
 figure is copied. The example under 
 Clava, 4. shows the cUib in its im- 
 proved form of a mace ; and illustrates 
 the word claviger, in the sense of a 
 mace-bearer, 
 
 2. (/cXfi^oD^of). 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. 
 Macrob. Sat. i. 9.) ; and by the 
 Greeks to Cupid (Wink. Mon. InecL 
 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 ((cXji't). 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 ; — 
 
 I. 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 (tnater- 
 
 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 Gorlaeus. Hor. Mpist. 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 
 withotU^ 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. i. 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. 
 
 CLA VUS. 
 
 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 (Tkesm. 422.) cer- 
 tainly applies the epithet Kpynra to 
 the Laconian key with three teeth. 
 
 5. Clavis adultera. A false or 
 skeleton key. Sail, yugurth. 12. 
 Compare Ovid. Art. Amat. iii. 643. 
 
 6. Clavis trochi {tXarrjp). The 
 stick used by Greek and Roman boys 
 for trundling their 
 hoops (Propert. iiL 14. 
 6.) ; 'made of iron, with 
 a hook at the end, or 
 a round nob 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. Duninutive of 
 Clavus ; probably, also, a nail with- 
 out a head (Cato, R. R. xxi. 3.) ; as 
 clavulus cafitatus (Varro, R. R. ii. 9- 
 15.), a small-headed nail. 
 
 CLAVUS (rikoQ). 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, resembhng 
 in most respects those now in use. 
 
 The Latin expression for driving a 
 nail is clavum figere 
 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, 
 th e 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 (trabes). Cic. 
 Vei-r. vi. 2i. 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 Capitolinus 
 (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. v.), 
 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 possession 
 of the Italian historian Bianchini 
 {Storia Univers. torn. i. p. 156. tav. 
 9. A.), which, from the letters upon 
 it, is beheved to have been actually 
 employed for the purpose described. 
 
 4. Clavus jnuscarius. 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 {caligce) were furnished 
 (Plin. H. N. ix. 33. Juv. iu. 247. Id. 
 xvi. 24. Isidor. Orig. xix. 34. 13.); the 
 
176 
 
 CLA VUS. 
 
 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. Jtid. 
 vi. I. 7.) The exam- 
 ple introduced is given by Ferrarius, 
 as copied from the arch of Constan- 
 tine at Rome. He states that the 
 spikes were clearly distinguishable in 
 his time, but the artist who made the 
 copy has certainly committed an error 
 in leaving the toes exposed, for the 
 caliga was a close boot ; see that 
 word, and Caligarius. 
 
 6. Clavus gubernaculi. The helm 
 or tiller of an ancient nidder ; which 
 was a cross-bar (fusih, Serv. ad 
 Virg. Alt!. V. 176.), fixed to the 
 upper part of tlie handle (ansa) at 
 right angles to it, so that it fell within 
 the ship, and enabled the steersman 
 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 clavus 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 uj> " 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 jElfricus, the word 
 clavus is translated hebna, our helm. 
 All these particulars are clearly illusr 
 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, J. 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 monument j but a fair 
 
CLA VUS. 
 
 CLIBANUS. 
 
 ^11 
 
 nofioii of its real character may be 
 obtained from the annexed woodcut 
 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 narrmu 
 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 char- 
 acter, 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 /«?'- 
 ■purcE (Quint, xi. 3. 13S. ) 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 exe- 
 cuted, 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 way as an earlier 
 
 i 
 
 costume of this country has now 
 descended to a "livery." 
 
 CLEPSVD'RA (K^i^iSpa). An 
 hour-glass, originally employed by 
 the Greeks, and subsequently 
 adopted at Rome, for the pur- 
 pose of measuring the time al- 
 lowed to each speaker in a 
 court of law. (Plin. Ep. ii. 
 II.) 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. iii. p. 44.), and still more 
 from the example annexed, which is 
 copied from a bas-relief of the Mattel 
 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. N. 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. lb. 12. 22. Lamprid. Alex. 
 Sev. 56.) ; compare Cataphkactus, 
 I. and illustration. 
 
 CLIBANIC'IUS, sc. panis (k\i- 
 PaviriQ). Bread baked in a clibanus. 
 Isidor. Orig. xx. 2. 
 
 CLI'BANUS (icXi'/3o).o(,- or xpi- 
 /3ni'0(.'). 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.) ; 
 
lyS CLiNicus. 
 
 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 iu a. more regular 
 and even temperature than could be 
 produced by the ordinary oven. The 
 usual material was earthenware ; but 
 when Tiimalchio has his bread baked 
 in a silver clibanus (Pet. Sat. 35. 6. ), 
 it is intended as an instance of ridi- 
 culous ostentation. 
 
 CLINICUS (aiwKO!,). A visiting 
 physician^ who attends his patients 
 at the bed-side. Mart. Ef. 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. 
 
 CLI'NOPUS {xXivoTTovt). The 
 foot of a bedstead. (Lucil. ap. Ma- 
 crob. Sat. vi. 4. ) The ancient bed- 
 
 steads were commonly supported 
 upon four legs, like our own, as in 
 the illustration, from a Pompeian 
 painting. 
 
 CLIPEA'TUS (a(T7riJ»,06poc). 
 Armed or furnished with the large 
 
 CLIPEUS. 
 
 round Grecian shield [clipeus'), as 
 shown by the example, from a Greek 
 fictile vase. Virg. ^En. vii. 793. 
 Ovid. i\Pet. iii. no. Curt. vii. 9. 
 
 2. Clipeatus chlainyde. Having the 
 left ' arm covered with the chlamys 
 
 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 itnago. A portrait en- 
 graved or painted upon a clipeus. 
 (Cic. ap. Macrob. Sat. ii. 3.) See 
 Clipeus, 3. 
 
 CLIPE'OLUM (dcTTT/Jio)'). Dimi- 
 nutive of Clipeus. Hygin. Fab. 
 
 139- 
 
 CLIP'EUS andCLIP'EUM 
 (fftTTrif). 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 no-Trie), 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. ^n. iii. 637.), 
 with a circumference large enough to 
 
 reacli from the neck to the calf of 
 the leg (see the figure in Clipeatus, 
 I.). It was sometimes made entirely 
 of bronze (Liv. xlv. 33.); tut mo^ 
 commonly of several folds of ox-hide 
 (Virg. ^n. xii. 925. mentions seven, 
 Ovid. Met. xii. 97. ten), covered 
 with plates of metal; and occasionally 
 upon a foundation of wicker-work 
 (whence dipei textum. Virg. JEn. 
 viii. 625. and iria. 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. 
 Ain. 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 a distin- 
 guished person was carved in relief, 
 or painted in profile as an honorary 
 memento (Suet. Cal. 16. Tac. Anti. 
 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. II.) 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. 
 
 in 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- 
 nkum or vapour- 
 bath, which con- 
 sisted of 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 (ealdariuvi), and 
 immediately over 
 the labruni, 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 
 woodcut represents a section of the 
 
 'FIV 
 
 JFIGO 
 
 CBDn 
 
i8o 
 
 CLIPS us. 
 
 CLOACA. 
 
 Laconuum at Pompeii, a view of 
 which in its present state is intvo- 
 duced under that word ; the squares 
 at the bottom show the flues of the 
 hypocaustum ; the basin in the centre 
 over tlie largest flue is the laln-itvi ; 
 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 imcertainty, and 
 that many scholars, relying upon a 
 picture in the 
 Thermee of 
 
 I'itus (repre- 
 sented by the 
 annexed en- 
 graving) main- 
 tain that the 
 Laconicunt was 
 the small cu- 
 pola here seen 
 rising from 
 
 the floor of 
 the chamber, 
 wliich 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 diificult 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^ (rav07}\in). The 
 pack-saddle upon which panniers were 
 
 carried ; and thence also a pair of 
 panniei-s ; whence only used in the 
 plural number. (Hor. Sat. i. 5. 47. 
 Phcedr. i. 15.) The illustration is 
 from an engraved crystal in the 
 Florentine Gallery. 
 
 CLITELL'ARIUS (rai-e/Aioc). 
 A beast which carries panniers, as in 
 the preceding illustration. Cato, 
 R. J?. X. I. Columell. ii. 22. 3. 
 
 CLOA'CA {iiTTovo/joc). A large 
 subterranean canal, constructed of 
 masonry or brickwork, for the pur- 
 pose of carrying off the rain water 
 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. Ciecin. 13. Hor. Sat. ii. 3. 242. 
 Strabo, v. 8. p. 197. ed. Siebenk.) 
 
 The illustration represents a street 
 view in Pompeii, M'ith the embouch- 
 ures of two drains under the pave- 
 
CLOACA. 
 
 CLUNABULUM. 
 
 ment, and shows the manner in which 
 the rain water entered them. 
 
 2. Cloaca Maxima. A main sewer^ 
 which received the contents of several 
 tributary brandies, and conducted 
 tliem 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 Maximus, 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- 
 
 "f i 
 
 presents the emboucliure 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 litfus. 
 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, Siiolo 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. 0. Ante- 
 
 RIDES. Plin. H. N. xxxvi. 24. 3. 
 Dionys. iii. 67. 
 
 CLOACA'RIUM. The servers- 
 rate ; a tax which was levied for the 
 expenses of cleansing and repairing 
 the sewers. Ulp. Dig. 7. i. 27. 
 Paul. Dig. 30. 39. 
 
 CLOA'CULA. Diminutive of 
 Cloaca ; a branch sewer communi- 
 cating with the main duct. Lamprid. 
 Heliog. 17. 
 
 CLOSTEL'LUM. Diminutive of 
 Clostrum. Either the key-hole <if 
 a lock ; or, perhaps, the box-hasp 
 into which the bolt of a locI< 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, Az/. 140. 11. Compare Senec. 
 Ben. vii. 2i. 
 
 CLOSTRUM. For Claustrdm. 
 In a general sense, any fastening like 
 a lock (Cato, R. R. xiii. 3. Id. cxxxv. 
 2.) ; but, more definitely, the box 
 into which a lock shoots. Senec. 
 Ben. vii. 21. 
 
 CLU'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- 
 dem actors ; but the reading in Apu- 
 leius is not certain, and the interpreta- 
 tion is conjectural. 
 
 CLUNAB'ULUM or CLUNAC- 
 ULUM. A small sword, or rather 
 
 r, so called because it was 
 
l82 
 
 CLYSTER. 
 
 COCHLEA. 
 
 worn at the back, just over the but- 
 tocks {dunes), as shown in the an- 
 nexed example, from the Cohimn of 
 Trajan. Aul. Gell. x. 25. Isidor. 
 Ot'ig. xviii. 6. 6. 
 
 2. The same name was also given 
 to the knife of the Cultrariiis, ^vith 
 which he ripped up 
 the entrails of vic- 
 tims at the sacri- 
 fice (Festus, s. v.] ; 
 and which was 
 caffried in the same 
 manner by a strap 
 round the loins, as 
 shown by the an- 
 nexed figrire, repre- 
 senting one of these 
 servants, from a 
 Pompeian painting. 
 
 CLYSTER {kKvot^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 (icAwrw.oj.). 
 Diminutive of the preceding. Scrib. 
 Compos. 118. 
 
 CNODAX {^vwlal). 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 drapeiy, 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. J/. N. xi. 
 26. Propert. iv. 5. 55. Ov. A. Am. 
 ii. 298. Hor. Sat. i. 2. loi. 
 
 COAC'TILIS, sc. lana (TriXjjrof or 
 TriXoirot;). Felt or felted cloth ; that 
 is, wool matted together by repeated 
 manipulation and pressure until it 
 acquires a consistent texture, like a 
 piece of cloth. Plin. H. N. viii. 73. 
 Edict. Dioclet. p. 21. Ulp. Dig. 34, 
 2. 26. 
 
 COACTO'RES (TrpaKropEs)- Re- 
 ceivers or collectors of taxes, duties, 
 &c. Cic. Rab. Post. II. Plor. 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. 
 
 COACTUS. Same as COACTILIS. 
 Plin. H. N. viii. 73. Cass. B. C. iii. 44, 
 
 COAG'ULUM (TTVfTta). 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 tnilk 
 (Plin. H. N. xxviii. 45.) ; and clieese. 
 Ovid. Fast. iv. 545. 
 
 COASSA'TIO [aavilMfia). Any 
 thing made of boards joined together, 
 as the flooring of a house (Vilruv. 
 vi. 6.), or the deck of a ship, Theo- 
 phrast. in Oxford Lex. 
 
 COCH'LEA [Kox^icu]. Literally,, 
 a snail with a spiral shell ; whence 
 applied to several other" objects par- 
 taking of a spiral form ; as — 
 
 I. 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. 
 
 daily use, as shown by the annexed 
 woodcut, represent- 
 ing a press for cloth, 
 from a painting in 
 the fuller's estab- 
 lishment {fulloniai), 
 at Pompeii. Vi- 
 trav. vi. 9. Plin. 
 //. N. xviii. 74. Pal- 
 lad, iv. 10. 10. Id. xi. 9. I. 
 
 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 gi-adually 
 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 doonvay 
 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, i. 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 
 
 COCHLEARIUM. I 83 
 
 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 
 anything 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 been 
 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 {soy(\iapiov). 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. 
 
 C O C H L E A' R I U M. 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 
 
i84 
 
 COCHLIS. 
 
 COEMPTIO. 
 
 reared and fed in these home nurse- 
 ries. (Varro, R. R. iii. 12, 2. lb. 
 14. I. Plin. //. 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, so. later. A brick 
 hardened by burning, as contradis- 
 tinguished from one dried by the sun. 
 Varro, R. R. i. 14. Plin. H. N. vii. 57. 
 
 2. Murits coctilh. A wall built of 
 bricks hardened by the fire. Ovid. 
 Met. iv. 58. 
 
 3. Cociilia or Coda ligna (^yXa 
 KayKava). 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 taberna cocti- 
 Ikice ; 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 be- 
 longed. Tnh Cap. Pertinax, 3. 
 
 COCTUS. Same as Coctilis. 
 
 COC'ULUM. Apparently, a ge- 
 neral term given to any kind of 
 saucepan for boiling meats. Festus, .t. 
 V. Isidor. 07ig. xx. 8. Cato, R.R. xi. 2. 
 
 CO'DEX. A clog, or heavy log 
 of wood, chained to the feet of slaves 
 which they dragged about \\\\\\ 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 llllKv.'lllj 
 a Pompeian painting. ^^^^1/ 
 Originally, the leaves 
 were made of thin tablets of wood 
 {codices i . q. caudices), coated with wax, 
 whence theiiame 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 
 ytistinianus, Theodosianus, &c., which 
 it may be assumed were written in 
 books of this description. 
 
 CODICIULUS. Diminutive of 
 Codex. But in the plural, CoDl- 
 CILLI were a collection of small tab- 
 lets employed for writing memoran- 
 dums (Cic. Fani. ix. 26.), intended to 
 be copied out fairly afterwards ; to be 
 despatched as lettersto intimate friends 
 (Cic. Fain. 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'UiVl (ovpnvbg). A sojit, or 
 ceiling. (Vitruv. vii. 3.3. Florus, iii. 5. 
 30. and corlum capitis, the nether part 
 of the skull, Plin. //. 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 ccchtni, and gave rise 
 to an extra member in the entabla- 
 ture, denoted externally by the zo- 
 phorus O'^ frieze. 
 
 CCEMETE'RIUiM (ra./jr/riioioi-). 
 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. TertuU. Anim. 51. 
 
 COEMP'TIO. A marriage by civil 
 contract, solemnised by a fictitious 
 sale, at whicli 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 patrician and plebeian 
 families became lawful, A. u. c. 308. 
 Cic. Mui-et. 12. Non. Marc. s. v. Nu- 
 bentes, p. 531. 
 
CCENA. 
 
 COHORS. 
 
 185 
 
 CCE'NA (Soptrov in the Homeric 
 age ; Sei-Kvov subsequently, and in Attic 
 Greel{). The principal daily meal of 
 the Greeks and Romans ; and, conse- 
 quently, better translated by our word 
 dinner than supper, which is more com- 
 monly applied. It was the third meal 
 taken in the day, i. e. after the break- 
 fast (jentaculum) and the luncheon 
 (prandium or vierenda), the most usual 
 hour being about 3 P. M. of our time ; 
 though the particular habits of different 
 individuals might induce some to dine 
 at an earlier, and others at a later hour. 
 Plant. Cic. Petr. Suet., &c. 
 
 2. Prima, altera, tertia ccma. 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 cxnacula 
 (like the Greek inrepi^^or) 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 atties or garrets would in 
 such cases furnish the most appro- 
 priate translation. (Hor. Ep. i. i- 
 
 91. Juv. A. 17.) The annexed ex- 
 ample, from ii Roman painting, ex- 
 hibits the external appearance of the 
 
 canacula; and the two last illustrations 
 to the article DoMUS, 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 mei itoriiim. 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-roo7n ; 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. lo. lb. v. 
 6. 21.) Like the ccenaculum, it was 
 situated up-stairs (Juv. vii. 183. 
 Mart. Ep. ii. 59.) ; and in this respect 
 differed from tricliniuin, which, in the 
 Pompeian houses, is always placed 
 upon the ground-floor. 
 
 CCENATO'RIA, i. e. ccenatoria 
 vestes. The garments or apparel 
 worn at the dinner table (Per. Sat. 
 21.5. Mart. X. 87. Capitol. Maxim, 
 yiin. 4.) ; the precise character of 
 which has not been ascertained ; but 
 one of them went expressly by the 
 name of Synthesis, which see. 
 
 CCENOBTTA. Late Latin; one 
 who lives in a. community {cano- 
 biiim) with others ; thence a monk or 
 friar. Hieron. Ep. 22. n. 34. and 
 
 35- 
 
 CCENOBTUM (rcoivo/Sioi). A 
 monastery, or convent of monks or 
 friars ; because they live together in 
 common. Hieron. Ep. 22. n. 36. 
 
 CO'HORS. Same as Chors. 
 VaiTO, R. R. 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, according as the legion 
 itself ' was increased in numerical 
 strength. Varro, L. L. v. 88. Cin- 
 cius, ap. Gell. xvi. 4. 4. Cses. B. C. 
 iii. I. 
 
 3. The term is sometimes used to 
 
i86 
 
 COHUM. 
 
 COLLICIARIS. 
 
 distinguish the allied and auxihary 
 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. A. 106. Virg. ACji. xi. 500. 
 
 5. PriTtoiia 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 Prtetorianus. 
 
 CO'HUM. The rope or thong by 
 which the yoke (jugum) is fastened 
 to the pole (teino) of a plough. (Fcs- 
 tus, J. V.) It is very distinctly .seen 
 in the annexed example, from a bas- 
 
 relief discovered in the island of 
 Magnesia. 
 
 COLIPHTUM. A sort of food 
 upon which wrestlers and persons in 
 training for athletic exercises -nere 
 dieted, in order to increase their 
 Inuscular 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. Plant. Pers. i. 3. 12. Juv. ii. 
 53. Schol. Vet. ad I. Mart. vii. 67. 12. 
 
 COLLA'RE (TrfoiJspaioi'). An iron 
 collar put round the neck of nmaway 
 slaves, with a leading chain {catulus) at- 
 
 tached to it, like a dog's chain and 
 collar. (Lucil. Sat. xxix. 15. cd. 
 Gerlach. Lucian. Lexiph. 10.) Prison- 
 
 ersofwarweresometime.s treated in the 
 same way, as may be seen by the illus- 
 tration, representing a barbarian cap- 
 tive, from the Column of Antoninus. 
 2. A dog's collar. (Varro, Ii. 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. 
 
 COLLICT^ or COLLIQ'UI.K. 
 Gutters, made with concave tiles, 
 placed under the eave.s of a house, 
 for the purpose of carrying away the 
 rain water from the roof, and con- 
 ducting it into the impliwium. Pec- 
 tus, s. Inlicium. Vitruv. vi. 3. 
 
 2. Open drains or gutters in the 
 country, for the purpose of cairying 
 away the rain water from the lands 
 into the ditches (fossa). Plin. // N. 
 xviii. 49. n. 2. Columell. ii. 8. 3. 
 
 COLLICIA'RIS, sc. iegiila. A 
 
COLLIPHWM. 
 
 COLUM. 
 
 187 
 
 drain tile, for making collicia. Cato, 
 
 R. R. xiv. 4. 
 
 • COLLIPH'IUM. See CoLi- 
 
 PHIUM. 
 
 COLLIQ'UI^. See Collicm. 
 
 COLLUVIA'RIUM. A sort of 
 well or opening formed at certain 
 intervals 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 (Ko\XD/3i(rr.;t,-). A Greelc 
 word Latinised ; a money - dealer. 
 Hieron. Comment. Matih. c. 21. 
 
 COL'LYBUS {mXKv^oc). Pro- 
 perly, a Greek word, meaning a small 
 coin ; whence it came to signify, both 
 amongst the Greeks and Romans, the 
 differtitce 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. Ve7-r. ii. 3. 78. 
 
 COLLY'RA (noWvpa). A sort of 
 bread or bun, of an oval form, which 
 was eaten with broth or with gravy. 
 Plant. Pers: i. 3. 12. Compare //'. 
 15 and 17. 
 
 COLLY'RIS (KoXXvpic). 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. (TertuU. Cult. Fcsm. 7.) 
 In a Pompeian painting (Mus. Borb. 
 vi. 38.), there is represented u. 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 woodcut j. 
 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 (KoXXup.or). 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 iiibbing 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. 
 Comp. 142. Columell. vi. 30. 8. 
 
 COLOB'IUM {ko\6I3wv). A tunic 
 with short sleeves (from the Greek 
 icoX6/36f, docked or 
 curtailed^, which 
 just covered the 
 upper and fleshy 
 part of the arm 
 (Serv. ad Virg. 
 ALn. ix. 616.), as 
 shown by the an- 
 nexed example, 
 from the Column 
 of Trajan. This 
 was the original 
 and usual form of ' 
 the tunic -Kora by the Romans of the 
 republican age, at home, or in active 
 exercise, as here represented, without 
 any other gai-ment ; but abroad, or 
 when in costume, as we might say, 
 the toga was thrown over it. 
 
 C O L O' N I C A. A farm-house. 
 Auson. Ep. iv. 6. 
 
 C O L O' N U S. A yeoman or 
 farvier ; i. c, one who gains a liveli- 
 hood by the cultivation of the soil, 
 \\hether as a tenant farmer, or one 
 %\ho tills his own land. Varro, R. R. 
 ii. Proem. 5. Columell. i. 7. Screvola, 
 Dig. 33. 7. 20. 
 
 2. A colonist. Cic. N. D. iii. 19- 
 Justin, xvi. 3. 
 
 COLOS'SUS (KoXotriToc). A statue 
 of gigantic dimensions, or veiy 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. 
 
 COLOSTRA (Plin. H. A'- xi. 96. 
 Mart. Fp. xiii. 38.) ; only another 
 name for COAGULUM. 
 
 CO'LUW (liy/io^). A colander, or 
 
COLUMBAR. 
 
 COLUMBARIUM. 
 
 strainer made of basket-work, bul- 
 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. Geoi'g. ii. 242.) The example 
 introduced is copied from a Roman 
 bas-relief, representing various pro- 
 cesses connected with the vintage. 
 
 2. Colnvi nivarhtm. A wine 
 strainer made of metal, for cooling, 
 diluting, arid mixing the wine with 
 
 (Mart. Ep. xiv. 
 
 snow at table. 
 It was used in 
 the following 
 manner. A 
 lump of frozen 
 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. £p. iv. 57- Com- 
 pare Nassa. 
 
 COLUM'BAR [-^ivnaxipiYyoi). 
 contrivance, some- 
 thing like the pillory, 
 for confining the 
 hands and head 
 (Plant. Rud. iii. 5. 
 60. ) ; so termed from 
 the resemblance 
 which the apertures 
 through which these 
 
 A 
 
 parts projected, bore to the holes for 
 nests in a dove-cot (colnmbarmm). \i 
 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. The Greeks made use 
 of a similar contrivance (Ar. Eq. 
 1049.), with five holes, through which 
 the head, arms, and legs were 
 passed. 
 
 COLUMBA'RIUM (Trfp.irrfpfwv) 
 A dove-cot or pigeon-house ; which 
 probably differed very little from 
 those of the present day, with the 
 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. Cohim/mria (f\nxs\) ; the pigeon- 
 holes, or separate cells in the cot for 
 each pair of birds. Varro, R. R. iii. 
 7. 4. and II. Columell. viii. 8. 3. 
 
 3. Coht?}ibaria (plural) ; the niches 
 or pigeon-holes in a sepulchral cham- 
 ber, in which the ashes of the dead 
 contained in jars (olla) 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 
 
 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 
 amounted to one hundred and more 
 See Sepulcrum commune, and illus- 
 tration. 
 
 4. Columbaria, plural {Tpiwriiiara). 
 
COLUMBARIUM. 
 
 COLUMNA. 
 
 I 89 
 
 The oar-ports, through which the 
 oars projected from the inside of a 
 vessel (Isidor. Orig. xix. 2. 3. Com- 
 pare Festus, s. Navalis Scriba) ; so 
 called because they re- 
 sembled the niches in 
 a dove-cot, 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 coliwibarius in a 
 fragment of Plautus, where it signifies 
 u rower, accompanied with a senti- 
 ment of depreciation. 
 
 5. Co/aOTijOTM, plural (offoi). The 
 cavities or holes in the walls of a 
 building which form a bed for the 
 he^ds of the tie-beams (tigna) to lie in. 
 (Vitruv. iv. 2. 4.) See the illus- 
 tration to Materiatio, letters d, d, d. 
 
 6. Colu77ibaria (plural). Openings 
 formed in the axle of a particular 
 description of tread-wheel (tyntpa- 
 nuni), 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 (an'Kii,). A ge- 
 neral diminutive of Coluiina. 
 
 2. [oTriKidtov.) A small cipptis, 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- 
 pehim, or machine for bruising olives. 
 (Cato, R. li. XX. I. Id. xxii. 2.) See 
 Trapetuji, 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. I.) See Materiatio. 
 and the illustration, on which it is 
 marked I, b. 
 
 COLUM'NA (k'mv, ariXoc). A 
 colntnn, employed in architecture to 
 support the entablature and roof of 
 an edifice. It is composed of three 
 principal parts : the capital (capi- 
 titlum) ; the shaft (scafus) ; and the 
 base (spii'a). Tlie column was, 
 
1 90 
 
 COLUMN A. 
 
 moreover, constracted in three prin- 
 cipal styles or orders, each possessing 
 characteristic forms and proportions 
 of its own, distinctive of the order, 
 but by unprofessional persons most 
 readily distinguished by the difference 
 in the capitals, i. Doiica,'Cci&T>o\'\c, 
 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, i. 
 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 lias a 
 base and plinth below it, and a deep 
 capital ornamented with foliage (see 
 Capitulum, 5,). To these are some- 
 times added : — 4. Tuscauica, 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 n 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 industiy 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 archi- 
 tect, 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 coluvina 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, ■\\hich 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 
 vaiiety of views and changes of 
 scene, with every movement of the 
 spectator, whether seen in rank or 
 in file. 
 
 2. Cohniina 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. 
 
COLUMNA. 
 
 191 
 
 Ro?n. c. 8. and. 9.) These were em- 
 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 Emjjeror 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 one of 
 PopeSixtus 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 I.) 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. II.). 
 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 
 andbooty taken, in the Capitolat Rome. 
 
 4. Columna Bellica. A short co- 
 lumn erected before the temple of 
 Bellona, situated near the /or/a 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 jSLcnia. A column 
 erected in the Roman forum, to 
 which slaves, thieves, and other of- 
 
 fenders were bound, and publicly 
 pimished. Cic. Sext. 58. Id. Div. 
 Verr. 16. Ascon. ib. 
 
 6. Columns 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 woodcut, 
 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 {Genu. 34.), as 
 
 '^^SSs- 
 
 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 
 Gibraltar, Calpe and Abyla {Gibral- 
 tar in Europe, and Ceiita in Africa) 
 were termed the Columns of Hercules, 
 in consequence of the resemblance 
 which they bear at a distance to the 
 Phoenician 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 
 
 COL UMNARIUM. 
 
 COMA TUS. 
 
 7. The king-post^ or crozvn-post in 
 a timber roof, which supports the 
 tie-beams {caprcoli) and rafters {can- 
 
 ihei-ii), marked D in the illustration. 
 VitruY. iv. 2. I. 
 
 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 Mcenia. Ccel. 
 ad Cic. favi. viii. 9. 
 
 COLU'RI.A.. 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 {})\aKaTri). Kdistajf; 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- 
 mg the mass of wool or flax intended 
 
 to be spun into threads, as repre- 
 sented by the right-hand figure in 
 the annexed woodcut, which is 
 copied from an Egyptian original in 
 the British Museum. The ring M'hich 
 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 
 (PHn. H. N. viii. 74.), plena (Tibull. 
 i. 3. 86.), or lana ainicta (CatuU. 64. 
 312.), and is shown by the left-hand 
 figure, from a bas-relief on the Fo- 
 rum of Nerva, at Rome, which re- 
 presents a female with the distaff in 
 her left hand, and the drawn thread 
 {stamen) depending from it, whilst she 
 twists 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 (™Xi,/</3o(,-). In the 
 Gloss of Isidorus, a tank (lacus) 
 wherein clothes were washed ; hence, 
 a swimming or plunging bath. Lam- 
 prid. Hel.2T,. Prudent. Htpi aritp. 12. 
 
 COMA ((cd/ij;). The hair of the 
 head ; nearly synonymous with Cm- 
 SARIES, but mostly with an implied 
 sense of length and profusion ; /. e., 
 a fine head of long thick hair ; 
 whence we find the word applied to 
 the mane of animals (Pallad. iv. 13. 
 2. Aul. Cell. V. 14. 2. ) ; to the horse 
 hair on the crest of a helmet (Stat. 
 TJieb. vhi. 389. and Crista) ; and 
 often connected with such epithets as 
 intonsa (Cic. Tusc. iii. 26. ), dcmissa 
 (Prop. ii. 24. 52. ), and the like. 
 
 COMATO'RIUS. See Acus, 2. 
 
 COMA'TUS [Kn^iinni). In a 
 general sense, one \\ho 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 characterise the Germans 
 
COMES. 
 
 COMPEDITUS. 
 
 193 
 
 (Tertull. Virg. Veland. 10.) and 
 the people of Transalpine Gaul, in- 
 cluding Belgica, Celtica, and Aqui- 
 tanica, all of wliich 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 lilce 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 (aKoKavSoiS). A com- 
 panion or associate, genei'ally ; 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. 
 
 COMISSA'TIO (icw^of, avfiTTo- 
 aiov). A revelling, feasting, or diink- 
 ing bout, commencing after the cisna, 
 and often protracted to a late hour of 
 the night. (Varro, Z. Z. vii. 89. 
 Liv. xl. 13. Cic. Co;l. 15. Suet. Til. 
 7.) Greek scenes of this nature are 
 frequently represented on fictile vases. 
 (Mus. Borb. v. 51. Millin. Vas. A)it. 
 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. 
 
 COMISSA'TOR {xuifiaarric, 
 
 avinroTiiQ). A reveller, who forms 
 one of the company at a ^omissalio, 
 or imne party. (Liv. xl. 9. Cic. 
 Ccel. 28.) It was not always usual 
 for the comissator to dine (ccenare) 
 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 ccena of Scissa to the comissatio 
 of Trrm?i.\c\no— Habinnas comissator 
 intravit. Pet. Sat. 65. 3. Compare 
 Liv. xl. 7. 
 
 COMIT'IUM. An enclosed place 
 abutting on the Roman Foram, and 
 near the Curia, where the Comitia 
 Centuriata were held and causes 
 tried. (Varro, X. Z. 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. 
 
 COMPEDI'TUS. Having fetters 
 or shackles upon the/^rf; but the 
 
 word more especially designates a 
 slave who always wore, and worked 
 in, fetters (Seneca, Tranq. c. 10. 
 
 N 
 
194 
 
 COMPES. 
 
 COMPLUVIUM. 
 
 Pkut. Capt. V. i. 23. Cato, J!. R. 56. 
 Compare Ovid. Font. i. 6. 31.), like 
 the galley-slaves of modem Italy, 
 whose chains are precisely similar to 
 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 (w'iSi])- A feller, or 
 shackle for the feet ; as shown by 
 the preceding woodcut, and the illus- 
 tration s. Catulus. 
 
 2. A ring of silver or gold, worn 
 by women round the bottom of the 
 leg, just above the ankle, in the same 
 manner as a bracelet is round the 
 wrist (Plin. H. JV. xxxiii. 54- Com- 
 
 pare xxxiii. 12. Pet. Sal. 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 trailing 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 
 uncovered ; but when Petronius, in 
 
 the passage cited, places them on the 
 legs of J'ortunata 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. 
 
 COMTITUM. A place where 
 two or more roads meet ; more espe- 
 
 
 cially with reference to the country 
 (Virg. Georg. ii. 382.), in contradis- 
 tinction from trhiiujji, 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 Conipi- 
 tales, the deities who presided over 
 cross-roads, were performed by the 
 country people (Prop. iv. 3. 54.) ; 
 whence the word compituni 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 
 
CONCjEDES. 
 
 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 [impluviuni] in 
 the floor immediately under it ; as is 
 clearly shown by the illustration, re- 
 presenting the interior of a Pompeian 
 Atrium restored. (Varro, Z. L. v. l6i. 
 Festus, 0. Impluvium. Vitruv. vi. 
 3. 6.). In a passage of Suetonius [Atig. 
 92.), the whole of the open space, 
 or area surrounded by the colonnade, 
 is designated the compluvium. 
 
 CONC^'DES. 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 Antonire the 
 Roman, as well as barbaiian, soldiers 
 are frequently represented in the act 
 of felling trees for this and similar 
 purposes. 
 
 CON'CHA (Koyx'))- Strictly, a 
 shell-fish, such as the mussel, 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-) 5 ^ drinldng-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 
 (PUn. 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. I. and 
 56. Id. xl. 37. 
 
 CONCLAVE. A general name, 
 apphed 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, bedroom, &c. Feslus, 0. v. 
 Ter. Eun. iii. 5. 35. Id. Beaut, v. I. 
 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 connibinattis. 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 ccnfequences 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, Cal- 
 lus. Ulp. Dig. 25. 7. I. lb. 48. 5. 13. 
 
 CONCUBI'NUS. A man -who 
 contracts the alliance termed concu- 
 binaius with a female. CatuU. 61. 
 130. Quint, i. 2. 8. 
 
 CONDA'LIUM. A ring worn 
 on the first joint [condyhis, k6) (SiiXof) 
 of the fore-finger. '5;^^__^^ 
 (Festus, J-. Condy- ^^S\^ >cr'^ 
 lus. Plant. Trin. c3^^., 
 iv. 3. 7* ^^^ ^5- 
 The commenta- 
 tors and lexicographers infer from the 
 
196 
 
 CONDITIVUM. 
 
 passage of Plautus (/. c") that rings of 
 this description were pecuhar to the 
 slave class ; but it does not appear that 
 the condaliuvi, which Stasimus loses in 
 the play, was his own ; it might 
 surely liave 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, Miis. 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. III. 
 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 
 
 CONFARREATIO. 
 
 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 sub- 
 sequent period. 
 
 2. {Kapvat). The chest or coffin in 
 which the dead body was encased, 
 when placed in the vault. (Suet. 
 
 Aug. 18. Plin. //. 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 Latinity : — 
 
 CORWELrUS , LVCIVS . SCIPIO . BARBATUS . GNAIVOD . BATRB. 
 PR0CNATV3 . F0RTI3 . VIR . SAPIENSQVE . QVOIVS . FORMA, 
 
 VIRTUTEI . PARISVfllA . 
 FUIT . COUSOL . CENSOR . .E01I.13 . QUEI . FUIT . APOB . VOS . 
 
 TAVRASIA . CI3AVNA . 
 
 3AMNI0 . CEPFT . SVBIGIT . OaiNE . LOVCANA . OPSIDEiQUE . 
 
 ARDOVOIT . 
 
 3. A magazine in which militaiy 
 engines were kept. Ammian. xviii. 
 9. I. 
 
 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. 
 
 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 bride- 
 groom sat. The name obtained 
 from the custom of carrying a flour 
 cake (far) before the bride as she 
 returned from the wedding. (Ar- 
 nob. iv. 140. Serv. ad Virg. Georg. 
 1.31. ^«. iv. 374. Plin. Zi'. jV: 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. 
 
 CONFARREATUS. 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. 
 lb. 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. 
 Alt. xvi. 8.), though the proper name 
 for that is danativum. The manner 
 of distributing these favours was as 
 follows : — the donor sat upon an ele- 
 vated tribunal (stiggestum), 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 
 
 CONOPEUM. 197 
 
 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. 
 
 C O N' G I U S. A Roman liquid 
 measure, containing six sextarii, or 
 twelve hemina: (Rhemn. Fann. de 
 Pond, et Mens. 70. Cato, R. R. 57.), 
 the form and character of which is 
 shown by the annexed engraving, 
 
 ^^ 
 
 from an original of the age of Vespa- 
 sian, now known as the Farnese 
 Congius. The large letters P. X. 
 stand for pondo decern. 
 
 CONISTE'RIUM (rar.Wpn). An 
 apartment in the pala:stra or gymna- 
 sium, the floor of which was covered 
 over with fine sand (/coiii), or in 
 which the bodies of the wrestlers 
 were rubbed over with sand after 
 being anointed. Vitruv. v. 11. 
 
 CONO'PEUM or CONOPI'UIM 
 (i;wi'W7r£a»j/, ox KitivuiTziiov). A miisqnito 
 net, suspended over a sleeping couch, 
 or over persons reposing out of doors, 
 to keep off gnats and other trou- 
 blesome insects ; the use of which 
 
1 98 
 
 CONQ UISITORES. 
 
 CONSTEA TUM. 
 
 originated in Egypt, Hor. Epod. ix. 
 l5. Prop. iii. ii. 45. Varro, R. li. 
 ii. 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. 
 ir. 'i^vct. B. Alex. 2. Compare Cic. 
 Proof. Cons. 2. Liv. xxiii. 32. xxv. 6. 
 
 CONSECRA'TIO (dTroSicuau;, 
 d0t£|OwT(t-). 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 woodcut, from a bas-relief 
 
 m^ 
 
 on the arch of Titus, representing 
 the deification of that emperor. The 
 first woodcut shows the tabernacle, 
 from a medal of Caracalla, which 
 bears the inscription Consecratio as 
 a legend. Tac. Ann. xiii. 2. Suet. 
 Dotn. 2. Herodian. iv. 2. 
 
 C O N S T R A' T U iVt. In general, 
 any flooring made of planks ; as, I. 
 Co7istratum 72avis (Pet. Sat. 100.), 
 the deck of u. skip, 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 (vwaroi;). 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 i\ie fasces, which 
 were carried before them by twelve 
 lictors ; an ivory sceptre [sceptrum 
 eburneum, 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, \\it paludavientuni, lorica, 
 and parazoniu??i. 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 plainly 
 demonstrated by the 
 lines at the back of 
 the annexed figure, 
 from u fictile vase. 
 Apul. Met. xi. p. 
 240. Compare Tertull. de Pall. 5. 
 and CoRRUGis. 
 
 CONTA'RII, and CONTA'TI 
 (Kov7-o0opoi). .Soldiers aimed with the 
 long pike styled contus. Inscript 
 ap. Grut. 40. 2. and 3. Veget. Mil. 
 iii. 6. Arrian. Tact. p. 15. See 
 CoNTUS, 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 stoiy itself. Caes. 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 MONOBOLON. 
 
 CONTUBERNA'LES (iti'itki)i/m). 
 Comrades or messmates ; 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. z: Veg. Mil. ii. 8. 
 and 13. Cic. Ligar. 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. Cml. 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 {<!vaKr\via). 
 A military tent in which ten soldiers 
 and their corporal {decanus, or caput 
 contubernii) are quartered together 
 (Cass. 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. I. 2. 
 
 CONTUS {hovtSc). 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 prunt-pole ; as shown 
 
CONUS. 
 
 CONVIVIUM. 
 
 in the annexed engraving, from the 
 very ancient mosaic pavement in the 
 
 temple of Preneste (now Palestrina). 
 Virg. ALn. vi. 302. Eurip. Alcest. 
 262. 
 
 2. A pole of similar character, em- 
 ployed on board ship (Virg. y^n. v. 
 208.) for various purposes ; to keep 
 the vessel off the rocks or shore 
 (Horn. Od. ix. 4S7.) ; for taking 
 soundings (Festus, s. Percunctatio. 
 Donat. oa'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. j. v. p. 555. 
 Arrian. Tact. p. 15., where it is 
 distinguished by juxtaposition from 
 the lance, 'koyxv, 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. ny. ) 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 contiis. 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 (kmi/o;,-). Generally, any- 
 
 thing of a conical figure ; whence, in 
 a more special sense : — 
 
 1. The metallic ridge on the skull- 
 piece of a helmet, to which the crest 
 was affixed (Plin. H. N. s.. I. Virg. 
 ALn. iii. 468.) ; for which the genuine 
 Latin word is Apex ; which see. 
 
 2. A particular kind of sun-dial ; 
 from its designation, supposed to 
 have been described upon an eleva- 
 tion of conical form. Vitruv. ix. 8. i. 
 
 CONVIVIUM {aiivliim'ov, iari- 
 ft(Tt(,). 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 convivium. 
 Cic. Senect. 13. Id. Verr. ii. 4. 27. 
 Id. Offic. iii. 14. 
 
COOPERCVLVM. 
 
 COQUUS. 
 
 COOPER'CULUM. Same as 
 Operculum. 
 
 COOPERTO'RIUM. Loose cloth- 
 ing, as a covering for animals, ob- 
 jects, or persons. Veg. Vet. iii. 77. 
 Scasv. £>ig. 34. 2. 39. 
 
 CO' PA. A girl who frequents 
 the taverns, where she gains a Uveli- 
 hood, by dancing, singing, and play- 
 ing for the amusement of the com- 
 pany. Suet. Nero, 27. Virg. Cofa, I. 
 
 COPA'DIA. Delicacies for the 
 table, or dainties for gourmands. 
 Apic. vi. 1. vii. 6. 
 
 COPH'INUS (ra^tvoc). 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 (KOffic). 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. I. 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 {cutter vena- 
 tortus'), in consequence of its having a 
 convex edge (see the illustration j. 
 CuLTER, 3.), is called by the same 
 name in Apuleius, Met. xi. p. 243. 
 
 COPO. See Caupo. 
 
 COPO'NA. See Caupona. 
 
 COP'REA (/coirpine). A jester or 
 buffoon; a word first introduced 
 under the Roman emperors (Suet. 
 Tib, 6l. Claud. 8. Dio Cass. xv. 
 28.) ; in whose palaces such charac- 
 ters were kept, like the kings' jesters 
 of the middle ages. 
 
 COP'TA (Koirrr/). 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 (KoirroTrXa- 
 KoSf). Same as the preceding. Pet. 
 Sat. 40. Poet. Lat. Min. ap. Wems- 
 dorf. torn. ii. p. 234. 
 
 COP'ULA (l/uavnoj'). A leash for 
 coupling sporting dogs, as in the 
 
 example, from a bas-relief, represent- 
 ing the funeral of Meleager. Ov. 
 TrUt. v. 9. Alciphr. Ep, iii. 9. 
 
 2. A breast-collar attached to the 
 traces, by which draft horses or 
 mules drew their loads, as in the 
 
 example, from a painting at Hercu- 
 laneum, after Ginzrot. Apul. Met. 
 ix. p. 185. 
 
 COQUUS (/uayiipoc). A cook 
 (Mart. xiv. 220. Liv. xxxix. 6.) ; 
 and in early times a maker of bread 
 
COJ!AJi: 
 
 CORBITA. 
 
 (Festus, s. V. Plin. H. N. xviii. 28.) 
 It was not until A.u.c. 568, that the 
 bakers 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 p.a- 
 yftpot; was also originally employed 
 in making bread for the family. 
 
 COR'AX (KTopa?). A Greek word, 
 which occurs in a Latin forra 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.) Poly- 
 bius 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- 
 stmcted 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. J?. X. i. 
 22. I. Isidor. Ori^. xx. 9. 
 Compare Arrian. Aitab. 
 v. 7- 8. TrXiyfia Is Xvyov 
 TrvpafioiiSiQ), and used for 
 a variety of agricultural 
 purposes, the particular application 
 being generally marked by a charac- 
 teristic epithet, as ; — 
 
 1 . Cordis inessoria ; 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, R.R. 136.) : 
 or in which the ears of corn (spica:) 
 were collected by the reaper, when 
 each ear was nicked off from the top 
 of the stalk by a serrated instrument 
 (see the illustration and description 
 s. Falx dmticulaia), instead of being 
 cut with the straw. Varro, R. R. i. 
 50. I. Propert. iv. II. 28. Ov. Mat. 
 xiv. 643. 
 
 2. Corbis pahidatoria ; a basket of 
 
 the same character, which contained a 
 certain measure of green food for cattle. 
 Columell. vi. 3. 5. Id. xi. 2. 99. 
 
 3. Cordis C07istricta ; a basket of 
 similar character, employed as a 
 muzzle for horses (Veget. Muloni. iii. 
 23. 2.), but here the reading is doubt- 
 ful ; Schneider has curai?na. 
 
 The example introduced above is 
 copied from a fresco painting in the 
 sepulclire 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 coi-bis 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 Neapohtan peasantry for similar 
 purposes, and called by a diminutive 
 of the same name, la corbella. 
 
 COR'BITA (TrXoZor airaybjyov or 
 rTirijyoj'). 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, 
 s. V.) These were large and heavy 
 sailing vessels (Plant. Rceri. iii. I. 4 
 Lucil. ap. Non. o. z>. p. 533. Com- 
 pare Cic. Ait. xvi. 6.), with two 
 masts, as proved by the annexed ex- 
 ample, from a medal of Commodus, 
 
 struck in commemoration of his 
 having chartered a number of vessels 
 to bring corn to Rome from Africa 
 and Egypt, as narrated by Lam- 
 pridius in his life. The corbis is 
 
CORBULA. 
 
 seen at the top of the main-mast ; 
 and it may be remarl^ed that the 
 modern name corvette originated in 
 this word. 
 
 COR'BULA. Diminutive of 
 CORBIS ; a small basket employed 
 in fruit-gathering (Cato, S. R. ii. 
 5.) ; as a bread-basket (Caecil. ap. 
 Non. s. V. p. 197.) ; and for carrying 
 up dishes from the kitchen to the 
 dining-room. Plant. Aul. ii. 7. 4. 
 
 CORDAX {icopSaK). 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. .Sa/. 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 (aKvXoKtiini:, ukvto- 
 SixfiriQ). One who prepares hides and 
 skins; a tanner or a currier. Plin. 
 //. N. xvii. 6. Inscript, ap. Grul. 
 648. 8. and 283. 1. 
 
 COR'NICEN (KfparoAijc or «- 
 paiikt]!;). A trumpeter ; i. e., who blows 
 
 CORNU. 
 
 203 
 
 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 cornicutu7n ; 
 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. 1"]. 
 Val. Max. vi. i. 11. 
 
 2. Hence the word came also to 
 be applied in civil matters to a clerk 
 or secretary, who acted as the assist- 
 ant 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 engi'aving annexed. 
 
 the large circular horn called cormi, 
 as shown by the annexed illustration. 
 
 from a bas-relief ; or affixed to the 
 sides, like the one on the right, from 
 a painting at Pompeii. 
 
 CORNU, CORNUS,orCORNUM 
 (n-fpof). 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. I. 1 88. 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- 
 
 DIBULUM. 
 
204 
 
 CORNU. 
 
 4. A drinking-horn (Calpurn. Ed. 
 X. 48. Plin. H. N. xi. 45.), origi- 
 nally made out of 
 a simple horn, 
 but subsequently 
 
 of different me- i "\,it<§'i' 
 tals modelled in- I \ " 
 
 to that forn 
 
 When drinking, ^v^ .— 
 
 the horn was f_/, . \. 
 
 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. Ain. 
 xii. 89.) See Cornichlom. 
 
 6. {naK-Ki,~ji, arpoyyiXTi). A very 
 large trumpet ; originally made of 
 horn, but subsequently of bronze 
 (Varro, Z. Z. v. 117. Ovid. Met i. 
 98.), with a cross-bar, which served 
 
 lyre [testudo] 
 
 the double purpose of keeping it in 
 shape, and of assisting the trumpeter 
 to hold it steady while in use, as 
 shown bythe illustration s. Cornicen. 
 The example is copied from the 
 Column of Trajan. 
 
 /, The horn of a 
 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- 
 
 CORNU COPI^. 
 
 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 u 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. Ed. 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. yEii. 
 iii. 549. lb. 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. I. 
 8. and TibuU. 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 cormia is used to signify the 
 end. Mart. xi. 107. Compare Um- 
 bilicus. 
 
 CORNU CO'PI^ (icipnc 'AjuaX- 
 Stiac). The horn of plenty ; a 
 symbol composed of the primitive 
 
COROLLA. 
 
 CORONA. 
 
 -zO% 
 
 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 (aTi(^aviaKOQ). As a 
 general diminutive of Corona, means 
 any kind of small chaplet or garland 
 (Prop. ii. 34. 59. CatuU. 63. 66.) ; 
 but the word is used in a more 
 special sense to designate a wreath of 
 artificial fioiuers made out of thin 
 horn Ishavings, tinged with different 
 colours, to imitate the tints required, 
 and worn in the winter season. Plin. 
 ff. A^. 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, Z. L. v. 178. 
 
 CORO'NA {(TTEipavog, Kopwvie). 
 A wreath, garland, or chaflel, 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, /'. e. as an emblem 
 of royalty ; for amongst the ancients, 
 a diadem (diadema) 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 
 corona are enumerated in the follow- 
 ing paragraphs : — 
 
 I. Corona iriumphalis. The tri- 
 
 'J 
 
 
 umphal crown ; of which there were 
 three several kinds. ( i.) A wreath of 
 laurel leaves without 
 the berries (Aul.. 
 Cell. V. 6. I. Plin. 
 H. N. XV. 39.), 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 ^^^^.i 
 
 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 publictis, 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, 
 ^mil. 34.), from the different pro- 
 vinces, whence it is expressly called 
 provincialis. TertuU. Coron. Mil. 13. 
 
 2. Corona ovalis. A chaplet of 
 myrtle worn by a general who had 
 obtained the honour of an ovation. 
 Aul. Cell. 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 
 oi grass and wild flowers, whence also 
 termed graminea {Yaw, 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, J. z-. Plin. xxii. 4. 
 
 5. Corona civica. T\\t 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. 
 H. N. xvi. 3. Aul. Gell. v. 6. 
 Ann. XV. 12.) The illustration is 
 from a painting at Pompeii, repre- 
 senting a young warrior with the 
 civic wreath. 
 
 6. Corona vtttralis. The viural 
 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 
 ofabesiegedcity. 
 (Liv. xxvi. 48. 
 Aul. Gell. v. 6.) 
 The character of this crowm 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 
 
 (Plin. 
 Tac. 
 
 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 
 (rostra), 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 enemy's 
 vessel. (Paterc. ii. 81. Virg. Mn. 
 viii. 684. Plin. H. N. xvi. 3. and 
 4. Aul. Gell. V. 6.) It is repre- 
 sented in the annexed woodcut, on 
 the head of Agrippa, from a bronze 
 medal. 
 
 9. Corona radiata. The radiated 
 cro-wn ; 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. i. 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- 
 ther, 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. 
 I. I. 37. 
 
 11. Corona siUilis. 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 origi- 
 nally 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 (InroHiiftii;, i'tto- 
 9ufiid(;). A long 
 wreath qt 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 modem 
 
 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. Ltg. ii. 24.) The 
 illustration is from an ivory carving 
 in the Florentine galleiy, 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 — 2j>se aictem coronam 
 habebat unaj?i in capUe, altei'am in- 
 collo. Verr. ii. 5. II. 
 
 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 cytiiatium, 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 
 summo ; corona ; cymatium in imo. 
 
208 
 
 CORONARIA. 
 
 CORTINA. 
 
 llesychius, however, uses the Greek 
 Kopuvig 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 (a7t^avnTr\6KOi, 
 arf0ax'O7rwX);f;). One who makes and 
 sells garlands, wreaths, chaplets, or 
 crowns, of real or artificial flowers. 
 
 >=ESKsfe 
 
 (Fronto. ad M. Cass. Ep. i. 6. Phn. 
 //. 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, i. (3.) 
 
 3. Optts coronarium. Stucco-work 
 employed in the decoration of cornices. 
 Vitruv. vii. 6. Corona, 14. and 15. 
 
 CORONA'TUS (ffrf^ax-ij^dpof). 
 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. I. 10. Id. iv. I. 21.). 
 
 CORRIG'IA (</i«c, ofpfJi-pdiriip). 
 A shoe-string and hoot-lace (Cic. Div. 
 
 ii. 40.) ; which were sometimes made of 
 dog's skin. (Plin. j^". A^. xxx. 12.) The 
 examples are from Pompeian paintings. 
 
 CORRU'GIS. Literally wrinkled; 
 but it is applied to the plaits of a 
 loose garment (sinus corrugis, Nemes. 
 Cyneg. 93.), produced by tying 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. 
 
 C O R S ^. Fillets or mouldings 
 employed to decorate the external 
 face of a marble door-post. (Vitruv. 
 iv. 6.) See the illustration s. Ante- 
 pagmentum. 
 
 CORTEX ((JfXXdf). A cork used 
 by fishermen to float their nets (Sidon. 
 Ep. ii. 2. .^^sch. Cho. 506.) ; or as a 
 buoy to indicate the spot where a net 
 or a weel [nassa) was sunk. (Plut. de 
 Gen. Socr. viii. p. 338. Reiske. An- 
 thol. Gr, ii. p. 201. ed. Jacobs.) 
 
 CORTl'NA. A deep circular 
 vessel, or caldron, employed for boil- 
 ing meat, melting 
 pitch (Plin. A^.A^. 
 xvi. 22.), making 
 paint (Id. xxxv. 
 42 ), and a vari- 
 ety of other pur- 
 poses, for which 
 its form and char- 
 acter 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. N. N. xxxvi. 65.) 
 The example is copied from a bronze 
 original found at Pompeii. 
 
 2. (bX//ot-, KVKKoq, iTri6i][ja tov rpi- 
 woSos). The lid or covering placed 
 over the caldron 
 or hollow part of 
 the Delphic tri- 
 pod (Virg. Ain. 
 vi. 347. Prudent. 
 Apoth. 506. tripo- 
 das Cortina iegit, 
 Jul. Pollux. X. 
 81.), upon which 
 the priestess sat 
 to receive the cli- 
 
CORTINALE. 
 
 vine afflatus, and pronounce her re- 
 sponses. It had the form of a half 
 globe, and is frequently represented 
 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 sit- 
 ting 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- 
 nan.ental 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 
 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. yEtn. 294. 
 
 CORTINA'LE. A cellar in 
 which new-made wine was boiled 
 down in caldrons {cortina). Colu- 
 mell. i. 6. 19. 
 
 CORTIN'ULA. Diminutive of 
 Cortina. Ammian. xxix. i. 
 
 CORVUS [Kopal). 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, n grappling-iron, 
 a crow-bar, as best suits the context 
 in the passages where it occurs. Quint. 
 Curt. iv. 2. Id. iv. 4. Vitniv. x, 19. 
 
 CORYMB US. 
 
 209 
 
 original 
 
 2. A cutting instrument used in 
 surgical operations, because the blade 
 was shaped like a raven's beak. Gel- 
 sus, vii. 19. 
 
 CORYC^'UM. An apartment 
 in the gymnasium, and in large 
 bathing establishments, such as the 
 Roman Therms, ajipropriated for 
 playing a particular kind of game, 
 which consisted in b^ffetting back- 
 wards and forwards a large sack 
 (/cupoKOf), filled with fig grains, olive 
 husks, bran, or sand, suspended from 
 the ceiling. Anthyll. ap. Oribas. Coll. 
 Med. 6. Vitrav. v. n. 
 
 CORYM'BIUM. A wig of false 
 hair, dressed in imitation of the co- 
 rymbus (Pet. Sat. no. I. and 5.), — a 
 fashion which is explained in the next 
 article. No. 2. 
 
 CORYM'BUS (Kopi;/u/3ot). A 
 bunck 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. ; 
 30. 39. Juv. vi. 52. 
 
 2. A peculiar manner of arrang- 
 ing the hair, more especially cha' 
 acteristic of the 
 early population of , 
 Athens (Heraclid. 
 ap. Athen. xii. 5. 
 Compare Croby- 
 LUS), and of the 
 female sex amongst 
 them. (Schok ad 
 Thucyd. i. 6.) It 
 was produced by 
 turning the hair 
 backwards all round the head, and 
 
CORYTUS. 
 
 COTHURNUS. 
 
 drawing it up to a point at the top, 
 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 tlie well-known statue of 
 Apollo Belvedere, and a bust of Diana 
 in the British Museum. In Cicero 
 (Ep. Alt. xiv. 3.) Corymbus is a 
 proper name, arising out of tlie 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 (ywpDTOf). Properly, 
 and accurately a bow-case (Serv. ad 
 Virg. yEn. x. i68.\ 
 as contradistinguished 
 from the quiver for 
 ^r\'0\vs { 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 coTyti^ 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 (oKoi'j;). A hone, whetstone, 
 or grindstone ; worked with water arid 
 
 oil (Plin. H. N. xxxvi. 47.), and by 
 the same sort of machinery as now 
 emDlo_yed. The illustration, from an 
 
 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. ) 
 
 COSMETA [KonpnT-qi;). A slave 
 of the male sex, attached to the house- 
 hold establishment of Roman ladies' 
 of wealth and rank, whose duties con- 
 sisted in superintending all arrange- 
 ments connected with the toilet of his 
 mistress. He practised the art of 
 dressing, adorning, getting up, and set 
 ting off the female person (>'; KoafitjTtici] 
 Plat. Soph. 277. A.). Juv. vi. 477. 
 and compare Heindorf. ad Hor. Sat. 
 i. 2. 98. Becker. Gallus. p. 228. transl. 
 
 COSMETRIA (icocr^ iirpta). A 
 lady s-maid ; a female slave who per- 
 formed similar offices to the preced- 
 ing. The term, however, is properly 
 Greek, for which the Romans use 
 Ornatrix. It only occurs in Latin 
 as the title to a play by Naevius, 
 cited by Varro {Z. L. vii. 54.) ; and 
 even there the reading is owing to an 
 emendation of his editors, not the con- 
 senting authority of MSS. 
 
 COTHURNATUS. Wearing the 
 cothurnus, as explained and illustrated 
 in the next word. 
 
 COTHUR'NUS (Koeo/jvoc). 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 calf (Serv. ad Virg. yEn. 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 
 
COTHURNUS. 
 
 being made right and left, as the foot 
 coverings of the ancients usually 
 were, but with a straight sole (solo 
 perpetiio, Sidon. Apoll. Carm. ii. 
 400.), so that each boot could be 
 worn indifferently on either foot 
 (utroqiie 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. s. AUCEPS. 
 
 2. A boot of the same description, 
 but more elaborately ornamented, 
 and commonly translated buskhi, is 
 occasionally assigned by the Greek 
 artists to some of their 
 divinities, especially to 
 Diana, Bacchus, and 
 Mercury ; and by the 
 Romans in like manner, 
 to the goddess Roma, and 
 to their emperors as a sign 
 of divinity. Thus the co- 
 thurnus was assumed by M. Antony, 
 when he affected the character and at- 
 tributes of Bacchus (Veil. Pat. ii. 82.); 
 but it was 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 cuvi palla et co- 
 thurnis. The illustration affords a 
 specimen of a boot of this nature, 
 from a marble figure representing the 
 goddess Roma. 
 
 3. The Roman poets also make 
 use of the word cothurnus, as a trans- 
 lation of the Greek h'Spo/iig (see En- 
 DROMIS, 3.). In this manner it is 
 applied by Virgil (ySn. i. 341.), Ne- 
 mesian (Cyneg. 90.), and Sidonius 
 Apollinaris (Carm. ii. 400.), which 
 last passage minutely describes the 
 ivSpo/iie, but not the cothurnus. 
 
 4. A boot worn by tragic actors 
 on the stage (Virg. Eel. viii. 10. 
 Servius ad /.), having a cork 
 sole several inches thick, for the 
 
 COT U LA. 
 
 211 
 
 purpose 
 creasing 
 
 of in- 
 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 ap- 
 pearance of such a 
 chaussure, 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. 
 
 COTIC'ULA. 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. II. 
 
 COTT'ABUS (KOTTa^oi). 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'ULA orCOT'YLA (kotvX,,.) 
 A small measure of capacity, con- 
 taining the half of a sextarius. (Mart. 
 
COVINARIUS. 
 
 CRATICULA. 
 
 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, I oz. 
 
 COVINA'RIUS. One who fights 
 from a war-car of the kind called 
 covinus. Tac. Agr. 35. andr 36. 
 
 COVI'NUS. A war-car employed 
 by the Belgee and ancient Britons, 
 the precise character of which is not 
 ascertained, beyond the fact that it 
 was armed with scythes, and pro- 
 bably had a covering overhead. 
 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 ijy a coach- 
 man. In the same passage it is also 
 distinguished from the carruca and 
 essedum, but without any particulars. 
 
 CRA'TER (Kparr/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. Ain. 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, {pincerna, pocillator) took 
 the mixed liquor from it with a ladle 
 (cyathtis), 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. 45i-)i i' 
 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 {titer). 
 
 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 (rapffoj). 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. Stib crate necari. To be exe- 
 cuted under the hurdle ; an unusual 
 method of punishment, sometimes 
 adopted by the Romans (Liv. i. 51. 
 Id. iv. 50-)) i^ which the condemned 
 was laid under a hurdle, and crashed 
 by a weight of stones thrown upon it. 
 Plant. Pa:ii. v. 2. 65. 
 
 CRATICIUS. Made with hur- 
 dles, or hurdle-wise. See Paries, i. 
 
 CRATI'CULA (rapptov). Dimin- 
 utive of Crates ; whence, in a more 
 special sense, a gridiron. {Cato, 
 R. R. 13. 2. Mart. Ep. xiv. 221.) 
 
CREAGRA. 
 
 The example is taken from an ori- 
 ginal of bronze found in a tomb at 
 
 Pisstum, 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 (k-penypa). A Greek 
 word Latinised (Marc Cap.), for 
 which the proper Latin term is Har- 
 PAGO ; which see. 
 
 C R E M' I U iVl iiipvyavor). Small 
 wood, or undertvood, 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, s. V. TertuU. de Fall. 4. 
 
 CREP'IDA (KptintQ). 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 (ansa) 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 (ansa) only were welted 
 to the sole, as in the annexed exam- 
 ple, also from 
 
 a Greek sta- I 
 
 tue, through 
 which the 
 amentum was 
 interlaced, in 
 different and 
 
 CREPIDO. 213 
 
 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 ihe 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. ig. 
 Suet. Tib. 13. Aul. Gell. xiii. 21. 3. 
 2. Crepida carbatitia. 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 crepida ; 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. Plant. 
 Fers. iv. 2, 3. 
 
 CREPI'DO (Kprjvi<;). Any raised 
 basement upon which other things 
 are built or supported, as of a temple, 
 altar, obelisk, &c. Plin. P/. N. xxxvi. 
 14, Compare Cic. Oral. 67. 
 
 2. The trottoir or raised causeuiay 
 
 for foot passengers on the side of a 
 
214 
 
 CREPITACULUM. 
 
 C.REPUNDIA. 
 
 Roman road or street. (Juv. v. 8. 
 Pet. Sat. 9. 2.) The illustration re- 
 presents a street, with its roadway 
 and foot-pavement, in the city of 
 Pompeii. 
 
 3. 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. i. 
 
 4. In architecture, the projecting 
 members of a cornice, or other orna- 
 ments in a building. 
 
 CREPITACULUM. 
 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 Apu- 
 leius {Met. xi. p. 240. ), give the same 
 designation to the Egyptian sistrum, 
 which was only another kind of rattle ; 
 see that word and the illustration. 
 
 C R E P' I T U S, sc. digitorum ; or 
 
 A little 
 
 a 
 
 ^^=^ 
 
 concrepare digitis {cnroKporriiia]. A' 
 
 snapping of the 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.); 
 particularly 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 indiffer- 
 ence ; which latter expression is im- 
 plied by the figure in the engraving, 
 representing a drunken Faun, from a 
 statue 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. " ( Ath. 
 530- c.) 
 
 CREPUN'DIA (tTTrapyai-a). 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 (Plant. 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. (Plant. Cist. iv. i. 13. 
 
 Cic. Brut 91. Soph. (Ed. T. 1035.) 
 Several of these are enumerated by 
 Plautus (Rud. iv. 4. in-126. 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 
 
CRETA. 
 
 CRISTA. 
 
 215 
 
 character as he mentions : — viz., a 
 half moon (lunula) on the top of the 
 right shoulder ; then a double axe 
 [securicula atuipes) ; next a bucket 
 (situla argenteola] ; a sort of flower, 
 not mentioned ; a little sword (ensi- 
 culus aureolus) ; a little hand (mam- 
 aila) ; then another half-moon ; a 
 dolphin, instead of the little sow 
 (sucula) mentioned by Plautus ; with 
 a recurrence of the same objects. 
 
 CRE'TA. The same as Calx and 
 LiNEA ALBA. PUn. H. N. viii. 65. 
 
 CRIBELLUM (Koaxiviov). Di- 
 minutive of 
 
 CRI'BRUM (Koasivov). A sieve ; 
 made of parchment perforated with 
 hole.s, 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. (PUn. H. N. 
 xviii. 28. Cato, R. H. 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 (curvutn, 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 "/o 
 spicciatojo. " 
 
 CRI'NIS (Bpli). 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 vi'ith the women 
 of antiquity when afflicted with any 
 great calamity (Liv. i. 13. and see 
 the illustration s. Pr^efic^) ; 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. Aead. ii. 28. Mart. £p. xii. 49. 
 
 CRISTA (>60oc). The crest 0/ a 
 helmet ; which was affixed to an ele- 
 vated ridge (apex) on the top of the 
 scull-cap. (Virg. /En. xii. 89. Liv. 
 X. 39. Plin. H. N. vii. 67.) 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 
 
2l6 
 
 CJvISTA TUS. 
 
 CROCOTULA. 
 
 Arch of Trajan, but now inserted 
 on the Arch of Constantine, near 
 the CoHseum. 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 
 tliey sometimes added as many as 
 three crests to one helmet, like the 
 
 right-hand figure in the engraving, 
 from a statue of Minervx 
 
 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 woodcuts with 
 the illustration to CuDO. 
 
 CRO'BYLUS {KpwiivXtiQ or spu- 
 iSiiXof). Designates a particular 
 manner of arranging the hair, which 
 was characteristic of the earliest in- 
 habitants of Athens (Thucyd. i. 6.), 
 and some uncivilised nations [cro- 
 bylos barharorum, TertuU. Virg. I'e- 
 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. /. c.) Yet Thucydides 
 and Heraclides of Pontus {ap. Athen. 
 xii. 5.) use the two words (ir/)iO/3uXof 
 and cdpii/i/3o(;) as convertible tenns, 
 and both descriptive of the male ad- 
 justment. It is, moreover, an un- 
 founded statement to say, as some of 
 the interpreters liave done, that the 
 fashion was peculiar to " elderly per- 
 sons." Thucydides, in narrating the 
 progress of the Greeks towards 
 civilisation 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- 
 dem 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 peraons, as in our 
 example, from a bronze figure of a 
 boy discovered at Herculaneum. The 
 precise set of the hair is not expressed 
 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 (KpoKWToi'). 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. 
 J. V. p. 549. Plaut. Fragm. ap. Non. 
 J. 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 (spsKuiriov). Di- 
 
CROTALIUM. 
 
 minutive of the preceding. Plaut. 
 EpiJ. ii. 2. 49. Virg. Cataled. v. 21. 
 
 CROTALIUM ((cporriXioi-). 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 
 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 woodcut. 
 
 CROT'ALUM (KporaXov). 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 
 
 CRUSMATA. 
 
 217 
 
 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 exe- 
 cuted upon the cross (€rux) by hang- 
 ing (Pet. Sat. 112. '^. -cruciarii parcn- 
 tes detraxerunt pendenteni) ; hence, a 
 worthless fellow, like our gallows- 
 bird. Apul. Met. X. p. 215. 
 
 CRUCIFIX'US. Or, separately, 
 cruci fixus ; nailed to the cross, in 
 the manner we understand by the 
 term crucified. Quint, vii. i. 3. Plin. 
 H. N. viii. 18. 
 
 CRUME'NA (f,a\arTiov). A 
 leathern pouch for carrying money, 
 slung over the neck by a strap (Plaut. 
 Asin. iii. 3. 67. Id. True. iii. i. 7.), 
 so as to hang 
 in front of the 
 person or at 
 his back ; 
 whence Bal- 
 lio, in Plautus 
 {Pseud, i. 2. 
 38.), tells the 
 slave to walk 
 in front, that 
 he might keep 
 an eye upon the crumcna, which 
 was slung behind him. It was from 
 the practice of carrying money about 
 in this manner that the Greek ex- 
 pression ^nXaiTioro/jof, 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 clihanarii 
 by the Persians, and cruppellarii by 
 the Gauls. See the illustration s. 
 Cataphracti. 
 
 CRUS'MATA or CRU'MATA 
 {tcpovfiara or Kpouff^arci). Castanets; 
 in ancient times, as well as our own, 
 peculiarly characteristic of the 
 Spanish nation (Mart. Ep. vi. 71.) 
 
2l8 
 
 CRUST.-E. 
 
 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 
 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'TjE. 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 crustis for 
 gold and silver plate. (Plin. H. N. 
 xxxiii. 55.) They were sold at Rome 
 in shops appropriated for that par- 
 ticular branch of trade, called crus- 
 taTi/E taberniT. Festus, s. v. 
 
 CRUSTULA'RIUS. One who 
 makes and sells crustula. Senec. 
 Ep. 56. 
 
 CRUS'TULUM. Dimmutive of 
 Crustum. Any small piece of pastry 
 or cake, such as a pastrycook's tart ; 
 especially given to children. Hor. 
 Sat. i. I. 25. Juv. Sat. ix. 5. and 
 Schol. Vet. ad I. 
 
 C R U S' T U M. A fragment, or 
 broken pi^ce of bread, cake, or 
 pastry. Hence, the English crust. 
 Hor. Ep. i. I. 78. Virg. ALii. vii. 114. 
 
 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 arav- 
 pds, oKoXoip), 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.), 
 or in crucem sedere (Msecen. ap. 
 Senec. Ep. loi.); 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 cruci 
 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 (Kpi-n-rri, or KpvwT-/j). 
 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), enclosed 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, III. 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 an open 
 colonnade (porticus); 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 Prstorian guards had 
 a, crypta adjacent to their permanent 
 camp at Rome, which was demolished 
 
CRYPT A. 
 
 219 
 
 by the orders of Hadrian when he 
 attempted to reform the discipUne 
 
 of the corps. (Spart. /fcaJ?-. 10.) The 
 above iUustration, compared with 
 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 Eumachia 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 
 AAA 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, {forticus),razxV&A 
 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, fraits, 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 {crypta:) 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 {vestihdum). (Vi- 
 truv. vi. 5. 2. Compare Varro, R. J?. 
 i. 57.) The illustration represents a 
 view of the remains of the suburhan 
 villa of L. Arrius Diomedes at Pom- 
 
220 CRYPTOPORTICVS. 
 
 CTESIBICA MACHINA. 
 
 peii, and shows very clearly the char- 
 acter and style of these appurte- 
 nances. On the left hand a portion 
 only of the foundations remains ; but 
 the right wing and centre are nearly 
 entire, with a part of the first story 
 of the villa behind them. From this 
 a staircase, still entire, leads down 
 into the ciypta, whiclr, it will not 
 fail to be observed, is not a subter- 
 ranean cellar, but on the level of the 
 ground, and with windows opening 
 into a square court, originally sur- 
 rounded by the other stories built 
 over the cloisters. 
 
 3. When the windows were closed 
 with their wooden shutters, the whole 
 corridor would form a long, narrow, 
 dark vault ; whence tlie word, in 
 poetical and metaphorical language, 
 was transferred in a, secondary sense 
 to subterranean passages of various 
 kinds : thup the main sewer, which 
 passed down the Suburra, in continu- 
 ation of the cloaca Maxima at Rome, 
 is termed crypta Suburrte (Juv. v. 
 106.); the tunnel, which passes under 
 the cliffs between Naples and Posi- 
 lipo, now the " Grotto of Pozzuoli," 
 is designated crypta Neapolitana 
 (PeL 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'TfCUS. 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 
 descriptive, 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 appro- 
 priately 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. 
 
 CTESIBTCA MACH'INA. A 
 douile-actioncd forcing-pujnp, 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 Ctesiiica is 
 
 introduced, designed by Perrault in 
 accordance 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- 
 
CUBICULARIUS. 
 
 CUCULLUS. 
 
 2 21 
 
 ployed by Hero, who, instead of it, 
 uses an upright tube (auiKi]v 6p6ioQ) ; 
 fnodioli gemelli, B B, the two boxes, or 
 cases, in which the pistons (regula) 
 ;act, corresponding with the hho 
 TTvkiSee of Hero ; eniboli jnasculi, two 
 suckers (C C), same as e/j/3oXtiE, 
 Hero ; fistidce in fiircilla: figura, two 
 connecting pipes in the form of a 
 forlc, which in the pump of Hero are 
 supplied by a single horizontal tube 
 (auiKi]v) ; and piznula, 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 
 draws up a supply of water through 
 an opening at the bottom of the cy- 
 linder (B), which is furnished with a 
 movable lid (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 moveable 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 fcenula (p) 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. I. 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 (icoirT)). 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. y¥in. viii. 412. 
 Eur. Med. 151.) ; a sleeping-room 
 (Cic. Cat. iv. 8.' Suet. Nero, 25.) ; 
 and, indeed, like ctibiculum, 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' (vTTayKm-iov). 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. II.) Same as CcENA- 
 TORIVE vestes. 
 
 CUCUL'LIO or CUCU'LIO. 
 Diminutive of CucuLLUS ; the dimi- 
 nutive expressing inferiority of quality 
 rather than of dimensions. Lamprid. 
 Elag. 32. mulionico ; Capitol. Ver. 4. 
 vulgaji viatot io ; Cafo, P. P. ii. 3- 
 
 CUCUL'LUS. A piece of paper 
 rolled into the shape of a funnel, in 
 
CUCULLUS. 
 
 CUDO. 
 
 which the chemists and other trades- 
 people of Rome used to wrap the 
 powders and drugs bought by their 
 customers (Mart. Ep. iii. 1.), pre- 
 cisely as grocers and chandlers' shop- 
 keepersdoatthepresentdayinEngland. 
 2. From similarity in form to the 
 preceding, a hood or cowl attached to 
 some other garment, such as the 
 lacerna, saguni^ 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 aU 
 seasons, like the cowl of the Capu- 
 chin friars, and modern Neapolitan 
 fishermen. (ColumelL xi. I. 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 description 
 of M. Antony (jP.^27. ii. ■7,1.), domum 
 venit capite involuto ; the latter one, the 
 caput aperuit, of the same passage. 
 
 3. Cucullus Bardaicus (Jul. Cap. 
 Pertinax, 8.) ; same as Bardocu- 
 CULLUS. 
 
 4. Cucullus Lihurnicus (Mart, in 
 Ltmmate, xiv. 139) ; same as Ear- 
 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 lUyria. 
 
 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 modem 
 Romans, in which " la cucuma " 
 means a vessel for boiling water. 
 
 CUCUR'BITA and CUCUR- 
 BIT'ULA {koXokvvOtj, uiKva). A 
 pumpkin, (ix 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. II.) 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 (rarmr,.?, 
 \iT6t^ 7TEptKf(pd\atoi;). 
 The simplest form 
 of helmet, con- 
 sisting of a mere 
 scull-cap, without 
 any ridge-piece 
 
 (apex) or crest 
 [crista] (hence, a^nXof rt xa'i aXo^oQ, 
 
CULCITA. 
 
 CULINA. 
 
 22- 
 
 Hom. //. X. 258.), made out of leather 
 or the skin of wild animals (Sil. Ital. 
 viii. 493. ), and fastened under the chin 
 by a thong (ox^vc)* It was worn by 
 some of the Roman light-armed troops 
 (Polyb. vi. 22.) ; is ascribed to Dio- 
 medes by Homer, and is frequently 
 seen in Greek representations of that 
 hero, from one of which in bronze the 
 annexed example is taken. 
 
 CUL'CITA {TvXrj, CTpui/j-vt]). 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, Eian. 8. Phn. H. N. vii. 19. 
 Cato, R. R. xi. I.), as represented by 
 
 the annexed illustration, from a paint- 
 
 ing at Pompeii, which shows the 
 manner of transporting it on a cart 
 frame, of emptying its contents into 
 smaller vessels {amphora:), 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 ase 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 1 1 8 gallons, 
 and particularly employed in estimat- 
 ing the produce of a vineyard or olive 
 ground. Rhemn. Fann. de Pond. 
 £t Mens. 86. Varro, R. R. I. 2. 7. 
 
 CULIG'NA {KxiWxyr])- A vessel 
 for wine, the exact nature of which is 
 not ascertained. Cato, R. R. 132. 
 
 CULI'NA (oTTTavio)'). Akitchen. 
 (Cic. Earn. xv. 18. Pet. Sat. 2. i. 
 Seneca, Ep. 114.) The illustration 
 represents a kitchen stove in the house 
 
 PTTT 
 
 IS' 
 
 ^ 
 
 of Pansa at Pompeii, with some cook- 
 ing utensils upon it, as discovered when 
 first excavated ; viz., a strainer (co- 
 lum), a kitchen knife (cutter 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- 
 lovring parts. Immediately on the 
 
224 
 
 CULTELLUS. 
 
 CULTER. 
 
 left hand of the entrance there is a 
 semicircular sink (i), 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 {}ia-^aip[q^ fiaxcti- 
 pioi'). Diminutive of CuLTER ; 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 (scalpiiim) ; for Juvenal 
 designates a ca^'ving-knife by the di- 
 minutive {Sat. v. 122.) ; Ulpian 
 {Dig. g. 2. II.), a barber's razor; 
 and the ndtellus 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- 
 pressly named for that purpose by 
 Valerius Maximus (iii. 2. i5-)j cultel- 
 lum tonsorium quasi unguium resecan- 
 dorum causa poposcii. 
 
 2. Cultellus ligneus. A wedge of 
 wood ; which is sharper at the edge 
 than at the back, like the blade of a 
 culler. Vitruv. vii. 3. 2. 
 
 CUL'TER [fiaxaipa). 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 characterise 
 the assassin rather than the soldier. 
 Our knife is, perhaps, the nearest 
 translation, but the ancient culler 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. 
 
 I. Culler coquinaiis. A cook's 
 knife or kitchen-knife (Varro, ap. 
 Non. s. V. p. 195.), for cutthig 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 (Plant. Rud. i. 
 2. 45.) ; and by the butchers 
 in the slaughter-house (Varro, 
 li. R. ii. 5. II.) ; 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. Culler venalorius. A hunts- 
 man's knife, carried from a belt round 
 
 the waist, with which he despatched 
 his prey at close quarters (Pet. Sat. 
 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- 
 
 Z><) 
 
 hook (falx viniloria), 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, Culler tonsotius. A sort of 
 
CULTRARIUS. 
 
 CUNABULA. 
 
 225 
 
 knife or razor which barbers used 
 for shaving. (Cic. Ojf. ii. 7. Pet. 
 Sat. 108. II. 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 couUer of a plough ; formed 
 like the blade of a large knife, and 
 inserted vertically in front of the 
 share (vomer. Plin. ff. N. xviii. 48.), 
 
 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 Itahans 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 
 (vialleus). (Suet. Cal. 32. Inscript. 
 ap. Grut. 640. II.) The illustration, 
 from a very beautiful marble bas- 
 rehef discovered at Pompeii, repre- 
 sents an old woman and a Faun 
 
 about to offer up a pig in sacrifice, 
 the former in the character of a 
 
 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 com 
 in. Festus, s. Cumerum. Hor. Epist. 
 i. 7. 30. Id. Sat. i. I. 53. Acron. adl. 
 
 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, j. v. 
 
 CUNA'BULA. A child's cradle. 
 (Cic. Div. i. 36. Plant. Amph. v. I. 
 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- 
 ment. Bibl. CcBs. 
 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 OKntprj. Athen. xiii. 85. 
 p 
 
226 
 
 CUNM. 
 
 CUNICULUS. 
 
 2. Hence the place in which any 
 living thing is born : a birth-place 
 (Prop. iii. I. 27.); a bird's nest 
 (Plin. H. N. X. 51.); a bee-hive. 
 Virg. Georg. iv. 66. 
 
 CUN^. Same as CUNABULA. 
 Cic. Div. i. 36. 
 
 C U N A' R I A. A nurse, who 
 rocked an infant in its cradle, washed 
 it at its birth, wrapped it in swaddling 
 clothes, &c. (Inscript. af. Grut. 
 311. 7. Compare Mart. Ep. xi. 39.) 
 
 The illustration is from a marble bas- 
 relief at Rome. 
 
 CUN'EUS (a<pi)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. 
 3fet. 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. 
 A'av, i. 6. 
 
 3. (icspKif). 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 
 {nuenianu7n) between a pair of stair- 
 cases (scalce). 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 {vomitaria) at the 
 top, until he arrived at the particular 
 row in the cuneiis 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, I., 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 amphora:, or, as 
 we should say, bottled. Cato, R. R. 
 ii. 3. 2. Pontedera, Cum Posth. ad I. 
 
 5. (f/ii/3o\o(;). A body of soldiers 
 drawn up in the shape of a wedge. 
 Liv. xxii. 47. Veg. Mil. iii. ig. 
 Polyb. i. 26. Jin. 
 
 CUNICULA'RII. Sappers and 
 fniners ; or soldiers who effect an 
 entrance into a town from a mine 
 (cuniiulus). Veg. Mil. ii. n. Am- 
 mian. xxiv. 4. 22. 
 
 CUNICULATO'RES. Same as 
 the preceding. Luctat. in Stat. Theb. 
 ii. 418. 
 
 CUNICULUS (uTovd/joi-). Any 
 
CUNULM. 
 
 subterranean passage, but more espe- 
 cially a mine in military operations. 
 Veget. i. 6. Liv. v. 21. Ammian. 
 xxiv. 4. 21. 
 
 CU'NUL^. Diminutive of Cu- 
 N^ ; a small or common sort of 
 cradle. Prudent. CathemMi. 164. Id. 
 xi. 98. 
 
 C U' P A (yavKoq). A cask, or 
 butt; made with wooden staves [ta- 
 bula, Pallad. i. 38. i.), 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. \Kinzr)), 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 
 
 E^EE 
 
 ^31=3 
 
 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 cyUnder 
 on which it was placed. It was, 
 therefore, cased with plates of metal, 
 to prevent friction. (Cato, R. R. 
 
 CURIA. 227 
 
 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 1. ), 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 maimer 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'DI^. De- 
 licacies for the table. Festus, s. v. 
 PlauL Stich. 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 market 
 where they had their stalls was 
 called Forum cupedinis. Varro, Z. Z. 
 v. 146. 
 
 CUPEL' LA. Diminutive of 
 Cupa, i. PaUad. iii. 25. 12. Apic. i. 2. 
 
 CU'PULA. Diminutive of Cupa, 
 i. (Ulp. Dig. 33. 6. 3.) ; of Cupa, 
 2. Varro, R. R. xxi. 3. 
 
 CURCU'MA. A kind of halter. 
 (Veget. iii. 33. i.) See Ducang. 
 Gloss. GriEc. et Lat. s. v, 
 
 CU'RIA. A common hall, or place 
 in which any corporate body, such, 
 for instance, as the curia 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 ; 
 
228 
 
 CURIO. 
 
 CURRUS. 
 
 as the curia Hosiilia, Julia, Fompeia, 
 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. I. 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 curicc had one curio, who 
 acted as the chief of his own corpora- 
 tion; but from these one was ap- 
 pointed as president over the whole, 
 witli the title of Curio Maximus. 
 Paulus ap. Fest. s. Maximus. Liv. 
 xxvii. 8. 
 
 2. A public crier. Mart. Epist. 
 Pro:/, ii. Trebell. Gallien. 12. 
 
 CURIS. A Sabine word for a 
 spear. Ovid. Fast. ii. 477. Hasta. 
 
 CURRICULUM. Diminutive of 
 CuRRUS. Cic. Har. 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. Trill, iv. 4. 11. 
 
 CURRUS. A Roman chariot, or 
 carriage upon two wheels, which was 
 entered from behind, but was close 
 in front, and open overhead. It was 
 
 also constructed to contain two per- 
 sons, the driver and another, both 
 standing, and was drawn by two, 
 three, or four horses, and occasionally 
 even by a greater number. (Cic. 
 
 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. {iip/ia). 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 panelling, 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 {Trrtjvbv iipjxn). 
 A chariot with wings attached to the 
 
 extremities of the axle-tree, fancifully 
 attributed by poets and artists to 
 the cars of Jupiter and Apollo (Hor. 
 Od. i. 34. 8. Plato, F/ia:d. tom. ix. 
 p. 321. Bipont), and frequently re- 
 presented on fictile vases, from one 
 of which the annexed illustration is 
 copied. 
 
 4. Currus triumphalis. A trium- 
 
CURSOR. 
 
 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 woodcut j. Corona, I., 
 which shows the persons in it. Its 
 panels 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. (0|Ua^a). A plough with wheels, 
 or the carriage part of such a plough. 
 (Virg. Georg. i. 174. Hesiod. Op. 424.) 
 See the illustration 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 I'epresenta- 
 tions 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. Flacc. vi. 105. 
 
 CURSOR (ara^tewt;, «7rfl5io^(o6/ioc), 
 A runner, who runs a race in the 
 stadium. (Cic. Tusc. ii. 23. Nepos, 
 Milt. 4.) The female figure intro- 
 duced s. Strophi0M,i., 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, 
 
 CUSP IS. 229 
 
 49.) ; more especially termed Taeel- 
 LARIUS, which see. 
 
 4. A slave kept by great people to 
 precede their carriages on foot, simi- 
 lar to the running footman of modem 
 Europe. Seneca, Kpist. 126. Mart. 
 Ep. iii. 47. 14. 
 
 CURU'LIS. An epithet very 
 generally applied to anything re- 
 lating to a chariot (furrus) ; as equiis 
 curulis, a carriage-horse (Festus, 
 s. V.) ; triuviphus 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.) ; 
 Itidi 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 (alxiii)). 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. .lEn. 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. yul. 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 
 (CatuU. 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 (z'l?;-"). 
 Mart. Ep. xiv. 221. 
 
 5. The pointed end of Neptune's 
 trident ; and thence the weapon itself 
 [fiiscina, 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. R. i. 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 (iabellce) as they were taken 
 out of the balloting-basket (dsta) 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. 
 g. Varro, R. R. iii. 5. 18. 
 
 CY'ATHUS (raafiof). 
 with one handle, employed 
 by the Greeks as a ladle 
 for filling the wine-goblets 
 [pocula^ calices) of each 
 person at table out of the 
 common bowl {crater] ; and 
 subsequently adopted by the Ro- 
 mans for a similar object. In very 
 early days, the sinipulum was the only 
 vessel used for this purpose at the 
 domestic table, and at the sacrifice ; 
 but as luxury and refinement in- 
 
 cup 
 
 transport 
 consider- 
 Ib. ii. 
 
 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. 
 lie Pond, et Mens. 80. Compare 
 Pliny, xxi. 109. 
 
 CYB^'A. A sort of 
 ship, or merchantman, of 
 able size (Cic. Verr. ii. 4. 
 5. 17.), the distinctive properties of 
 which are, however, unknown. 
 
 CYBIA'RIUS. A dealer in 
 salted fish. Arnob. ii. 70. 
 
 CYBIOSAC'TES {KvPioaaKTtiQ). 
 A dealer in salt fish ; a nickname 
 given to the Emperor Vespasian 
 (Suet. Vesp. 19.), and to the Thir- 
 teenth Ptolemy. Strabo, xvii. I. 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. Cat. 52. 
 
 CYCLAS (KfcXae). 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 
 pallijini, being suffi- 
 ciently ample to en- 
 velop 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. /En. i. 282. Juv. vi. 259. 
 Prop. iv. 7. 40. Lamprid. Alex. Seii. 
 41.) All these particulars are dis- 
 tinctly visible in the illustration an- 
 nexed, representing Leda in her cyc- 
 las, from a painting at Pompeii. 
 
CYLINDRUS. 
 
 CYLIN'DRUS (icvXii-Jpoc). A 
 roller, for levelling and 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- 
 
 CY MB ALUM. 
 
 231 
 
 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 (Kvy^ariov). An 
 architectural moulding, employed in 
 cornices, friezes, and architraves 
 ^Vitruv. iii. 5- 10-12.), having at 
 the top a full and swelling outhne, 
 
 which sinks into a hollow be- v— 
 
 low, without making any an- 
 
 gle, like the undulation of a wave 
 (kD|Uct, cyma), from which resem- 
 blance the name arose. It is called 
 an " ogee " by our workmen, and 
 " cyma reversa " by modem archi- 
 tects, to distinguish it from the " cyma 
 recta," the contour of which is hollow 
 above and full below. See SiMA. 
 
 CYM'BA (Kifijin)- 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 concavci. (Ovid. 
 A m. 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. ^n. vi. 303. 
 
 CYMBALIS'TA (ra/a/SaXiaj-iH). 
 A man who plays upon the cymbals, 
 {cymbalo), in the manner represented 
 by the next illustration. Apul. Deo 
 Socrat. p. 685. 
 
 CYMBALIS'TRIA (to/SaoXiV 
 Tpia). A female player upon the 
 
 cymbals, as shown by the examjile, 
 from a painting at Pompeii. Pet. 
 Sal. 22. 6. Inscript. ap. Grut. 318. 12. 
 CYM'BALUM (Kir/i/3f<\oi'). A 
 cymbal; a musical instrument, con- 
 sisting of two hollow half globes 
 (Serv. aafVirg. 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. 
 
 DALMA TICA TUS, 
 
 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 Pom- 
 peii, the word is mostly used in the 
 plural. 
 
 CYM'BIUM {svy.^[ov). 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, 
 J. 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 
 containingmilk 
 (Virg. Ain. iii. 
 66. ), and was 
 also made of the precious metals 
 (Virg. ALn. v. 267.), as well as of 
 earthenware. Mart. Ep. viii. 6. 
 
 CVNOCEPH'ALUS (kwoke- 
 ^ciKoq). 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. I. Plin. 
 H. N. viii. So. 
 
 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 
 Oetav. 22. 
 
 D. 
 
 DACTYLIOTHE'CA {ZmrvXio- 
 9riKri). 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. j?/.xi. 59. Id.xiv. 123.) 
 
 The illustration represents an ivoiy 
 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 {ti^iovxoz). . 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. I. In- 
 script. ap. Fabretti, p. 676. n. 29. 
 
 D^MON (Sal/iuv). Properly, a 
 Greek word, signifying a good spirit, 
 who was supposed to preside over 
 every individual during his lifetime ; 
 translated by the Latin words Lar 
 and Genius ; which see. Apul. 
 Deo Socrat. ■p. 674. Cic. Univers. II. 
 
 2. By the ecclesiastical writers of 
 the Christian era, always in tlie 
 sense of an evil spirit, or devil. Lac- 
 tant. ii. 14. TertuU. Apol. 22. 
 
 D^MON'IUM {iainovwv). Di- 
 minutive of D/EMON ; 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. TertuU. 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 -- pair of 
 very long and 
 loose sleeves, 
 which covered 
 the whole arm as 
 far as the wrists. 
 It was not worn by the Romans 
 
DARDANARIUS. 
 
 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. g. 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 Septimus 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. II. 6. Paul. Dig. 48. 
 
 19. 37- 
 
 DARI'US or DARI'CUS (Sapu- 
 K(if). 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 
 1237 grains of pure gold, and conse- 
 quently was equal in value to 
 1/. IS. lod. 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'TIM LUDERE. 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 ba.ll; 
 the person, or the slave, who supplied 
 the balls, picked up those which fell 
 
 DECEMJUGIS. 
 
 m 
 
 to the ground, and brought them to 
 the players. Plaut. Cure. ii. 3. 18. 
 Compare Pet. Sat. 27. 2. 
 
 DEALBA'TUS (Koi-iorof). Co- 
 vered widi a coating of white ce- 
 ment, or stucco [opus albarium), 
 which the ancients employed exten- 
 sively both in the interior and exterior 
 of their buildings, as an ornamental 
 
 facing to conceal the rough stone 
 or brickwork. (Cic. Verr. ii. I. 55. 
 Id. Fam. vii. 29.) The illustration 
 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 frequently tinted in 
 brilliant colours, such as red, blue, and 
 yellow. 
 
 DEASCIA'TUS. Chopped out or 
 off with an adze (aseia). Pni- 
 dent. Ilfpi a-reip. 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- 
 tuberniuni) ; whence he is also called 
 caput contubernii. Veg. Mil. ii. 8. 
 and 13. 
 
 DECAS'TYLOS (otKanrvXac) 
 Having a porch supported upon ten 
 columns in a row. Vitruv. iii. I. 
 
 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. 
 
 ten-horsed car at the Olympic games 
 (Suet. Ahro, 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 witli the decem- 
 ,peda. Cic. Phil. xiii. 18. 
 
 DECEMRE'MIS {ItK-hpni). A 
 vessel with ten banks of oars {or- 
 dines) on a side. (Plin. U. N. vii. 
 57.) The manner of arranging the 
 oars, or of counting the banks, in 
 vessels of so lai"ge 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 decetnrejnis . 
 
 DECEM'VIRI. The members of 
 a commission composed of ten per- 
 sons, and appointed for particular 
 purposes, as follows : — 
 
 1. Legihtis scrihendis. 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 sac7'is 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. Litihis judicandis. Ten com- 
 missioners, five of whom were sena- 
 tors, and five equestrians, who acted 
 as judges in private disputes instead 
 of the prcetor urbanus, when his 
 military duties compelled him to 
 
 VECURIO. 
 
 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 (SfK^prjc). 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. Ascon. in 
 Verr. i. 2. 5. Cic. ib. ii. 3. 8. and 33. 
 
 2. Ager decuntanus. Land subject 
 to the tithe of land tax, as just de- 
 scribed. Cic. Verr. ii. 3. 6. 
 
 3. Frujnenhim decunianum. The 
 tithe of com ; viz. one tenth of the 
 produce, paid as the above tax. Cit. 
 Verr. ii. 3. 5. and 81. 
 
 4. Miles deeiimamt^. A soldier of 
 the tenth legion. Hirt. B. Afr. l6. 
 Tac. Hist. V. 20. 
 
 5. Porta 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. VegetAfz?. 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. 
 
 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. Dom. 17. 
 
 DECUR'SIO and DECURSUS. 
 A military review; at which the 
 soldiers were put through all the 
 manceuvres of a sham fight, for pur- 
 poses of discipline and regimental 
 exercise (Suet. Nero, 7. Liv. xxili. 
 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. yEn. xi. 188. 
 Tac. Ann. ii. 55.) The illustration 
 
 DELPHIN. 
 
 = 35 
 
 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 infantiy and cavalry there 
 introduced could not be compressed 
 within the limits of a drawing suit- 
 able 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. 
 
 DETRUTUM (fi/zij^a, aipmov). 
 New wine boiled down to one half its 
 original quantity (Pliu. H. N. xiv. 
 
 The example is 
 original of white 
 
 II.), in order to increase its strength; 
 and employed by the ancient wine- 
 growers, as the " doctor " is by the 
 modems, in giving body to poor wine. 
 Columell. xii. 37. 
 
 DELATOR (iJTivvTrii;). A public 
 spy, or common informer, who lived 
 by denouncing and getting up 
 charges against his fellow-citizens. 
 Tac. Ann. iv. 30. Suet. A'cro, 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. 
 I'err. ii. 4. 59. 
 Mart. Ep. xii. 66. ) 
 copied from an 
 marble. 
 
 DELTHIN and DELPHI'NUS. 
 A dolphin. Dclphinorum columnar 
 (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 i£;£^;i::=^^z^=l 
 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 ^^^ {ova curri^uloriwi) 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 
 PoUux. The illustration is taken 
 
236 
 
 DELUBRUM. 
 
 DENS. 
 
 from a sepulchral bas-relief, repre- 
 senting a race-course. 
 
 DELU'BRUM. That part of ii 
 temple {templum] in which the altar 
 or statue of the deity was erected ; 
 and hence any temple which contains 
 an altar or an image of a god. Cic. 
 N. D. iii. 40. Id. Arch. 11. Virg. 
 ALn. iv. 55. 
 
 DEMAR'CHUS {Si,iuapxo<;). An 
 officer amongst the Greeks (Plaut. 
 Cure. ii. 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 {Siifioc), and 
 of talcing the votes on all questions 
 submitted to the assembly ; whence 
 the word is employed by the Greeks 
 as a translation for the Latin tribu7ius 
 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 %\id. 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 
 
 xxxiii. 13.) This piece was not of 
 very common use ; but a specimen 
 struck under Augustus is here intro- 
 duced in its actual state. 
 
 DENS (oioii). A tooth ; whence 
 specially applied to various other 
 objects, which resemble teeth, either 
 in their form, or mode of application ; 
 viz. ; 
 
 I. The 7&<^i? of an anchor (Virg. 
 yEn. vi. 3.), which is generally re- 
 
 <m 
 
 kA^ 
 
 of the same name, equal to twenty- 
 five silver denarii. (Plin. H. N. 
 
 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. 
 (GraL 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 afhxed to 
 the arch of Constantino ; 
 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 
 
 muB) 
 
 a curved blade notched in the 
 centre, so as to form a prong on 
 each side; 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 itiordetur terra), 
 than cut through it, Ulie 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 
 characteristically exemplified by the 
 engraving. 
 
 5. The tooth of a rake, harrow, or 
 other similar agricultural implements. 
 
 such as the irpex, occc, rastrum. Sec. ; 
 like the example, found in the Roman 
 catacombs. Lucan. vii. 859. Varro, 
 Z. L. V. 136. Festus, s. Irpices. 
 
 6. The tooth of a saw. (Plin. 
 ff. N. xvi. 83. Ovid. Met. viii. 246. 
 
 <c: 
 
 ziz::^:^^:::^ 
 
 perpetiws dentes.) The illustration 
 represents a small hand-saw used by 
 Dtedalus, in a marble bas-relief. 
 
 7. The tooth of a comb. (Tibull. 
 
 9.68. Cls.'di. Nuft. 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. /. c. 
 
 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 Egyp- 
 tian original. 
 
 9. The hook of a clasp (Sidon. 
 Carm. ii. 397.) ; see Fibula, 2. 
 
 10. The cogs of a wheel in ma- 
 chinery (tympanum dentatuni). Vi- 
 tmv. X. 5- 
 
 11. Dens cujvus Saturni. Poeti- 
 cally, for a pruning-hook. (Virg. 
 Georg. ii. 406.) See Falx. 
 
 DENTA'LE (eXu/jn). The share- 
 beam of a plough, to which the share 
 (vomer) 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 aentale is distinguished by tlie 
 letter B. 
 
 2. Dentate duplici dorso. (Virg. 
 Georg. i. 172.) A share-beam ivith 
 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 popula- 
 tion on the bay of Taranto. 
 
 DENTAR'PAGA (y^oirdypa). A 
 
238 
 
 DENTA TUS. 
 
 dentist's instrument for drawing 
 teeth. It was a species of forceps, 
 which Varro designates by the epithet 
 bipensUis ; but the precise form of the 
 instrument has not been identified. 
 Varro, ap. 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 deiiticulata. (Columell. ii. 
 21. 3.) See Falx, 3. 
 
 DENTIC'ULUS. A a'^kz'// in archi- 
 tecture. (Vitruv. iv. 2. 5. Id. iii. 5. 1 !■) 
 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 {inu- 
 tuli) ; but this was contrary to the 
 practice of the Greeks, for it de- 
 stroys their meanmg and intention ; 
 and, for a similar reason, the Greek 
 architects never placed them on the 
 sloping sides of a pediment, as the 
 Romans did, because the ends of the 
 
 DESIGNA TOR. 
 
 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. Orel. 
 Aur. Tard. ii. 4. 
 
 DENTIFRICTUM ( Woi/T-ocr/uj/yfin, 
 vdovTOTpifx/xa). Tooth-powder, for 
 cleansing and whitening the teeth. 
 Plin. H. N. xxix. II. Id. xxxii. 21. 
 Id. xxviii. 49. 
 
 DENTISCALP'IUM {hlovTo-fKv- 
 (pig). 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 suffragioruvi), 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 runciiia ; i. e., planed. 
 
 DESCOBINA'TUS. Scraped 
 with the scohina. 
 
 DESIGNATOR. A person em- 
 ployed at the theatre in a capacity 
 something like that of our box or 
 stallkeeper, whose business it was to 
 point out, and conduct the company 
 to their proper places. (Plant. 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, Bene/, vi. 38. 
 
 3. A sort of clei'k of the course at 
 the Circensian games ; who made 
 the arrangements for each race, and 
 distributed the prizes. Ulp. Dig. 3. 
 2. 4. — Cic. Att. iv. 3. 2. probably 
 applies to this class. 
 
 DESUL'TOR {fiETaPartic, ujiifn,- 
 TTot,'). 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, 
 
 Gemine, 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 01 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 dezultores was 
 exhibited alone. Liv. xliv. 9. 
 
 DESULTO'RIUS, sc. equus. A 
 horse trained for the performances of 
 the desultor (Suet. Cas. 39.), as shown 
 in the two preceding illustrations. 
 
 2. Same as Desultor. Cic. Mur. 
 27. 
 
 DEUNX. Eleven unc-us, or eleven- 
 twelfths of anything ; as the eleventh 
 part of an aj, a nominal sum, not repre- 
 sented in actual coinage. Varro, L. L. 
 v. 172. Rhemn. Fan. 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 vuri- 
 toria) or a private house be used for 
 the purpose. Cic. Fkil. ii. 41. Pet. 
 Sat. 15. 8. Cic. Fam. vii. 23. 
 
 DEX'TANS. Ten uncia:, or ten- 
 twelfths of anything ; as the tenth 
 part of an as, 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 Haiitu 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. CapitoUn. Maxim. 6. Id. 
 Alaxim. Jun. I. 
 
 DIAB-ATHRA'RIUS. One who 
 makes diabathra. Plaut. Anl. iii. 5. 39. 
 
 DIABATH'RUIVr {lla^a%pov). A 
 particular kind of slipper or sandal 
 \soiea) 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. g.); 
 whence, if attributed to males, as by 
 Najvius (ap. Varro, Z. 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. 
 0?iomast. vii. 90. 
 
 DIACH'YTON. A particular 
 kind of wine produced by drying the 
 grapes in the sun for several days 
 before they were squeezed. Pliu. 
 If. N. xiv. II. 
 
 DIADE'MA (Siaci)lin). 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 preceding 
 illustration. Plin. H. N. xxxiv. 19. 
 
 §17- 
 
 D I JSJ T A (iiaiTa). 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. lb. vi. 21. lb. vii. 5. i. 
 
 2. (ff/oji//;). 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- 
 gisler, in •' merchantman. Pet. Sat. 
 115. I. 
 
 DIAMICTON. 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 
 
 {diatont) to consolidate the mass, and 
 bind it together. (Plin. ff. N. xxxvi. 
 51.) The illustration shows a wall 
 constructed in diamicton, from a ruin 
 at Rome. 
 
 DIAPAS'MA (JiciTratr/ia). 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 (SiacrruXos). 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 es. ^ 
 marble ; for the Tus- 2/ 
 can style, which ad- ®-^-# 
 mitted four diame- ®— ^l--© 
 ters, required its ®— ^ — ^ 
 
 architrave to be of g... 4 m 
 
 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 (Siarovo.). Girders, 
 
 like 
 Ulp. 
 
 or bandstones, employed in the con- 
 struction of walls, which are built in 
 the style termed Emplecton. 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 (Jid?-p»)7-a). 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, 
 network (Mart. Ep. xii. 70. 
 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 JIultos 
 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 iimer 
 body of the cup. 
 
 DIATRIBA. 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 (Jia^wM"). Properly, 
 a Greek word Latinised (Vitruv. v. 
 6, 7.), for which the genuine Latin 
 term is Pr^CINCTIO ; under which it 
 is explained. 
 
 DICHAL'CON (^xo^'tov). A 
 small copper coin of Greek currency, 
 equal in value to the fourth or fifth 
 of an obolus. Vitruv. iii. I. Plin. 
 H. N. xxi. 109. 
 
242 
 
 DICROTVS. 
 
 DIPLOIS, 
 
 DIC'ROTUS (SiVporof). 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'- 
 M U M {diSpaxfiov). A double 
 drachm, of the Greek silver coinage. 
 (TertuU. Prcsscr. Ii.) Like the 
 drachma, it was of two different 
 standards : the Attic, of which spe- 
 cimens are very rare, worth about 
 IS. I^d. of our money ; and the Mgi- 
 netan, worth about 2r. 3ii/., 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. 
 
 DIGITA'LE {SaKrii\r,9pa). A 
 covering to the hand with fingers to 
 it, like our ^love. (Varro, Ji. H. i. 
 55. I. 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 
 some 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 paraganda, 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^ {ciixaxat). 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^'RI {huaxaipoi). 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. 
 
 DIOGMI'T^. 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 (JioTTj-pa). 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. I. 
 
 DIO'TA (S.'wTj,). A Greek word, 
 meaning literally ivith 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 {SiTrXotg, ^^;^Xa?). 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. 
 
 consequence of being too large to be 
 conveniently worn 
 single. It belonged 
 to the Grecian 
 costume (Isidor 
 Orig. xix. 24. II.), 
 was affected by 
 the Cynic philoso- 
 phers (Hor. Ep. 
 i. 17. 25. Acron. 
 ad /.), 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 (aiTrXw/io). 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 dday or hin- 
 drance. Cic. Fam. vi. 12. Plin. Ep. 
 X. 31. Capitolin. Pertin. I. 
 
 2. A diploma, or document dra%vn 
 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 puUk cou- 
 rier or state messenger ; i. e., who was 
 furnished with a public passport (di- 
 ploma). Inscript ap. Orelli, 29 1 7. 
 
 DIP'TEROS {SivTipoi). 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 {Siirrvxa). Folding 
 tablets, consisting of two leaves con- 
 nected by a string or by hinges, 
 
 DIRISITOSIUM. 243 
 
 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. The example is from a 
 painting of Herculaneum. 
 
 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. I.) 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. 
 
^44 
 
 DISCINCTUS. 
 
 DISCO BO L US. 
 
 DISCINCTUS (ajwtrrof). Un- 
 girt ; that is, wearing the tunic 
 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 
 liouse (Hor. Sat. ii. 
 I. 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. °f 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 (recincia, soluta) 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 
 01 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. Discindus miles. With respect 
 to the military, the word implies 
 without the sword belt (balteus^ cine- 
 toritim), 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 f. 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 (5htko/3()Xo<,-). 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 
 characterised by Quintilian as " la- 
 boured and distorted " — distortu?n et 
 elaboratum — but these words are to be 
 understood with reference to the usual 
 practice of the Greek artists, who were 
 extremely chaiy 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 Statins [Theb. vi. 646- 
 721.), descriptive of a contest lie- 
 
DISCUBITUS. 
 
 DODRANS. 
 
 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, medics 
 quod certius ulna, 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, — ahence lubrica massce Pon- 
 dera vix, tola curvatus corpore, juxia 
 dejicit. This passage, while it illus- 
 trates 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 j'. 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. i. 9. Cic. Alt. v. 1.), 
 as seen in the iUnstration j. Tricli- 
 nium, I. 
 
 D I S' C U S (UdKoi). 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. II. Prop. iii. 14. 10.) The 
 instrument itself, and the manner of 
 projecting it, are shown and explained 
 by the woodcut 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 am 
 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. I. Suet. 
 Galb. 12. Macrob. Sat. ii. 4. Pom- 
 pon Dig. 50. 16. 166. 
 
 DISPLUVIA'TUS. See Atri- 
 um, 4. 
 
 DIVERSO'RIUM. SeeDEVERSO- 
 
 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. Feslus, 
 s. V. and Castellum, 4., where an 
 illustration 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 uncite, or three-quarters 
 of an as. (Varro, L. 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. 
 
 DOLABEL'LA. A small dola- 
 hra, 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 dolahra, 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 (dfii-i)). 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. 
 II.), 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 
 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 CoLLEGll Fabrum under- 
 neath, which thus identifies the name 
 and nature of the instrument. Com- 
 pare also the woodcut j. DOLATUS, 
 where it is shown in use. 
 
 2. Dolatra 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. Isador. 
 Orig. xviii. 9. 11., and compare the 
 illustration s. FossOR, I., 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. 
 Cfes. B. G. vii. 73., and woodcut s. 
 DOLATUS. 
 
 2. Made like a dolabra, or fur- 
 nished with one ; as securis dolabrata 
 
riOLA TUS. 
 
 DOMUS. 
 
 247 
 
 (Pallad. i. 43.), a hatchet with a do- 
 labra at the back of the blade, as 
 seen in the preceding illustration. 
 
 DOLA'TUS. Hewn, cut, chopped, 
 and formed into shape with the do- 
 lahra, 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(5n'9oc). A large-mouthed 
 round, full-bellied earthenware vessel 
 (Varro, R. R. iii. 15. 2. Columell. 
 xii. 6. I. lb. 4. 5.,) of great capacity, 
 employed to contain 
 new wine in a body 
 until it was drawn 
 off into amphora, 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 II. I.) The above words 
 are used in Latin and Greek, to 
 designate the receptacle which Dioge- 
 nes adopted for his habitation (Juv. 
 Sat. xiv. 308. Diog. Laert. in vit.) ; 
 and the one into which the daughters 
 of Danaus were condemned to empty 
 their pitchers (Hor. Od. iii. 22-27. 
 Lucian. in Timon. tom. I. p. 89. 
 Bipont.) ; by which the great size of 
 the dolium is testified. Some originals 
 
 excavated at Antium are three inches 
 thick, and have an inscription, declar- 
 ing their capacity at 18 amphorae, 
 equal to 21J of the modern Roman 
 barrels. The illustration 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 incor- 
 rect notion of the object, which was 
 made of baked earth, though of suffi- 
 cient size to contain a man, as the oil 
 jars used at this day in Italy, and those 
 of the well-known stoiy 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. (See the illustration 
 s. Cella, 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. JV. xiv. 27. Colu- 
 mell. xii. 18. 5. 
 
 DOLON or DOLO (SoXav). A 
 long and strong stick, with a small 
 sharp iron point at the extremity. Virg. 
 vS«. vii. 664. Varro, ap. Serv. ad I. 
 
 2. A sword stick, in which a 
 poniard is concealed (Serv. ad Virg. 
 ^•£«. vii. 664. Isidor. Orig. xviii. 9. 
 4. Suet. Claud. 13. Plut. T. Gracch. 
 10.) ; whence appropriately trans- 
 ferred to the sting of a fly. Phaedr. 
 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 
 
248 
 
 DOMUS. 
 
 the vessel had three masts, and, con- 
 sequently, three sails, the dolon was the 
 smallest of the three. Pollux, i. 91. 
 
 DOMUS. A private house, occu- 
 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 tlie 
 particular nature of the ground plot 
 on which they stood. They were 
 divided into two principal members : 
 the atrium, or cavcediuni, with its ap- 
 propriate dependencies all round; and 
 ih& pe>-istylium, with its appurtenances 
 beyond, which were connected by an 
 intermediate room, the tahlinum, 
 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 
 Septiftrus Severus. AAA, the pro- 
 thyrum, or entrance passage from the 
 
 street ; B B B, the atrium, or cava- 
 dium ; c c c, the peristylium ; D D D, 
 the tahlinum, 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 
 
DOMUS. 
 
 249 
 
 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 
 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 
 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 jedile, from the words 
 Pansam J^T). 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 
 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 (b) 
 of the household gods, which it was 
 customary tto place on the impluvium. 
 The lengtlilof the atrium is just half as 
 long againl as its breadth, as Vitru- 
 vius directslthat it should be. cc. The 
 ala, or winis of the atrium, which are 
 exactly tw5-sevenths of the length 
 of the atriJm, as required by Vitru- 
 vius. ccccls. Five small cubicula, 
 or chamber! intended for the recep- 
 tion of guasts, or the use of the 
 family. D. j The Tablinum ; paved 
 with mosaic! and open to the peristyle, 
 so that a terson who entered the 
 house by the principal door, at A, 
 
 looked through the whole extent of 
 the edifice, the atrium and peristylium, 
 into the cecus 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 
 (pinacotheca), or a reception-room 
 for visitors. This tei-minates 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 theatriimi, 
 but of larger dimensions. GG. Ala; 
 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. CEcus, 
 which is raised two steps above the 
 peristyle, and has a large window 
 
25° 
 
 BOMUS. 
 
 opening on a garden behind, as well 
 as a passage (g) by its side, like the 
 faux of the atrium, in order to give 
 access to the garden without passing 
 through the grand room. K. Culina, 
 the kitchen, which opens at one side 
 upon another room, or back-kitchen 
 (it), furnished with dwarf walls for 
 the deposit of oil jars, cooking uten- 
 sils, &c. , and at the other, upon a 
 court-yard (z), adjoining another of 
 the side. streets which flank the edi- 
 fice, and to which it gives access by a 
 back door [o], ll. A covered gallery 
 (porticus or crypta), 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 
 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 «), and one back door (pas- 
 iica) 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. i i i. 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. 33. 
 Two baking establishments, with 
 their ovens {pp), 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 staircase, 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 
 
 
DOMUS. 
 
 251 
 
 place, and consequently afford the 
 only authentic example of this part 
 of a Roman dwelling house now 
 attainable. Nothing is conjectural 
 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 compluviutn, 
 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- 
 tribution of the apartments in which 
 is given in the wood-cut subjoined. 
 Nos. a to m. Twelve small chambers 
 (cmtaada) 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 n separate 
 communication from the rest. The 
 floors of these upper rooms are laic' 
 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 
 have no superstructure above the roof 
 which covered the garden corridor. 
 
 2. (oiKof). 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. avXiioQ Bi'pa. The 
 house door, or principal entrance 
 from the street, i. Qvpinpnov, Bvpiiiv, 
 Staevpa. The entrance-hall or pas- 
 
2S2 
 
 DOMVS. 
 
 DONA TIVUM. 
 
 sage ; the rooms on the right and left 
 of which afforded accommodation for 
 stabling, for the porter's lodge, and 
 slaves, c. aiiXfi. The court and peri- 
 style forming the first division of the 
 house, which was appropriated to the 
 
 It 
 
 " 
 
 r* 
 
 _;J 'LzJ 
 
 :4 
 
 c 
 
 • u"- 
 
 use of the males, and, with the diffe- 
 rent chambers distributed around it 
 (Nos. I — 9.), formed collectively the 
 cit'dpwvTrtQ, d. i^'sravXo^, or fistyavXoij 
 9upa. The door in the passage which 
 separates the two principal divisions 
 of the house, and Avhich when closed 
 shuts off all communication between 
 them, e. Tire court and peristyle 
 forming the second or interior part 
 of the house, which was appropriated 
 to the females, and with the various 
 dependencies (Nos. II — 18.) situated 
 arround it, forms collectively the 
 yvvaiKioviTiQ. f. TTpoffrag, or irapaarof;, 
 A chamber at the further end of 
 the peristyle, probably used as a re- 
 ception or retiring room by the 
 mistress of the house, gg. BaXa/joc, 
 and afifiBdXauog. The principal bed- 
 
 chambers, h h h. iaruivf^. Rooms in 
 which the women worked at the 
 loom. /. KtjTraia Qvpa. The garden 
 gate, or back door. 
 
 DONA'RIUM. The treasuiy of 
 a temple; i.e., an apartment in 
 which the presents made to the gods 
 were preseiTed. Serv. ad Virg. y£n. 
 xii. 179. Lucan. ix. 516. Apul. 
 A/ei. 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. Vict. Cas. 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 tlie 
 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 by itself 
 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. 
 
 DONATI'VUM. A largess or 
 bounty given by the emperor to the 
 army, as contradistinguished from 
 congiarium, which was bestowed upon 
 
DORMITA TOR. 
 
 the people generally. Suet. Nero, 7. 
 Lamprid. Alex. Siv. 26. 
 
 DORMITA'TOR. {vfispoKoiTOi). 
 A thief who commits depredations 
 by night. Plaut. Trin. iv. 2. 20. 
 Hesiod. Op. 603. 
 
 DORMITO'RIUM {Sw/iaTiov). 
 A dormitory, or bed-chamber (Plin. 
 
 //. N. XXX. 17. Plato. Rep. iii. 4. 
 Nichol. Damasc. p. 284. Tauchnitz), 
 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 Vivgil. 
 
 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, R. R. ii. 10.), or ass 
 
 DRACHMA. 253 
 
 (Id. ii. 6.), as in the example, from 
 
 the triumphal arch of Constantine. 
 
 DORYPH'ORUS (Jop«0opot). 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 [hgnxix-h). 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 
 .(Eginetan. 
 
 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 gf </. 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. 
 
254 
 
 DRACO. 
 
 DUUMVIRI. 
 
 The ^ginetan drachm, repre- 
 sented by the next wood-cut, also 
 from an original of the same size in 
 the British Museum, was used in 
 Bceotia, and some parts of northern 
 Greece, and in all the states of the 
 Peloponnesus except Corinth. It 
 was of a higher standard than the 
 Attic, containing about 93 grains of 
 pure silver, and was worth about 
 
 I J. l|. 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 of 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. 
 
 D R A C O N A'R I U S. The 
 
 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- 
 tonine 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 di'a- 
 goon originated, meaning in its ori- 
 ginal sense a cavalry soldier, who 
 followed the ensign of a dragon. 
 
 DRACONTATIIUM. a band 
 for the head (TertuU. 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. I. 11. (^\.,torquetnaureum 
 ex dracontariis duobus ; but worn 
 round the head instead of the neck. 
 
 DROMO, or DROMON (Jpo/iwi^). 
 A particular kind of ship, remark- 
 able for its celerity, but respecting 
 which nothing more definitive is 
 known. Isidor. Orig. xix. I. 14. 
 Cassiodor. Var. Ep. v. 17. 
 
 DROMONA'RIUS. A rower in 
 a vessel termed dromo. Cassidor. 
 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. Ela«. 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. 
 
 ^S>'- "• 34- 
 
 2. Duumviri perduellionis ; two 
 
EBORARIUS. 
 
 colleagues appointed to try persons 
 accused of the murder of a Roman 
 citizen. Liv. i. 26. Cic. Rabir. 
 perd. 4. 
 
 3. Duumviri A^avales ; two col- 
 leagues appointed upon emergencies to 
 superintend the equipment or repairs 
 of a fleet. Liv. ix. 30. 
 
 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. I. 
 
 ECHI'NU.S (exii'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 othqr 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 I.) says, a 
 bowl for washing the goblets in. 
 
 2. In architecture. A large ellip- 
 tico-circular member in a Doric 
 capital, placed imme- 
 diately under the 
 baacus. (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 ((ktvttoq). Formed 
 in a mould (ri-Kos, forma), which has 
 the device intended to be displayed 
 impressed in it, so that the cast (ecty- 
 pum) which comes from it presents 
 the objects in relief, like a terra- 
 cotta cast (Plin. II. A^. xxxv. 43.), as 
 will be readily understood by the 
 annexed engravings. The right-hand 
 
 ELA EO THESIUM. 
 
 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- 
 TUS) ; 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. 
 
 ELAEOTHESTUM (iXa.oeiiriov). 
 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 iht frigidarium, or cold cham- 
 ber (Vitruv. V. II. 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. 
 
256 
 
 ELENCHUS. 
 
 EMISSARWM. 
 
 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 a of pear, much 
 esteemed by the wealthy ladies of 
 Rome, who were fond of wear- 
 ing two or three together as 
 pendants for tiie ears, or dang- 
 ling from the rings of the fin- 
 gers. (P'lin. 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 (iKKiixnav, epv- 
 aWi't). 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. i. 5- 
 II.N'. x.xiii. 41. Id. xxviii. 47. 
 illlustration represents a small Roman 
 lamp, with the wick burning. 
 
 EMBLE'MA (f>/3Aj;/ia). 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 iessellatum, sectile, verviiculatuni^ 
 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 ot 
 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 
 tlie appearance of being painted. 
 The second meaning attached to the 
 word emblenia 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, l}i^6\iov). 
 Plin. II. N. vii. 49. Inscript. a,p. 
 Murat. 660. 4. 
 
 EM'BOLUM [Ifi^oKov). 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 (eV/3oXoc). 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. 
 
 EMERTTI. Roman soldiers who 
 were discharged from military duty 
 (Val. Max. vi. i. 10. Ov. Trist. iv. 
 8. 21.), having served the full time 
 required by law ; viz. , twenty years 
 for the legionaries, and sixteen for the 
 prKtorians. Tac. Ann. i. 78. Dion. 
 Cass. Iv. 23. 
 
 EMISSA'RIUM. An emissary; 
 any artificial canal formed with the 
 object of draining off a stagnant 
 
EMPLECTON. 
 
 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- 
 Etracted 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 
 felt that the waters would overflow, 
 and inundate the country ; the other 
 for the pui-pose 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. 
 
 EMPLECTON {i)l-jr\lKror-\. 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), 
 
 EMPOROS. 
 
 257 
 
 r-^^9 
 
 ^a__^ 
 
 ^^^^^^^^^^ 
 
 -l^J^x-L^ 
 
 v^A^><^;X/>^X.X^ '!*'! M 
 
 I "1 '-I' 
 
 \^x x^'^v^S^^S [.'i'' I'm 
 
 ,h' 1 ^Ul 
 
 Q<x>o<xyx)i f 1 
 
 
 -J '--"i"' "i^^^S ''"Lil 
 
 i'i|tii»U 1 I'l I'll: 1 'm - f 
 
 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. 
 Virtuv. ii. 8. 7. Plin. H. N. xxxvi. 51. 
 EMPO'RIUM (iixTTopwv). A mari 
 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. I.) 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 ; 0, 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 «, 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 (tVjTopoi,-). Properly, 
 a Greek word, and, consequently, il- 
 lustrative of Greek customs ; but 
 used in a Latin form by Plautus 
 [Merc. Prol. 9.), and Ausonius 
 R 
 
= 58 
 
 ENCARPA. 
 
 ENDROMIS. 
 
 (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, 
 in Plautus (/. c), he is styled empho}-os 
 Phiiemonis ; i.e., who imports for his 
 principal Philemon. 
 
 ENCAR'PA {tyxapwd). Festoons 
 of fruit and flowers, employed as a 
 
 decorative ornament in sculpture or 
 painting (Vitniv. iv. I. 7.), as shown 
 by the example, from a Roman se- 
 pulchral monument, 
 
 ENCAUS'TICA (iymvanKn). 
 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 
 {cauteriuni) ; or by marking out the 
 drawing with a hot etching iron {ces- 
 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. I/. N. XXXV. 41. 
 2b. 39. Vitruv. vii. 9. Ov. Fast. iii. 831. 
 
 EN COM BO' MA (iyKO/illi^iia). 
 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, aj). 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 depicted 
 in scenes illustra- 
 tive of life in the 
 gymnasium, upon 
 figures in repose, 
 similar to the one in the annexed 
 engraving, from a fictile vase, re- 
 presenting 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. Endromis Tyria. A wrapper 
 of similar character and object, but 
 
ENDROIIIS. 
 
 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. [ivSpojxii;). In Greek, the word 
 has a very different meaning, being 
 employed to designate the boots ori- 
 ginally invented and worn by the 
 
 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 pritiios sistitur ad 
 digitos, Sidon. ApoU. Carni. 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 
 Hi*-pocr. 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 ivlpo- 
 /liScQ received their name because 
 
 EPHEMERIS. 259 
 
 they were peculiarly fitted for per- 
 sons who required great activity and 
 agility in running (Galen, l.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. lb. 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 : KoBopvoc, which 
 reached up to the calf, was laced in 
 front, but covered the entire foot ; 
 ivdpofiig, also reaching up to the calf, 
 and laced in front, but leaving the 
 toes uncovered ; and o/j/^liXt), a half 
 boot, laced in front, but only reaching 
 up to the ankle. 
 
 ENSIC'ULUS (li^Wiof). Dimin- 
 utive of Ensis ; a little sword, for a 
 child's toy. Plant. J?ud. iv. 4. 112. 
 , and Crepundia. 
 
 ENSIS (5i>»t)- A sword. Used 
 mostly by the poets, but synonymous 
 with Gladius. (Quint, x. i. 11.) 
 See also Falx, 6. 
 
 EPHEBE'UM {if7,l3(',ov). A 
 spacious apartment in the Greek 
 gymnasium, where the youths per- 
 formed their exercises in the presence 
 of their masters. (Vitruv. v. II. 
 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 estabUshment. 
 
 EPHE'MERIS {iiprinipio). A 
 journal or diary, kept by an indivi- 
 dual, in which he noted dovrn the 
 daily occurrences, actions, or expen- 
 diture. Cic. Quint. 18. Nepos, 
 XX v. 13. 
 
26o EPHJPPJARIUS. 
 
 EPHIPPIA'RIUS. A saddler, 
 who makes ephifpia. Inscript. ap. 
 Fabrett. p. 712. n. 339. 
 
 EPHIPPIA'TUS. One who rides 
 vipon a saddle pad (Ephippium) in- 
 stead of the bare back. See the ilhis- 
 trations s. Eques. Caes. B. G. iv. 2. 
 
 EPHIP'PIUM {^i-^mm). A pad 
 saddle for horses (Varro, li. R. ii. 7. 
 
 15. Cces. B.G. iv. 2.), used by the 
 Greeks and Romans. It is very 
 commonly represented in works of 
 art as a piece of clolh 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 tlie 
 Antonine Column. Similar ones are 
 likewise seen in the paintings of 
 Herculaneuni and Pompeii, and on 
 the arch of Septimius Severas ; but 
 the pad is more frequently concealed 
 by the housings (s/ragiila), which 
 covered both sides of the animal. 
 
 EPH'ORI {i(popoi). Literally, 
 
 ove7-sec7's ; 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^ (tTri/Sarni). 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 
 
 EPICROCUM. 
 
 rowers. (Herod, vi.' 12. Hirt. B. 
 Alex. II. Vitruv. ii. 8. 14.) The 
 Romans designated the marines of 
 their navy by the term Classiarii. 
 
 EPICH'YSIS (iTri'xfiJie). A Greek 
 jtig, with a small and narrow lip, out 
 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- 
 
 zation, instead of the less elegant 
 guttus, previously used by them for a 
 similar purpose. (Plaut. Kud. v. 2. 
 22. Varro, L. L. v. 124.) The illus- 
 tration represents an epichysis, with 
 the receiving cup of glass, from a 
 Pompeian paintmg, and a Nereid 
 pouring wine out ot one into a. patera, 
 from a painting of S labia. 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 
 ewer, or water jug (giUtnrnium, Trpo- 
 Xooc), which had a thicker throat and 
 wider lip. 
 
 EPICO'PUS (ETTi'icidTroc). Pro- 
 perly, a Greek word, used to desig- 
 nate a 7-ow boat, as contradistin- 
 guished from a sailing vessel. Cic. 
 Att. xiv. 16. 
 
 EPICROCUM {'iTriKpoKop). _ 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 KpoKi; {subtemen), or 
 from KpoKOQ (eroens). Nsevius ap. 
 Varro, Z. Z. vii. 5. Van-o, «/>. Non. 
 s. Habitare, ,p. 318. Festus, s. v. 
 
EPIDIPNIS. 
 
 EPISTOMIUM. 
 
 261 
 
 EPIDIP'NIS (JTrWeiTTv.c). Pro- 
 perly, a Greek word, which desig- 
 nates the last course at a dinner. 
 Pet. Sat. 69. 6. Mart. Ep. xi. 31. 
 
 EPID'ROMUS {iiriSpoiiog). A 
 running rope attached to the neck of 
 a tunnel net (irassis), and passing 
 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. 
 I/. 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 
 
 than one mast. (JuU. Poll. i. 91 
 Isidor. Orig. xix, 3. 3.) Pollux and 
 Isidorus differ in some degree from 
 each other, the one giving the name 
 to the sail, tlie 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. I.) 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. ,y. v. 
 
 EPIRHE'DIUM. A hybrid 
 word, composed from the Greek 
 
 preposition ivi ^^ 
 
 and the Gallic /^!^% 
 
 Vtxm.Rheda;\h& ■* ^>L^^f 
 
 true meaning of ' ClQ', 
 
 which is not set- 
 tled. Scheffer and Ginzrot believe 
 it to have been a square or oblong 
 
 cart, enclosed 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 Fahi-werke, xviii. 
 
 EPISTOLA (iTnaToXri). A letter, 
 written upon paper for transmission 
 to an absent person, as distinguished 
 from one written upon waxed tablets. 
 (Cic. Cebs. Tac. Mart. Ej>. xiv. II. 
 chartee epistolares. Plin. H. N, xiii. 
 21. Franz.) The illustration represents 
 
 a letter folded and sealed, with its 
 direction, as represented by a paint- 
 ing on the walls of a house at Pompeii, 
 in which it is accompanied by various 
 implements employed for writing, 
 both on paper and wax. It is en- 
 graved in the Mus. Borb. xiv. tav. A 
 and B. 1852. where the address upon 
 it is thus decyphered, Marco. Luc- 
 RETio. Flamini. Martis. Decur- 
 lONl. POMPEI — To Marcus Lucretius, 
 Priest of Mars, Decurion, Pompeii. 
 
 EPISTOM'IUM (iTnaTdfiiov). 
 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 
 
262 
 
 EPISTYLIUM. 
 
 EPULONES. 
 
 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 (iTTKjTOXioi). 
 Properly, a Greek word adopted by 
 the Roman architects to designate 
 tlie 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 
 that word, as a general term, may 
 with equal correctness be applied to 
 both. (Vitruv. iii. 5. Ii. Varro, 
 R.R. iii. 5. II. Festus, ^.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. Ephtylia; 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 ar- 
 chitrave (trabs, 
 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 
 enumerating the separate members 
 which it contained. See Corona, 15. 
 
 EPITHALAM'IUM {iTTidaXd- 
 fiioii). The nuptial song, sung in 
 chorus by a company of young 
 girls outside the door of the bridal 
 chamber. Quint, ix. 3. 16. Theocr. 
 M 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 (iTTirvpov). An eat- 
 able composed of the flesh of the 
 olive seasoned with oil, vinegar, 
 rue, mint, &c. ( Cato, /?./?. 119.); 
 more common in Greece and Sicily, 
 than in Italy. Varro, Z. L. vii. 86. 
 Columell. xii. 49. 9. 
 
 EPIU'RUS {iniovpoi). A wooden 
 pin used as a nail (Isidor. Orjf. 
 xix. 19. 7. Pallad. xii. 7. 15.); but 
 the readings differ, some having epi- 
 grus and tiriKovpoQ, 
 
 EPULO'NES. The members of 
 one of the four gi'eat religious corpo- 
 rations at Rome, originally composed 
 of three persons (triumviri eptdones, 
 Liv. xxxi. 4.), but afterwards in- 
 creased to seven (septenwiri epuloncs, 
 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. I. 2.), spread with delica- 
 
EQUARIUS. 
 
 EQUES. 
 
 263 
 
 cies, which the Epulones afterwards 
 consumed.. 
 
 EQUA'RIUS, sc. medkus (in-ir(a- 
 rpof). A horst 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 (ijTTrfiJc). 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 
 (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 is 
 proved by the 
 expressions mulie- 
 briter equitare, or 
 equo insidere (Am- 
 mian. xxxi. 2. 6. 
 Compare Achill. 
 Tat. de Amor. Clitoph. et Leucip. 
 Agathias iii.), which is represented in 
 the bas-relief engraved by Cuper 
 {Mon. Ant. Ined, p. 199.) and many 
 imperial medals. The same fashion 
 was also adopted sometimes 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 foimed 
 a separate order in the state, distin- 
 guished from the senatorian by the 
 outward badge of the Clavus AU- 
 GUSTUS, 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 00 g^fluine 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 
 
264 
 
 EQUES, 
 
 and imperfect to give minute or cha- 
 racteristic details. Tliey appear, liow- 
 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 tliat the old Roman cavalry 
 had no body armour before their inter- 
 course with tlie 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. (Ijiv. 
 v. 7. Id. xxxiii. 26. Cffis., &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. E(2ues 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 cavaliy, 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 j. 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 pnEtoria7tus. See Pre- 
 toriani. 
 
 6. Eqites 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 
 
EQUILE. 
 
 the annexed example, which repre- 
 sents a Roman soldier on the Column 
 of Antoninus. 
 
 7. Eques cataphradus. See Ca- 
 
 TAPHRACTUS. 
 
 8. Kcjues alarms. The allied ca- 
 valry which accompanied the Roman 
 legions, so termed because they were 
 always stationed upon the wings. 
 Liv. xl. 40. Ctes. B. G.\. l\. 
 
 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. ap. Orelli, 2569. 
 2577.) ; two of whom are shown in 
 the annexed engi-aving, from a bas- 
 relief on the tomb of Nsevoleia Ty- 
 che at Pompeii. It will be perceived 
 that their armour assimilates closely 
 with the figure of the legionary 
 trooper, No. 4. 
 
 EQUI'LE (iiTTrdffrnffic). 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 
 
 EQUULEUS. 265 
 
 only genuine specimen of such build- 
 ings now remaining It is constnicted 
 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 giadually in- 
 wards from the top, is also of ma- 
 sonry, and divided into a number of 
 cribs (ipaTVWjiara), 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 drawing and 
 the horse introduced for that purpose. 
 EQUrSO. A groom who leads 
 out horses to exercise. "Varro, ap. 
 Non. s. V. pp. 105. 450. Val. Max. 
 vii. 3. Ext. I. 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. Md. 21. Quint. Curt. 
 
 vi. 10.) The ancient writers have 
 
 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- 
 
266 
 
 EQUUS. 
 
 ERGASTULARIUS. 
 
 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 tlie natural 
 pressure of the body, as shown by 
 the annexed engraving, which repre- 
 sents an instrument of punisliment 
 formerly used at Mirandola, in the 
 north of Italy, and which, in confirma- 
 tion of the suggestion, was called by 
 the same name, the colt, // cavaUtto. 
 
 EQUUS. A stallion; properly 
 distinguished from cqiia, a mare, and 
 from canterius, 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. xx.xiii. 9. 
 
 3, Equus curtus. A horse which 
 hadits tail dock- 
 ed (Prop. iv. I. 
 20.); not a com- 
 mon practice 
 amongst the an- 
 cients. Horace 
 applies the same 
 epithettoamule _J 
 {Sat. i. 6. 104. ), 
 apparently in disparagement ; but a 
 crop-tailed horse was offered annually 
 as a sacrifice to Mars (Festus, j. Oc- 
 tober equus) ; and possibly the small 
 bronze cast, from which the annexed 
 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, AUn. ii. 257 — 264. 
 
 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. 
 Pervigil. Ven. lo.) The example is 
 from a Pompeian painting. 
 
 6. Equus fluviatilis. The river 
 horse, or hippopotamus. Plin. H. N. 
 viii. 30. 
 
 7. Equus ligneus. Poetically, fo( 
 a ship. Plant. Rud. i. 5. 10. 
 
 8. A battering engine for beating 
 down walls (Prop. iii. I. 25.) ; subse- 
 quently, and better known by the 
 name of the ravi. (Plin. H. N. vii. 
 57.) See Akies. 
 
 ERGASTULA'RIUS. A person 
 who had the charge of superintending 
 
ERGASTULUU. 
 
 EUSTYLOS. 
 
 267 
 
 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 
 {conifediti, nexi, vincti) were lodged 
 and made to work in irons ; whereas, 
 the rest, who were not chained, were 
 provided with separate accommodation 
 (csllce, conlubernid) 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. 
 
 ER'GATA (iioyariic. ) A capstan 
 or windlass, for drawing up vessels on 
 to the shore, and for moving heavy 
 weights generally. Vitruv. x. 4.. 
 
 ERIC'IUS. Literally, ii 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 gateway repre- 
 sented in the engraving j'. Catar- 
 ACTA, 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 Belgae. (Cses. 
 B. G. iv. 33. Id. v. l5. Virg. Georg. 
 iii. 204. Serv. ad. I.) The Romans 
 also constructed carriages after the 
 same model, which they employed for 
 ordinary purposes, and designated by 
 
 the same name (Cic. Att. vi. i. Ov. 
 Bont. ii. 10. 34. Suet. Gat. 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 
 (essedum) m the manner described 
 by Caesar (B. G. iv. 33.). Cic. 
 /«?«. 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. Cat. 
 35. Claud. 21. 
 
 EURITUS (tJpiffof.) Any artifi- 
 cial canal, or water course, of greater 
 or lesser extent, such as were made 
 to ornament a villa (Cic. Leg. ii. i. 
 Seneca, Bp. 83.) ; to afford a body of 
 water for the display of amphibious 
 or aquatic animals from foreign parts 
 as a spectacle (Plin. viii. 40.) ; and 
 especially, a moat filled with water 
 constructed by Julius Cassar round 
 the interior of the Circus Maximus 
 (Suet. Cas. 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 (spina) which ran down the 
 centre of the course. Tertul. adv. 
 Herniog. 31. Sidon. Cartn. xxiii. 356. 
 
 EUSTYLOS (tv!!Tv\oQ). 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 ®-]4© 
 structure, beauty of __ ^^ 
 appearance, and *" ~* 
 general conveni- @— 'i-# 
 ence. (Vitruv. iii. @--3— -^ 
 2. I.) The annexed Q—4 — ^ 
 diagram shows the 
 five different kinds of intercolum- 
 
268 
 
 EVERRICULUM. 
 
 EXCALCEATUS, 
 
 niation used by the ancients, with 
 their relative intervals, amongst which 
 the eustyle occupies the third line. 
 E VERRIC U LU M . The ordinary 
 fishing-net (Varro, R. R. iii. 17. 7. 
 Apul. Apol. p. 1.57. Non. s. v. p. 
 34) ; which as represented in the 
 ainiexed 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 
 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. Cass. 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 " {acisailus) ; 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 sepulchral 
 inscriptions, in the form of a caution 
 to the public against the commission 
 of such an offence. Inscrip. ap. Mur. 
 1028. 2. ap. Don. el. 12. n. 27. 
 
 EXA'MEN. The tongue on the 
 beam of a balance, rising perpendi- 
 cularly from the beam, and oscillating 
 within 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. 
 ^n. xii. 725. Pers. Sat. i. 6.) The 
 illustration represents a scale beam 
 
 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 {asda) ■ and as this 
 was the first operation before finish- 
 ing and polishing with other and 
 finer tools, the expression opus cxas- 
 ciatutK implies a work already some- 
 what advanced ; i. e., in which all the 
 preliminaries have been successfully 
 got through. Plant. As. ii. 2. 93. 
 
 EXCALCEATUS. Literally, 
 without shoes {calcei, Suet. Vesp. 
 7.) ; thence, in a special sense, a 
 cottiic 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- 
 
EXCUBITORES. 
 
 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. 
 
 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 {excubia) ; 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 tlie emperor's palace was 
 entrusted. Suet. A^ejv, 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 (xnXKfir;). A copper- 
 smith (Quint, ii. 21. 10.) ; but the 
 reading is not certain. 
 
 EXED'RA {i^iSpa). 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 (Viti'uv. vii. 9. 2.), constituting 
 
 EXOMIS. 269 
 
 one of the dependencies to a g)'mna- 
 sium, or to a private mansion of the 
 first class. It was, in reality, a jolace 
 fitted up for the reception of a party 
 of savans to meet and converse in 
 (Vitruv. V. 9. 2. Cic. N. D. 1. 6.), as 
 the philosophers were accustomed to 
 do in the Greek Gymnasium and the 
 Roman Thermte. 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. inai. 185.), 
 representing a scientific discussion 
 between several philosophers. Con- 
 sequently, in our ground-plan de- 
 scribing the ruins of the Gymnasium 
 at Ephesus {s.v.), the name of exedra 
 is assigned to each of the two divi- 
 sions at the bottom of the lateral 
 corridors, which terminate with a 
 similar absis. 
 
 EXED'RIUM (i^e^pioi'). Dimin- 
 utive of E.\;edra. Cic. Fain. vii. 23. 
 EXEQ'UI^. See Exsequi^e. 
 EXO'MIS (tfwyuie). A particular 
 kind of Greek tunic, afterwards 
 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 (wjuoc), as 
 well as the 
 arm and breast, 
 were left ex- 
 posed. (Aul. 
 Gell. vii. 12. I.) 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- 
 
270 
 
 EXOSTRA. 
 
 EXSEQUI^. 
 
 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 (Tripi/SXrjiia, JuU. 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 
 tlie arm and breast exposed, as ex- 
 hibited by the annexed figure from 
 the Vatican Virgil. 
 
 EXO'STRA (iKioaTpn). A 
 
 Vv'ooden 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 marmer 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 required ; 
 a dead body, for example, indicative 
 of a murder or a suicide. Cic. Frov. 
 Cons. 6. Jul. Pollux, iv. 128, 129. 
 
 EXPAPILLA'TUS. 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. 
 
 Literally, free and 
 
 whence applied. 
 
 EXPEDI'TI, 
 unencumbered ; 
 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. 
 ap, Non. s. v. p. 
 58. Cic. Att. 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'UIyE. 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 [praficcE), chanting 
 dirges, tearing their hair, and singing 
 the praises of the deceased. Then 
 followed the slaughter-man {yicti- 
 marius) ; whose business it was to kill 
 the favourite animals of their deceased 
 
-EXTISPEX. 
 
 FABRIC A. 
 
 271 
 
 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, phalera, 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 
 exhibited in the order above stated 
 upon a bas-relief, on a Roman sarco- 
 phagus, representing the funeral of 
 Meleager ; 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(>y7raro<rK07rof,crn-Xajx:- 
 j/offKoTTof). A soothsayer, or divi- 
 
 ner, who affected to interpret the will 
 of the gods, and the results of futu- 
 rity, 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. 
 
 EXTISPICIUM (I'/TraroffKOTrio). 
 An inspection of the entrails of ani- 
 mals for the purpose of predicting 
 events from their appearances ; 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 (puis fabada, 
 Macrob. Sat. i. 12.) was served up. 
 Lamprid. Heliog. 20. 
 
 F A B E R (rtKrui'). 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 j. Ferrarius) ; faber 
 teris, marmons, eboris, a worker in 
 bronze, marble, and ivory ; and 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 
 XaXKsiJc or aiSrjpcic, 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 
 
275 
 
 FABRILIA. 
 
 FALCASTRUM. 
 
 illustration represents a carpenter's 
 sliop, from a painting foimd 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 vmder which is in- 
 cluded all the different kind 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. i. II 5. 
 
 FACTOR. A term used at the 
 game of ball, which went by the 
 name of datalhn ludere^ or catch-ball ; 
 and given to the player who threw 
 the ball upon receiving it from the 
 dator. Plaut. Cure. ii. 3. 1 8. 
 
 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- 
 iuni). Pallad. xi. 10. i. Compare 
 Cato, R. R. 67. I. 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-ZI- 3- 
 
 FALA. A wooden tower of se- 
 veral stories high, employed in 
 .sieges, but the characteristic proper- 
 ties of which are unknown. Festus, 
 J. V. Ennius ap. Non..t. 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 militaiy spectacle of a sham fight 
 (decursio) was to be exhibited. Juv. 
 vi. 589. Non. /. c. Serv. ad. Virg. 
 ^n . 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. Ain. ix. 705. Liv. 
 xxxiv. 14, Grat. Cyneg. 342,) It is 
 described as a missile of the largest 
 dimensions (Non. s.v. p. 555') > ^^'''^ 
 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 Veierum, p. 158.). 
 Another specimen of very similar 
 
 character is exhibited on a sepulchra 
 marble discovered at Aquileia, pub- 
 lished by Bertoli (Antichifa di Aqui- 
 
 l(j<^, P- I53-)- 
 
 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 falct, 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 veiy 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. 
 
 FALCAS'TRUM. An instrument 
 employed in husbandry for clearing 
 away any thick overgrowth of weeds 
 
FALCATUS. 
 
 FALX. 
 
 2-]-. 
 
 and bushes ; consisting of the blade 
 of a sickle (falx) aifixed 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 (SpiTTavri^6po<;). 
 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- 
 ments were emblematically ascribed by 
 poets and artists to old Satumus, in 
 allusion to 
 his having 
 first intro- 
 duced agri- 
 culture into 
 Italy, or to 
 his mythical 
 character, as 
 the personi- 
 fication of Time {Cronos, Kpovoc), 
 the destroyer of all things. (Ovid, 
 lb. 216. Macrob. Sat. i. 7. and 8.) 
 Tlie latter quality, as of less common 
 occurrence, is selected for the illus- 
 tration,from a medal struck in honour 
 of Heliogabalus. 
 
 FAL'CIGER. Same as Falci- 
 FER. Auson. Ed. de Per. Rom. 36. 
 
 FAL'CULA {tpnaviov). Dimi- 
 nutive 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 (ifti-KCLvr], SpsTt-avov, 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 : — 
 
 I. Fanaria and Veruculata. A 
 scythe iax mowing grass (Cato, R. R. 
 A. 3. Pallad. i. 43. I. Columell. ii. 
 
 21. 3), always represented in ancient 
 works of art with a long and straiglit 
 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. Stramentat ia and Messoria. A 
 sickle for reaping com. (Cato, R. R. 
 X. 3. Pallad. i. 
 43- I-) The 
 illustration re- 
 presents an ori- 
 ginal discovered, 
 amongst various 
 otheragricultural 
 implements, in 
 the city of Pompeii. 
 
 3. Denticulata {dpTnj KapxapoSoi;]. 
 
 A toothed sickle, employed, instead of 
 
 the common one, 
 
 for reaping in some 
 
 parts of ancient 
 
 Italy, Greece, and 
 
 Egypt. (Columell. 
 
 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 paint- 
 ing, so that the reaper worked 
 upwards, cutting the stalk a little 
 below the ear (Job xxiv. 24. "cut 
 off the toJ>s of the ears of corn."). 
 
 S 
 
:74 
 
 FALX. 
 
 The different modes of handling the 
 toothed and the common sickle may 
 be seen in two paintings from the 
 tombs at Thebes, engraved by Wil- 
 kinson {Manti£rs and Customs of the 
 Egyptians, vol. iv. pp. 89. 98.). 
 
 4. Arboraria and Silvatica. The 
 common hedge-bill, or bill-lwok 
 (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 
 instrument used by the same 
 class of persons in our owm day, \^ ■' 
 as shown by the example, from an 
 original found at Pompeii. 
 
 5. Vinitoria, Vineatica, and Piita- 
 toria. The vine dressers pruning- 
 hook (Cato, R. R. xi. 4, 11 
 Pallad. i. 43. i . Columell. ^^^^^ 
 iv. 25. I.); 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 
 ^■ine5. 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 cun'ed one beyond, sinus, the 
 bend or hollow; the edge between the 
 hollow and the point, sealprum, the 
 knife ; the hook itself, rostrum, the 
 beak; the projecting spike beyond, 
 muero, the point ; and the lunated 
 edi;^e at the back, securis, the axe. 
 
 6. {pafiipii). h. falchion (Ck. Mil. 
 33. Stat. Ach. ii. 419. Polyb. x. iS. 
 28) ; which has the upper extremity 
 of its blade ver,- much cur\-ed, so as 
 in some respects to resemble a 
 sickle ; whence it is also e.xpressly 
 designated ensis falea/us (OWd, Met. 
 (. 718. ib. iv. 726.1, or hamaius. 
 lid. Met. V. So.) A weapon of this 
 form is frequently assigned by poets 
 and artists to Mercury and Perseus, 
 
 and is represented in the an- 
 nexed 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 designed in the 
 heroic style, with shield, 
 helmet, and mantle of skin. 
 
 r 
 
 7. Supina. 
 airved edge, 
 and pointed 
 blade, em- 
 ployed by 
 the class of 
 gl adiators 
 called Thra- 
 cians ( Thra- 
 ces), which 
 received its 
 designation 
 from the 
 
 manner in 
 which it was 
 handled; 
 being held 
 rather down, and, 
 its back {supina, 
 201); 
 most, 
 
 The knife with a 
 
 as It were, on^ 
 
 Juv. Sai. viii. 
 
 t.e., with the edge upper- 
 
 10 that the thrust was made 
 
 at the bottom of the belly, and the 
 wound carried in a ripping direction 
 upwards, precisely as the modem 
 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 (copvlpk—avor). An 
 instrument employed in warfare, both 
 naval and militar)', 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. S. G. iii. 14. Stra- 
 bo, iv. 4. I. Liv. xxx\'iii. 5. Caes. 
 B. G. \-ii. 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 
 cpr machinery, so as to mow, cut, or 
 jiull out, in the manner described. 
 
FA NUM. 
 
 FASCIA. 
 
 = 15 
 
 g. Poetically used for Dolabra 
 (Prop. iv. 2. 59.) ; an instniraent 
 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- 
 mula of the augurs (effatum) to some 
 deity (Varro, L. L. vi. 54. Liv. x. 
 37. Cic. Div. I. 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 ; m&At 
 of minced ingredients inclosed in the 
 inside of any eatable. Varro, L.L. 
 V. III. 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 ii confused jumble of things. 
 (Varro. H.R. i. 31. 5. Columell. ii. 
 II. 8. Plin. xviii. 41. Nemes. Cy- 
 neg. 283). 
 
 FARRA'RIUM. A bam 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 ((Tireur^ic). A slave 
 whose especial business it was to 
 fatten poultry for the table ; or one 
 who kept and sold fatted poultry. 
 (Columell. viii. 7. I. 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, 
 'Callus, 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 nibble employed for filling 
 up the internal part of a wall between 
 the outside surfaces, when the wall 
 
 was not constructed of solid masonry 
 or brickwork (Vitruv. ii. 8. 7;), as 
 shown by the annexed specimen of 
 Roman building. 
 
 FAS'CIA. In a general sense, any 
 long narrow strip of cloth employed 
 as a bandage ; such, for in- 
 stance, as the swaddling- 
 band [airdpyavov) in which 
 the ancients were accus- 
 tomed to envelope the bo- 
 dies of newly-born children. 
 (Plaut. Truir. v. 13. Com- 
 pare Amphtr. v. i. 52.) 
 It consisted of a, long and 
 narrow cloth-band twined, 
 like a mummy-cloth, 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 
 Diadem A. 
 
 3. (a7ro^£ff/joc). 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 
 shown by the two examples here 
 
276 
 
 FASCIA. 
 
 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- 
 lopment, 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 (cms. 
 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 
 Avhose 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 ^neas, 
 when equipped for a hunting excur- 
 
 sion with thequeen of Carthage, hashis 
 legs protected by bandages exactly like 
 those of the charioteer here introduced. 
 5. (ttoShov, or ttoShov). A sock or 
 stocking (Cic. Frag. ap. Non. .r. 
 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. It will 
 
 not fail to be observed that 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 fedulis (Ulp. Dig. 34. 
 2. 25.), which assuredly means " a 
 sock," for the same terra pedule 
 is retained in the modem Italian 
 language to designate the foot part of 
 a stocking. 
 
 6. (Kfi'pia, Poll. X. 36.) A band of 
 coarse and strong cloth, forming what 
 is now called the sacking or ticking, 
 which supports the mattress of a couch 
 
FASICULVS. 
 
 or bed. (Cic. Div. ii. 65.) Several of 
 these bands were stretched across the 
 framework, and interlaced with cords 
 (nstes) to strain them tight, in the same 
 manner as still practised. This is 
 clearly to be inferred from Mart. 
 £p. 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- 
 
 FASCIS. 
 
 277 
 
 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. 
 FASCICULUS. Diminutive of 
 Fascia. 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. B. 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. 
 
 FASCI'NA. Same as Fascis, i, 
 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, 
 Z. L. V. 130.) ; feet and legs (Cic. 
 Har. Resp. 21. Hor. Sat. ii. 3. 255,) ; 
 as explained in the article Fascia. 
 
 FASCIS [i^iaicikoq and 0aKeX\oc). 
 Accurately, a packet of things, but 
 more especially wood (Hirt. B. G. 
 viii. 15. Tac. Ann. xiii. 35.), wattled 
 together, and made up into a 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 {a\ pa^- 
 Soi). 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 (Plant. 
 Asin. iii. 2. 29.), wattled 
 together, and bound round 
 with thongs into the form 
 of a fascine. Daring 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 
 
278 
 
 FASC/S. 
 
 FAS EL US. 
 
 fasces with an axe in tlie city of 
 Rome (Cic.de Rep. ii. 31. Val. Max. 
 iv. I. I.) ; tlie 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. /Yawf. 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 submittere. 
 The lictor walked before the ma- 
 .gistrate to whose service he was 
 attached with a rod (virga) in his 
 right 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 pro:- 
 ferre ; but if a magistrate of inferior 
 rank met a sviperior, 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 [tpaari'Xog). A light 
 craft invented by the Egyptians, 
 supposed to have received its name 
 from some resemblance to the pod of 
 a fascitis, or kidney-bean. It was 
 made of the papyrus, of wicker-work, 
 and sometimes even of baked earth 
 [fictilis, 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 larger being of consider- 
 able length (Aero, ad Hor. /. c), 
 fitted with sails, and employed in 
 warfare and on distant expeditions 
 (Sail. ap. Non. s. v. p. 534. Cic. Att. 
 
FASTI. 
 
 i. 13.), whence it is mentioned as 
 forming an intermediate class be- 
 tween the navis longa, or war galley, 
 and the navis actuaria, or transport 
 and packet boat. (Appian. Bell, 
 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 ; holidays ; 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 
 
 FAUX. 279- 
 
 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 nilers, as a token of divinity. 
 (Cic. Phil. ii. 43. Florus, iv. 2.) 
 
 FAT'UI and FAT'U^. 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. SO. 
 
 FAUX. From its origmal 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 
 
2S0 
 
 FA VISSAT. 
 
 FEMINALIA. 
 
 of the tablinum ; and as there were 
 frequently two of these, one on each 
 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 itiipluviiim 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 front 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. (Van-o, ap. Gell. ii. 10. Broc- 
 chi, Suolo di Roma, p. 152.) Three 
 pits of this nature were discovered 
 under the ruins of an ancient temple 
 at Fiesole, filled with broken musical 
 instruments, various implements and 
 utensils in ivory and bronze, as well 
 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 [favus), used for making 
 pavements of the kind termed sec- 
 
 tiha. (Vitruv. vii. 1.4.) The illus- 
 tration represents a piece of pave- 
 ment in the Thermae of Titus at 
 Rome ; the honey-comb pattern is 
 laid with slabs of fine marble, of the 
 kind called pavonazelto. 
 
 FAX (^ai-os). A torch; which 
 \vas 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 ifaculce), as shown 
 by the illustration, from 
 the Column of Antoninus. Virg. 
 Georg. i. 291. Liv. xxii. i5. Plin. 
 H. M xix. 7. 
 
 FECIA'LIS. See Fetialis. 
 
 FEMINA'LIA or FEMORA'- 
 LIA. Short breeches, or dra^vers 
 which covered the thighs 
 [femora], being fastened 
 round the waist, and 
 terminating a little be- 
 low the knee (Suet. 
 Aug. 82. fsidor. 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- 
 
FEMUR. 
 
 FENESTRA. 
 
 aSi 
 
 use, they seem to have been very 
 generally adopted ; particularly by 
 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 (/j))po(,). In architec- 
 ture, the long flat projecting face 
 between each channel (canaliculus) 
 of a triglyph (Vitruv. iv. 3, 5.); 
 
 Zl 
 
 ra 
 
 n Hit 
 
 ■~Ennnn3 tnnccn 
 
 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 
 
 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 (%vpk)- K window ; 
 inclusive of the aperture (lumen) in 
 
 the wall, through which the light is 
 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 
 
 sarcophagus of a later period, found 
 in the Vatican cemetery. 
 
 2. Fenestra biforis [Bvpie SikXic). 
 A window opening in two leaves 
 from top to bottom, such as we call a 
 French 'wi}Ldow. 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 modem 
 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 
 
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. 
 
 FENESTRULA. SameasFENES- 
 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. I. Suet. Aicg. 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. y/;/. 37.); and even the cap- 
 tives themselves, when of sufficient 
 consequence, were subjected to this 
 cruel exposure. (Senec. Here. Oet. 
 no.) The illustration, from abas- 
 relief on the Arch of Titus, repre- 
 
 conquest of Jerusalem, carrying the 
 spoils of the temple, the " table of 
 gold" (I 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 levh 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 {qua 
 ferrentur, non qucE tenerentur. Non. s. 
 Decuriones, p. 520. Festus, s. v.), 
 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. Ami. xii. 35. 
 
 2. Equites ferentarii. Amounted 
 corps of the same description, fur- 
 nished with javelins for throwing at 
 a distance, instead of the fixed cavalry 
 lance ; qui ea viodo habebant arma 
 quce ferrentur, ut jaculum. Varro, 
 L.L. vii. 57. 
 
 FER'ETRUM and FERET'RUM 
 (ipkptTpov). Strictly speaking, a 
 
 sents eight Roman soldiers at the 
 triumph of that emperor, after the 
 
 l?jyfi;.^feiffi 
 
 Greek word, which the Romans ex- 
 pressed by capulus (Serv. ad Virg. 
 
FERRARIA. 
 
 FIBULA. 
 
 283 
 
 ^n. vi. 222.) ; the bier, on which a 
 dead body was carried to the grave, 
 or to the funeral pile (Virg. ^n. 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 qffi- 
 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. 
 
 (Plant. Rud. ii. 6. 47. Inscript. ap. 
 Spon. Miscell. Antiq. p. 66.) The 
 engraving represents Vulcan and his 
 companions at their forge, from a 
 Roman bas-relief. 
 
 FERRITER'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. Tiin. iv. 3. 14. 
 See CoMPEDiTUS. 
 
 FERRIT'RIBAX. (Plaut. Most. 
 ii. I. 9.) Same as preceding. 
 
 FERULA {vapdr)V). T:\\&/ennel; 
 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. Fers. v. 174.) Also 
 called VINDICTA. 
 
 FETIA'LES (0maXfic and (prjTt- 
 dXfif ). The members of a college of 
 heralds at Rome, to whom was en- 
 trusted the duty of seeking redress 
 of grievances from hostile slates, 
 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. (Gell, 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 cobimna bellica, on 
 which the figure of Minerva is seen 
 in the act of discharging a spear, as 
 above described. 
 
 FIB'ULA (mpOVI], TTOpTTT), fl'frr;). 
 
 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, 
 
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 
 {acus^ TTipovrj), 
 
 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 lilce nature 
 (Virg. ^n. 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 Pjestum ; which like- 
 
 wise illustrates such expressions as 
 fibula adunco morsu (Calpurn. Ed. 
 vii. 81.), and fibida mordaci dente. 
 Sidon. Carin. ii. 397. 
 
 3. A buckle; employed in fasten- 
 ing girdles, belts, straps, harness, and 
 
 -IJU 
 
 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. ^n. 
 
 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 oi'namental 
 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, villa) 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 
 {yEn. 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. 
 
 5. In a more general sense, the 
 word is also used lo 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, R. R. iii. 5.) ; a band which 
 braces the withies in a basket toge- 
 ther (Cato, R.R. xxxi. I.) ; and 
 a contrivance adopted by surgeons 
 for closing wounds (Greek, ayKrrjp), 
 which compressed the lips of the 
 orifice, and held them together, when 
 sewing {sutura) was either inexpe- 
 dient or impossible. Celsus. v. 26. 
 23. lb. 7. 4. 
 
 FICTILE (Kipanov). A general 
 name given to any thing made of 
 earthenware or potter's clay ; in- 
 cluding vessels, moulds, or casts in 
 terra-co.tta, bricks, tiles, &c. 
 
 FICTOR (7r\«ffr»)c). A general 
 term for any artist who models in 
 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 
 fingera and nails, which gave rise to 
 
 FIGULUS. 285 
 
 the expression ad unguem factus homo 
 (Hor. Sat. i. 5. 32.), meaning a 
 finished gentleman. 
 
 2. A sort of confectioner, or artist 
 who executed models in pastiy or 
 wax of different animals required for 
 sacrifices 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. 
 ^n. ii. 116. 
 
 FIDE'LIA. A sort of vessel, 
 jar, or pot made of earthenware, or 
 glass (Columell. xii. 38. i.), 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. Plant. Aid. iv. 2. 15. 
 Pers. Sat. v. 183. Columell. xii. 
 10. 4. 
 
 FIDES or FIDIS. Apparently- 
 from the Greek a<jiiSri, 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. 
 
 FIDTCEN. 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 
 FiDls. A small or thin musical 
 string. Cic. N. D. ii. 8. 
 
 2. Mostly in the plural, FIDICUL.* ; 
 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. Cal. 33. Seneca, Ira, 
 iii. 3. and 19. 
 
 FIG'ULUS (Kipafidc). Any artist 
 or mechanic who works in clay ; as, 
 one who makes figures and ornaments 
 in terra-cotta (Plin. JI. N. xxxv. 
 43.), represented by the preceding 
 illustration ; a brick-maker (Juv. x. 
 171.), represented by the engraving 
 s. Lateraria; a potter (Varro, 
 R.R. iii. 15. 2.), of which trade the 
 
286 
 
 FISCELLA. 
 
 figure, from an Egyptian 
 affords an example. The 
 
 annexed 
 painting, 
 potter sits on 
 the ground be- 
 fore his wheel 
 {roia), 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 artizan 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 {BOaavoi, Kpoaaol). A 
 fringe, or ornamental border to a 
 piece of cloth 
 (Celsus, ii. 6 
 Varro, L. I 
 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 |Csesar wore 
 them round the wrists of a long- 
 sleeved tunic. (Suet. Cas. 45.) The 
 illustration is from a painting at 
 Pompeii. 
 
 riMBRIA'TUS (9u(Ta7.wr6c). 
 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 
 rations, 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. Cccs. 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 
 cream (TibuU. ii, 3. 
 ruotta 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. (0(/jot;}. A small basket put 
 over the noses of oxen, as a muzzle, 
 to prevent them from cropping the 
 young shoots of the vines when 
 
 with curdled 
 15.), called 
 
 ploughing (Cato, R. R. 54. 5. Plin. 
 //. 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. 
 
 FISCEL'LUS. Diminutive of 
 Fiscus. Same as Fiscina. CoIu- 
 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 fiscdla ; as 
 a fruit basket (Cic. Fl. 17.) ; a cheese 
 basket (Mart. i. 44.) ; a muzzle for 
 horses (Plin. xxxiv. 19. § 70 > ^nd 
 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. lb. 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 privala Piincipis, ratio Ct^saris), 
 and from the Exchequer, or Treasury 
 of the State (tsrarium), 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. 
 
 F I S T U' C A. A rammer, with 
 which walls of masonry, floorings, 
 and pavements were levelled and 
 consohdated (Phn. H. N. xxxvi. 61. 
 Cato, R. R. 28. 2.), as shown by the 
 
 FISTULA. 287 
 
 annexed example, from the Column 
 
 of Trajan ; aL-io employed for driving 
 
 piles under water 
 
 (C«s. 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 (fisiuca). Vitruv. vii. 4. 5. 
 Plin. H. N. xxxvi. 63. 
 
 FIS'TULA ((TwX)ji<). A water 
 pipe. (Cic. Rabtr. perd. ii. 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. (avpiyt). A Pan's pipe, made 
 of the stalks of the reed, cane, or 
 hemlock. (Virg. Ed. ii. 36. TibuU. 
 ii. 5. 31.) See Arundo, 6. 
 
 3. A writing pen made of reed or 
 cane. (Pers. iii. 14.) See Arundo, 5. 
 
 4. (KaBiTTip). A metal catheter, 
 distinguished by the ancient surgeons, 
 as well as our own, into two sorts, 
 the male and female. (Celsus, vii. 
 26. I.) See Catheter. 
 
 5. An implement employed by 
 the shoemaking trade ; perhaps, a 
 
FISTULATOR. 
 
 FLAGELL UM. 
 
 shoemaker's pinch. Plin. H. N. 
 xvii. 23. 
 
 6. A rolling pin for making pastry. 
 Apic. 42. 
 
 7. Fistula farrariu, ferraria^ or 
 serrata. Supposed to be a macliine 
 for grinding corn (Plin. II. N. xviii. 
 23. Cato, li. R. 10. 3), but tlie read- 
 ings are uncertain ; some of tlie old 
 editions of Cato have fiscella fari- 
 na7-ia. 
 
 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 (Plant. 
 Trin. ii. i. 29.), 
 wdiose 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 (p.ir/f). 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. II.), or some expansive 
 material, painted in brilliant colours 
 (Mart. iii. 82.) ; were not constructed 
 
 to open atld 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 em- 
 ployed for pur- 
 pose. (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 (\xa<sTi.l). 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. ^0^1.2.41. lb. 3. 119. Mar- 
 
 cell. Dig. 48. 19. 10.). Though a 
 diminutive of Flagrum, 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. //. cc.) ; 
 and the nature of the wound pro- 
 duced by it is always specified by 
 words which are descriptive of cut- 
 ting, such as cctdere, secare, scindere 
 
FLAGRUM. 
 
 FLAMEN. 
 
 289 
 
 (Hor. Juv. //. cc. Ov. Ibis, 1 83.), in 
 contradistinction to those connected 
 with flagrmn which express an 
 action of thumping or pounding, such 
 as finsere or rumpere. The scourge 
 held by the upright figure in tlie il- 
 lustration, which is copied firom 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. vS«. 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 scuiica. 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. ALn. vi. 730. 
 Servius ad I. 
 
 FLA'GRUM. An instrument 
 employed chiefly for the punishment 
 of slaves (Plant. 
 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, Plant. Merc. ii. 3. 80. rum- 
 fere, UIp. Dig. 47. 10. 9. ), and not 
 
 of cutting, or lashing, which is cha- 
 racteristic of the flagelliim. Livy 
 (xxviii. II.), 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 fiye tails, but otherwise 
 of similar character to the present. 
 
 2. Flagrmn talis tessellatuvi {^xckj- 
 7-1? aarp ay aKiDTi}). A whip com- 
 posed of a number 
 of long lashes (p?-o- 
 lixe jiinbriaium), 
 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 fimbriatujH (Apul. /. f.), 
 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 (Varrc, 
 L. L. V. 84.) ; as Dialis, of Jupiter; 
 Martialis, of Mars ; Quirinalis, of 
 Romulus, His pontificial dress was 
 the lana, fastened by a brooch at the 
 throat, and the cap called apex, witli 
 an olive stick and flock of wool on 
 its crown, _Serv. ad Virg. ./En. 
 iv. 262. 
 
 T 
 
290 
 
 FLAMINICA. 
 
 FLAMIN'ICA. Tlie wife of the 
 Flamen Dialis. Festus, s. Flameii. 
 
 FLAMMEA'RIUS. One who 
 makes, or deals m^ fianimea. Plant. 
 Atil. iii. 5. 35. and Flammeum. 
 
 FLAMME'OLUM. Diminutive 
 of Flammeum ; not, however, mean- 
 ing small in size, but of -- 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 
 ^'Lucan. ii. 361.), as exhibited in the 
 above figure, from a Roman marble, 
 representing a bride (nupta) at her' 
 wedding ; and was so retained until she 
 arrived at her new home, when she 
 was unveiled by her husband ; as is 
 exemplified by the annexed figure, 
 also from a Roman marble, in which 
 
 the bride is seen sitting unveiled 
 upon a couch, but with the flam- 
 meum still on her shoulders, 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 
 
 not as an 
 
 FOCULUS. 
 
 in late times by some of the cavalry 
 regiments of the 
 Roman armies (Ve- 
 get. Mil. ii. i. Id. 
 iii. 5.) ; which may 
 have received the 
 name from being of 
 a yellow colour, like 
 the bridal veil, {flam- 
 metim) \ or from be- 
 ing notched at the 
 end into long pointed forks like a 
 flame {flamma), a specimen of which 
 is exhibited in the annexed wood-cut 
 from the arch of Septimus Severus. 
 
 FOCA'LE (-rrpoayVaOiSu 
 wrapper for the neck 
 and jaws {fauces, 
 quasi faucale), like 
 our neck-doth or 
 cravat ; originally 
 only worn by deli- 
 cate persons and in- 
 valids (Hor. Sat. ii. 
 3. 255. Quint, xi. 3. 
 ordinaiy part of the Roman costume, 
 as it is of ours ; but when the exten- 
 sion of the Empire forced the Roman 
 soldiers 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.)j a collis dependentia, ad foven- 
 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. UIp. Dig. 4. 9. I. 
 
 2. Focaria. A female slave 
 ployed in the above services 
 chen-maid. Ulp. Dig. 33. 7- 
 Pomp. ib. 15. 
 
 FOCULUS. Diminutive of Fo- 
 cus ; any small, or portable fire-place ; 
 
 em- 
 kit- 
 12. 
 
FOCUS. 
 
 291 
 
 especially in the following specific 
 senses and uses : — 
 
 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. 
 Dotn. 47.) The exam- 
 ple represents a small 
 marble altar, showing 
 the foculus at the top, 
 from an original found at Antium. 
 
 2. (^iTxaioioi'). A brazier, or cha- 
 fing-dish, in which charcoal or wood- 
 ashes were burnt, for the purpose of 
 warming apartments. Many of these 
 have been discovered in the houses 
 of Herculaneum and Pompeii, both 
 
 round and square, but similar in 
 general character to the specimen 
 annexed, from an original of bronze. 
 
 3. A small portable stove or fire- 
 place, employed for culinary and 
 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 
 charcoal was to be inserted, and a 
 vessel on the top, containing the in- 
 gredients which the figure stirs round 
 whilst they boil. 
 
 FOCUS (iiTTin, inxapn). A fire- 
 place ; the hearth of a house. (Cic. 
 Sen. 16. Hor. Od. i. 9. 5. Tibull. i. 
 I. 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 
 the altar of the household gods also 
 
 stood (see Ara, 5.): hence the frequent 
 juxtaposition of the words pro arts et 
 focis in solemn adjurations. It con- 
 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 {vard), but in most 
 cases without any flue or chimney to 
 carry off the smoke. 
 
 2. Same as FocuLUS, i. The 
 hollow part at the top of an altar for 
 burnt-offerings, in which the fire was 
 kindled ; thence, the altar itself. 
 Ov. A. A. i. 637. Tibull. i. 8. 70. 
 
 3. Focus turicremis. A brazier 
 or fire-pan, made of metal and fur- 
 nished with han- 
 dles for the 
 convenience of 
 being transported 
 from place to 
 place, and upon 
 solemn occasions 
 set down before 
 the altar or 
 statue of a divi- 
 nity, to serve the 
 purpose of a cen- 
 ser for burning 
 pastiles of frankincense. (Ov. Her. ii. 
 l8. Marini, Fr. Arv. p. 311.) The 
 illustration, from an ancient Roman 
 fresco, exhibits u female with a dish 
 of pastiles in her left hand, and the 
 
 focus turicremis burning on the ground 
 beside her, into which she drops them 
 one by one. 
 
 4. A sort of hot plate, invented by 
 the luxurious Romans for the pur- 
 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 
 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 
 canam prosequitur. (Senec. Ep. 78.) 
 
292 FODINA. 
 
 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 (fi'iTaWov). A mine 
 from which minerals, &c., are dug ; 
 each particular mine being marked by 
 a distinguishing epithet ; as, aiiri fo- 
 diiia, 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, 
 FOiNISEX'. A mower of grass with 
 a scythe, as contradistinguished from 
 a reaper of corn with a sickle. Co- 
 lumell. ii. 18. 5. Id. xi. I. 12. Varro, 
 R. R. i. 49. 2. 
 
 FOLLICULA'RE (na/ci^^jn). The 
 shaft of an oarat thepointwhere it pro- 
 trudes from the E^EEEEE^^z^-l^^ 
 oar port, which 
 was encircled 
 by a leather 
 cap or bag 
 (folhadiis), 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 
 
 FOLLIS. 
 
 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 or 
 
 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 e-xercise 
 without violent exertion. (Mart, 
 xiv. 47.) The annexed illustration 
 is from the device on a coin of Gor- 
 dian iii., as published by Mercuriali 
 
 (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 giiico 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. 
 Mlil. ii. 20. 
 
 4. [fvaa). A pair of bellows; 
 
FORCEPS. 
 
 consisting of two boards, with a 
 air-valve (parma), united 
 by a sliin 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 {Lticern. vi. 24. 2.), 
 Cic. N. D. i. 20. Pers. 
 V. II. Bellows, also 
 made of goat's skin (folks hircini), 
 are mentioned by Horace {Sat. i. 4. 
 19.) ; and of bull's hide {folks 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. I. p. 64. London, 1846. 
 
 5. FolUs 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 0. Fer- 
 RARIUS. 
 
 FORCEPS {-Kvpaypa). 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, ALn. viii. 453.) The example 
 represents a pair of Vulcan's tongs, 
 from a marble bas-relief. Compare 
 illustrations s. Marcus and ]\Iar- 
 
 CULUS. 
 
 2. (pijnypn). A particular kind of 
 dentist's instrument, in the form of 
 
 FORI. 
 
 293 
 
 pincers, employed for extracting the 
 roots of decayed teeth (Celsus, vii. 
 12. I.) ; a purpose which medical 
 
 men have assigned to the instrument 
 here figured, from an original dis- 
 covered, amongst other surgical in- 
 straments, in a house at Pompeii, 
 and for which it seems well adapted. 
 
 3. {ohovraypa). A pair of pincers 
 for drawing teeth (Celsus, vii. 12. 
 I.), which were constructed with 
 bent claws {uncis). Lucil. Sat. xix. 
 II. Gerlach. 
 
 4. {apdio9-^pa. Serv. ad. Virg. 
 yEn. xii. 404.) A pair of pincers 
 expressly constructed for the purpose 
 of extracting spear or arrow heads 
 from wounds. Virg. and Sei'v. /. c. 
 
 5. In military language ; same as 
 FoRFEX, 3. Cato, ap. Fest. s. Serra. 
 
 FORFEX (i/zaXic, ftdxaipa SiirXi}, 
 Pollux, ii. 32,) A pair of scissors, 
 clippers, or shears, em- 
 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 4'aXif, 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 
 weiglits. 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 an enemy advancing in the 
 shape of a wedge {cuneus), which it 
 admitted within its position, and then 
 closed upon his flanks. Veg. Mil. 
 iii. 18. Gell. x. 9. 
 
 FORFIC'ULA {i,a\\lwv). Di- 
 minutive of FoRFEX. Plin. H. N. 
 XXV. 23. 
 
 FORI. Plural of FoRUS. The 
 
294 
 
 FORTCA. 
 
 FORIS. 
 
 ship's floors (Latin and Anglo-Saxon 
 Glossary of the loth century). This 
 includes the flooring of the deck 
 (Gell. xvi. 19. 3.) ; the gangways 
 by which the mariners passed about 
 the vessel (Cic. &;/. 6. Lucan. iii. 
 630.), those between tlie rowers' 
 benches (Virg. ALn. 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. t'estus, j. 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 
 
 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 movable lid with its handle. 
 
 4. Narrow furrows in a field or 
 garden formed into parallel lines by 
 the hoe. Columell. x. 92. I. 
 
 FORTCA (ydfcoc). A set of public 
 privies, like the cabhiets ifaisancs 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. Theophrast. 
 Char. 14. where the absent man, 
 having overeaten himself, is obliged 
 to go out at night to the privy, and 
 gets bitten by his neighbour's dog as 
 he returns home ; which proves that 
 the word is not applied to a private 
 
 convenience, but a public one apart 
 from his own residence. 
 
 FORICA'RIUS. The lessee of a 
 FORICA. Paul. Dig. 22. I. 17. § 5. 
 
 FORIC'ULA. Diminutive of 
 FoRls ; a 'iuindow-shutter. (Varro, 
 K. R. i. 59. I.) See the illustration 
 s. Fenestella, ^^'hich shows a shal- 
 low recess on the outside of the wall, 
 to receive a wooden shutter when it 
 was pushed bade from the window. 
 
 FORIS {(Tavigj K\iaiaCj Bvpirpov). 
 The door itself, as distinct from the 
 doorcase (Liv. vi. 34. Cic. Verr. ii. 
 I. 26. Plant. Cure. i. 3. I.) ; and- 
 especially of one which opened out- 
 wards. (Serv. Ain. i. 449.) The 
 doors of the ancients were generally 
 made in two leaves, like our folding 
 doors (illustration s. Janua) ; con- 
 sequently, 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 
 
 iSSi,friSi.'<i;iii'E:n ffiis EST .si^-^^5K>^J 
 
 used in the interior of their houses, 
 as shown by the illustration, from the 
 Vatican Virgil. 
 
 2. Fores carce^is. The doors 
 
 which closed the front of a stall in 
 
FORMIDO. 
 
 295 
 
 the circus, in which the horses and 
 chariots were stationed before they 
 started for the race, as sliown by tlie 
 annexed wood-cut, from a bas-relief 
 in the British Museum. Ov. Trist. 
 V. 9. 29. 
 
 FORMA (ri'iTroc). A model, mould, 
 ox form, by which other things of a 
 plastic, fusible, or ductile nature are 
 made to assume any shape required ; 
 as — 
 
 I. 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 
 
 oven to be baked in its mould. The 
 illustration shows an original mould 
 on the light hand found at Ardea, 
 with the cast from it [ectypus] on the 
 left. 
 
 2. (x'oni'oi,). 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 For?nula. 
 Vallad. vi. 9. 2. 
 
 5. {KoKa-KovS). K 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 is conse- 
 quently embedded in the earth, like a 
 cast in its mould. 
 
 FORMA'CEUS. See Paries. 
 
 FORMEL'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. 
 
 FORMI'DO. 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 diflferent 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 
 
2g6 
 
 FORMULA. 
 
 FORNAX. 
 
 was exhibited. (Grat. 85. 88. Ne- 
 mes. 304. Virg. Ain. xii. 750. Senec. 
 Ira. ii. 12. ) Hence the alhision of 
 Horace {Sat. i. 8. 3.), when he terms 
 Priapus the terror of thieves — furum 
 formido. 
 
 FOR'MULA. Diminutive of 
 Forma. 
 
 FORNACA'RIUS, 70RNACA'- 
 TO R, F U R N A C A' T O R. The 
 slave wlio attended an oven, or a 
 furnace at tlie batlis. Ulp. JDig. 9. 
 2. 27. Paul. Dig. 33. 7- 14- Inscript. 
 in the batlis at Pompeii. 
 
 FORNAC'ULA. Diminutive of 
 FiJKNAX. A small furnace for 
 smelting metals (Juv. x. 82.) ; or for 
 heating, boiling, or melting anything 
 
 .^t^ 
 
 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 u neighbour- 
 ing pottery, to varnish ~ 
 over the outsides of '(''''^,'jj 
 the earthenware vessels ^'l:'--^ 
 there made. The small S^^ 
 cut, let into the text, Y?^. 
 presents a transverse 
 section of the copper and furnace, 
 and shows how they were con- 
 structed. 
 
 2. Fornaciilis halnearnm. The fur- 
 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 floonng of the room towards 
 the right. 
 
 FORNAX (tohd'oc). An oven or 
 kiln for baking pottery. Cic. A^. I). 
 i. 37.) The illustration shows the 
 
 remains of a Roman pottery l^iln, 
 discovered near Castor in Northamp- 
 tonshire. The low door in front is 
 the entrance to the furnace (prcefur- 
 Ilium) ; the circular building at the 
 back, the kiln in which the vessels 
 were baked upon a floor suspended 
 over the furnace. The floor still re- 
 mains entire, as shown by the eleva- 
 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 ^^'-''^-x.,^ 
 
 oven, will be /' X 
 
 better under- / \ 
 
 stood by the 
 annexed section 
 of the structure, 
 in which all 
 these particulars 
 
FORMICA TUS, 
 
 FORNIX. 
 
 297 
 
 are visible ; and nothing is added but 
 some vases and a dotted line to com- 
 plete the original form of the kiln. 
 
 2. Fornax ceraria. A smelting fur- 
 nace {Plin. H. N. xi. 42. Virg. Ain. 
 vii. 636.) ; of -which an example is 
 given at p. 104. j. Caminus. 
 
 3. Fornax calcat'ia. A lime kiln 
 (Cato. R. 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 
 (p-afurniuin), both in front and 
 rear ; the former for introducing the 
 fuel, the latter for removing the em- 
 bers. The guUey or shaft [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 gi'ound (summa for- 
 nax) was then built up with bricks 
 or rough stones (caimentd), 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 (prbis summus). 
 
 4. Fornax balinei. (Labeo. Dig. 
 19. 2. 58.) The furnace of a bath. 
 See FORNACULA. 2. 
 
 FORNICA'TUS. See Paries. 
 
 FORNIX. Kwarch; 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. To/. 4. Seneca, £/. 90.) Same 
 as Arcus, 4. which see. 
 
 2. An archway, erected by some 
 individual to commemorate himself 
 and ornament the city (Cor. Vcrr. 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 the 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 s, 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 'i^x^^ fornication. The illus- 
 tration represents a set of small 
 rooms constructed in this manner 
 
 amongst the ruuis 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 y(>;';z?.r. 
 
 4. A vaulted sally-port in the 
 towers and walls of fortified places, 
 by which the defenders might m.ake 
 
 a sudden irruption aganist their 
 assailants. (Liv. xxxvi. 23.) The 
 
298 
 
 FORNUS. 
 
 FORUM. 
 
 illustration represents one of the 
 towers belonging to the walls of 
 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, op. Non. s. v. p. 531, 
 
 FORPEX. (Cato A'. R. x. 3. 
 Suet. Aug. 75.) Same as FoRFEX. 
 A pair of tongs. 
 
 FORTAX. (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 a7'- ' 
 maritim, but forming a 
 small moveable reposi- 
 tory (Suet. ^z;^. 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 
 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. ds Legg. ii. 24. 
 
 2. [ayopa). 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 
 
 fSfl 
 
 the 
 
 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, Z. 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, basilicce, 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. (Vitmv. 
 V. I. 2.) Of the famous Roman 
 forum nothing now remains but the 
 ruins of some pf 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- 
 
FORUM. 
 
 299 
 
 mensions, form one of the most dis- 
 puted points of Roman topography. 
 But the excavations of Pompeii have 
 opened the Forum of that city, tlie 
 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 
 
 
 
 
 ■*■'*»«'■ I II t ■ I M M p 
 
 P •••■■••••••• TTT-i^ 
 
 re • • * "''7^ 
 
 [jQjtff^ 
 
 colonnade of two stories, backed by 
 a range of spacious and lofty build- 
 ings all round. The principal en- 
 trance is through an archway (for- 
 nix) (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 Foram, 
 and by its side the public prison {car- 
 eer] (c), in which the bones of two 
 
 m#^ 
 
 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 
 
FORUM. 
 
 FOSSOR. 
 
 which the principal entrance is in a 
 side street, abutting on tlie Forum, 
 and flanking the basiUca (f), beyond 
 which there are three private houses 
 out of the precincts of the Forum. 
 Tlie further or southern side of the 
 square is occujjied 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 (ararhim) ; 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 ( forticu%) 
 and a cloister (ciypla), 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 {seitaaiht.ni), for the 
 Pompeian senate. The rear of both 
 these structures is covered by the 
 premises belonging to a fuller's es- 
 tablishment (fullonua). 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 vTroXyviov). A parti- 
 cular part of the press-room, where 
 wine or oil was made. Varro, i. 54. 
 2. Columell. xi. 2. 'JI. 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. 
 nj). Non. p. 206. 
 
 2, Foriis aleatorius. A dice-board. 
 Suet. Aug. 71. Senec. Cons, ad Po- 
 lyh. 36. 
 
 FOSSOU [apiiKrtjQ). An excava- 
 tor (Inscript. ap. Murat. 1970. 3.) ; 
 or s^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 fossorid), 
 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. ((TKrt0euc, (TKaTraj'fut"). 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 
 
PR ACES. 
 
 d^Sg^>; or agricultural labourer, who 
 turns up or trenches the ground 
 with a spade, (Virg. Georg. ii. 264. 
 Pallad. i. 6. 11. Alciphr. Ep. iii. 
 38'), in the manner sliown by the 
 
 FRIGIDARIUM. 
 
 301 
 
 annexed example, from a painting of 
 the same description as the last. 
 
 FRACES (ars/Ktivya). The husks 
 of the olive, after the juice had been 
 extracted ^by bruising and squeezing 
 the fruit. Cato, A\ 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 missile 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. (xaXn'Ms). A horse's 
 
 bridle, including the bit, head-piece. 
 
 and reins. (Cic. Hor. Virg.) The 
 example is copied from the arch ot 
 Septimius Severus. 
 
 FRIGIDA'RIUM. A cool place 
 or larder for preserving meat. Lucil. 
 Sat. viii. 7. Gerlach. 
 
 2. One of the chambers mentioned 
 by Vitruvius, as connected with the 
 bathing department of a gymnasium 
 (Vitruv. V. II. 2.) ; the actual use 
 and precise nature of which he does 
 not state, nor is it easy to deteimine. 
 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 
 (elxothesium), precisely as represented 
 in a painting from the Thermfe of 
 Titus, introduced at p. 142. Reason- 
 ing from analogy and the sense in 
 which the term is used by Lucilius 
 {see No. I.), 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 ft igida- 
 riunt and frigida lavatio, in the pas- 
 sage of Vitruvius above cited, has 
 induced Maiini, and Professor Becker 
 with him, to alter the former reading 
 into tepidarium ; but the painting 
 referred to, from the Thermte of 
 Titus, which shows a frigidarium 
 adjoining the elaeothesium, as Vitru- 
 viusdirects, seems sufficient to establish 
 the original reading as the genuine one. 
 
 3. Ahenuni, 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 
 
302 
 
 FRJTJLL US. 
 
 FUCUS. 
 
 by the annexed woodcut, from a 
 painting in the Thermze 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 (fHgida- 
 riunt), which, as shown by the en- 
 graving, was completely removed 
 from the heat of the furnace. 
 FRITIL'LUS ((Ji^os). 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. i. 
 
 FRONS. Applied to books ; 
 mostly in the plural, frontes gemince 
 (Ov. Tivt. i. I. 
 II. TibuU. iii, I. 
 13.) ; the two out- 
 side surfaces or 
 bases of roll of 
 papyrus, &c. when 
 it was rolled up so 
 as to form a volume (volumen), 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 
 i\\t\\- frontes uppermost. 
 
 FRONTALE (ainrvl). A front- 
 let, or head band, placed across the 
 foreheads of horses 
 (Plin. If. N. xxxvn. 
 74.), as seen in the 
 annexed example 
 from a fictile vase. 
 It sometimes con- 
 sisted of a plate of 
 gold (Horn. //. V. 
 358.), and, amongst 
 persons of regal state, was often en- 
 riched with precious stones. Plin. /, l. 
 
 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. [TTPoi^srioTriSiov. 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 
 Taj:t. p. 15. Xen. Cyr. iv. i. Id. 
 Anab. i. 7.) This practice was in- 
 troduced by the Medes or Persians; 
 and elephants, when caparisoned for 
 action, were provided v/ith a defence 
 of the same nature. Liv. xxxvii. 40. 
 
 FUCA'TUS. Rouged or painted, 
 as explained in the next paragraph. 
 
 FUCUS (ipvico^). Rouge ; 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. (Plant. 
 Most. i. 3. 118. Prop. ii. 18. 31.) 
 It was prepared from a certain kind 
 
FULCRUM. 
 
 of moss (Lichen rocella L.), and was 
 laid on with a brush, as in the an- 
 nexed example from a fictile vase ; 
 
 FULLONICA. 
 
 ?>^?> 
 
 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. Baculus) ; 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. ApoU. Ep. 
 iii. 90. Sella equestris.) 
 
 FULLO (KKa^fui'). A fuller, a 
 cleaner and scourer of cloth, (Mart, 
 xiv. 51.) The fullers, who foimed 
 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. 
 1 8), collected from vessels exposed 
 in comers of the streets for the pur- 
 pose. (Mart. vi. 93.) The cloth 
 was then dried and bleached upon a 
 semicircular frame (cavea vimined), 
 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 (cardo fiillonicus), 
 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 FuUonica 
 at Pompeii. 
 
 FULLO'NICA and FULLO'- 
 NIUM (Ki-n^fiov.) 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 wood-cut, are pain- 
 ted. D. Afountainwith ajetofwater, 
 a representation of which is introduced 
 under the wore Sipho. e. A spacious 
 apartment, opening upon the peristyle 
 or courtyard of the premises, and 
 perhaps used for drying the clothes. 
 F. A tablinum, Vith a room on each 
 side of it, where customers were pro- 
 
3°4 
 
 FULLONICA. 
 
 bably received, when they came upon 
 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. t. 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 
 
 FUMARIOLUM. 
 
 assigned. Q. The furnace of the 
 establishment. R. An apartment con- 
 tiguous to the furnace. s. Stairs 
 ascending to an upper story, ttt. 
 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 
 norcommunication with the P'uUonica. 
 
 FULLO'NIUS or FULLO'- 
 NICUS. Applied to any of the im- 
 plements or articles used by fullers ; as 
 pila ox creta fuUonica (Cato R.K. x. 5. 
 Plin. H. N. xvii. 4.), fuller's earth ; 
 saltus fullonius (Seneca £/. 15.), the 
 jumping and stamping which fullers 
 practise in scouring clothes, as repre- 
 sented by the last woodcut, and ex- 
 plained by the text which accom- 
 panies it. 
 
 FULMEN'TA (icaaav/ja). An 
 abbreviation of fulcinienta, used to 
 designate a thick, or probably extra, 
 
 sole attached to a shoe or boot. (Lucil. 
 Sat. xxviii. 40. Gerlach. Plant. 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 
 \.^xrazi.fiibnent(e, 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 
 
FUMARIUM. 
 
 FUNAMBULUS. 
 
 305 
 
 the next word. The vent or aper- 
 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. 
 
 F U N A' L E. 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 sepulchralmar- 
 ble preserved in the church of Santa 
 Giustina, at Padua. Isidor. Orig. xx. 
 10.5. Cic. &«. 13. Virg. ^«. 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. Eqiius {-n-apaaupos, 
 (JupaipopoCf Trapijopoi,). An oui~ 
 rigger to a carriage drawn by 
 horses abreast. (Stat. TAei. vi. 462. 
 Isidor. Orig. xviii. 35. funarius.) 
 
 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 
 fiinalis (^t^tofffipoj) ; the left hand 
 one, or near horse, sinister or Icevus 
 /unalis {Suei. Tib.b. Axiion. Epitaph. 
 XXV. 9.). The illustration, which is 
 copied from Ginzrot, {Wagen und 
 Fahiwerke. T. 40.), exhibits a trace 
 on the outside horse attached to the 
 front of the carriage ; or to its axle, 
 which in that case must have pro- 
 jected laterally much beyond the body 
 of the carriage, to afford width for 
 the out-riggers. If this trace is not a 
 restoration by himself, it is, perhaps, 
 the only instance of such an attach- 
 ment exhibited on any ancient monu- 
 ment. Indeed Isidorus says (1. c.) 
 that the most ancient practice was to 
 have two poles, and one yoke extend- 
 ing across the withers of all four 
 horses, and when that custom was 
 relinquished, that the out-rigger was 
 fastened to the yoke-horse by nothing 
 but a brace, {simplici vinculo), which, 
 as it was made of rope, gave rise to 
 the term ; and in that manner the 
 out-rigger appears to be universally 
 represented by the artists of antiquity. 
 FUNAM'BULUS (o,Y<'"'"|8n'-'7f)- 
 A rope dancer. (Terent. Ilecyr. Prol. 
 i. 4. Compare Hor. Ep. ii. 1. 210.) 
 The illustration, which represents one 
 of nine figures, dancing on the tight 
 
3o6 
 
 FUNDA. 
 
 FUNDITORES. 
 
 (all of whom are in different attitudes, 
 and exhibiting some individual 
 feat), indicates the general degree of 
 perfection to which the ancients had 
 carried this art, as the figure is play- 
 ing upon the double pipes, while he 
 dances on the rope to his own music. 
 FUNDA (cr^ii'Soi'?;). A sling, for 
 discharging stones, or leaden plum- 
 mets {glandes); a (^TK 
 weapon common- '^t^' 
 
 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, 
 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. AUn. ix. 586. 
 FUNDITORES. 
 
 2. {ai^ipij3\i](jTpov). A casting'fiet ; 
 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 Thermie of 
 Titus, affords a faithful representation 
 of the manner in which it was 
 thrown. The expression of Virgil, 
 however, verherat 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 tlie 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. {a(pii'S6i')i, TrueXic). The iezil 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 au 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 Ballistic ; but the distinctive cha- 
 racteristics are unknown, further than, 
 as the name implies, that its action 
 was that of a sling. 
 
 FUNDI TO'RES [<!(^ivlc,vi)Tai). 
 Shngers ; 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 (Liv. 
 i, 43.) ; and, consequently, like them, 
 vi'ore no body armour, nor any offen- 
 sive weapon, besides their sling, (see 
 the examples. FuNDA, i.), with which 
 it was their duty to annoy the enemy 
 
FUNDULA, 
 
 FURCA, 
 
 3°7 
 
 from any part of the field to which 
 they were ordered, (Sal. yug. 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- 
 Slcetch 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, 
 and two small sewers 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. I. 
 
 FUNERE'PUS. (Apul. Flor. i. 
 5. lb. iv. 18. § I.) Same as Fu-\.\M- 
 BULUS. 
 
 FUNUS. A funa-al, 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. 0>ig. xi. 2. 
 34. DonaL ad Terent. Andr. i. I. 
 81.) Subsequently, however, the 
 practice of night burial ^\'as confined 
 to the poorer classes, who could not af- 
 ford the expense of a pompous display. 
 
 2. Funus publicum, or indictkium. 
 A grand and public funeral, celebrated 
 
 Ov. Trist. 
 Suet. Dom. 
 
 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 gentilititim. 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. /f. AK 
 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 Exsequi^. 
 
 4. Funus taciturn, or iranslaiitiuni. 
 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. " ~ 
 i. 3. 22. 
 
 5. The funeral pyre. 
 15. Pyra, Rogus. 
 
 6. A dead body or corpse (Prop. i. 
 17. 8.) ; whence also the ghost 01 
 shade of a deceased 
 person (Prop. iv. 
 II. 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 (I'lKpavov). A two- 
 pronged fork, such as a stable-fork, 
 
 hay-fork, pitch-fork. (Virg. Georg. i. 
 264. Ylox.Ep. i. 10. 24.) The an- 
 
3o8 
 
 FURCA. 
 
 nexed example represents the iron 
 head of a hay-fork, supposed to be 
 Roman, but certamly of great anti- 
 quity, wiricli 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 carnariiwi (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- 
 N.4-RIUM) ; resembling, no doubt, the 
 instrument which our butchers use 
 for taking down a joint of meat, and 
 other tradesmen whose articles are 
 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. (trrijpiyj, (xnipiyfin). 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 a Pompeian 
 
 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 
 
 FURNACEUS. 
 
 the one 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. Cas. ii. 6. 
 37.). It was also (^ 
 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. Fers. v. 
 2. 73. Liv. i. 26. Suet. A'a-o, 49. 
 
 6. A contrivance for the infliction 
 of capital punishment, on which slaves 
 and robbers were hung ; a gallows or 
 gibbet. Callist. Zi^n 48. 19. 28. Paul. 
 Big. 33. Ulp. ib. 13. 6. 
 
 FUR'CIFER. Literally, one who 
 carries burdens on a 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 word is commonly 
 used as a term of contempt, equiva- 
 lent to our slave, villain, gallows- 
 bird. Plaut. Amph. i. I. 132. Ter. 
 E.7Ln. v. 2. 22. Cic. Vatin. 6. 
 
 F U R C I L' L A. Diminutive of 
 Furca. A small fork, but still of 
 considerable size, according to our 
 notions ; as a hay-fork (Varro, R. R. 
 I. 49. I. Cic. Att. xvi. 2.) ; a vine- 
 prop, two feet high. Varro. ib. i. 8. 6. 
 
 F U R' C U L A. 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. K gimbld 
 (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 
 
FURNARIUS. 
 
 baked in an oven [furnus) ; as contra- 
 distinguished from focacitis, which 
 was baked on the hearth, and clibani- 
 cius, wliich was baked in a clibanus. 
 Plin. H. N. xviii. 27. 
 
 FURNA'RIUS. A baker by trade. 
 (Ulp. Dig. 39. 2. 24.) Compare 
 COQUUS. 
 
 FURNUS (lirvdc). Kxv oven ; for 
 baking bread (Plaut. Cas. ii. 5. i. 
 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 thie annexed woodcut as 
 it now appears, with some of the mills 
 for grinding flour in the shop before 
 it. The small arch at the bottom 
 contained the fuel ; the one above is 
 
 FUSCINULA. 
 
 3°9 
 
 the oven itself, over which there is a 
 flue to carry off the smoke. 
 
 2. A baker's shop. (Hor. Sat. i. 
 4. 37.) The preceeding 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 {rpiaiva). 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 0. 
 Tridens. 
 
 2. A weapon of similar form and 
 character, used by the class of gladi- 
 ators called lietiarii, 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. Cal. 30. Juv. ii. 143. 
 FUSCIN'ULA. Diminutive of 
 FusciNA. A ca7 ving-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 
 
FUSCINULA. 
 
 FUSUS. 
 
 the other countries of Europe from 
 Italy, where it was in common use long 
 before other nations had learned the ad- 
 vantage of such a luxury. (Coryate, 
 Crudities, 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 
 Pfestum 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 (Beclcman, 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 Paestan 
 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. BUCCUL^, OCREA, ClN- 
 GULUM, 4., LORICA, I. ; besides 
 several others of more common 
 occurrence. 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 Kpfaypa undoubtedly corre- 
 sponds with the Latin harpago, a 
 flesh-hook ; furca, fiiscina, furcula, 
 and furcilla 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 
 furcilla 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 «/. Gmt. Jnscript. 1141. i.), 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. I. 
 
 FU STER'NA. The upper portion 
 of a fir pole, which is thick set with 
 branches, as contradistinguished from 
 the lower part [sapinus), which is 
 free from knots. Plin. H. N. xv. 
 76. § I. 
 
 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 (IvXoKovia). 
 A punishment inflicted upon soldiers 
 for desertion or other serious ofiences ; 
 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 Nirg. Ain. vi. 825. 
 
 FUSUS {cLTpaKToi;). A spindle; 
 usually made of a stick about twelve 
 inches in length, and used with 
 the distaff (colus), for twisting or 
 spinning the fibres of wool or 
 flax into thread (Plin. H. N. xi. 
 27. Ovid. Met. vi. 22. TibuU. ii. 
 I. 64.) ; a process described at 
 length under the word Neo. The 
 
engraving 
 
 FUTILE. 
 
 small figure in the 
 represents a spindle used 
 by Leda in a Pora- 
 peian painting ; the other 
 two are from an Egyp- 
 tian original, the right 
 hand showing the in- 
 strument 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- 
 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. 
 Sei-v. ad Virg. Mn. xi. 339. 
 a</Terent. Andr. iii. 5. 3. 
 
 Donat. 
 
 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. J. 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. II. 
 
 GAB' ATA. A particular kmd 
 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. 
 
 GjE'SUM (yaiiToi/). Aveiy strong 
 and weighty javelin, which appears 
 to have been made, both head and 
 
 GALEA. 311 
 
 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. J-. V. p. 555.) The weapon was 
 of Gaulish origin (Virg. Mn. 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 (xpavoQ, mpvQ, irtpiKopa- 
 Xaiof). 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 hemlet. (Isador. Orig. xviii. 
 14. Ov. Met. viii. 25. Virg. ^n. 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, 
 
312 
 
 GALEA. 
 
 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. Sicakius. 
 
 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 
 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 wood-cut ; 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 \AIil. 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 and of fur, worn by hunts- 
 men (Nepos, Dat. 14. 3.), like the 
 examples j-. Cudo and Galerus, i. 
 
 7. (auAwTfu). 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 eras. 
 (Sil. Ital. xiv. 656. Compare Stat. 
 Theb. xi. 373.) The illustration re- 
 presents two helmets of this descrip- 
 
GALEA. 
 
 GALER U^. 
 
 313 
 
 tion, both from fictile vases ; the one 
 on the left drawn down over the 
 face, the other as it was worn when 
 pushed baclc, 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 ; — Kmvoq (apex), the 
 ridge on the top of the head-piece, to 
 which the crest was affixed ; \6(j>oQ 
 (crista), the crest, consisting of horse 
 hair, and sometimes two or three 
 of these were worn, as in the right- 
 
 hand figure ; yfiirov, a projection 
 over the front of the face like a pent, 
 sometimes moveable, but more usu- 
 ally fixed ; Trapayva9id€g [bucculiz), 
 cheek-pieces, attached to each side of 
 the casque by hinges, and fastened 
 inider the chin by a clasp or a button ; 
 ^aXoQ, 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 ^dXof consists of two 
 griffins, one on each side of the ridge ; 
 such a helmet was thence termed A- 
 (fioKoQ : in other specimens the crest 
 itself is supported upon a similar 
 figure, in the manner described 
 by Homer (//. xiii. 614.), just under 
 tlie 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 dfi^itpaXoc;, and the 0a\ot in 
 such cases, when sufficiently large, 
 would touch each other, as mentioned 
 by Homer, //. 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. Fop. Rom. 
 ap. Non. p. 547. Interp. Vet. ad 
 Virg. Eel, vii. 33.) ; evidently so 
 termed from being made in a deep 
 and circular form lilce a helmet. 
 
 GALERIC'ULUM. Diminutive 
 of GaleruM; both in the sense of a 
 fur cap (Frontin. Strateg. iv. 7. 39.) ; 
 and a wig. Suet. Otho, 12. 
 
 GALERITUS. 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 
 (icio/tj)), A scull-cap made from 
 the skin of ani- 
 mals with the fur 
 left on ; worn \<j 
 rustics (Virg. Mo- 
 ret. 121.) J hunts- 
 men {Grat. Cyneg. 
 339.) ; and by the old inhabitants of 
 Latium, instead of a helmet. (Virg. 
 ^«. vi. 688.) The example is given 
 by Du Choul (Castramet. p. 100.), 
 from a Roman monument. 
 
 2. A fur cap of similar character, 
 worn by the Pontifices (Apul. Apol. 
 p. 441.), and the Salii (Juv. viii. 20S.), 
 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. 
 ^n. ii. 683. ) ; , 
 which adjuncts, as they increased the 
 apparent size of the object, will explain 
 why Juvenal characterises it as " tall," 
 in accordance with the illustration 
 annexed from a medal of M. Antony. 
 
 3. A wig of artificial hair (Juv. vi. 
 
314 
 
 GALLICS. 
 
 120. Avian. Fab. x.), sewn on to a 
 scalp, in order to fit the Iiead in the 
 same manner as still practised. 
 (TertuU. de Cult. Foim. Suet. Otho, 
 12. Compare Ov. A. Am. iii. 165.) 
 Many of the female busts, and even 
 some of the portrait statues, preserved 
 in the Vatican and Capitol, are fur- 
 nished witli 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 
 hair is removeable, vifith 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 period 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 hy 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 tlie statue. 
 
 GALL'ICyE. A pair of Gaulish 
 shoes; the original of the French 
 ^aloches and of our galoshes. They 
 
 GANEA. 
 
 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 modem 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-hand 
 example ; whence they are classed 
 amongst the solea by the Latin 
 writers, to distinguish them from 
 the regular calcti, which were close- 
 fitting high-lows . that completely 
 enveloped the foot and ankle. Thej 
 were partially adopted at Rome be- 
 fore 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. 
 ii. 30. Aul. Gell. xiii. 21.) Under 
 the empire they came into more 
 common use, and were made for all 
 classes, and of different qualities. 
 (Edict. Dioclet. /. c.) Both the spe- 
 cimens in the engraving are copied 
 from 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. iii. 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 
 
GANEO. 
 
 of indelicate subjects, characteristic of 
 the purposes to which it was applied. 
 
 GA'NEO. Literally, one who 
 frequents a ganea ; thence k 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- 
 different, which accounts for the con- 
 flicting terms in Avhich 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. 
 
 G A S T R U M. An earthenware 
 vessel, with a full swelling body or 
 belly ; whence the name. Pet. Sat. 
 70. 6. lb. 79. 3. 
 
 GAUL US (tavXdii). A large 
 round full-bodied vessel, which might 
 be put to several uses ; as, a drinking- 
 goblet (Plant. Ktid. v. 2. 32.) ; a 
 milk-pail (Horn. Od. ix. 223.) ; a 
 water-bucket (Herod, vi. 119.) ; &c. 
 
 2. (yaCXoj). A particular kind of 
 ship, of a round build, with a broad 
 beam, and capacious hold (Festus, 
 J. V. Aul. Gell. X. 25. 3.), employed by 
 the Phcenician merchants and by pi- 
 rates, in consequence of its fitness for 
 stowing away any quantity of booty. 
 
 GAU'SAPA, GAU'SAPE, and 
 GAU'SAPUM l^yavaaT^m). 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 cover.'!, and other domes- 
 tic purposes. Plin. H. N. viii. 73. Lucil 
 Sat xxi. 9. Gerlach. Ov. A. Am. ii. 300. 
 Hor. Sat. ii. 8. II. Mart. xiv. 152. 
 
 2. A wig made of the light flaxen 
 hair pecuUar to the German races, 
 
 GENIUS. 315 
 
 which colour was much prized by 
 the ladies of Rome. Wigs of this 
 kind were also got up and 
 worn by men hired to re- 
 present 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. 
 
 GAUSAPA'TUS and GAUSA- 
 PI'NUS. Applied to anything 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 twin recipients, side by side, 
 instead of a single cavity. 
 
 GENIUS (dya^oJai/jwj'). 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. TibuU. iv. 5.) He is re- 
 presented as a beautiful boy, entirely 
 
 naked, with the exception of the youth- 
 ful chlatnys on his shoulder, and 
 furnished with a pair of bird's-wings, 
 in the manner represented by the 
 
3i6 
 
 GERRyE. 
 
 CIRGILLUS. 
 
 annexed engraving from a painting 
 at Pompeii. Compare JuNONES. 
 
 2. Genius loci. The guardian spirit 
 of a place ; for amongst tlie 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. 
 Ain. V. 85. Inscript. af. Grut. viii. 
 4. Prudent, contra Symmach. ii. 
 441.) ; consequently images of these 
 reptiles are frequently represented 
 feeding upon 
 an altar ; or, as 
 in the example, 
 from a painting 
 in the Ther- 
 mae 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. (icaKn^aiVwi'-) Amongst the 
 Christian writers on sacred subjects, 
 the Genius is represented as an einl 
 spirit, said to be condemned to eter- 
 nal punishment, for his pride and 
 rebellious conduct. TertuU. Apol. 32. 
 Anim. 39. Lact. ii, 15. 
 
 GERR^ [y'tppov]. Anything 
 made of wicker work ; whence trifles, 
 trumpery, mere bagatelles. Plaut. Pcen. 
 i. I. 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 
 character she has to personate by 
 dancing and mimetic action of the 
 
 hands and feet, but without the use 
 of language. Aul. Gell. 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. Fmf. 3. 
 
 GILLO ifiavKoKiov, pavicaKtg). 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 {ylyyXvfioe). Lite- 
 rally, a joint which moves in a socket, 
 like the elbow ; thence a /linge (Xen. 
 Ei^. 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 order to raise water 
 from a well by means of a rope and 
 bucket ; a contrivance precisely simi- 
 lar to those used in most country 
 places at the present day, as shown 
 
GLADIA TORES. 
 by the annexed example from a mar- 
 
 GLADIUS. 
 
 317 
 
 2i<tujill!fp 
 
 ble sarcophagus of the Vatican Ceme- 
 tery. Isidor. Orig. xx. 15. 
 
 GLADIATO'KES (novoiiaxoi). 
 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- 
 tives taken in war, but were sometimes 
 slaves, and more rarely freebom 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- 
 
 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 freeborn person who 
 trained and served as a gladiator for 
 hire. Liv. xliv. 31. 
 
 GLADIATU'RA. The practice 
 or art of a gladiator. 1a.z.Ann. iii. 43. 
 
 GLADIOLUS {^KpiSwv). Dimin- 
 utive of Gladius ; same as Lingula. 
 Aul. Cell. X. 25. 
 
 GLADIUS (?i>oi). 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 
 Romansoldiery, as contradistinguished 
 from the cui-ved 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 4i'0of had a leaf-shaped 
 blade, no guard, but a short cros?-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 {baltms) 
 against the left side, as shown by the 
 figure of Agamemnon at p. 73. The 
 
3i8 
 
 ■GLANS. 
 
 Romans used a sword of similar char- 
 acter to the Greek one until the time 
 of Hannibal, when they adopted tlie 
 Spanish or Celtiberian blade (Polyb. 
 vi. 23.), which was straight-edged, 
 longer and heavier than that of the 
 
 Greeks {Floras, ii. 7. 9.), as will be 
 readily understood from the annexed 
 example, representing a Roman ^la- 
 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, suspendedbyashoulder- 
 band, as shown by the engravings at 
 pp. 6. 22. 1 36. ; the officers wear their 
 swords on the left, attached to a belt 
 round the waist {cinctorium and wood- 
 cut, p. 159.); and the swords of the 
 cavalry are longer than the weapons 
 of the infantry. 
 
 GLANS ifioXvliSk). A large 
 leaden slug or plummet, cast in a 
 mould, and used instead of a stone to 
 be discharged from a sling. (Sail. 
 
 _?«^. 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. 
 OreUi. 4932), "Strike, O Rome!" 
 Others have been 
 found in Greece, 
 inscribed with the 
 figure of a thun- 
 derbolt, or AESAr, 
 "Take this." 
 
 GLOMUS (to- 
 Xuvn). A clew, or 
 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 
 
 GOMPHUS. 
 
 spun into worsted or thread, and rolled 
 up into a ball to be ready for using in 
 the loom. The illustration 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 lapful 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. Alt. iv. 4. Lucil. Sal. xxvi. 42. 
 Gerlach. 
 
 GNO'MON (yi'w/xwi-). 
 or pin on a sun-dial which 
 marks the hour by the 
 shadow it casts (Plin. 
 //. 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 (yoM^of)- Properly 
 a Greek word, which signifies a large 
 wedge-shaped pin (Schol. Aristoph. 
 Ep. 463. TertuU. 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 whicli they used to 
 place at intervals between the ordi- 
 
 The index 
 
 nary kerb stones bounding the fool- 
 
GRABATULUS. 
 
 GRADUS. 
 
 ;i9 
 
 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. Met. i. pp.8. 9. 12. 
 
 GRABA'TUS (Krpd/SaroE or /c/)a/3- 
 Paroe). A small low couch or bed of 
 the commonest description (Cic. Dili. 
 ii. 63. Virg. Morel. 5.), such as was 
 used by poor people, having a mere 
 network of cords stretched over the 
 frame (Lucil. Sat. vi. 13. Gerlach. 
 Pet. Sat. 97. 4.), to support the mat- 
 trass, precisely as represented by the 
 
 annexed engraving from a terra-cotta 
 lamp. 
 
 GRADI'LIS. See Panis, 2. 
 
 GRADUS. A set of bed-steps, 
 consisting of several stairs (Varro, 
 L. Z. , V. 168.), which were requisite 
 
 when the bedstead was of such a 
 lieight from the ground that it could 
 not be reached by a simple scamnuin. 
 The illustration represents Dido's 
 marriage bed in the Vatican Virgil, 
 with a set of these steps at its foot. 
 
 2. A flight of steps leading up to 
 the porch (pronaos) of a temple. 
 iCic Att. iv. I. Virg. ^n. 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 
 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. 
 Am. 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 
 
 larger steps ; the smaller ones, run- 
 ning direct from the doors of en- 
 trance, being only staircases (scaltB), 
 by which the spectator descended 
 until he arrived at the particular 
 
PRMCOSTADIUM. 
 
 GRAPHIUM. 
 
 gradits, on which the place belonguig 
 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 
 
 f iiiii 
 
 
 in| 
 
 W w ) 
 
 SiL _ja\^ 
 
 iE!l^3i 
 
 % t 
 
 W^\ 
 
 when shalcen, 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. II. lb. 2. 4. 
 
 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-Cleni, iii. 4.) 
 has the hair parted in the centre, and 
 regularly crimped on both sides, like 
 a girl's. 
 
 GRyECOSTAD'IUM. Capitol. 
 Antonin. 8. Same as 
 
 CxR^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. I.) 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 GrcEcostasis, if they 
 now remained, must belong, as it was 
 rebuilt by that emperor, after having 
 been totally destroyed by fire. Capi- 
 tol. Antonin. 8. 
 
 GRALL^. A pair of stills msiie, 
 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, a^. Non. p. 115. 
 and C.'iPRiPES. 
 
 GALLA'TOR (KoXojianuv, raXo- 
 /3ari;(,). One who walks upon stilts. 
 Plaut. Pl^n. iii. i. 27. Varro, af. 
 Non. p. 115. and Gka'llm. 
 
 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. I. 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 GraphiaHa 
 Theca. A sheath or case for holding 
 the sharp-pointed graver (graphium), 
 employedforwriting on tablets covered 
 with wax. Mart. xiv. 21. Suet. 
 Claud. 35. 
 
 GRAPHTUM iypaipiov). 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. II. 23.) The example repre- 
 
 sents an original between eight and 
 nine inches long, found in an excava- 
 
GREGARIUS. 
 
 G U BERN A C UL UM. 
 
 321 
 
 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. Cms. 82. Id. 
 Cal. 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. I.) Their accoutrements, of 
 course, varied according to the class 
 of troops to which they belonged, 
 and whether Romans, allies, or auxi- 
 liaries. 
 
 2. Cregarius eques. A cavalry 
 trooper below the rank of an officer. 
 Tac. Hist. iii. 51. 
 
 GREMTUM. 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 
 children (Cic. Div. ii. 41. Virg. 
 ^«. i. 689. Pedo Albin. i. 116.); 
 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. 
 
 GRI'PHUS (ypI(6oc and ypiTroc). 
 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 v/ar ( 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 anything doubtful or ob- 
 scure, such as a riddle or enigma. 
 Aristoph. Vesp. 20. Aul. Gell. i. 2. 2. 
 
 GROMA and GRUWA (yvw/iwi.). 
 An instrument used by 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 gruma, the central 
 point at which four cross-roads meet. 
 Non. /. c. 
 
 GRYPS and GRYPHUS (yprf). 
 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 {T!i]la\wv). 
 A rudder which originally was no- 
 thing more than a large oar, with a 
 very broad blade, as in the right-hand 
 figure subjoined, from the column of 
 Trajan.either fastened by braces (funes, 
 Veg. Mil. iv. 46. t,ivy\ai, Eur. Hel. 
 1556.) outside the quarters of a vessel, 
 or passed through an aperture in the 
 bulwarks ; but in ils more improved 
 form it was furnished with a cross- 
 bar inboard which served as a tiller, 
 
322 
 
 GUBERNA TOR. 
 
 GUTTURNIUM. 
 
 like the left-hand figure, from a Pom- 
 peian painting. Its different parts 
 
 were distinguished by the following 
 names : ansa, the handle, A ; claviis, 
 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 
 own helmsman, if the vessel was a 
 large one (Scheffer, jV//. Nav. p. 301.); 
 but were both managed by a single 
 steersman when it was small enough, 
 as in the following example. 
 
 GUBERNA'TOR [Kv/SipviiTrig). A 
 helmsman or pilot, who sat at the 
 stern to steer the vessel (Cic. &«. 9.), 
 gave orders to the rowers, and di- 
 rected the management of the sails. 
 
 (Virg. ^n. X. 21S. 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 Gravim. 1 1 . 
 
 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. :. 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/E. Drops, in architecture, 
 used principally under the triglyphs 
 of the Doric order, in the architrave, 
 and under the taenia (Vitruv. iv. 3, 
 4.), as in the annexed example ; but 
 I, ~ 
 
 ™ 
 
 HI 
 
 nBccnn 
 
 "Ecncn^ 
 
 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 (ttpoyooc). A 
 water-jttg 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 
 
GUTTUS. 
 
 from GuTTUS, but the termination, 
 urnium, is an augmeniative, 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 
 was 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. 
 Gell. xvii. 8.) The example represents 
 a sacrificial guttus from a Pompeian 
 painting. 
 
 GYMNASIAR'CHUS (yi/^i/nin'- 
 ap)(pQ). 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. 
 22. 7. extr. Sidon. Ep. ii. 2. 
 
 GYMNA'SIUM (yu/irarrior). 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 
 
 GYMNASIUM. 323 
 
 which were constructed upon a scale 
 of great splendour, and furnished 
 with every kind of convenience ;— r 
 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 
 his details, or which might be 
 produced as authorities sufficiently 
 perfect to clear up the many ob- 
 scurities still apparent in his account. 
 Yet enough is left of them to show 
 that they were constructed upon 
 one and the same general prin- 
 ciple, varied only in the details 
 and such local distribution of the 
 parts, as the nature of the site or 
 taste of the architect would naturally 
 induce. But this principle is the 
 veiy reverse of the one 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 
 
3^4 
 
 GYMNASIUM. 
 
 the model of the Greek Gymnasia ; 
 as will be at once apparent by com- 
 paring the plan s. TherM/E 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 afford 
 a clear and accurate notion of 
 the number and variety of parts es- 
 sentially required in a Greek Gym- 
 nasium, and of the manner in which 
 they were usually distributed. 
 
 AAA. Three single corridors {for- 
 ticus simplues) 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 trihus porticibus), as Vi- 
 
 I nil 
 
 f>/ " ' ",<>'y>?7m^ - 
 
 m 
 
 I 
 
 
 truvius directs. B. A double corri- 
 dor facing the south {porticus duplex 
 ad meridianas regiones conversa), so 
 
 constructed, that the inside walk 
 might afford shelter from the rain, 
 when driven inwards by windy wea- 
 
GYMNASIUM. 
 
 GYNMCEUM. 
 
 325 
 
 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- 
 tended as the exercising-roora of the 
 ephebi, and opening on to the centre 
 of the double corridor {in duplici 
 porticu, in medio). D. Coryceum, on 
 the right-hand of the last apartment 
 {sub dextro), E. Conisterium, the 
 next adjoining (deinde froxime). 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) ; 
 so that his design provided for three 
 rooms on each side of the ephebeum 
 instead of two, as in the present ex- 
 ample ; but the proximate situation is 
 the same in both. G. Elaeothesium ; 
 the first apartment an the left hand 
 of the youths' exercising-hall (ad 
 sinistram ephebei). H. Frigidarium ; 
 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. L The next room is 
 probably a Tefiidarium, 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 ot 
 the three rooms yet unappropriated 
 (r r r) 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 Sphceristerttim ; 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 
 falcestra. 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, 
 quee spectaverit ad septentrionem^ pei'- 
 ficiatur duplex] ; and two others 
 (tt), called xysti (Kvaroi) by the 
 Greeks, with exercising grounds in 
 front of them (stadiata), 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 (hypiBthrce ambulati- 
 ones, 7rapa^po;ui^£f), 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 athleta. 
 
 GYNyECE'UM, GYNECI'UM, 
 and GYN^CONI'TIS (yvvaiKtXov, 
 
326 
 
 GYNyECIARIUS. 
 
 HABSNA. 
 
 yvvaiKhin'riQ). 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. Plant. 
 Most. lii. 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, 
 wlro commences his description of a 
 Greek house with the Gynseceum, 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 (uTrtpwov) ; and in 
 after times the same distribution 
 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 {andronith) ; so 
 that it would occupy, with its depend- 
 encies, much the same position as the 
 peristylium 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, u cloth 
 factory, or establishment in which 
 
 only women were employed in spin- 
 ning and weaving. Cod. Just. 9. 
 27. 5. Id. n. 7. 5. 
 
 3. The Emperor s seraglio. Lact. 
 Mort. persecut. 21. 
 
 GYN^CIA'RIUS or GYN^E'- 
 CIUS. The overseer or master of 
 the factory girls in a gynceceum, or 
 spinning and weaving estabUshment. 
 Imp. Const. Cod. II. 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 : — 
 
 I. (jji'iai). 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. (pvTayujyivi). In the singular ; 
 a halter rope, or leading rein attached 
 to a horse's head stall, as contradis- 
 
 tinguished from franum, 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- 
 TLTM, I., 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. 
 
NALTERES. 
 
 HAM US. 
 
 327 
 
 5. The lace or strap by which the 
 cheek-pieces {buccula] 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 for flog- 
 ging a top. Virg. ^«. vii. 380. 
 
 HALTE'RES (dXrjjptt). 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. 
 (Mart. vii. 67. Id. xiv. 49. Compare 
 Senec. Ep. 15. and 56. Juv. vi. 421.) 
 
 The illusti-ation 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 (/. <:.). 
 
 HAMA (a/ui).) A pail or bucket ; 
 used in the wine cellar (Plaut. Mil. 
 iiL 2. 42.) ; by firemen and others 
 for extinguishing conflagrations (Juv. 
 xiv. 305. Plin. Ep. x. 35. 2.) ; for 
 drawing water from a well. Ulp. 
 D'S- 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 (hamus), 
 as contradistinguished from one who 
 nets his prey. (Plaut. Jiud. ii. 2. 
 5. Varro, ap. Non. j. 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 Same ; 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 
 carniHcina on to the Gemonian stairs ; 
 both in allusion to their use of a 
 hook {hamus). Festus, s.v. 
 
 HA'MULUS. Diminutive of 
 Hamits. a small fish-hook (Plaut. 
 Stick, ii. 2. 16. Apul. Apol. p. 460. 
 fiexus) ; a surgeon's instrument. 
 Celsus, vii. 7. 4. 
 
 HA'MUS {a-^KWTpov). A fish- 
 hook, made of various sizes, and in 
 form and character precisely like our 
 own. Plaut. Cic. Hor. Ov. 
 
328 
 
 HAP HE. 
 
 HARP A. 
 
 2. {hyanrpov). The Greeks ap- 
 plied the same name to a hook on 
 the top of a bobbin [jrK\vlov\ round 
 which the thread for making the 
 woof in weaving was wound (Plato, 
 Ref. X. p. 6i6. c); 
 and probably the Ro- 
 mans likewise, though 
 the word is not found 
 
 m any remammg 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. A^ux. 
 115); whence applied to the hook 
 of the weapon called Aarpe (Ov. Met. 
 iv. 719)) attributed to Perseus and 
 Mercury, which exactly resembles 
 the thorn of a briar, as shown by the 
 annexed examples from a. Pompeian 
 
 painting, : it also demonstrates to 
 conviction the incorrectness of the 
 usual translation given to the passage 
 quoted — -ferruni curvo tenus abdidit 
 hanio — "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. ALn. 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. 
 
 HAP'HE {^h). 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 Posillipo. 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 St;iLE. 
 
 2. A pen or coop for geese. 
 (Varro, R. R. iii. 10. Columell. viii. 
 14. 6. and 9.) Compare Cheno- 
 
 BOSCION. 
 
 HARMAMAX'A (dpfidjua?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. 
 55.), but of which no authentic repre- 
 sentations remains. 
 
 HAR'MOGE (d/)/joy^). A term 
 employed by painters to express the 
 union and blending of two adjacent 
 tints imperceptibly and harmoniously 
 together. Plin. H.N. xxxv. 11. 
 
 HARPA. A harp, with a curved 
 back in the form of a sickle (lipTrr), 
 falx), like the annexed example, 
 from an Egyptian paintmg, Venant. 
 
 Carm. vii. 8. 63., in which passage it 
 is expressly distinguished from the 
 lyre, and as an instrument used by 
 foreigners. 
 
HARPAGINE TUL US. 
 
 HARPAGINE'TULUS. (Vitniv. 
 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 cPEr- 
 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 
 (apTrayi)). 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 (icpcaypo), for taking 
 eatables out of the pot (Schol. Aris- 
 toph. Ep. 772.) ; a drag for bringing 
 things up from the bottom of the 
 water, a bucket, for instance from a 
 well (Ulp. Dig. 37. 7. 12. § 21.) ; and 
 
 HARUSPICA. 
 
 329 
 
 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 {apiranTi'iv). 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. i.'ii. 62. and 67. Mercurial. 
 Art. Gym. ii. 5. 
 
 HARPE {up-ai)). A particular 
 kind of sword or dagger, with a hook 
 like a thorn (hamus), projecting from 
 the blade from a certain distance below 
 the point {mua'o) ; as shown by the 
 figure in the centreof the opposite page. 
 This weapon is fabled to have been 
 used by Jupiter (Apollodor. Bibl. i. 
 6.), Hercules (Eurip. Jon, 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 (IfpoffKOTOf). 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 
 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. I. I. § i. 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. i. 98. 
 
330 
 
 HASTA. 
 
 HASTA (frx"!')- A sj>ear; used 
 as ii pike for thrusting, and as a 
 
 missile to be thrown from the hand. 
 It consisted of three separate parts : 
 the head (nispis, nixith and iTriSoporii.) 
 of bronze or iron ; the shaft {hastile, 
 Sopv) of asli or other wood ; and a 
 metal point at the butt end {spiculum, 
 aavpojriip or aTvpnK), 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 spear head, from 
 an excavation in Lincolnshire ; the 
 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 viJhich 
 it was hurled is shown by the an- 
 nexed engraving, from the Vatican 
 
 Virgil, mtended 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 lias 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 phrase? 
 roiai'e (Stat. T/iel>. ix. I02.), or /or 
 qnere (Virg. ALn. a. 5S5. 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. Ain. xix. 417. ix. 
 479., which passage makes a pointed 
 distinction between ya«rf and librare. 
 
 2. Hasta amentata. {Cic. De 
 Oral. 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. Ansatus, 2. and 
 illustration. 
 
 4. Hasta velitaris (ypoa^ot-). 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 
 
HASTA. 
 
 HAST ATI. 
 
 331 
 
 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 
 (sceptrunt), 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. ^n. 
 vi. 760. Serv. ad. I. 
 Suet. C&Ka'.28.) The 
 illustration is copied 
 from a painting in ,^ 
 the sepulchre of the 
 Nasonian family near Rome. 
 
 6. Hasta pmpllata, with the ante- 
 penult short. A spear with the point 
 muffled, or covered with a button or 
 ball (pila) at the end, like our foils 
 (PJin. H. N. viii. 6.), used by soldiers 
 at their exercises (Hirt. B. Afr. 72.), 
 and at reviews or sham fights. Liv. 
 xxvi. 51. 
 
 7. Hasta pampinea. The Thyrsus 
 of Bacchus, so termed because it was 
 originally a spear with its head 
 buried in vine leaves (Virg. j^n. vii. 
 
 399. Calpum. Eel. x. 65.), as in the 
 annexed example from a Pompeian 
 painting. 
 
 8. Hasta g}'aminea{Kajxa%). A spear 
 made of the tall Indian reed, which 
 it was usual to place in the hands of 
 colossal statues of MineiTa on ac- 
 count of its imposing length and size. 
 Cic. Verr. ii. 4. 56. 
 
 9. Hasta calibaris. 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. OJ^. 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, centumviralem hastam erigire, 
 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 
 (TertuU. Apol. 13.) ; a catalogue of 
 sale. Id. ad Natioti. 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 
 
332 
 
 HELCIUM. 
 
 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 
 sjDear, as shown by the annexed ex- 
 ample from the column of Antoninus. 
 The cuirass of chain armour (SwpnS 
 aXKcri^wrof), which was peculiar to the 
 hastati, is indicated by the markings 
 in the engraving, but is more promi- 
 nently apparent in the original, from 
 being placed in immediate contrast 
 with two other figures, the one in 
 scale armour (lorica sguamata), the 
 other plumated (lorica plumaia), both 
 of which are detailed with equal de- 
 
 HELIOCAMINUS. 
 
 cision and distinctness. Varro, L. L. 
 V. 89. Ennius ap. Macrob. Sat. vi. i. 
 Liv. xxii. 5. Polyb. vi. 23. 
 
 HASTI'LE. Properly the shaft 
 of a spear (Nepos, Epani. xv. 9.) ; 
 thence used for the spear itself (Ov. 
 Met. viii. 28.); a goad for driving 
 cattle (Calpurn. Ed. 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.e.); and th? 
 Cliinese 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 vessel against the stream by a tow- 
 line (helciuni) Mart. iv. 64. 22. Si- 
 don. ■£^. ii. 10. ; as shown by the an- 
 nexed illustration, which represents a 
 vessel laden with corn and oil being 
 towed by two grotesque figures. The 
 
 original forms part of the border to a 
 mosaic pavement excavated many 
 years back at Lerida, in Spain, where 
 it was copied by a friend of my own. 
 HELCIUM. Generally, a rope by 
 which anything is drawn onwards ; 
 specially applied by Apul. Met. ix. p. 
 185. to the rope by which a donkey 
 is harnessed to his load ; but whether 
 indicating a trace, or the rope by 
 which a yoke is fastened on his neck, 
 there is not sufficient authority to de- 
 termine. 
 
 HELEP'OLIS (lAJTroXtf). 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 (i';X.o/cri/<>i'oc,-). 
 
HELIX. 
 
 HEM 10 LI A. 
 
 333 
 
 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. Zij^. 8. 2. 17; 
 
 HEL'IX (eXi?). 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. I. 12. 
 
 HEMICYC'LIUM (./juikwkXioi/). 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. Avi. 1. Sidon. 
 Ep.\. I.), and also as public seats in 
 different parts of a town for the ac- 
 commodation of the inhabitants (Suet. 
 Gramm. 17. Plut. dc Garrul. p. 99.). 
 The annexed woodcut affords an 
 example of the latter sort ; represent- 
 ing a hemuycliuin 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 quadrate) with- 
 ia 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 agi-ees 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 (rj/itva). A measure of 
 capacity, containing half a sextarius 
 (Festus, s. V. Rhemn. Fann. de Pond. 
 67. ) ; whence, also, -.'. vessel made to 
 contain that exact quantity. Pers. i. 129. 
 
 HEMIOLTA ()j/itoX.'n). A parti- 
 cular kind of ship (Cell. a. 25.), 
 
 used chiefly by the Greek pirates 
 (Arrian. Anab. iii. 2. 5.) ; constructed 
 in such a manner that half of its side 
 
334 
 
 HEMISPHMRIUM 
 
 HERMERACLES. 
 
 was left free from rowers, in order to 
 form a deck for fighting upon. (Ety- 
 • mol. Sylburg. ap. Sclieffer. Re Nav. 
 p. 74' ) It seems to liave 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. /. c. p. ill.), 
 in which the central portion, not oc- 
 cupied by rowers, forms the 'deck 
 alluded to. 
 
 EIEMISPH^'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 sup- 
 posed to be cut 
 through its centre 
 in the plane of one 
 ■of its greatest 
 circles. The illus- 
 tration represents 
 a statue of Atlas, 
 formerly standing 
 in the centre of Ravenna (Symebni, 
 Epitaffi antichi, Lione, 1557), which 
 affords an apprtipriate 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 : and that constitutes the 
 difference between them. 
 
 2. The interior of a dome ; i. 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 (iTrTnpr](;). A war- 
 galley with seven Ijanks of oars. .(Liv. 
 xxxvii. 23.) See the article Hexeris, 
 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. 
 
 HERM/E ('Ep;uai). Mercuries ; a 
 particular kind of statues, in which 
 only the head, and sometimes the 
 bust, was modelled, all the j^a 
 rest being left as a plain four- ^i^ 
 dornered post ; a custom RDiir' 
 which descended from the old 
 Pelasgic style of representing 
 the god Mercury. (Macrob. 
 Sal. 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 
 (carceres) closed until the chariots 
 received the signal to come out (Cas- 
 siodor. Var. Ep. iii. 51.); as shown 
 by the illustration at p. 1 19. ; 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. 
 
 HERMERACLES. Probably a 
 
HERMEROS. 
 
 terminal statue (Herma) with the bust 
 of Hercules on its top ; of which ex- 
 amples remain at Rome. Mus. Pio- 
 clem. i. 6. RIus. Capitol, i. p. 13. Cic. 
 Att. I. 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.E. (Cassiodor. Var. 
 Ep. iii. 51.) Diminutive of Herm.-e. 
 
 HEROUM {vp<por). A sepulchral 
 ■ monument, built in the form of an 
 
 HEXERIS. 
 
 335 
 
 ccdicula, or small temple. (Inscript. 
 ap. Mur. 889. 8. Plin. H. N. x. 6.) 
 Monuments of this kind originated 
 witli 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 sei"ved as the monu- 
 ment of a Greek lady, named Euclea, 
 the daughter of one Agatho, and wife 
 of Aristodemon, as the epitaph in- 
 scribed upon it in Greek characters 
 testifies. 
 
 HEXACLI'NON. 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 
 J. AssER, I. p. 63. 
 
 HEXAPH'ORI, s,c.p/ialangarii. A 
 set of six men who cany any burden 
 by their joint exertions,^united by the 
 aid of a phalanga (Vitnlv. x. 3. 7.). 
 as explained in the articles Phalanga 
 and Phalangarii, where the illus- 
 trations represent the operations per- 
 formed by two men and by eight. 
 
 HEX AST Y' LOS. Bexastyle ; 
 i. e. , which has a row of six columns 
 in front. 
 
 HEXE'RIS (iivpiK). 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 iprdines) ; 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 ivlien 
 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 %\ithin 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 
 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 stem ; 
 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 
 
33^ 
 
 HIBERNACULA. 
 
 HIPPOCENTA UROS. 
 
 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 decemreinis, ten ; and so on. 
 Compare Ordo. 
 
 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 ehgible. Vitruv. I. 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. 
 
 HIBER'NA (x"^nom). Winter- 
 quarters in which the army was distri- 
 buted during winter, when not kept in 
 thefieldunder tents {Mbernacula). Liv. 
 xxiii. i3.Cic. Fam. xv. 4.Tac. ^^r.38. 
 
 HIERONI'CA (ItpovKijc). Pro- 
 perly, a Greek term, 
 which has exclusive 
 reference to the cus- 
 toms of that nation. 
 It was employed to 
 designate the victor 
 in any of their public 
 games ; viz. the Ne- 
 mean, Pythian, Isth- 
 mian, and Olympic, 
 which were also 
 called sacred games, 
 because they com- 
 menced with reli- 
 gious ceremonies. 
 The illustration re- 
 
 presents a Grecian youth, crowned 
 and habited as one of these victors, 
 whose costume very closely resembles 
 that ascribed to Nero, when he en- 
 tered the cities of Italy as a hieronica 
 (Suet. Nero, 25.), after contending at 
 the Olympic races. 
 
 HIEROPHAN'TA and HIERO- 
 PHAN'TES (ifpo()!.«i'7>)f). 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 hkrophanta. Inscript. 
 ap. Grut. 538. II. 
 
 HIPPAG'INES, HIPP'AGI, 
 HIPPAGO'GI (iTTTraywyoO. Horse- 
 transports, especially for the convey- 
 ance of cavalry troops. Festus s. v: 
 Gell. X. 25. Plin. H. N. vii. 57. 
 Liv. xliv. 28. 
 
 HIPPOCAMTUS (i7r;roi.-a^7ro!,). 
 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 (iTrTroKEV- 
 raupof). A horse-centaur, half-horse 
 and half-man (Cic. N. D. ii. 2.), as 
 opposed to the fish-centaur, half-man 
 and half-fish (ixSuoKsiTaupof), under 
 which form the giants who waged 
 war against the gods, were represented 
 (ApoUodor. i. 6. I. Mus. Pio-Glem. iv. 
 tav. 10.) Hippocentaurs were also 
 
HIPPODROMUS, 
 
 337 
 
 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. (iTTTro^po/iOt'). A hippodrome; 
 which, amongst the Greeks, implies a 
 race'-ccurse for horses and chariots, as 
 contradistinguished from the stadium, 
 which was appropriated to foot- 
 racing. Hippodromes of this kind 
 were frequently attached to tlie gym- 
 nasia, in which the youth of Greece 
 learnedthe 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 
 Morea, p. 36.) 'The most important 
 distinction consisted in the manner 
 of arranging the stalls for the horses 
 and chariots, which were not dis- 
 posed in the segment of a circle, as in 
 the Roman Circus (see the woodcut 
 page 165. A.A.); but were arranged 
 m 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 a^tais, 
 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 
 (Pans. /. c), and originated in the 
 necessity of affording abundant sta- 
 bling room, much more being 
 required at a Greek race-course, 
 where the numbers were not li- 
 mited to twelve, as they were with 
 the Romans, but all were freely ad- 
 mitted who wished to compete for 
 the prize. The drivers drew lots for 
 their stalls (Pans. /. 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 
 (KaKihiiov, vaTi\i)i,) was diawn as a 
 barrier across the fiont of each stall ; 
 and when the races M'ere about to 
 commence, the t%\ o ropes which closed 
 the remote stalls (i. i.) on each side 
 were loosened simultaneously, so that 
 the two cars from the furthest end 
 came out fiist ; 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 
 arrived on a line with the point of 
 the prow (b), from whence they all 
 started together and abreast. (Paus. 
 /. 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 
 
338 
 
 HIPPODROMUS. 
 
 HIPPOTOXOTA. 
 
 the description of Pausanias ; though 
 conjectural, it possesses great seeming 
 probabiUty to stamp it with a mark 
 of authority. At all events, it will 
 serve to give a distinct idea of the 
 more important features of a Greek 
 hippodrome, and of the meaning of 
 the terms by which each part was 
 
 
 :zi 
 
 il 
 
 designated. A. The space enclosed 
 by the stalls already described. B. 
 The point or beak of the dipiatQ, 
 termed fV/SoXov by Pausanius. c. The 
 colonnade (<Jrori) forming atermination 
 to the flat end of the hippodrome : 
 perhaps this member was not always 
 added. I, 2, 3, 4. The stalls for the 
 horses (oiKij^ara, carceres). I) D. 
 The course (^pd/uog). 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 (x^/^n), as 
 may be inferred from Pausanias (vi. 
 20. 8.). F. The goal round which 
 the chariots turned [vvnoa, KafiTrriip, 
 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 [xt'oixa) 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. /. c. 
 
 HIPPOPE'RA (iTTTroTnjpa). 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. (iTTTTOroW-'Jf)- 
 
HIRNEA. 
 
 HORREUM. 
 
 339 
 
 A mounted archer (Hirt. B. Afr. 19.) ; 
 in most cases characteristic of foreign 
 nations, as the Syrians (C^es. 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. 
 1 1 79.), 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. I. 273. 
 and 275.); 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. I/. N. xxxv. 
 46.) and comedy. Plin. H.N. vii. 54. 
 
 HOPLOM'ACHUS (ojrXo/jaxoe). 
 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 
 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. 
 
 HORARIUM. (Censorin. De Die 
 Nat. 24.) Same as Horologium. 
 
 HOR'IA. A small boat employed 
 by fishermen on the sea-coast (Non. 
 J. V. p. 533. Plaut. Rud. iv. 2. 5. 
 Cell. X. 25.) ; the peculiarities of 
 which are unknown. 
 
 HOR'IOLO. Diminutive of 
 
 HORIA ; used on rivers. Plaut. Trin. 
 iv. 2. 100. Gell. X. 25. 
 
 HOROLOG'IUM (iipoXoyiov). 
 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 {clepsydrce), 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. I. 2. 
 
 HORR'EUM [iipiiov). Kgranary, 
 barn, or other building in which the 
 fruits of the earth were stored (Virg. 
 Ceorg. I. 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. (dvoBi'iKr]). A repositoiy, store 
 room, or lumber room, in which 
 goods and chattels of any kind were de- 
 posited for preservation, or to be out of 
 the way, when not required for use ; 
 books, for instance (Sen. £p. 45. ) ; sta- 
 tues (Plin. £p. viii. 18. II.); agricul- 
 tural implements (Columell. i. 6. 7.), &c. 
 
34° 
 
 HORTATOR. 
 
 HORTUS. 
 
 4. Horreum publicum {<TtTO<pv\n- 
 keToi'). a public granajy, 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. Roiti. 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. Semproniiis 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. Big. 10. 4 5. Paul. 
 Dig. 34. 2. 53. Modest, ib. 32. i. 82. 
 
 HORTA'TOR («\£t«rr/;(,-)- On 
 board ship, the officer who gave out 
 the chaunt (celeusma), which was 
 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. ^n. 
 V. 177- Serv. ad /.), whence the 
 name {soht hortator reviiges hartarier, 
 Plaut. Mei-c. iv. ^. 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. ^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, m flower gardener, 
 as contradistinguished from topia- 
 rius, who attended to the shrubs and 
 evergreens, and from alitor, 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 (KijTn'oj/). Diminu- 
 tive of HoRTUs. Catull. 61. 92. 
 Juv. iii. 226. 
 
 HORTUS ((cijirot,-). A pleasure- 
 ground or garden; which, from the 
 descriptions left us, appears to have 
 been very similar in style and ar- 
 rangement to the garden of a modern 
 Itahan villa. Where space permitted 
 it was divided into shady avenues 
 {gestationes) for exercise in the sedan 
 or palanquin (sella, lectica) ; rides for 
 horse exercise (Jiippodromus) ; 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. \. 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. 
 
HOSPITWM. 
 
 2. The same term also includes the 
 kilchen 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 pensihs. 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 pensil(s. 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. I. 
 
 HOSPIT'IUM. A general term 
 for any place which affords to a 
 traveller or stranger the 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 {Upfioi/). A victim 
 sacrificed to the gods ; properly, as a 
 peace-offering to avert their wrath, 
 as contradistinguished from viciima, 
 which was offered as a thanksgiv- 
 
 HYDRALETES. 
 
 341 
 
 ing for favours received. Victims 
 consisted mostly of domestic ani- 
 
 mals, such as oxen, sheep, pigs, &c., 
 and when sacrificed to the Gods of 
 Olympus, they were slain with the 
 head upwards, as in the example, 
 from the Vatican Virgil ; when of- 
 fered to the deities of the lower re- 
 gions, to 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 m the 
 throat by the ciiltrarius, as shown by 
 the first woodcut. 
 
 HUMATIO (Karopvli^). 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 (.>^pnXerqf.) A 
 mill for grinding com 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 
 
342 
 
 HYDRAULA. 
 
 HYPMTRUM. 
 
 of Julius Cjesar, at the earliest, and 
 then only by a few private indivi- 
 duals. (Vitruv. X. 5. 2. Compare 
 Pallad. R. R. i. 42.) The earliest 
 mention oi public water mills is about 
 A. D. 398, under Arcadius and 
 Honorius (Cod. Theodos. 14. 15. 4-)! 
 which were supplied by the aqua- 
 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 (/. f.), we 
 learn that the hydraletes was very 
 similar in operation to the common 
 water-wheel {rota af^uaria) ; a'^ large 
 wheel furnished with float boards 
 {pinnce)^ which turned it with the cur- 
 rent, 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 (vSpav\y]i:). One who sings 
 or recites to an accompaniment upon 
 the hydraulic organ. Pet. Sat. 36. 
 6. Suet. AWo, 54. 
 
 HYDRAU'LUS {vSpc,v\oQ or -tc). 
 A water orgait (Cic. Tusc. iii. 18. 
 Plin. /-/.AT. 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- 
 
 a=Pff 
 
 lection of antiquities bequeathed to 
 the Vatican by Christina of Sweden 
 
 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 (iiSpio). A tmter 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. ig.), 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 
 out by lot, for the purpose of assigning 
 to each one its right turn in voting ; 
 otherwise, and more specially 
 termed Sitella. Cic. Verr. iii. 15. 
 
 HYP^TH'ROS (uTiaiepos). Lite- 
 rally, under the sky, or in the open 
 air ; whence applied to " temple, or 
 other edifice which had no roof over 
 the central portion of its area, so 
 that the interior was open to the 
 sky. Hypajtheral 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 gi-eat temple at Pjestum affords 
 an existing specimen of this style ; 
 but no instance was to be found in 
 Rome when Vitruvius wrote. Vi- 
 truv. iii. 2. 
 
 HYP^'TRUM. A latticed win- 
 dow constructed over the grand en- 
 trance door of a temple (Vitniv. iv. 
 6. I.), as in the annexed example. 
 
HYPKRTHYRUM. 
 
 HYPOCA USTUM. 
 
 343 
 
 which represents the door of the 
 Pantheon at Rome. One of thd 
 Xanthian marbles in the British 
 Museum affords an example of the 
 
 same contrivance, which possesses the 
 double advantage of giving grandeur 
 vifithout, and admitting air within. 
 
 HYPER'THYRUM (vmpQvpoy). 
 An ornamental member, consisting 
 
 of a frieze and cornice supported 
 upon trusses or consoles (ancones, 
 parotides), usually placed above the 
 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. It is 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 hypatriim, 
 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 antas ; 
 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 often be ill-proportioned, and 
 cumbersome to open. 
 
 HYPOCAU'SIS {iiTrMnt.ffi!,). A 
 furnace with flues running under- 
 neath the floor of an apartment 
 in a private house or set of baths, for 
 
 the purpose of increasmg the tempe-^ 
 rature of the air in the chamber 
 above. (Vitruv. v. 10. i. 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 
 {fropnigeuni), over which are placed 
 vessels {vasaria, Vitruv. /. c), con- 
 taining hot and tepid water, which it 
 served to heat ; and under the floor 
 of the room, which is supported upon a 
 number of low and hollow tubes, there 
 is a vacant space, throughout which 
 the hot air from the hypocausis circula- 
 ted, and warmed the chamber above. 
 HYPOCAUS'TUM (vTroKavaroy). 
 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. II. and 23. Compare 
 Stat. Sylv. i. 5. 59., where the word 
 
344 
 
 HYPOCRITA. 
 
 seems to be applied to the flues under 
 the chamber rather than to the cham- 
 ber itself. 
 
 _ HYPOCRITA, or -TES {l-Ko^pi- 
 Tijf). 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 corresponds with the Latin, 
 hish'io. 
 
 HYPODIDAS'CALUS (viroUa- 
 axaXoQ). A sub-master, or under 
 teacher ; at a school (Cic. Fam. ix. 
 18.) ; of a Greek chorus. Plat. Ion. 
 536. A. 
 
 HYPOGAE'UM (iWoyoior). (In- 
 script. ap. Donat. cl. 8. n. 14. af. 
 Grut. n 14. 3. ) Same as 
 
 HYPOGE'UM (uTroyaor). 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 [inxorpa- 
 yi\Kioi>). 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. 
 
 lATRALIP'TA, or -TES (/nrpa- 
 XfiTrr?;^.) A medical man who 
 treated his patients upon what was 
 called the iatraliptic system (latra- 
 liplice, Plin. H.N. xxix. 2.); i.e., 
 by the external application of un- 
 guents and friction, combined with a 
 regular gymnastic regimen. Plin. 
 Ep. X. 4. Cels. i. I. 
 
 ICHNOGRAPH'IA {!x"oyfyafta). 
 A chart, map, or ground-plaii, 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 
 thepavement of the temple of Romulus 
 and Remus ; many fragments of which 
 
 CVS ucTAvrflE Er HE \ 
 
 AEOIS [OVIS 
 
 JS3 
 
 AEOIS IVNONI S 
 
 K 
 
 are preserved in the Capitol. It is 
 supposed to have been executed in the 
 age of Septimius Sevems ; 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 giound-plot and architec- 
 tural design, together with the name 
 of each inscribed upon it. Thefragment 
 here introduced shows the original 
 plan of the portico of Octavia surround- 
 ing the Temples of Jupiter and Juno ; 
 of all which buildings considerable 
 remains are still standing near the 
 present 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 of divination, which consisted 
 in foretelling the secrets of futurity by 
 the inspection of ignited matter. 
 (Pin. H. N. vii. 57. Compare Sen. 
 Ed 306 — 330.), where the various ap- 
 pearances of the flames, and the results 
 supposed to be indicated by them, are 
 set out at length. 
 
 ILLIX or INLEX, sc. Avis ( Tra- 
 
Standard bear- 
 
 i) 
 
 IMAGINARII. 
 
 \ivTi\s). A decoy bird, employed by 
 the ancient fowlers to entice others 
 within reach of their nets and snares. 
 For this purpose they made use both 
 of those which were of a kindred and 
 of a hostile species, such as the owl 
 and falcon, which last was also trained 
 to catch the bird which it had decoyed 
 within its reach. (Plaut. As. i. 3. 68. 
 Pallad. X. 12. Mart. xiv. 216. Oppian. 
 Cyneg. i. 65.) The illustrations at p. 
 59. s. Arundo, 4. afford two ex- 
 amples of the use of a call-bird, from 
 ancient works of art. 
 
 IMAGINA'RII. 
 ers in the Roman 
 Imperial armies, 
 whose ensigns had 
 an image of the 
 emperor amongst 
 the other devices 
 (Veget. Mil. ii. 7.), 
 as seen in the 
 annexed woodcut, 
 from the column 
 of Trajan, in 
 which the empe- 
 ror's portrait oc- 
 cupies the top 
 place, surrounded 
 Ijy a wreath of 
 laurel. 
 
 IMAGINIF'ERI. (Veget. Mil. 
 ii. 7. Inscript. ap. Grut. 1 107. I.) 
 Same as the preceding. 
 
 IMAGINES MAJO'RUM. 
 Family portraits, or likenesses, con- 
 sisting of waxen masks, expressing 
 the lineaments of deceased persons, 
 which their surviving relatives pre- 
 served with studious care in cases or 
 armoires placed round the atrium of 
 their mansions, regarding them as 
 the honoured representa- 
 tives of their ancestral 
 line. (Liv. iii. 58. Sail. 
 Jug. 85. Suet. Vesp. i.) 
 The mask in the annexed 
 woodcut, from a se- 
 pulchral bas-relief, which '| |ll(WIIIM| 
 represents a female be- 
 wailing the death of her husband, is 
 probably intended for one of these 
 
 IMBREX. 
 
 345 
 
 images in its case. The honorary 
 distinction of handing themselves 
 down to posterity by these represent- 
 ations, was only permitted to certain 
 persons amongst the Romans ; viz. 
 those who had passed through either 
 of the high offices of asdile, prsetor, 
 or consul ; and when the funeral of 
 any individual of the above rank and 
 ancient lineage took place, the masks 
 were taken out of their cases, and 
 worn by persons who walked in front 
 of the bier, in a similar costume, and 
 with the same insignia as had be- 
 longed during their lives to the person- 
 ages they represented. (Eichstadt. 
 Dissertt. de Iinagg. Rmn^ These were 
 called the efSgies {effigies) of the 
 family ; and they personated charac- 
 ters even of the heroic ages, — j^neas, 
 the Alban kings, Romulus, &c. (Tac. 
 Ann. iv. 9. Compare Polyb. vi. 
 53. Hor. Epod. 8. 2.) It will be 
 self- evident that no authentic or 
 contemporary likeness of any indivi- 
 dual ascribed to such remote anti- 
 quity could ever have been in exis- 
 tence, even though we should admit 
 that the original was a real historical 
 person : but there is no doubt that 
 the great Roman families preserved 
 characteristic representations of their 
 early, and even fabulous, ancestors, 
 modelled in lineament and costume 
 after some traditionary type, well 
 known to, and immediately recognized 
 by, the people at large, which are 
 met with on coins, medals, and en- 
 graved gems {e. g. the head of Numa 
 J. Barbatus) ; precisely as all mo- 
 dern representations of the Saviour 
 exhibit a particular identity of cha- 
 racter, style, and features, which 
 though not professing to be genuine 
 likenesses, are still formed after a 
 traditionary model of very great an- 
 tiquity. 
 
 IMBREX [KaXvizrhp). A ridge- 
 tile made to receive the shower [imber], 
 and of a semi-cylindrical form, as 
 contradistinguished from tegula, which 
 was flat. (Isidor. Orig. xix. 10. 15. 
 Plaut. Most. I. 2. 26.) The imbrex 
 
346 
 
 IMBRICA TIM. 
 
 was intended to cover the juncture 
 of two flat tiles, and con- 
 sequently, was made 
 broader at one end, so as 
 to lap over the one below 
 and form a continuous 
 ridge down the sides of 
 the roof (woodcut s. Im- 
 BRICATUS), which threw 
 off the rain water fron its hog's back 
 into tlie channel formed by the tegulcc^ 
 between each row of imb7-ices. The 
 modern Italian architects use tiles of 
 the same description ; two of which 
 are represented by the annexed en- 
 graving, which shows their form, and 
 the manner in which they were fitted 
 to one another. 
 
 2. Imbrex siipviiis. 'A gutter formed 
 by a series of ridge-tiles fitted into 
 one another, and laid upon their backs 
 (Columell. ix. 13. 6. Compare ii. ^. 
 
 9.), as in the annexed example, which 
 shows a water conduit in tlie ruin, 
 commonly known as the grotto of 
 Egeria near Rome. 
 
 IMBRICA'TIM. Formed in un- 
 dulations like the imbrices of a roof. 
 Plin. H. N. ix. 52., and next woodcut. 
 
 IMBRICA'TUS. (From imbriio, 
 Ka\v7rTTjpi^(>j). Imbricated^ in archi- 
 tecture ; that is, having the roof co- 
 vered with a series of flat and ridge- 
 tiles {tegulcs and imbrices) ; the usual 
 manner in which the Greeks and 
 Romans protected the timber-work 
 in the roofs of their buildings, and 
 of which a specimen is afforded by 
 the annexed engraving, represent- 
 
 ing the roof of the portico of Octa- 
 
 IMPEDIMENTUM. 
 
 via at Rome, the tiles of which are 
 made of white marble. 
 
 IMIMISSA'RIUM. A basin, trough, 
 or other contrivance built upon the 
 ground, of stone or brick, and in- 
 tended as a cistern to contain a body 
 of water flowing from the reservoir 
 [castellum] of an aqueduct, for the 
 
 accommodation of the adjacent neigh- 
 bourhood. (Vitruv. viii. 6. I.) It 
 differs from cisterna, which was un- 
 derground ; and is shown by the 
 annexed engraving, from a specimen 
 at Pompeii. The high vaulted build- 
 ing is the reservoir, from which the 
 water flowed through the small dark 
 aperture at its bottom, into the square 
 stone trough [immissaritim) on the 
 level of the pavement. The city of 
 Pompeii is furnished with several 
 other conveniences of this description. 
 
 IMilOLA'TUS. Accurately 
 
 speaking, means sprinkled -with flmir 
 {mola salsa), in reference to a victim 
 intended for the sacrifice, this being 
 one of the usual ceremonies before it 
 was slain (Cato ap. Serv. Ain. x. 
 541.) ; whence the word came to be 
 used in the less special sense of our 
 term immolated, or killed in sacrifice. 
 Hor. Od. iv. 11. 7. 
 
 IMPA'GES. The broad trans- 
 verse band in a door, which stretches 
 from stile to stile, and divides the 
 pannels horizontally from one an- 
 . other, technically called by our car- 
 penters the rail. (Vitruv. 6. iv. 5., 
 and Janua,) where the component 
 parts which form the leaf of a door 
 are illustrated and explained. 
 
 IMPEDIMEN'TUM (rii axiiri). 
 The baggage of an army which was 
 
IMPED ITI. 
 
 INA URIS. 
 
 347 
 
 and helmet 
 
 transported in waggons, or on beasts 
 of burden (Cass. B. G. i. 26. Liv. 
 xliv. 27.) ; including also the baggage 
 waggons, and the beasts which drew 
 them. Cses. B. G vii. 45. Front. 
 Strateg. ii. I. 11. 
 
 IMPEDI'TI. In military phrase- 
 ology soldiers who marched with a 
 heavy load of arms, pro- 
 visions, and personal bag- 
 gage {sarcina), as was 
 the ordinary practice in 
 the Roman armies (Cses. 
 B. G. i. 12.), and shown 
 by the annexed example 
 from the column of Tra- 
 jan. The soldier wears 
 his heavy armour ; his 
 shield on the left arm, 
 slung in front, from the right shoulder, 
 while his personal necessaries, imple- 
 ments for cooking, and vessels for 
 eating and drinking are made into a 
 pack and carried on the top of a pole. 
 The men thus loaded are opposed to 
 EXPEDITI ; which compare. 
 
 IMPIL'IA {ifiir'iKia, Hesych.). 
 Thick and warm coverings for the 
 feet, made of a felted fabric (Plin. 
 H.N. xix. 10., and Ulp. Dig. 34. 2. 25., 
 in which passage they are distin- 
 guished {rom/asetis crurales, and from 
 fiedules), but whether in the nature of 
 stockings, socks, or shoes, there are 
 not sufficient data to determine. 
 
 IMPLUVIA'TUS. A term 
 used to designate some particular 
 kind of garments worn by females 
 (Plaut. Epid. ii. 2. 39.); but as it 
 only occurs in reference to a tempo- 
 rary fashion, it is impossible to say 
 from what caprice the term may 
 have sprung, or what peculiarity it 
 was intended to describe. Some refer 
 it to the form, viz. square, like the 
 impbwium of a house (Tumeb. Advers. 
 xiv. 19.) ; others tothecolour, very dark 
 and dingy, like the water which drips 
 down from the roof of a house into the 
 impluvium (Non. Marc. s. v. p. 54^.) ; 
 both conjectures lit tie to be depended on. 
 
 IMPLUVIUM. A large square 
 basin sunk in the floor of the atrium 
 
 in private houses, intended as a re- 
 ceptacle for the rain water which 
 
 S^ ^^^^lsasE ^ ^tesgy ^ 
 
 flowed in through the compluvmm, or 
 opening in the roof of the same. 
 (Varro, L.L. v. 161. Festus, s.v. 
 Plaut. Amph. v. i. 59. Liv. xliii. 13. 
 Cic. Verr. ii. I. 23). The illustration 
 represents the impluviuvi as now seen 
 in the house of Sallust at Pompeii ; 
 a roof is restored to the apartment in 
 order to show the manner in which 
 the rain would enter through the 
 compluvium above. 
 
 2. In some passages the word ap- 
 pears to be used in the same sense as 
 compluvium (Plaut. Mil. ii. 2. 4. Ter. 
 Eun. iii. 5. 41. Vitruv. vi. 3. 6. ) ; 
 but there is good reason for doubting 
 the accuracy of these readings, and 
 most of the best editions have adopted 
 compluvium in its place. 
 
 INAR'CULUM. Same as Ar- 
 CULUM. I. Festus, s. v. 
 
 INAU'RIS (IWojSiov, hMTiov). An 
 ear-ring fastened to the ear througli a 
 hole (fenestra) bored in the lobe ; 
 very generally worn by the women 
 of Greece and Italy (Isidor. Orig. 
 xix. 31. 10. Plaut. Men. iii. 3. 17.), 
 but not by males, as they were amongst 
 some barbarous nations ; though Isi- 
 dorus says (I.e.) that the Greek 
 youths wore a 
 single ear-ring 
 in one ear. 
 These orna- 
 
 ments were 
 made in every 
 conceivable va- 
 riety of pattern 
 and value, of 
 gold, pearls, precious stones, S:c. ; 
 
 and 
 
348 
 
 l^rCERNICUL UM. 
 
 1 NCI TEG A. 
 
 with or without drops (sialagmia), as 
 may be seen by the numerous speci- 
 mens preserved in most cabinets of 
 antiquities. The example introduced 
 shows an ear-ring of the simplest 
 kind, from a Pompeian painting, con- 
 sisting of a plain gold ring of con- 
 siderable size, such as is commonly 
 worn by the female peasantry of Italy 
 at this day ; but many other speci- 
 mens of a more elaborate and valuable 
 character are interspersed in different 
 parts of these pages. 
 
 INCERNIC'ULUM (rrjXi'a). 
 Usually translated a sieve ; but Luci- 
 lius (5"i:?^. xxvi. ']o.) and Cato [R.J?, 
 13. I.) both make a distinction'between 
 the two words cribrujti and incernicu- 
 /«««, though neither of them gives any 
 details by which we might ascertain 
 in what the difference consisted. A 
 passage of Pliny {H. N. viii. 69.) 
 compared with Aristotle [H. N. vi. 
 24.), suggests a more fitting interpre- 
 tation, and leads to the conclusion that 
 the incernuulum was not a sieve at all, 
 but a large tray, chest, or perhaps 
 basket, in which the corn dealers 
 brought their samples of corn to 
 market, after it had been sifted, and 
 cleared from the chaff. 
 
 INCI'LE. A tributary or branch 
 drain or ditch, whether for the purpose 
 of conveying water from a common 
 source into the lands for irrigation, 
 or for conducting it from different 
 parts of the land into the main 
 channel. Festus, s. v. Cato R. R. 
 155. I. Columell. V. 9. 13. Apul. Met. 
 ix. p. 182. 
 
 INCINC'TUS. In a general sense 
 girded or encircled by a thing (Cic. 
 Acad. iv. 38.) ; thence wearing a 
 girdle round the tunic (Ov. Fast. ii. 
 634. CiNGULUM and illustrations) ; 
 and especially having the toga twisted 
 round the body in the peculiar manner 
 called the gabine cincture. Liv. viii. 
 46. CiNCTUS 3. and illustration. 
 
 INCISU'RA. A term used by 
 the Roman painters to express what 
 is now technically called hatching by 
 our engravers and artists (Plin. H. N. 
 
 xxxiii. 57.) ; which is produced by 
 making separate strokes with the 
 brush, like those of an engraving or 
 chalk drawing, over the flat tints, in 
 order to deepen the tone, give trans- 
 
 parency, and form a half-tint between 
 the light and shade. The expedient 
 of hatching is never resorted to in oil 
 painting, because the colours blend 
 easily by themselves; but it is com- 
 monly applied by the fresco painters 
 both of the old Roman and modern 
 Italianschools. Theillustration, which 
 is a facsimile of a piece of sculptured 
 pavement in thecathedral at Siena, will 
 explain exactly what is meant by the 
 term. If it were a fresco painting 
 instead of an engraving, the darkest 
 tint at the right hand side, between 
 the head of tlie child and the drapery 
 of the female figure, would be crossed 
 overwithahatching of strongly marked 
 lines as it is here, each one of which 
 would form an incisura ; the name 
 being transferred from its original 
 meaning, an indented line, like those 
 in the palm of the hand (Plin. H. N. 
 xi. 114.), to one which resembled the 
 same in its effect. 
 
 INCITE'GA (JyyweyJKj)). A bottle- 
 stand or case for holding cruets, de- 
 canters, and other vessels which had 
 round or pointed bottoms so that they 
 could not stand alone. (Festus, s. v. 
 Fea ad Hor. Sat. i. 6. 116.) Of 
 course they were made of different 
 forms, sizes, and patterns, in accord- 
 
///COMMA. 
 
 INDUCULA. 
 
 349 
 
 ance with the particular use to which 
 they were applied and the taste of the 
 designer. The example introduced 
 represents an earthenware cruet-stand 
 with two glass bottles in it, from an 
 
 original found in Pompeii, very simi- 
 lar to those still in use ; but another 
 kind very generally adopted was an 
 open frame upon three or more legs, 
 like our trivets, made of silver, bronze, 
 or wood (Athen. Deipn. v. 45), of 
 whicli the excavations of Pompeii 
 and Egypt have furnished various 
 specimens. 
 
 INCOM'MA. A word of doubtful 
 authority, but supposed to imply a 
 post with gradations of feet and inches 
 marked upon it, by which the stature 
 of conscripts was tested, in order to 
 see that they did not fall short of 
 the regular military standard. Gloss. 
 Isidor. Veg. Mil. i. 5. Salmas. ad 
 Lamprid. Alex. Sev. 4. 
 
 INCUNA'BULA. Includes all 
 the objects which constitute the fur- 
 niture of a cradle (cunabula) and of 
 the infant in it ; viz. the mattress 
 (pulvillus) on which it lays ; the cradle 
 bands which prevent it from falling 
 out, themselves termed incunabula 
 specially by Plautus {True. v. 13.) ; the 
 swaddling clothes and bands {fa^cliB), 
 with which it was enveloped ; whence 
 the same term is applied in a general 
 sense for a cradle (Liv. iv. 36.), or a 
 birth-place. Cic. Alt. ii. 15. 
 
 INCUS (aK/iw)'). An a«OT7, upon 
 which smiths hammer 
 out and fashion their 
 work. (Plin. //. N. vii. 
 57. Virg. ^n. vii. 629. 
 Hor. Ovid, &c.) It had 
 a projecting horn, upon 
 which angular and circu- 
 lar shapes were formed, 
 and when used was placed upon 
 
 a wooden block ; being in eveiy 
 respect similar to the instrament still 
 employed for the same purposes, as 
 shown by the annexed example, which 
 is copied from an engraved gem. 
 
 INDA'GO. A sporting term which 
 expresses the surrounding of a wood 
 or any given spot with nets, and per- 
 haps also by a circle of beaters, in 
 order to prevent the escape of the 
 game, which, by this means, was 
 brought to bay and slaughtered. Virg. 
 ^K. iv. 121. Tibull. iv. 3. 7. Claud. 
 in Rufin. 11. 376. 
 
 INDEX ((iiAAir/3os). Ths liile of a 
 book, which announced the subject 
 treated in the work. (Cic. Alt. iv. 4. 
 Id. Or. II. 14. Liv. xxxviii. 56. Suet. 
 Cal. 49.) It answers to the title-page 
 of a modem 
 book, with this 
 difference, that 
 it was written 
 at the end in- 
 stead of the f 
 commence- 
 ment ; at least 
 it is so placed in all the Herculanean 
 MSS. which have been unrolled. It 
 likewise answers to what is now 
 called the lettering piece, attached to 
 the back of the volume ; for it was 
 sometimes written on a separate piece 
 of parchment or papynis, tinged of a 
 red colour, with cocciim or minium, 
 and affixed to the centre of the roll, 
 so as to hang down outside, and 
 announce its contents, as in the 
 annexed example from a painting at 
 Pompeii. lorio, Officina de' Papii-i, 
 del Real Mus. Borb. 
 
 2. An inscription upon the base of 
 a statue, upon a slab, or upon any 
 object, recounting the actions, &c. 
 which such works wei-e intended to 
 commemorate. Tibull. iv. I. 30. Liv. 
 xli. 28. 
 
 INDICTI'VUS. See FuNUS, 2. 
 
 INDU'CULA. An under-garment 
 worn by females ; but whether of a 
 general or special nature is uncertain. 
 It certainly belonged to the Indutus, 
 and probably meant a small tunic, or 
 
3S0 
 
 INDUMENTUM. 
 
 INDUTUS. 
 
 chemise. (Plaut, Ep. ii. 2. 41.') Com- 
 pare Noil. /. Regilla, who quotes the 
 same passage, but with the reading 
 Tuiiicula. 
 
 INDUMENTUM. A general term 
 for any thing which is put on in the 
 shape of clothing (GeU. xvi. 19. 3.), 
 or to cover any part of the person ; 
 a mask (Gabius Bassus ap. Cell. v. 7.); 
 a tunic ( Aurel. Vict. Cxs. 12.). 
 
 INDUSIA'TUS. Wearing a /to^,5, 
 lilce the women's indusiuin (Apul. 
 Met. ii. p. 33.) ; a costume which is 
 probably represented 
 on the annexed figure, 
 from a bas-relief of the 
 Florentine Gallery. It 
 did not form a regular 
 part of the male attire, 
 though it was some- 
 times given to young 
 and effeminate boys who 
 waited at the tallies of 
 wealthy or luxurious in- 
 dividuals, who affected 
 a refined style of dress 
 for their attendants, 
 that Apuleius speaks 
 sage cited. Comp. Apul. Met. vui. 
 p. 172. 
 
 2. Indusiata vestis. Plaut. Epid. 
 ii. 2. 49. Same as 
 
 INDU'SIUM. An article belonging 
 
 to the Iiidutus of female attire, for 
 
 which our term frock affords the best 
 
 translation, and the closest analogy ; 
 
 ft 
 
 It is of such 
 the pas- 
 
 for it 
 
 jujiujimiiimuiui 
 worn over the chemise 
 
 {subiicula), had short sleeves, and was 
 put on over the head in the same 
 manner as that article of modern 
 costume. (Varro. de Vit. Pop. Rom. 
 ap. Non. s. Subucula, p. 522. Id. L. L. 
 V. 131.) It is derived from induo, 
 not from intus, a false etymology, in- 
 vented by Varro (/. c), to suit which 
 he writes the word intusium. It 
 was worn by females exclusively, 
 for Varro distinctly enumerates it 
 amongst the articles of their wardrobe; 
 and is very plainly exhibited on both 
 the annexed figures, which also show 
 the subucula underneath it. In the 
 larger one, representing the Flora of 
 the Capitol, the right arm only is in- 
 serted into the sleeve ; but the other 
 armhole appears upon the left arm ; 
 the edge of the skirt rests upon the 
 hand, just as such a dress would do 
 after it had been put over the head, 
 and one arm had been drawn into 
 the sleeve, before dropping it down 
 to pass the other through the oppo- 
 site sleeve in like manner. The small 
 figure, from a statue of the Villa 
 Borghese, shows a dress of the same 
 description when properly put on, 
 with a part of the subucula appearing 
 underneath it, and a loose shoulder- 
 strap [baltejis) outside. 
 
 I N D U'T U S (ivSvixa. Alciphr. 
 £/. iii. 42. 10. Ael. z'. j7! iv. 22.) A 
 general term (from induo) for any 
 kind of close garment which a person 
 puts on, or inserts his limbs or body 
 into, as contradistinct from Amictus, 
 which is expressive of 
 loose clothing that is 
 wrapped roitnd the body. 
 (Tac. Ann. xvi. 4. 
 Apul. Elor. ii. 9. i. Am- 
 mian. xxx. 7. 4- Compare 
 Cic. Or. iii. 32. Auct. ad 
 Herenn. iv. 47.) It conse- 
 quently designatesany and 
 every of the various kinds 
 of under-garments worn by 
 the ancients, and enumer- 
 ated in the list of the 
 Classed Index, both of the male and 
 female apparel ; and is well illustrated 
 
INFUDIBULUM. 
 
 INFULA TUS. 
 
 351 
 
 by the annexed figure from a fictile 
 vase, which represents a female tak- 
 ing off her chemise before entering 
 the bath ; showing by the action she 
 employs that the tunica was a round 
 garment taken off and put on over 
 the head, like a modern shirt or 
 chemise. 
 
 INFUDIB'ULUM. Cato, R. R. 
 10. 1., for Infundibulum. 
 
 INFRENA'TUS sc. Eques. One 
 who rides without a bridle (fremim), 
 as was the ' practice of the Numidian 
 horsemen (Liv. xxi. 44.), and some 
 of the northern nations, whose hordes 
 
 were so docUe and well broken that 
 they could be managed by the voice, 
 without rein or bit, as in the annexed 
 example, which represents one of the 
 allied cavalry in the army of Trajan, 
 from the column which bears his name. 
 
 2. As a participle of the verb /«- 
 freno, it has an exactly contrary sig- 
 nification, meaning bitted and bridled. 
 Liv. xxxvii 20. Sil. Ital. iv. 314. 
 
 INFRE'NIS or INFRE'NUS. 
 Virg. ^n. X. 750. iv. 41. Same as 
 Infrknatus, I. 
 
 IN'FULA. A flock of wool dyed 
 red and white, and knotted at regular 
 intervals with a riband [vitta], so as to 
 form a long fillet, which was worn by 
 the priesthood and vestals, employed 
 as an ornament for the victim dressed 
 for a sacrifice, and to decorate temples 
 and altars upon festive occasions. 
 (Virg. ^n. X. 538. Id Georg. iii. 487. 
 Festus, J-. J/. Cic. Ver.ii./^ c,o. Lucan 
 
 ii. 3S5-) It is frequently represented in 
 sculpture, though the natural elasticity 
 of the wool, swelling out between the 
 ties which fasten the flocks at inter- 
 vals, gives to such works a strong 
 resemblance to a row of large and 
 
 Wearing or de- 
 
 small beads strung together, for 
 which, in fact, it has been generally 
 mistaken ; see the two next woodcuts, 
 where this appearance is very decided, 
 though upon inspection it will be clear 
 that the forms are intended to repre- 
 sent the same objects as those shown 
 in the annexed engraving, which re- 
 presents two genii making infulce, 
 from a painting discovered at Resina. 
 The number of flocks tied together to 
 make a length also explains why the 
 prose writers mostly use the word in 
 the plural, infulce. 
 INFULA'TUS. 
 corated with in- 
 fulce ; i. e. , with 
 flocks of wool tied 
 up into a fillet, in 
 the manner de- 
 scribed by the last 
 article. (Suet. Cal. 
 27.) It was worn 
 as a diadem round 
 the head, with long 
 ends hanging down 
 on each side (Serv. 
 ad Virg. x. 538.) by 
 the vestals and other members of the 
 priesthood, exactly as represented by 
 the annexed example from a statue of 
 Isis in the Vatican ; and by the victim 
 
352 
 
 INFUNDIB UL UM. 
 
 {hostid) when dressed out for the sacri- 
 fice (Varro, L. L. vii. 24. Inscript. 
 af. Orelli. 642. ), which had its head 
 
 and neck decorated in the same man- 
 ner, as exhibited by the annexed 
 example from a Roman bas-relief. 
 
 INFUNDIB'ULUM {x'^vi)). A 
 funndiot conveniently trans- 
 ferring liquids from one ves- 
 sel into another. (Cato, R.R. 
 13.3, Columell. iii. 18. Pal- 
 lad. Jun. 7. 2) The example 
 represents a funnel, of the 
 same construction as those 
 still in use, from an original 
 of glass discovered at Pompeii. 
 
 2. A funnel, or hopper, as it is 
 technically called, through which the 
 corn to be ground was poured into a 
 mill (Vitruv. x. 5. 2.) ; probably the 
 upper one of the two stones which 
 formed a Roman corn mill, otherwise 
 termed Catillus ; but compare the 
 illustration j'. Mola, 2., on the top of 
 which there is an appurtenance, which 
 may be intended for a hopper, with 
 the corn pouring into it, though from 
 the dilapidation of the marble, it now 
 presents an appearance more like a 
 flame. 
 
 INFURNIB'ULUM. Same as 
 the Infundibulum ; (Plin. H. N. xxiv. 
 85.), where it is applied to the purpose 
 of inhaling steam for a cough ; for 
 which the funnel above engraved 
 would be sufficiently well adapted if 
 the narrow end were placed in the 
 mouth, and the other one over the 
 object from which the steam arose. 
 
 INSCRIP'TUS. Branded; in re- 
 ference to a slave who had a stigma 
 
 INSIGNE. 
 
 burnt into his forehead, to denote the 
 offence which he had committed. 
 Mart. viii. 75. 9. Compare Pet. Sat. 
 103. 2. Id. 106. I. 
 
 2. Also, in iL negative sense, vn- 
 marked ; in reference to merchandize, 
 cattle, &c. , when smuggled out of 
 port, or across the frontier, without 
 paying the proper duties, i. e., without 
 having the excise or custom-house 
 brand marked upon them. Lucil. Sat. 
 xxvii.3. Gerlach. Vaiio, R./i. ii. i. 15. 
 
 IN SI CI A and INSICTUM. 
 Minced meat or sausage meat (Varro, 
 L. L. V. 110. Macrob. Sat. vii. 8. 
 Donat. ad Ter. Eun.\\. 2. 26.) The 
 word is alsowrittenZ«Vi«?«byApicius, 
 of whichthemodem Italians retain the 
 form in their name for sausage, ja/j^Vczn 
 corrupted from salts isicia, i.e., minced 
 and salted. 
 
 I N S I C I A' T U S. Stuffed with 
 minced meat or stuffing. Apic. v. 4. 
 
 INSICTOLUM. (Apic. v. 4,) 
 Diminutive of Insicium. 
 
 INSIG'NE. In a general sense, 
 implies anything which serves as a 
 sign, ornament, or badge, by which 
 persons or thingsmaybedistinguished ; 
 for example, the crest on a helmet, the 
 device on a shield, the fasces of a con- 
 sul, the sceptre and diadem of a king, 
 the golden bulla of high-born children, 
 and so on. 
 
 2. \TTapacr]iiov). In the navy it 
 has rather a more special sense, being 
 used to designate the figure-head of a 
 ship, which was carved or painted on 
 the bows, and imitated the person 
 
 or object after which the vessel was 
 named, as contradistinguished from 
 Tutela, which was situated on the 
 quarters, and represented the deity 
 
INSILE. 
 
 under whose protection the vessel was 
 supposed to sail. The example repre- 
 sents the head of a vessel named 
 Pistris in Virgil {ALii. v. Il6.), from a 
 picture in the Vatican MS., intended 
 to illustrate the passage cited ; which 
 consequently is furnished with an image 
 of that fabulous animal for its figure- 
 head. AH the other vessels in the 
 picture have figures in a similar posi- 
 tion, representing the objects after 
 which they are named. 
 
 IN'SILE. (Lucret. v. 1352.) The 
 real meaning of this word is doubtful. 
 Some think tliat it expresses the same 
 object as the " treadle " of a modern 
 loom, which is pressed down by the 
 foot of the weaver to work the leash 
 rods or "heddles," and make them 
 decussate the warp. Schneider, on 
 the contrary (Index. Script. R. R. s. 
 Tela), considers it to mean the hed- 
 dles themselves, which move up and 
 down as they open the warp. In both 
 cases it is derived from insilio ; and 
 must have reference to a horizontal 
 loom, and not an upright one, which 
 does not require any treadle, and in 
 which the heddles do not move up and 
 down, but backward and forward ; 
 but, though a horizontal loom of a 
 very primitive kind, and doubtless of 
 a very ancient model, is still used in 
 India, all the representations which 
 remain to us of Egyptian and Roman 
 looms are upright ones. 
 
 IN'STITA. An ornament at- 
 tached to the stola of a Roman matron 
 (Hor. Sat. i. 2. 29. Ov. A. A?n. i. 
 32.) ; the real character of which has 
 not been satisfactorily ascertained, as 
 it is not visibly expressed upon any 
 work of painting or sculpture which 
 has reached us. It is generally de- 
 scribed as a sort of broad fillet, similar 
 to \ht flounce of modem times, sewed 
 ontothe bottom skirt of the outer tunic, 
 \vliach, with this adjunct, then becamea 
 stola ; in which case, the number of 
 thick folding plaits in the annexed and 
 many other figures, similarly draped 
 in the stola, may be intended to repre- 
 sent this flounce, though its juncture 
 
 INSTITA. 353 
 
 with the tunic is concealed under the 
 loose drapery of the amictiis, which 
 covers the low-er part of the under 
 garment, as it here does, in all the 
 
 statues and figures which are por- 
 trayed in a corresponding costume to 
 the present one. But an attentive 
 consideration of the terms in which 
 the article is mentioned by Horace 
 and Ovid, compared with the figure 
 here subjoined, 
 believed to repre- 
 sent Veturia, the 
 mother of Corio- 
 lanus, from 
 fresco painting in 
 the ThermEe of 
 Titus, induces a 
 confident belief 
 that the instita 
 really was an ap- 
 pendage more in 
 the nature of a 
 train, such as 
 that so promi- 
 nently exhibited behind the lower half 
 of her drapery. Such an interpreta- 
 tion would accord with the words of 
 Hor., Sat. i. 2. 29. , where he says that 
 it was suhsuta, sewed on under the 
 girdle, and trailed behind so as to 
 cover the back half of the feet, from 
 the ankle joint. Hor. 1. c. Ib.^ i. 2. 
 99. medics pedes. Ov. A. Am. i. 32. 
 2. A fillet, or riband, which it 
 was usual to tie round the top of the 
 thyrsus under the foliaged head (Stat. 
 Z 
 
354 msTiTOR. 
 
 Theb. vii. 654.), as in the annexed 
 
 example, from a Pompeian painting. 
 I 3. {tovoi^ l-KiTovoi) In the plural ; 
 
 the bands or cords interlaced across 
 the frame of a bed or couch, to make 
 
 a support for the mattress (Pet. Sat. 
 97. 4-) ; as in the annexed example, 
 from a terra-cotta lamp. 
 
 4. Also, in a general sense, any- 
 thing which serves as a band or band- 
 age. Pet. Sat. XX. 3. 
 
 IN'STITOR (7raAiyKan-t,Xos). One 
 who sells goods of any description on 
 account of another person, or, as we 
 should say, by commission, whether 
 as a retail shopkeeper and agent, or 
 as a traveller and hawker. Liv. xxii. 
 25, Ov. A. Am. i. 421. Ulp. Dig. 14. 
 tit. 3. 
 
 INSTRAG'ULUM. A coarse and 
 common counterpane for a bed. Cato, 
 R. R. X. 5. xi. 5. 
 
 INSUB'ULUM (6.VTWV). The 
 cloth-beatn of a weaver's loom, round 
 which the cloth is rolled, when woven 
 to a greater length than the height of 
 the loom. It goes by a similar name 
 in Italy at the present day, where it 
 is called il Subbio. It was some- 
 times placed at the top of the loom, 
 
 as in the annexed example, from an 
 Egyfftian painting, where it is seen 
 with the cloth rolled rotfnd it under 
 the yoke (jugum) ; and sometimes at 
 
 INTERCOL UMNIUM. 
 
 the bottom, accordingly as the woof 
 was driven upwards or downwards, 
 by the comb or batten {pecten, spa- 
 tha), both of which modes were 
 practised by the ancients. Isidor. 
 Orig, xxix. I. Gloss. Philox. Pollux, 
 vii. 36. X. 125. Eustath. in Horn. Od. 
 xiii. 107. Aristoph. Thesin. 822. 
 
 IN'SULA. A house, or a cluster 
 of contiguous houses, having a free 
 space all round the collective pile, so 
 that they formed a single and isolated 
 mass of building, like an island in the 
 water (Donat ad Ter. Ad. iv. z. 39. 
 Festus, s. V. Cic. Off. iii. 16.) But 
 as the houses composing an insula 
 were let out in flats to different 
 families, or comprised several distinct 
 shops and tenements, the word came 
 to be used in a less definite sense for 
 any hired lodging (Pet. Sat. 95. 3.), 
 or house occupied by more than one 
 family, as contradistinguished from 
 donius^ the private house or mansion 
 only tenanted by a single person, the 
 owner or his lessee. (Tac. Ann. vi. 
 45. Suet. Nero, 16. 38. 44. Id. Jul. 
 41.) The ground-plan, which occu- 
 pies the second column at p. 250., 
 affords an example both of an insula 
 and a domus ; being an isolated patch 
 of buildings surrounded on all sides 
 by streets, and containing one private 
 mansion, and eleven separate shops 
 and tenements, each of which was 
 occupied by a different tenant, as 
 will appear by referring to the de- 
 scription there given. 
 
 INSULA'RII. Persons who live 
 in hired lodgings (insulie). Pet. Sat. 
 
 95- 8- 
 
 2. Slaves belonging to the owners 
 of house property (Pompon. Dig, 50. 
 16. 166.) ; they performed the duties 
 of house-agents and lodging-house 
 keepers, and collected the rent for 
 which they were liable to their 
 masters, the landlords, if the tenant 
 defaulted. Pompon, ib. vii. 8. 16. 
 
 INTERCOLUM'NIUM {y.ino- 
 ryrvKiov). The intercolnmniation, or 
 space between one column and an- 
 other in a colonnade (Cic. Verr. ii. 
 
INTERMETIUM. 
 
 I. 1^.) ; which the ancient architects 
 distributed at five different intervals, 
 called respectively amostylos, diasty- 
 . los, eustylos, systylos, fycnoslylos ; each 
 of which is explained under its own 
 name. 
 
 INTERMETIUM. The long, 
 low barrier between the goals (meta) 
 of a racecourse (Gloss. Philox.), 
 which divided the course into two 
 parts, as will be seen by referring to 
 the ground-plan of the Circus of 
 Caracalla, p. 165., on which it is 
 marked B. One side of the course, 
 with an elevation of the intermetium 
 and meta at the back, is shown by 
 the annexed illustration, from an en- 
 
 grai'sd gem. The word, however, is 
 only found in the Glossary above 
 quoted ; but Visconti (Mus. Pio 
 Clem. V. p. 244.) thinks that it was 
 the name originally employed before 
 the more modern one Spina was 
 adopted, and again revived after that 
 had fallen into disuse, or received a 
 different application. 
 
 INTERSCAL'MIUM. The space 
 between thowl and thowl (scalmus) 
 
 on the side of a vessel (Vitruv. i. 2. 
 4.) ; consequently represented on the 
 
 INTONSUS. 355 
 
 outside by the space between one 
 oar, or oar-port, and another. The 
 illustration is from an ancient Roman 
 fresco painting discovered in the 
 Famese gardens. 
 
 INTERTIG'NIUM. The space 
 between the ends of the tie beams 
 (tigna, B B B. in the example) which 
 rest upon the architrave {trais. A) in 
 the timber work of a roof. (Vitruv. 
 iv. 2. 2. and 4.) Six of these are here 
 shown ; and in the earliest buildings 
 these intervals were left open ; but, 
 subsequently, they were covered over 
 •with slabs of marble, so as to form 
 
 part of a continuous frieze {zophorus), 
 or to form a metope {melofa) in the 
 Doric order. 
 
 INTERULA. Seems to be iden- 
 tical with SuBUCULA, the innermost 
 tunica {interior or inlima), worn next 
 the skin ; and is applied indiscrimi- 
 nately to both sexes. (Apul. Flor. 
 ii. 9. Id. Met. viii. p. 159. Vopisc. 
 Prob. 4.) See the illustrations s. 
 
 InDUTUS and SUBUCULA. 
 
 INTESTINA'RIUS. A mechanic 
 employed in making what are now 
 called t\\e fittings in the interior of a 
 house ; a carpenter and joiner. Cod, 
 TAeod. 13. 4- 2. inscript. a/. Mur. 
 929. 6. ap. Orelli. 4182. 
 
 INTESTI'NUM, sc. opus. The 
 fittings of wood in the inside of a 
 house, such as doors, window frames, 
 and shutters ; or carpenter and join- 
 er's work. Vitruv. v. 2. Varro, 
 R.R. iii. I. 10. Plin. H. N. xvi. 82. 
 
 INTON'SUS (a«p(rfKo/iT)t). Un- 
 shorn ; i.e., wearing long hair ; with 
 an implied sense of youthfulness ; 
 for both the Greeks and Romans 
 cropped their hair upon arriving at 
 the age of puberty, after which pe- 
 riod long hair was regarded as u^j- 
 
356 INTUSIATUS. 
 
 manly ; excepting with reference to 
 certain deities, sucli as Eros, tlie god 
 of love, represented in the example, 
 from a bronze of Ilerculaneum, 
 
 Apollo, and Bacchus, to whom it is 
 attributed as a sign of perpetual 
 youth. Ov. Trist. iii. I. 60. Prop, 
 iii. 13. 52. TibuU. i. 4. 36. 
 
 2. {aKovpoc), Uiishaveii ; i.e.^ 
 wearing the beard at its natural 
 length, which was 
 the custom of the 
 earlier ages, as in 
 the annexed exam- 
 ple, from an en- 
 graved gem, in- 
 tended to represent 
 Nunia ; whence, in 
 after times, when 
 shaving had become 
 a general fashion, 
 the word implies a 
 rude, uncouth person, of antiquated 
 manners. Hor. Od. ii. 15. 11. Ti- 
 buU. ii. I. 34. Ov. Fast. ii. 30. Liv. 
 xxi. 32. 
 
 INTUSIA'TUS. The reading of 
 some editors instead of Indusiatus ; 
 which see. 
 
 INTU'SIUM. The reading 
 adopted by some instead of Indu- 
 SIUM ; in which case the word would 
 be derived from intus, and not from 
 induo ; and then the meaning, ac- 
 cording to this derivation of Varro 
 {L.L. V. 131.), would be an inner 
 tunic over an under one {subucula)^ 
 but itself under some other garment ; 
 which is not very intelligible. 
 
 IRPEX. A heavy rake set with 
 a number of teeth [regtda cum pluri- 
 bus dentibtis, Varro, L.L. v. 136. 
 Festus, S.V.), which was drawn by 
 
 yACTUS. 
 
 oxen over the ground, like a harrow, 
 to tear up the weeds. 
 
 ISELAS'TICI LUDI. The games 
 exhibited at the four great Grecian 
 festivals ; viz. , the Olympian, Isth- 
 mian, Nemean, and Pythian, which 
 were so termed because the victors at 
 them (hieronicce) were conducted 
 home with much pomp and ceremony 
 to their native towns, which they 
 entered in a triumphal car {tiatjXa- 
 oav) drawn by four horses, and 
 crowned with chaplets. Subsequently, 
 however, other games besides these 
 four were honoured with the same 
 name. Vitruv. Pmf. ix. i. Plin. 
 Lip. X. 118. Compare Suet. Ne7-o, 25. 
 
 ISELAS'TICUM. The reward 
 or stipend bestowed by the Roman 
 emperors upon the champions at the 
 Iselastic games. Trajan ad Plin. 
 Ep. X. 119. 
 
 ISOD'OMOS (laiSofioQ). One of 
 the styles of masonry adopted by the 
 Greek architects, in which every 
 stone was cut and squared to the 
 same height, so that when laid, the 
 courses were all regular and equal. 
 (Vitruv. ii. 8. 6. Plin. LLAT. xxxvi. 
 51.) A specimen is exhibited by the 
 annexed woodcut, representing a 
 
 fragment of the old wall which 
 formed the substruction of the Capi- 
 toline temple, consequently, dating 
 as far back as the legendary era of 
 the Roman monarchy. 
 
 J- 
 
 J A C T U S. A thrma of the dice. 
 Each throw was distinguished by a 
 
yACULATORES. 
 
 particular name, according to the 
 amount or nature of the numbers 
 turned up ; as, Canis or Camellia^ 
 Venus, Vulhirius, Seniones. Liv. iv. 
 17. Ov. A. Am. iii. 353. 
 
 2. A cast of the net; i.e., the 
 quantity of fish taken in it. Val. 
 Max. iv. i. 7. extr. 
 
 JACULATO'RES. yavdinmen; 
 furnished by the alHes to the Roman 
 armies, and so termed from the dart 
 (jaculutn) which they used, in con- 
 tradistinction to the slingers and 
 archers (funditores, sagiUarii) ; 
 though all three were classed amongst 
 the light-armed troops, and were em- 
 ployed in the same service, to com- 
 mence a battle by annoying the 
 enemy with showers of their missiles. 
 Liv. xxi. 21. xxxvi. 18. 
 
 2. Fishermen who use the cast-net 
 (jaculum). Plant, ap. Isidor. Orig. 
 xix, 5- 2. 
 
 JAC'ULUM. K javelin ox dart ; 
 which is thrown at a distance, not 
 held in the hand for thrusting (Varro, 
 L.L. vii. 57-); whence the name 
 seems to be given indiscriminately 
 by the Latin authors to many kinds 
 of missiles, even to a spear when dis- 
 charged from the hand as a missile. 
 Liv. xxvi. 4. Cic. Tusc. I. 42. 
 Virg. ALn. ix. 52. with Serv. ad I. 
 
 2. A cast-net used for taking fish 
 (Ovid, A. Am. i. 763.), which differed 
 in some manner from the ftmda ; for 
 Ausonius {Epist. iv. 54.) mentions 
 both these articles as a necessary 
 part of a fisherman's fit out, but with- 
 out affording any clue by which the 
 difference can be traced. 
 
 3. The net used by the retiarius 
 (Isidor. Orig. xviii. 54.), who ham- 
 pered an opponent by throwing it 
 over his head, and despatching him 
 with his trident, as shown and ex- 
 plained J-. Retiarius. 
 
 4. yaculus. A long rope with a 
 noose at the end, like the lasso, em- 
 ployed for catching steers out of a herd, 
 when it was required to bring them 
 into the homestead, and break them 
 to the plough. Columell. vi. 2. 4. 
 
 yANUA. 
 
 357 
 
 JA'NITOR [Bvp^p6q). The door- 
 keeper or porter ; a slave who kept 
 the keys of the street door (janua), 
 and sat in the porter's lodge at the 
 entrance of a house. Cic. Verr. ii. 3. 
 2. Plaut. Men. iv. 2. 115. 
 
 JA'NITRIX. A duenna. (Plaut. 
 Cure. i. I. 76.), Bottiger and other 
 writers infer from the above, and 
 some passages of TibuUus (i. 6. 61. 
 and i. 8. 76.), that female slaves were 
 employed as doorkeepers, and ushers 
 in the ante-rooms of their mistress's 
 house. But such a notion seems highly 
 improbable ; much more so than that 
 the word is merely used in an allusive 
 sense, as explained. 
 
 JA'NUA [ax)\twQ eipa). Strictly, 
 the front or street door of a private 
 house (Cic. Al.£i. ii. 27. Serv. f ad 
 Virg. yEn. i. 449. Vitruv vi. 7. i.), 
 as contradistinguished from porta, 
 the gate of a town, &c., and from 
 ostium, a door in the interior ; but 
 these nice distinctions are not always 
 observed. The illustration represents 
 
 a doorvvay belonging to one of the 
 houses at Pompeii, with the door 
 itself, and panelling restored from a 
 marble door in the street of the 
 
35 8 JENTACULUM. 
 
 tombs, carved in imitation of wooden 
 panels. The whole design consists 
 of the following component parts ; 
 the sill, or threshold, raised a step 
 above the pavement (limen) ; the 
 lintel above {supercilium, Jugumentum^ 
 or Ihnen superuni) ; the door posts 
 which support it (pastes) ; the door 
 leaves [fores)^ each of which is com- 
 posed of the following parts : two 
 uprights, one on each side of the leaf, 
 technically termed the "stiles" by 
 our carpenters (scapi) ; four trans- 
 verse pieces, which our carpenters 
 call the " rails" (impagines), dividing 
 the whole into three separate panels 
 [tympana). 
 
 JENTACULUM(aicpar.(r/jn). A 
 h'eak-fast ; the earliest of the daily 
 meals. (Nigid. ap. Isidor. xx. 2. 
 10.) It was taken at various hours, 
 according to the habits of each indi- 
 vidual ; by labourers very early in 
 the morning ; and, in general, ap- 
 pears to have consisted of light and 
 digestible food. Suet. Vit. 13. Mart, 
 xiv. 223. Compare viii. 67^ Apul. 
 Met. I. p. 14. 
 
 J U G A ' L I S, sc. Equus ( Jiiyiof 
 liTTTrof). A draught-horse ; but espe- 
 cially one which draws by a yoke 
 (jiigum) attached to the pole, as con- 
 
 tradistinguished from fiiualis, an out- 
 rigger. (Virg. Aiii. vii. 2S0. Sil. 
 Ital. xvi. 400.), as shown by the an- 
 nexed example, from an Etruscan 
 painting. 
 
 2. Jiigalis tela. See Tela. 
 
 JUGAMEN'TUM. See JuGU- 
 
 MENTUM. 
 
 JUGA'RIUS. A rustic slave, who 
 attended to the stalling, feeding, and 
 dressing of the plough oxen. (Colu- 
 
 JUGUM. 
 
 mell. i. 6. 6.) The Tuscan pea- 
 santry dress their oxen daily with 
 the bmsh and currycomb, as we do 
 our horses ; and it may be inferred 
 from the above passage of Columella 
 that the \Kommi jugarhis did the same. 
 JUGA'TIO. Implies the training 
 of vines to a rail or trellis, which was 
 practised in two ways ; either in 
 single lines, like an espalier, then 
 termed jugatio directa, or over a 
 frame formed with uprights and tie- 
 baTs at the top, like the annexed ex- 
 ample, from a painting in the Na- 
 
 sonian sepulchre, which was then 
 called jf'gatio cojjipluviata. Varro, 
 R.R. i. is, 2. 
 
 J U G U M (Kvyov). A yoke for 
 draught animals (Cic. N. D. ii. 60. 
 Cato, R.R. xi. 2. Vitruv. x. 3. 8.), 
 which was attached to the end of a pole 
 by a thong [eohiim, loriim), or by a 
 pin ; and was frequently formed with 
 
 two arcs to fit the necks of the ani- 
 mals on which it rested, in which 
 case it is described by the epithet 
 curvum (Ov. Fast. iv. 216.), to distin- 
 guish it from the plain straight curricle 
 bar also used for the same purpose. It 
 was likewise furnished with a pair of 
 loops or bands (JiOyXoi) at each extre- 
 mity, which were tied round the animal's 
 
yUGUM. 
 
 359 
 
 chest, to serve the purpose of a collar 
 (subjugium). The whole of these 
 
 several details are exemplified by 
 the tvi'O illustrations introduced ; the 
 first of which is from a bas-relief 
 found in the island of Magnesia ; 
 the second, which shows the pin and 
 the thongs round the chest, from a 
 painting at Pompeii. 
 
 2, (riffi/Wa, d.va(^opov). A yoke 
 for men to carry burdens upon. 
 (Varro, R.R. iL 2. lO.) It consisted 
 of a pole slightly curved in the centre, 
 and furnished with a strap at each end, 
 from which the object was suspended, 
 (Alciphr. Ep. i. I. 25.), somewhat in 
 the same manner as our milk-pails are 
 carried; but with this material differ- 
 ence, that it was not placed along the 
 back, hut across one shoulder, so that 
 the objects suspended from it hung be- 
 fore and behind the person bearing it, 
 
 who could thus shift his burden from 
 one shoulder to the other (Aristoph. 
 Ran, 8.) whenever he wished to ease 
 the weight. The whole of this is il- 
 lustrated by the annexed woodcut ; 
 the top figure represents an original 
 Egyptian yoke, not quite three feet 
 seven inches long, with one of the 
 straps belonging to it, of leather 
 
 nearly sixteen inches long, now pre- 
 served in the British Museum ; the 
 object on the left hand shows the 
 bottom of the strap upon a larger 
 scale, the two ends of which are fast- 
 ened together by a small thong, 
 which not only served to connect 
 them, but to receive a hook or an 
 additional strap, if the nature of the 
 burden required it ; and the bottom 
 figure in the centre shows the manner 
 of using the instrument, from a fictile 
 vase, which fancifully represents a 
 Satyr carrying objects for a sacrifice 
 to Bacchus. 
 
 3. The beam of a balance, or pair 
 of scales ; whence used as a name for 
 
 the constellation Libra. (Cic. Div. 
 ii. 47.) The example represents a 
 bronze original. 
 
 4. A cross-bar connecting two up- 
 rights at the top, in order to form a 
 frame upon which vines were trained 
 (Varro, R.R. i. 8.) ; as explained 
 and illustrated s. Jugatio. 
 
 5. The cross-bar or transverse 
 beam which united at the top the 
 two sides of an upright 
 loom ; to which the 
 threads of the warp 
 were fastened (Ovid. 
 Met. vi. 55.), when 
 the loom was of the 
 simplest kind, without 
 a cloth beam {insitbu- 
 lum), and the web was 
 driven down towards 
 the bottom, instead of 
 upwards ; such as exhibited by the 
 annexed example, representing Circe's 
 loom, from the Vatican Virgil. 
 
 6. The yokevinder which the Romans 
 compelled a vanquished enemy to 
 pass without arms, in token of sub- 
 
360 yUGUMENTUM. 
 
 jugation. (Liv. iii. 28. Flor. i. n. 
 13.) It was formed by two spears 
 stuck in the ground, with another 
 fastened transversely over their tops, 
 so as to present the same figure as 
 the upright loom in the preceding 
 woodcut. Festus s.v. Zonar. vii. 17. 
 7. The thwart, or cross-bench in a 
 boat upon which the passenger sat. 
 
 (Virg. yEn. vi. 48 1. of Charon's bark. 
 Serv. ad I.) The illustration is from 
 a Roman bas-relief. 
 
 JUGUMEN'TUM. The lintel of 
 a doorway. (Cato. R.R. xiv. I. z'^. 4.) 
 From the use of the word t^uyufia 
 applied to the gates of the citadel at 
 Sardis by Polybius (vii. 16. 5.), 
 Schneider would infer that the jugu- 
 mentum was something in the nature 
 of a fastening affixed to the outside of 
 a door or gate ; but it remains to be 
 
 proved that the Greek word corre- 
 sponds with the Latin one, which is 
 certainly used by Cato to designate a 
 component part of a doorcase, whether 
 made of wood or of stone, as in the 
 example which represents a doorway 
 
 LAB ARUM. 
 
 at Pompeii ; for in the first passage 
 he mentions it as one of the three 
 members of a wooden doorcase, /««/'««, 
 posies, jugumenia ; and in the second, 
 as part of the doorway in a wall, 
 cateros parietes ex latere, jugumenta, 
 et antepagine?ita. 
 
 JUNO'NES. Fairies or guardian 
 spirits of the female sex, one of which 
 was believed to be born with every 
 female, to attend and watch over her 
 through life, and expire with her at 
 her decease, precisely as the Genius 
 with males. They are represented 
 as young girls, with the wings of a 
 bat or a moth, and entirely draped, 
 as shown by the annexed example, 
 from a Pompeian painting ; whereas 
 
 the male spirit was usually repre- 
 sented naked or nearly so, and with 
 the wings of a bird. Plin. ff.N'. ii. 
 5, Senec. Ep. no. TibuU. iv. 6. I. 
 
 L. 
 
 LAB'ARUM. The imperial stan- 
 dard carried before the Roman em- 
 perors from the time of Con- 
 stantine. ■ In form it resembled 
 the vexillitm of the cavalry, 
 consisting of a square sheet of 
 silk attached by a cross bar to 
 the shaft, richly ornamented 
 with gold and embroidery, and 
 emblazoned with the figure of 
 a cross and a monogram of 
 Christ. (Prudent, in Symmach. 
 i. 487.), as shown by the annexed 
 example, from a medal of Constantine. 
 
 L\. 
 
 l:^ 
 
LABELLUM. 
 
 LAB RUM. 
 
 361 
 
 The name is probably formed from 
 the Gaulish, lah, to raise ; for Con- 
 stantine was educated in Gaul. 
 
 L A B E L' L U M. Diminutive of 
 Labrum. Columell. xii. 43. I. Cato. 
 R. R. X. 2. and Cic. Leg. ii. 26., where 
 it is an ornamental vase over a grave 
 (tumulus). 
 
 LA'BRUM. A general name given 
 to any vessel which is formed with a 
 full round brim, turning over on the 
 outside like the human lip, from 
 which similitude the name arose. 
 The more special uses to which such 
 vessels were applied are the following : 
 
 I. A large flat basin containing 
 water, which stood, in an isolated 
 position, upon the floor at the circular 
 
 end of the thermal chamber [calda- 
 rium), in a set of baths, leaving sufli- 
 cient space all roimdit to accommodate 
 the different bathers who stood round 
 and sprinkled themselves with the 
 water it contained, whilst they scraped 
 off the perspiration from their bodies, 
 engendered by the high temperature 
 of the room. (Vitruv. v. 10. 4. Cic. 
 Fani. xiv. 20. Marquez. Cas. Rom. 
 § 316. seqq.) Most of these particulars 
 are exemplified by the illustration 
 from a fictile vase, which shows a. 
 slave (aquarius) filling the labrum 
 with water ; one person scraping 
 himself with a strigil {strigilis), and 
 another dipping his hands into the 
 basin for the purpose of sprink- 
 ling the water over his person. The 
 engraving on page 363. s. v. Laco- 
 NICUM, exhibits a vase of the same 
 kind as it now stands at one end 
 of the thermal chamber in the baths 
 of Pompeii. 
 
 2. An ornamental basin of the same 
 form, intended to receive the water 
 which fell from the jet of an artificial 
 fountain (Plin. Ep. v. 6. Ulp. Dig. 
 19. I. 15.), as exhibited by the an- 
 nexed example, representing a foun- 
 
 tain now remaining in the Fullonica 
 of Pompeii, in which only the water 
 has been restored to show the action. 
 
 3. A large fiat vessel or pan made 
 of stone or earthenware {Col. R. R. 
 xii. 15. 3.), which was employed in 
 the cella olearia for holding the oil 
 after it had been removed from the 
 lacus. Col. R. R. xii. 52. 10. Cato. 
 xiii. 2. 
 
 4. (xipviPov, TnpipP'ivTiipmv). A 
 holy water font, of stone or marble, 
 placed at the entrance 
 of a heathen temple, 
 to contain the lustral 
 water (Herod. I. 51.) 
 into which the hands 
 were dipped as a puri- 
 fication before sacri- 
 
 fice. The illustration ^a 
 represents an original 
 font of white mar- 
 ble which served for this purpose 
 at Pompeii ; and the manner of 
 placing it in front of a temple is ex- 
 hibited by a bas-relief of the Vatican. 
 (^Mus. Pio-Clem. v. 33.) The com- 
 position of the holy water was the 
 same as that now adopted in Roman 
 Catholic countries, a. mixture of salt 
 with common water. {Theocr. Id. 
 xxiv. 95, Durant. de Rit. i. 21.) 
 The word labrum is not met with in 
 any Latin writer in the sense here 
 mentioned ; but the Greek names 
 are well authenticated, as well as the 
 object itself; and the form is pre- 
 
362 
 
 LABYRINTHVS 
 
 L ACINI A. 
 
 cisely that of which the name in 
 question is characteristic. 
 
 5. The ditch or trench on the out- 
 side of an agger, or of a wall of forti- 
 fication. Auson. Clar. Urb. v. g. 
 
 LABYRIN'THUS {\alSipip9oc). A 
 labyrinth ; under which term the 
 ancients understood more especially a 
 large mass of building connected with 
 innumerable subterraneous caverns, 
 streets, and passages, like the cata- 
 combs at Rome for example, out of 
 which it was next to impossible for a 
 person who had once penetrated into 
 them to return back again without a 
 guide. Herod, ii. 184. Pliu. H.N. xxxvi. 
 19. § 1—4. Virg. Mn. v. 588. Ov. Met. 
 viii. 159. seqq. But likewise what is 
 now called a maze, formed by an in- 
 tricate design containing many pas- 
 sages and windings within a small 
 space, circumscribed by hedges (Plin. 
 /. t. § 2.), such as still remains in the 
 Gardens of Hampton Court, and other 
 places ; and as indicated with its 
 
 t</^jr/^'i~ 
 
 name in the annexed illustration, 
 which is a reduced facsimile of a sketch 
 rudely scratched with a nail upon the 
 pilaster of a Pompeian house, pub- 
 lished in the Mus. Borb. xiv. Tav. a. 
 1852. 
 
 LACER'lSrA. An article of dress, 
 which appears to have been borrowed 
 from the Gauls. (Cic. Phil. ii. 30.) 
 It consisted of a loose mantle, not 
 closed all round, like the pamila, but 
 opon in front, and fastened by a buckle 
 or brooch (fibula) under the throat. It 
 
 was, moreover, sufficiently ample to be 
 worn over the toga (Juv. 
 ix. 28.), or any other 
 garment ; and had a 
 hood [cucullus. Mart, 
 xiv. 132. 139.), which 
 could be raised over 
 the head when the 
 wearer wished to con- 
 ceal his features, or 
 avoid the sight of any 
 unpleasant object. 
 
 (Hor. Sat. ii. 7. 55. 
 Paterc. ii. 70. 2,) It 
 came first into use towards the latter 
 end of the republic ; but became very 
 general under the empire, being used 
 by all classes, civil as well as military. 
 (Suet. Aug. 40. Claud. 6.) All these 
 particulars seem to be distinctly exhi- 
 bited in the mantle worn by the an- 
 nexed figure, from the column of Trajan ; 
 and as it presents a characteristic dress, 
 which can be ascribed to no other name 
 in the language, it may be confidently 
 taken asaffording the modelofa&«/-«a. 
 
 LACERNA'TUS. Wearing the 
 lacerna, as described and represented 
 in the preceding article and illustra- 
 tion. Paterc ii. 80. 3. 
 
 LACER'NULA. Diminutive of 
 Lacerna. Arnob. ii. 56. 
 
 LACI'NIA (kpokvq). In its pri- 
 mary sense, a flock of wool, not 
 twisted into a fringe {fimbria), but in, 
 its natural form of a knot or tuft, such 
 as we often see left upon the surface 
 of blankets and other woollen fabrics. 
 Hence the term was transferred to 
 many other objects both animate 
 and inaminate which bore a resem- 
 blance to the pointed and globu- 
 lar form of that object ; as, a small 
 projecting headland (Plin. U. N. v. 
 43.) ; a leaf (Id. xv. 30.) ; and the 
 two drop-like excrescences, growing 
 like warts under 
 the jowl of a she- 
 goat (Id. viii. 76.) 
 which the ancient 
 artists likewise 
 appended to the 
 necks of their fauns and young 
 
LAC INI A. 
 
 satyrs, in order to indicate their li- 
 bidinous propensities, wlien tliey re- 
 presented tliem witliout horns, as in 
 the annexed example, from a statue 
 found at Herculaneum. 
 
 2. From the resemblance above 
 mentioned, the name was given to a 
 sort of drop, frequently left on to the 
 corners of various articles of dress ; 
 the chlamys (Plaut. Merc. i. 2. 29.), 
 pallium. (Pet. Sat. xii. 2.), toga (Suet. 
 Cal. 35.), and tunic (Pet. Sat. xii. 
 6.), where it served the double pur- 
 pose of use and ornament, being 
 weighted with' 
 lead inside, 
 so that it kept 
 the ends down 
 in a graceful 
 and steady po- 
 sition. It is 
 
 seen upon each «n— =w!..i!i 
 
 corner of the aJLJv!' Vi v TO 
 
 side slit in the 
 tunic worn by 
 the annexed fi- 
 gure, from an 
 equestrian statue of TST. Balbus dis- 
 covered at Herculaneum ; upon the 
 pallium^ in the first illustration to that 
 word ; upon the chlamys, at pp. 154. 
 155. 178. ; upon the toga of the 
 Etruscan figure, with the right arm 
 extended, s. ToGA, though it is lost 
 in our engraving from the reduced 
 size of the drawing ; and on those 
 of the figures in Mus. Borb. vi. 41. 
 Mus. Pio-Clem. iii. 19. v. 32. and 
 many other statues. Now as the laci- 
 nia always depended from the extreme 
 corner of the skirt, it will be readily 
 understood how it came to signify 
 in general language the angular ex- 
 tremity of the dress itself ; which 
 sometimes hung down near the 
 ground, and sometimes was taken up 
 and thrown over the shoulder (Ana- 
 BOLIUm), so that one person catches 
 another by the lacinia, to stop him 
 and arrest his attention (Suet. Claud. 
 15. Pet. Sat. 100. 5.), like our "but- 
 ton holder ; " or uses it as a hand- 
 kerchief to wipe his face (Plaut. 
 
 LACONJCUM. 363 
 
 Merc. i. 2. 16.) ; or, to contain any 
 thing (Cic. Fam. xvi. 21.) ; while 
 Apuleius frequently uses the word 
 in a more general sense, for the en- 
 tire garment to which lacinice were 
 appended. 
 
 LACO'NICUM {Trvpiariipiov). 
 The semicircular end of the thermal 
 chamber (caldarium) in a set of baths, 
 so termed because it originated with 
 the Lacedsemonians. (Mart. vi. 43. 
 it.) One end of the caldarium con- 
 tained a bath of warm water (alveus), 
 and the other the Laconicum, con- 
 
 sisting of a semicircular alcove, heated 
 by a furnace and flues [hypocausis) pass- 
 ing under its floor and through its 
 walls, which were made hollow for 
 the purpose. In the centre was placed 
 a flat vase (labrum), containing water 
 for the bather to sprinkle over him- 
 self as he scraped off the perspiration 
 engendered by the high temperature 
 at which the place was kept ; and 
 immediately over it was a circular 
 opening(/Mff(fK), which could be closed 
 or opened by means of a metal disk 
 (clipeus), accordingly as it was re- 
 quired to raise or lower the degree of 
 heat. (Vitruv. vii. 10. v. 10.) The 
 illustration represents the Laconicum 
 in the baths at Pompeii, with its 
 labrum in the centre, and the circular 
 aperture over it, which was closed by 
 
364 
 
 LACTARIVS. 
 
 LAC US. 
 
 a metal disk, suspended by chains, 
 for which the fastenings were dis- 
 covered affixed to the walls. The 
 three square windows above were 
 made air-tight by being closed with 
 glass or lapis specularis. The manner 
 in which the apparatus of tlie dipeus 
 acted is explained and illustrated at 
 p. 1 79. ; and a different explanation, 
 which some scholars wish to attach to 
 the word Laconicum, will be found at 
 p. 180. The relative situation wliich 
 the Laconicum, as here interpreted, 
 occupied with respect to the other 
 apartments, and its own position in the 
 thermal chamber, may be seen on the 
 ground-plan, p. 74. letters D. i. 
 
 LACTA'RIUS. A sort of pastry- 
 cook, who made sweet things {opus 
 lactarium), with milk, meal, fruit, and 
 honey. Lamprid. Elag. 27. and 32. 
 
 LACU'NA. A pit sunk under- 
 neath the fire of a lime-kiln to receive 
 the ashes which dropped from it, 
 when the kiln was constructed with 
 only one entrance (prcefurnium) to 
 its furnace. If there were two en- 
 trances, the ashes were removed, 
 when necessary, through one of them, 
 and in that case no lacuna was re- 
 quired. But if there was only a 
 single entrance, sucli u contrivance 
 was indispensable, because the ashes 
 could not be cleared away without 
 extinguishing or diminishing the fire ; 
 and it is a requisite in making lime 
 that the heat should be kept up at a 
 regular and continuous temperature, 
 from the time the furnace is kindled 
 until the whole mass is sufficiently 
 baked. Cato, R. R. 38. 
 
 LACU'NAR (faTi'ioiia). A coffer 
 or panel in a fiat ceiling, formed by 
 the beams and rafters supporting the 
 roof or flooring of an upper story, 
 which cross each other at right angles, 
 and, when they are left exposed, are 
 seen to divide the whole soffit into a 
 number of square compartments, like 
 a pit or lake (lacuna, lacus), from 
 which appearance the name arose. 
 (Vitniv. vii. 2. 2. Cic. Tusc. v. 21. 
 Hor. Od. ii. 18. 2.) The illustration 
 
 represents a flat ceiling of this de- 
 scription from the Vatican Virgil ; 
 
 but, as it was customary to imitate 
 wood-work in brick and masonry, 
 coffers of a similar description are 
 often formed in arched or domed 
 ceilings, of which the Pantheon at 
 Rome affords an example. 
 
 2. A particular kind of sun-dial 
 (Vitruv. ix. 8.), which may be readily 
 imagined from the name, although 
 no specimen of it is known to exist ; 
 as a dial sunk in a slab, like the coffer 
 in a ceiling. 
 
 LACUS (XaicKof.) In its primary 
 sense, a large and profound cavity 
 filled with water, which does not flow 
 nor, though stagnant, dry up ; corres- 
 ponding with our lake. Varro. Z. L. 
 V. 26. Cic. Agr. iii. 2. 
 
 2. A large open basin or artificial 
 tank, containing a head of water 
 supplied from the aqueducts, gene- 
 rally decorated with marble orna- 
 ments and fountains, so as to form an 
 embellishment to the city, whilst, at 
 the same time, it furnished the poorer 
 residents in its neighbourhood, who 
 could not afford to have the water laid 
 on to their own houses, with a copious 
 and accessible supply of tlris necessary 
 element. (Liv. xxxix. 44. Hor. Sat. 
 i. 4. 37. Frontin. Ag, 78. P. Victor. 
 Urb. Rom. Plin. H. N. xxxvi. 24. 
 § 9.) As many as 700 of these lakes 
 are enumerated in the city of Rome. 
 
 3. A particular part of the building 
 in whiclr wine or oil was made {vina- 
 riuni, torcularluni), and into which the 
 juice fiowed as it was squeezed out 
 
LACUS. 
 
 by the pressbeam. (Columell. xii. 
 1 8. Plin. Ef. ix. 20. 2. Tibull. i. I. 
 10. Ov.Fast. V. 888.) Thus far the 
 general meaning of the word is suffi- 
 ciently authenticated ; but it is not so 
 easy to make out exactly what the 
 laciis was, how it was constructed, or 
 whereabout in the building it was 
 situated. It is clear, however, (from 
 Cato, H. H. 66. Varro, li.R. i. 13. 7. 
 and Pallad. i. 18.) that it formed a 
 part both of the wine and oil-press- 
 room ; in each of which it is reason- 
 able to conclude that it served for 
 similar purposes, and was constructed 
 in a similar manner. In comparing 
 the description of Varro and Palla- 
 dius (//. cc.) with the remains of the 
 olive pressroom discovered at Stabia 
 (of which a section and elevation is 
 given s. Torcularium), the only 
 part to which the name of lacits can 
 be ascribed, in accordance with their 
 words, is a short leaden conduit 
 (marked b on the plan), which passes 
 from the sloping pavement of the 
 large reservoir (h) into an earthen- 
 ware jar (c) sunk below the level of 
 the floor. Still the name of lake 
 seems most inappropriate for such a 
 channel ; and, if it were allowable to 
 rely upon conjecture alone, it would 
 be a more plausible solution of the 
 difficulty to suppose that the lacus 
 was a pit or receiving vat, constructed 
 in the fabric, but under the floor of 
 the room, into which the newly 
 squeezed oil or wine was let to flow 
 from the labrum, through a channel 
 constructed for the purpose ; and that 
 it was not used in every vineyard or 
 olive garden, but only by those pro- 
 prietors who bestowed particular care 
 and attention upon the manufacture 
 of their wine and oil. 
 
 4. Qu(e in cella est; a pit sunk 
 below the general level of a wine or 
 oil cellar {cella vinaria, olearia), in 
 which the wine was stored and kept 
 in body after it had been removed 
 from the pressroom {torcularium) where 
 it was made. Cato, H. R. 67. Xen. 
 Anab. iv. 2. 22. Aristoph. Eccl. 154. 
 Schol. ad. I. 
 
 I.MNA. 365 
 
 S- A pit, or large tray, in which 
 
 lime is chopped up for making mor- 
 tar (Vitrv. vii. 2. 2.) ; as shown by the 
 annexed example, from a group on the 
 Column of Trajan, which represents 
 one of the Roman soldiers making 
 mortar for a party of builders. 
 
 6. A trough or vessel of water, into 
 whichsmiths andmetal workers plunge 
 their instruments to cool them, or the 
 heated iron to harden it, when wrought. 
 
 3733?^ 
 
 (Ovid. Met. xii. 278.) In the annexed 
 example, from a Roman bas-relief, it 
 is represented as a large round basin 
 standing on the ground at the foot of 
 the anvil. 
 
 7. A bin, in a granary. Columell. 
 i. 6. 14. 
 
 8. A fo^r in a ceiling. (Lucil. a;*. 
 Serv. ad Ain. i. 726.) Same as 
 Lacunar. 
 
 LACUS'CULUS. Diminutive of 
 Lacus ; and especially, a bin in a 
 granary ; or in a store house for olives, 
 in which the fruit was deposited as it 
 was picked, and kept until it could 
 be put into the press. Columell. xii. 
 50. 5. 
 
 LjE'NA (xXaira) A term used to 
 
366 LAGENA. 
 
 designate not so much any particular 
 description of robe, as a peculiar kind 
 of woollen cloth, with a long loose nap 
 (Strabo, iv. 4. 3.), which was em- 
 ployed for various kinds of garments 
 belonging to the outward apparel 
 (atfiktus), such as the pallium, sagum, 
 ruinuun, lacerna, &:c. But the name 
 was also specially given to the amictus 
 worn by the Flamines at the sacrifice ; 
 which in early times was made of tliis 
 cloth, and put on double, like the 
 Greek diplois. Varro, L.L. v. 133. 
 Festus, s. V. Serv. ail Virg. ^n. iv. 
 262. Cic. Brul. 57. Juv. iii. 283. 
 Mart. xiv. 136. 
 
 LAGE'NA {\dyi]vos). A large 
 eathenware vessel, chiefly intended 
 for holding wine, but sometimes 
 used for other purposes, such as 
 keeping fruit &c. (Hor. Sal. ii. 
 8. 41. Columell. xii. 45-) It 
 is described as having 
 a full and swelling body, 
 like a gourd, a short 
 neck, and a foot to stand 
 upon. Apul. Mel. ii. p. 
 31. Columell. X. 383 — 7. 
 All these particulars are 
 exhibited by the an- 
 nexed example, from an original of 
 baked clay ; which also closely resem- 
 bles the lagena, on an engraved gem, 
 which the storli in the fable (Phaedr. i. 
 26.) puts before reynard the fox, in 
 return for his tantalising her with an 
 invitation to eat out of a patina. 
 
 LAM'IjE (Xa/jiai). Vampires ; he- 
 lieved to be malignant spirits of the 
 female sex, who wandered about at 
 night in the guise of old hags, sucking 
 
 LANCE A. 
 
 the blood, and devouring the flesh of 
 human beings, more especially of 
 young children. This superstition 
 originated in Egypt, whence it was 
 adopted into Greece and Italy. Hor. 
 A. P. 340. Apu]. Mel. i. p. 13. Id. v. 
 p. 96. Quaranta, Aius. Borb. xi. 53. 
 
 LAMPAS {Kan-Kas). A general 
 term for any thing which shines or 
 gives light ; as a lorch (Virg. Ain ix. 
 535. Fax) ; a lamp (Juv. iii. 
 285. Lucerna) ; but, espe- 
 cially, a light which was 
 carried by the youth of 
 Athens in a race called 
 XafiTraSjjdpofjtia, at which 
 the winner had to outstrip his com- 
 petitors without extinguishing his 
 light. It is represented by the an- 
 nexed example, from a Greek coin, 
 and resembles a candlestick with a 
 handle under the bottom, and a large 
 disk above, to protect the hand from 
 the gutterings of the pitchy or resinous 
 matter of which the torch consisted. 
 
 LANCEA (Xoyxf)- A lance ; a 
 very long light spear, with a broad 
 flat head, serving both as a pike and 
 a missile (Virg. Ain. xii. 374.) ; com- 
 monly used by the Greek cavalry 
 (Polyb. vi. 23. Festus, o. v.), and by 
 liuntsmen. (Apul. ]\Icl.ym. p. 156.) 
 It had a leather loop {nodjis) attached 
 to the shaft (Sil. ItaL i. 318. Isidor. 
 Orig. xviii. 7.), intended for the 
 porpose of enabling the horsemen to. 
 mount, (Xen. R. Equest. vii. i.) It is 
 singular that we should have no good 
 or undoubted representation of this 
 weapon. The spear used by Alex- 
 ander and those of the Greek cavalry in 
 
 =^ — ZfefcSS^ 
 
 the Pompeian mosaic, representing the 
 battle of Issus (woodcut, p. 200.), are 
 not furnished with the particular ap- 
 pendage above mentioned, and their 
 prodigious size is more characteristic 
 of the conlus than the lancea. In the 
 engraved gem of the Stosch cabinet, 
 which represents a Greek horseman 
 
 mounting from his spear (Wink. Mon. 
 Ant. Ined. 202), the spear is not fitted 
 with a loop, but with a projecting 
 rest, or small platform, apparently of 
 wood, standing out from the lower 
 end of the shaft. But in a mutilated 
 bas-relief published by Stuart (Antiq. 
 0/ Athens, v. 3. p. 47.), containing a 
 
LANCEARIUS. 
 
 LAN 1ST A. 
 
 367 
 
 representation of two shields, and what 
 appears to be part of the shafts of three 
 spears, each of them has a loop affixed 
 similar to what is seen in the illus- 
 tration here annexed, which represents 
 a broken spear lying on the foreground 
 of the Pompeian mosaic above men- 
 tioned ; and as the head of it is turned 
 towards the Persians, it is quite clear 
 that the artist intended it for a Greek 
 weapon ; the probability of its being 
 a lancea is therefore inferred from the 
 thong which surrounds its shaft. 
 
 LANCEA'RIUS {XofxHopos). A 
 lancer ; that is, one who is armed with 
 the particular kind of spear termed 
 lancea, which is described and illus- 
 trated under the preceding word. 
 Ammian. xxi. 13. 16. 
 
 LAN'CEOLA. Diminutive of 
 Lancea. Capitol. Maxim, jfun. 4. 
 
 LANCIC'ULA. Diminutive of 
 Lanx. Arnob. ii. 59. 
 
 LAN'CULA. Diminutive of 
 Lanx ; and especially the scale, 
 which was appended when necessary 
 to one end of a Roman steelyard 
 (statera). (Vitruv. x. 3. 4.) The 
 illustration shows two steelyards 
 found in Pompeii ; one with n. scale 
 
 affixed to it, the other without the 
 scale, but with a hook for holding 
 the objects to be weighed. 
 
 LANIA'RIUM and LANIE'NA 
 (spfwffuXioi'). A butcher's shop. 
 Varro, K. R. ii. 4. 3. Plaut. Epid. ii. 
 2. 17. 
 
 LANIF'ICA. A general term for 
 a female employed in any of the pro- 
 cesses connected witli the working 
 of wool, inclusive of the spinner, 
 weaver, and the various names enu- 
 merated in the Classed Index. Vi- 
 truv. vi. 7. 2. Ulp. Dig. 33. 7. 12. 
 
 LANIPEN'DIA. The mistress 
 of a household, or the superintendant 
 in an establishment 
 where the business 
 of spinning and 
 'veaving wool was 
 conducted. She 
 
 weighed and gave 
 out to her slaves or. 
 workwomen (qua- 
 sillari^) a certain 
 quantity of wool 
 which each one 
 was expected to 
 consume in her 
 work per day. (Juv. vi. 476. Schol. 
 Vet. ad I. Paul. Dig. 24. I. 38.) The 
 illustration shows a female weighing 
 the wool in a pair of scales, from a 
 bas-relief in the Forum of Nerva at 
 Rome, on which various other opera- 
 tions belonging to this branch of in- 
 dustrial labour are represented. 
 
 LANIPEN'DIUM. A room in 
 which wool was weighed out to the 
 workwomen for their daily task, as 
 described under the preceding word. 
 Inscript. ap Romanelli. Topogr. Na- 
 politan. ii. p. 273. 
 
 LANIS'TA (fiovoiJiaxoTp6<l)og). A 
 person whose occupation consisted in 
 training gladiators to fight, and teach- 
 ing them their art. He was some- 
 times the proprietor of a band of 
 these men, whom he let out upon 
 hire to any person desirous of exhi- 
 biting a gladiatorial show ; but more 
 commonly merely the trainer and 
 fencing master appointed to instruct 
 the companies belonging to the state. 
 (Cic. Jlosc. Am. 40. Id. Alt. i. 16. 
 Juv. vi. 215. Serv. ad Virg. ^n. iv. 
 
368 LANIUS. 
 
 242.) He is always represented on 
 works of art in a tunic, and unarmed, 
 but with a wand {virga), which he 
 used as a token of authority ; as 
 
 shown by the annexed example, 
 which represents a lanista giving di- 
 rections to a pair of gladiators, from 
 a mosaic of the Villa Albani. 
 
 2.A"jiiimLanista(a.\iKTpvovoTp6^PQ, 
 opruyorpd^oc. Pollux, vii. 135-6-) One 
 who trained and backed game cocks, 
 quails, and other pugnacious birds to 
 fight ; a favourite amusement both of 
 the Greeks and Romans. (Columell. 
 viii. 2. 5.) The illustration represents 
 
 a pair of cocks, with their backers, 
 under the usual form of genii, from a 
 terra-cotta lamp in the collection at 
 Mostyn Hall. 
 
 LAN'IUS (icptovpyoi). One who 
 buys cattle to slaughter, and sell the 
 meat ; a butcher, or meat salesman 
 (Varro, R. R. ii. 5. n, Phiedr. iii. 
 4.) ; whence transferred in a more 
 general sense to an executioner 
 (Plant. Psmd. i. 3. 98.) ; and to one 
 
 LANX. 
 
 who buys and sells cattle for slaugh- 
 tering at the sacrifice. (Varro, /. c. ) 
 
 LANTERNA. See Laterna. 
 
 LANX. A large circular dish, 
 made of silver or other metals, and 
 often richly em- 
 bossed ; parti- ^^ 
 cularly era- 
 ployed at great 
 entertainments (Cic. Att. vi. i. Pet. 
 Sat. xxviii. 8. Id. xxxi. 10.) for 
 holding meat or fruit ; and at the 
 sacrifice. (Virg. Georg. ii. 194- ) 
 The example is copied from one of 
 twelve figures, representing slaves 
 bringing in various dishes at an en- 
 tertainment, in a set of ancient fresco 
 paintings discovered near the church 
 of St John of Lateran at Rome. It 
 exhibits a boar brought whole to table 
 in one of these dishes, precisely as 
 mentioned by Plorace (Sat. ii. 4. 41.) 
 in a passage which would scarcely 
 obtain belief, were it not confirmed 
 by some other authority, such as that 
 here produced. 
 
 2. Lanx quadrata [it'ivat,). A 
 square trencher, or platter, originally 
 of wood, but subsequently of more 
 costly materials ; used as a plate to 
 eat from, or as a salver for bringing 
 fruit and other eatables to table ; as 
 shown by the annexed example, 
 from a mutilated Pompeian painting. 
 
 which represents a slave bringing in 
 a basket of fruit upon a square tren- 
 cher to a party of three persons re- 
 clining at table, supposed to be in- 
 tended for Scipio, Sophonisba, and 
 
LAPICJDA, 
 
 Masinissa. Horn. Od. i. 141. xvi. 
 49. Aristoph. Phit. 990. Ulp. Dig. 
 34. 2. 20. Paul. ib. 6. I. 6. 
 
 3. (raXavTOV, TrXaartyi,). The dish 
 or scale of a balance (libra) ; so 
 termed from its shallow circular form, 
 which resembles that of the dish re- 
 presented in the first illustration to 
 this article. The annexed example 
 exhibits a balance with the scales or 
 lances suspended by chains, from 
 an original found at Pompeii. Cic. 
 
 LARES. 
 
 369 
 
 Acad. iv. 12. Id. Tusc. v. 17. Pers. 
 iv. 10. 
 
 LAPICI'DA. A quarry- man, 
 who hews stone out of the quarry. 
 Varro, L. L. viii. 62. 
 
 LAPICIDI'NA (\aTo\xaov\ A 
 stone quarry. Cic. Div. i. 13. Plant. 
 Capt. V. I. 23. 
 
 LAPIDA'RIUS (Xieoupyoc, XiSo^o- 
 og, XiOotoi^ol). A stone-cutter, lapidary, 
 
 or mason, and, like our own terms, 
 including the workers of marble as 
 well as stone. (Pet. Sat. 65. 5. Ulp. 
 ^'S- 13- 6. 5.) The illustration re- 
 
 presents two masons preparing a 
 block of stone or marble, and a co- 
 lumn for the building of Carthage, in 
 the Vatican Virgil. 
 
 i:. When used as an adjective, the 
 word is expressive of anything con- 
 nected or concerned with stone ; as, 
 latoniia lapidaria, a stone pit (Plant. 
 Capt. iii. 5. 65.) ; navis lapidaria, a 
 vessel freighted with stone (Pet. Sat. 
 117. 12.); lapidaria litera, capital 
 letters such as are cut out of stone 
 inscriptions. Id. 58. 7. 
 
 LAQ'UEAR and LAQUEA'RE. 
 (Virg. Ain. i. 726. Plin. //. N. xxxiii. 
 18.) Same as Lacunar. 
 
 LAQUEA'RIUS. One who makes 
 or ornaments with stucco work or 
 gilding, the coffers of a ceiling. Cod. 
 Theodos. 13. 4. 2. 
 
 LAQUEATO'RES. A class of 
 gladiators very similar to the Retiarii, 
 excepting that they made use of a 
 noose or lasso, instead of a net, to 
 hamper their adversaries before at- 
 tacking them with their weapon. 
 Isidor. Orig. xviii. 56. 
 
 LAQUEA'TUS (^anwrdt). Ap- 
 plied to ceilings which are laid in 
 coffers or panels, as explained and 
 illustrated s. Lacunar. Hor. Od. ii. 
 16. II. Suet. Nero, 31. 
 
 LAQ'UEUS (/Bpdpcoc)- A cord 
 with a slip-loop to it, forming a noose 
 or halter for strangling (Sail. Cat. 58. 
 Liv. i. 26.) ; or a snare by which 
 wild animals, game, veiinin, &c. , were 
 caught by the neck. Virg. Georg. i. 139. 
 
 LAR'ES. Tutelary spirits ; accord- 
 ing to the religious 
 belief of the Ro- 
 mans, supposed to 
 be the souls of 
 deceased persons, 
 who exercised a 
 protecting influ- 
 ence over the in- 
 terior of every 
 man's household, 
 himself, his family, 
 
 and property. ' 
 
 They were not 
 regarded as divinities, like the Pen- 
 2 A 
 
37° 
 
 LARARIVM. 
 
 LAS A NUM. 
 
 ates ; but simply as guardian spirits, 
 whose altar was the domestic hearth 
 (focus) in the atrium, upon which 
 each individual made offerings of 
 incense to them in his own home. 
 (Plant. Aul. Prol. 2. Id. Merc. v. 
 I. 5- Quaranta. Mus. Borb. tom. 
 xi.) They were likewise believed 
 to exert their influence out of 
 doors, where they became the over- 
 seers of every spot and place in- 
 habited by men ; as the streets, roads, 
 fields, and buildings, both in town and 
 country ; whence they were distin- 
 guished by the epithets cojiipitales, 
 ■viales, oiruralcs (Suet./4«^. 31. Plaut. 
 Merc. V. 2. 24, TibuU. i. i. 20,) ; and 
 the household ones, familiares (Plaut. 
 Aul. I. c). They are constantly re- 
 presented in works of art as young 
 men crowned with a chaplet of laurel 
 leaves, in a short tunic (succinctis 
 Laribus, Pers. v. 31.), and holding 
 up a drinking-horn (cornu) above 
 their heads, as exhibited by the an- 
 nexed figure, from a bas-relief in the 
 Vatican, under which is the inscription 
 Laribus Augustis. The accessory 
 of the drinking-horn has induced 
 many antiquaries to take these 
 figures for cup-bearers (pocillatores) ; 
 but the inscription just mentioned is 
 sufficient evidence of their real cha- 
 racters ; and they are repeatedly 
 seen on the walls of the Pompeian 
 houses, in kitchens, bakehouses, and 
 over street doors, standing in pairs, one 
 on each side of an altar, in the exact 
 attitude and drapery here shown. 
 
 LARA'RIUM. A sort of shrine, 
 small chapel, or apartment where the 
 statues of the Lares, or guardian- 
 spirits of a household, as well as other 
 sanctified or deified personages, were 
 placed and worshipped. Lamprid. 
 Alex. Sev. 29. and 31. Such an ar- 
 rangement, however, was probably 
 peculiar to particular individuals, or 
 to great houses and persons of wealth, 
 the usual situation for images of 
 the Lares being over or beside the 
 hearth (focus) in the great hall, or 
 atrium of the house. 
 
 LARVA. K ghost or spectre; i.e. 
 according to the religious belief of 
 the Romans, an evil spirit, supposed 
 to be the soul of a departed being, 
 which, in consequence of crimes com- 
 mitted during life, was deprived of 
 repose in death, and left to wander 
 about the world without any fixed 
 abode, tormenting, frightening, and 
 injuring mankind. Its influence, how- 
 ever, only extended to evil-doers, 
 being innoxious to those who were 
 themselves innocent (Plaut. Amph. ii. 
 2.154. Id. Capt. in. 4. 66. Ap\lL Deo 
 Socrat. p. 689. Augustin. Civ. Dei, 
 ix. II.); nor was it supposed to be 
 possessed of any corporeal substance, 
 beyond the frame of a skeleton, 
 Seneca, Ep. 24. 
 
 2. [nopixokvKiiov. A bug-bear or 
 hobgoblin, to scare and frighten chil- 
 dren ; consisting of a mask for the 
 face ; but differing from persona, be. 
 
 cause it is only applied to those which 
 possess unsightly features. (Hor. Sat.i. 
 5. 64.) The illustration, taken from 
 a painting found in an excavation at 
 Resina, represents one genius frighten- 
 ing another with a larva of this de- 
 scription. 
 
 3. An artificial figure of a skeleton, 
 which the ancients were fond of intro- 
 ducing at entertainments, as a me- 
 mento of the uncertainty and shortness 
 of life, and consequent inducement to 
 make the most of the present hour 
 (Pet. Sat. xxxiv. 8. Apul. Apol. p. 
 507.) ; a custom which originated 
 with the Egyptians (Herod. iL 78.), 
 from whom it passed to the Greeks 
 and Romans. Zonar iii. 
 
 LAS'ANUM (\daavov). Properly 
 
LATER. 
 
 LA TERN A. 
 
 37' 
 
 a Greek word, which the Latins ex- 
 press by Sella familiarica, a night- 
 chair (Hor. Sat. i. 6. 109. Pet. Sat. 
 xli. 9. xlvii. 5. ) ; and as the original 
 notion of the Greek word means a 
 trivet for kitchen utensils to stand 
 upon it is easy to imagine the exact 
 nature of a Greek and Roman lasanum. 
 LATER (-n-XivBog). A drurk ; com- 
 posed of argillaceous earth, formed in 
 a mould, and dried in the sun, or 
 baked in a kiln. The bricks of the 
 Greeks and Romans were much 
 larger and also much thinner than 
 those made by us ; and each brick 
 was stamped with the name of the 
 maker, and the year in which it was 
 made. Fancy bricks were formed in 
 moulds of all shapes and sizes, to 
 imitate the same designs as were pro- 
 duced by the chisel in structures 
 of stone or marble ; but the ordinary 
 building bricks were mostly square 
 in form, oblong square, or triangular, 
 and were made of the comparative 
 sizes and shapes exhibited in the 
 annexed woodcut, from originals se- 
 lected amongst the ruins of Rome. 
 
 
 
 
 /«\ 
 
 a 
 
 The largest, called pcntadoron, is 
 22 inches square, and 2 1 lines thick ; 
 the next size, called tetradoron, about 
 16 inches square, and from 18 to 20 
 lines thick ; the smaller one placed 
 over it, 7 J inches square, and I \ lines 
 thick ; the small oblong square, on 
 the extreme right of the woodcut, 
 called Lydius, is about I J feet long, 
 and half a foot broad ; the triangular 
 ones are made of different sizes, and 
 form either an acute or a right- 
 angled triangle ; the manner of using 
 them maybe seen at the top of p. 241. 
 
 2. Later crudus (wXii'Soc iif-ri). A 
 brick dried in the sun without being 
 baked. Varro, R. R. i. 14. 4- PI'"' 
 H. N. XXXV. 49. 
 
 3. Later cocttis or coctUis {ttXivQos 
 
 otttIi). A brick baked in the kiln. 
 Varro, R. R. i. 14. 4. 
 
 4. Later aureus, argenteus. An ingol 
 of gold or silver, in the shape of a brick. 
 Plin. H. N. xxxiii. 17. Polyb. x. 27. 
 
 LATERA'RIA. A brick-field. 
 (Plin. // N. vii. 57.) The example, 
 from a painting at Thebes in Egypt, 
 represents an Egyptian brick-field, 
 but shows exactly the same process 
 
 EEJ[E3t 
 
 cdcdl: 
 
 men 
 bottom 'are digging up the brick 
 earth, and loading it in baskets, while 
 the one at the top lays the bricks 
 already made in wooden moulds. 
 
 LATER'CULUS (TrXiieioi.). Di- 
 minutive of Later ; a brick of smaller 
 dimensions than the pentadoron or 
 tetradoron; whence, any thing made 
 in a rectangular form, like a small 
 brick, as a piece of pastry. Plant. 
 Pcen. i. 2. 115. Cato. R. R. 109. 
 
 LATERIC'IUS (TrXiVen'oc) . Built 
 of brick ; opus lateritium, brick work. 
 Vitruv. ii. 8, 9, and 16. Columell. ix. 
 6. 4. See Paries. 
 
 LATER'NA or 
 ((V^'of,0rtvo(.'). ^lan- 
 tern ; the transparent 
 parts of which were 
 made in early times 
 of horn or bladder, 
 and subsequently of 
 glass. (Plant. Amph. 
 Prol. 149. Mart. xiv. 
 61. and 62. Isidor. 
 Orig. XX. 10. 7)- 
 The annexed illustra- 
 tion shows the section 
 of a circular bronze 
 lantern found at Her- 
 
 LANTER'NA 
 
372 
 
 LA TERNARIUS. 
 
 LA TRO. 
 
 culaneum. The low cylinder at the bot- 
 tom contains tlie lamp ; the sides are 
 made of transparent horn, without any 
 door ; but the cupola-shaped lid is per- 
 forated in several places to admit air, 
 and permit the escape of smoke ; and 
 it could be raised up by means of the 
 upper cross-bar and chain attached to 
 it ; which, at the same time, served 
 as a handle to carry it by when let 
 down, as is represented in our en- 
 graving. 
 
 LATERNA'RIUS. The slave 
 who carried a lantern before his 
 master at night. (Cic. Pis. 9. Val. 
 Max. vi. 8. i). In the army the 
 soldiers likewise carried lanterns upon 
 nocturnal expeditions. Veg.yK/.iv.lS. 
 
 L A T I C L A'V I U S. Is applied 
 adjectively to any thing ornamented 
 with the broad stripe termed clavus 
 lahis ; as a napkin (Pet. Sat. 32. 2.) ; 
 a tunic (Val. Max v. I. 7 ) ; and 
 absolutely, to designate a person who 
 was entitled to wear this ornament 
 (Suet. Nei'o, 26.), as explained and 
 illustrated at p. 176. s. Clavus, 8. 
 
 LATRI'NA. In early language, 
 the name for a bath or washing-place, 
 quasi lavatrina (Varro, L. Z. ix. 68. 
 Lucil. af. Non. s v. p. 212.); but 
 subsequently also used to designate a 
 water-closet in a private house (Co- 
 
 lumell. X. 85. Suet. Tib. 58. Apul. 
 Met. i. p. 13.), several of which 
 are still to be seen at Pompeii; 
 
 and all, like the annexed example, 
 contiguous to the kitchens. The two 
 small arches on the right are the 
 kitchen stove ; four steps lead down 
 to the room, and had a handrail by 
 their side to assist the ascent or de- 
 scent ; the mark of which remains 
 against the wall. The recess on the 
 left is the latrina, originally closed by 
 a wooden door, which has left the 
 marks of its hinges and bolt on the 
 edge of the door frame ; and the 
 mouth of the pipe through which the 
 place was supplied with water is ob- 
 servable in the right-hand comer. 
 
 LATRO (Xdrptf). In its primary 
 sense a servant who worked for hire ; 
 whence the word came to signify a 
 mercenary soldier, who took foreign 
 service for a stipulated pay, like the 
 Italian condottieri of the middle ages, 
 and the Swiss troops, formerly sub- 
 sidized by the French kings. 
 But, as these bodies committed 
 great excesses in the countries 
 which employed them, the name be- 
 came subsequently synonymous with 
 that of robber, bandit, or assassin. 
 Varro, L. L. vii. 52. Festus, s. v. Serv. 
 ad Virg. ^n. xii. 7. Plant. Mil. iv. 
 I. 2. Juv. X. 22. Val. Max. v. 9. 4. 
 
 2. A counter used for playing a 
 game of skill, approaching to our 
 draughts (Indus latninculorum') ; also 
 termed hostis and miles ; for the game 
 may be said to represent a party 
 of freebooters or soldiers engaged in 
 the attack and defence of a fortified 
 position. (Ov. A. Am. iii. 357. Mart, 
 vii. 72. Id. xiv. 20). These were 
 
 distinguished by different colours, 
 black on one side and white or red 
 on the other, as is clearly expressed 
 by the illustration, representing two 
 Egyptians playing at the game ; and they 
 
LA TR UNCULARIUS. 
 
 LEBES. 
 
 373 
 
 were composed of various materials, 
 \vood,metal, glass, ivory, &c. The move- 
 ments were made upon lines marked 
 on the board, the art being to get into 
 such a position that one of the adver- 
 sary's pieces was brought between 
 two of the player's, when it was 
 taken ; or to drive it into a place 
 where it was unable to move, when it 
 was said to be alligatus, or incitus, " in 
 check;" for ciere is the word whiph 
 answers to our move ; and thence the 
 expression arfOT«Vrti redactus, literally, 
 reduced to extremities, corresponds 
 with our phrase check-mated. Senec. 
 Ep. lo6. ib. 117. Ov. A. Am. iii. 357. 
 Plant. Pcen. iv. 2. 86. 
 
 LATRUNCULA'RIUS. See 
 Tabula. 
 
 LATRUN'CULUS. Diminutive of 
 LATRO,and used in all the same senses. 
 
 LATUM'IA. See Lautumia. 
 
 LAU'TIA. Presents which it was 
 customary to bestow upon the am- 
 bassadors of foreign nations who came 
 upon a mission to Rome, consisting of 
 provisions and such things as were 
 necessary to their maintenance during 
 their residence in the city. Liv. xxviii. 
 39. XXX, 17. xlv. 20. 
 
 LAUTUM'IA or LATOMTA 
 (Xaro^ia). Literally a stone-quarry ; 
 and, as slaves were confined and made 
 to work in the quarries by way of 
 punishment (Plant. /te«. iv. 2. 5. 
 Capt. iii. 5. 65.), the same name was 
 also given to any prison excavated 
 out of the quick rock, and below the 
 surface of the soil ; such, for instance, 
 as the state prison at Syracuse (Cic. 
 J'l-rr. ii. 5. 27. Dorvill. Iter. Sicul. 
 tom. i. p. 181.); and the one excavated 
 by Servius Tullius under the Capi- 
 toline hill at Rome (Varro, L. L. v. 
 151. Liv. xxvi. 27. xxxii. 26. xxxvii. 3), 
 of which a section is shown at p. 119. 
 and a view of the interior at p. 121. 
 
 LAVA'CRUM. (Xourpoj/). A water- 
 bath as contradistinguished from a 
 vapour bath, and equally applied to 
 those which were composed of hot or 
 cold water. Spart. Hadr. 1.8 Aul. 
 Gel.l i. 2. I. 
 
 LAVAN'DRIA. Dirty linen or 
 
 things for the wash ; a vulgar word, 
 only employed by the common people. 
 Laberius ap. Gell. xvi. 7. 2. 
 
 LAVA'TIO. In its primary sense, 
 the act of washing or bathing ; whence 
 it came to be applied as a general 
 tenn to things used by a person who 
 lakes a bath (Cic. Fam. ix. 5. Phtedr. 
 iv. 4. 22. Ulp. Dig. 34. 2. 26), as well 
 as the bath room itself. Vitruv. v. 11. 
 
 LAVATRIN'A. See Latrina. 
 
 LEBES (Xe/3;;s). A deep vessel or 
 basin with a full and swelling outline 
 (curvi lebetes, Ov. Met. xii. 243.) 
 made of bronze 
 or the precious ^-l,i v'^ ./a.,^ 
 metals, and in- *=&i'iv^i,wi/'' "" 
 tended to be held 
 under the hands 
 or feet to catch 
 the purifying 
 water, which an 
 attendant poured 
 over them from 
 u. jug [guttiirnium, TrjOoj^ooy), before 
 and after meals. (Serv. ad Virg. yEn. 
 iii. 466. Hom. Od. i. 137, xix. 386.) 
 Vessels of this description were fre- 
 quently given as prizes at the games 
 (Virg. yEn. v. 266.), and, consequently, 
 are represented on coins and medals 
 with a palm branch, the emblem of 
 victory, placed in them, as in the 
 annexed example from a medal of 
 Gordian. The inscription upon it 
 testifies that it was intended to repre- 
 sent a prize for the Pythian games, 
 while the water jug which stands by 
 its side expresses the purpose for 
 which it was to be used, and identifies 
 it as u. genuine representation of the 
 lebes. 
 
 2. A copper kettle, or, rather, 
 bronze, of the same form and charac- 
 ter, but used for 
 boiling meat, 
 &c., and similar 
 to the olla, with 
 the exception' 
 of being small- 
 er, and made of 
 metal, instead 
 of earthenware. 
 
374 
 
 LECTARIUS. 
 
 (Serv. adWxg. ALn. iii. 446. Isidor. 
 Orig. XX. 8. 4. Horn. //. frequently.) 
 The illustration, from a sculptured 
 vase of Greek marble, represents a 
 lebes of similar form to the last 
 example, under which a fire is 
 kindled for cooking a pig ; and as 
 these kettles had no legs, it is sup- 
 ported over the fire upon large stones. 
 
 LECTA'RIUS (Kyij/oTTotos). A 
 couch or bedstead maker. Inscript. 
 af. Murat. 956. 7. 
 
 LECTI'CA (0opaor, KKivn). A 
 
 palanquin, introduced into Greece 
 and Italy from the East ; in the first 
 instance as an article of luxury for 
 females, but, afterwards, it came to be 
 very generally used for men as well 
 as women. (Sulpic. ad Q,\z. Fatn. iv. 
 12. Suet, passim. See the Clavis of 
 Baumgarten-Crusius, j. v.) The body 
 consisted of a wooden case with low 
 sides to it, like the bier {capidus, 
 ferdrum), upon which a corpse was 
 carried out (Aul. Gell. x. 3. 2.) ; with 
 uprights which supported a wooden 
 tester, like the pluteus. (Isidor. Orig. 
 XX.. II. 4. lectica, sive lectus pluteus^ 
 This roof was covered with leather 
 (Mart. xi. 98.), and curtains (vela, 
 flag^, plaguliB,) were suspended from 
 it, which might be closed all round 
 (Suec. Tit. 10. Senec. Stias. I. 6.), or 
 drawn back, as in the cut, when it 
 was said to be open iaperta, Cic. 
 Phil. ii. 24.) ; but, in some cases, it 
 was a close conveyance [dausa), 
 having the sides fitted with panels 
 and windows, which could be opened 
 or shut at pleasure. (Juv. iii. 242. 
 compare iv. 20. ) The inmate reclined 
 upon a soft mattress or feather bed 
 
 LECTISTERNIA TOR. 
 
 (Juv. r. 159.}, with a bolster to sup- 
 port the back (cervical, Juv. vi. 353.), 
 so that he could read, write, or sleep 
 within iL According to the wealth 
 of the owner, and the size of the 
 lectica, it was borne by two, four, six, 
 or eight tall slaves (leclicarii), in the 
 manner described and illustrated at 
 p. 63. We have no authentic repre- 
 sentation of this kind of conveyance, 
 upon any monument of Greek or 
 Roman art ; but the various details 
 are sufficiently known from numerous 
 incidental passages, in which the dif- 
 ferent parts are mentioned or described, 
 to warrant the general correctness of 
 the figure annexed, which is designed 
 by Ginzrot (Wageii und Fahwerke, 
 vol. ii. tab. 65.), and will serve to 
 convey a distinct notion of the vehicle. 
 
 2. A litter for the conveyance of 
 sick and wounded (Liv. ii. 36. xxiv. 
 42. Val. Max. ii. 8. 2.), of similar 
 character, but moi'e simple, and less 
 ostentatiously fitted up. 
 
 LECTICA'RII (0opfia0opot, kKivt]' 
 (popoi). Pala7iquin-bearers. These 
 were of two kinds, private or public. 
 The first were slaves forming part of 
 the domestic establishment of indivi- 
 duals, who kept them for the purpose. 
 (Cic. Fam. iv. 12. Suet. Cal. 58.) 
 The latter were free men of the 
 labouring classes, who plied for hire 
 at particular stands in the city of 
 Rome, called castra lecticarioriim, 
 where a number of these conveyances 
 were kept always ready for a fare, as 
 sedan-chairs used to-be in modern 
 Europe. P. Victor, de Peg. Urb. 
 Ro7}i. iii. 49. 
 
 I.ECTI'CULA. Diminutive of 
 Lectica. A litter for the transport 
 of sick or wounded persons (Cic. Div. 
 i. 26. Liv. xxiv. 42.) ; or a bier on 
 which a dead body was carried out. 
 Nepos, Att. 22. 
 
 2. Lecticula lucubratoria. (Suet. 
 Atig. 78.) Same as Lectulus, which 
 is the more usual term. 
 
 LECTISTERNIA'TOR. The 
 
 slave who spread and arranged the 
 couches (lecti') on which the ancients 
 
LECTISTERNIUM. 
 
 reclined at their meals. Plaut. Ps. i. 
 2. 30. 
 
 LECTISTER'NIUM. A religious 
 ceremony amongst the Romans, com- 
 prising a sumptuous banquet offered 
 to the gods, at which their statues 
 were brought out and placed upon 
 tricliniary couches (lecti) at a table 
 furnished with every kind of delicacy. 
 
 LECTUS. 
 
 375 
 
 and provided under the direction of 
 the Epulones. (Liv. xxii. 10. v. 3. 
 xl. 59. ) The illustration represents 
 a lectisternium given to Serapis, Isis, 
 Sol, and Luna, from a terra-cotta lamp. 
 LEC'TULUS (kXu'iSiov). Dimin- 
 utive of Lectus, both as regards in- 
 feriority of size, furniture, and mate- 
 rials. It is thus a small or simple 
 couch for sleeping (Cic. Cat. i. 4. 
 Id. Fin. ii. 30.), or for dining (Id. 
 Mur. 36.) ; and very generally, a 
 sort of sofa, forming part of the 
 usual furniture in a study (Plin. Ep. 
 V. 5. 5. Ov. Trist. i. 11. 39.), and on 
 which it was a common practice to 
 recline at length while reading, and 
 even writing, the tablet being placed 
 against one knee, which was raised up 
 as a support for the purpose. The 
 
 annexed example, from a Pompeian 
 painting, compared with the follow- 
 ing illustration and description, will 
 explain the difference between the 
 lectulus and lectus. 
 
 LECTUS (MKrpoy). A bed to 
 
 sleep 
 65.). 
 
 in (cubicularis, Cic. Div. ii. 
 The ancient bedsteads were of 
 
 considerable height, requiring a foot- 
 stool [scamnuni), or a set of steps 
 (gradus) to get into them ; and were 
 made like our largest-sized sofas, 
 with a head board (anaclintei htm), 
 sometimes a corresponding one against 
 the feet, and a high back (pluteus) on 
 the further side, but entirely open on 
 the one at which the occupants en- 
 tered (sponda). The frame was 
 strung with girths (fascice, restes, 
 iiistitee), which supported a thick 
 mattress (torus, culcita), on which 
 were placed a bolster and pillow {cu- 
 bital, cervical). All these particulars 
 are exhibited in the annexed exam- 
 ple, from a bas-relief in the British 
 Museum. 
 
 2. Lectus genialis (livrj). The 
 marriage bed ; to which the wife 
 
 was conducted on the eve of her 
 marriage by the p-onuba, after she 
 had retired from the bridal feast. 
 It was a large bed, handsomely deco- 
 rated, and raised to a very great 
 height from the ground, as is indi- 
 cated by the flight of steps at the 
 foot of the annexed example, which 
 represents the lectus genialis of Dido, 
 in the Vatican Virgil. Cic. Cluent. 
 S- Compare Lucan. ii. 356. 
 
37<5 
 
 LECTUS. 
 
 3. Lecius adversus. A sort of 
 symbolical marriage bed ; so termed, 
 because it was placed in the atrium 
 opposite the entrance of the house ; 
 or, perhaps, the lectus genialis itself 
 was brought out after the marriage 
 and placed in the atrium ; and on 
 this the mistress of the household 
 used to sit, as it were, in state, while 
 she superintended the labours of her 
 slaves and attendants who worked 
 at their looms in that apartment. 
 Laberius ap. Gell. xvi. g. I. Prop, 
 iv. 2. 85. 
 
 4. Lectus tridiniaris. A couch 
 adapted for the reception of three 
 persons to recline upon at their meals, 
 in the manner explained 0. AccuBO. 
 
 (Cic. Verr. ii. 2. 74-) It had a railing 
 slightly raised at one of its ends, at 
 that, viz., which would be on the left 
 of the person reclining upon it, and 
 upon this he supported his left arm ; 
 the other two places were separated 
 from each other by pillows. All 
 these particulars are to be seen in 
 the annexed engraving, from a bas- 
 relief which represents the visit of 
 Bacchus to Icarus. The vacant place 
 against the rail,' which is seen on the 
 right hand, is the one which the god 
 is about to occupy, after the Faun in 
 the foreground has taken off his shoes, 
 according to the prevalent custom 
 before lying down to eat ; and Ica- 
 rus rests his left arm upon the pil- 
 low which separates his place from 
 that of his guest. When a party 
 consisted of more than three per- 
 sons, it was the custom to arrange 
 
 three of these couches together round 
 a table, so that the whole formed 
 
 Medius. 
 
 
 111 Jl 1 
 
 
 r 
 
 ( '^ 
 
 III 
 
 II 
 
 HI 
 
 ■' 
 
 t 
 
 three sides of a square, leavmg the 
 bottom of it open for the approach of 
 the attendants, in the manner repre- 
 sented by the annexed diagram, 
 which were then respectively desig- 
 nated lectus medius, sumniuSy and 
 imus ; the middle one being con- 
 sidered the most dignified, and imus 
 the least so. The places also on 
 each couch had their degrees of pre- 
 cedence, and particular names to 
 distinguish them. On the two side 
 couches the places of the highest 
 rank were those next the rail (i), 
 then the centre ones (ii), and the last 
 (iii) ; but on the middle couch the 
 post of honour was at the other ex- 
 tremity (iii), which was always left 
 for the greatest personage, and was 
 thence called consularis. The host 
 occupied the highest place (i) on the 
 lowest couch [imus], in order to be 
 near to his principal guest. Finally, 
 the respective names by which the 
 places on each of the couches were 
 distinguished are as follows : — 
 
 ( I. Summus in medio. 
 
 Middle couch. < 2. Inferior in medio. 
 
 I 3. Imus in medio. 
 
 ( I. Summus in sun 
 
 Upper couch. < 2. Medius in sumr 
 
 l- 3. Imus in summo. 
 
 mmo. 
 summo. 
 
 ; 
 
 Summus in imo. 
 Lower couch. \ 2. Medius in imo. 
 ^ 3. Imus in imo. 
 
 Hence such expressions as superius 
 or infer'ms acCMjibere are easily under- 
 stood. Sallust. ap. Serv. ^n, i, 
 698. Hor. Sat. ii. 8. Plut. Symp. I. 
 Quasi. 3. 
 
 5. Lectus lucubratorms. (Senec. 
 Ep. *jz.) Same as Lectulus. 
 
LEGA TUS. 
 
 LEGIONARII. 
 
 377 
 
 6. Lectus funehris. (Pet. Sat. 
 114. 12. Pers. iii. 103.) A bier upon 
 which dead bodies were carried out 
 
 to the funeral pile, or to their place 
 of sepulture ; as shown by the an- 
 nexed example, from a sepulchral bas- 
 relief. 
 
 LEGA'TUS (aiTKTTprirljyof, virap- 
 Xoc). A general officer attached to 
 a corps d'armee, and to the governors 
 of provinces, who acted both in a 
 military and civil capacity ; his duty 
 being to advise and assist his supe- 
 riors in their plans and operations, as 
 well as to act in their stead, both as 
 a commander or diplomatic agent, 
 whenever occasion required. (Varro, 
 L.L. V. 87. Cses. B.C. ii. 17. iii. 
 51.) On the triumphal arches and 
 columns they are represented in the 
 same costume as the other command- 
 ers, as shown by the annexed illus- 
 tration, from the Column of Trajan, 
 
 in which the first figure on the right 
 is the emperor himself (imperator), 
 the second a legate (legaius), and the 
 third a tribune (tribunus). 
 
 2. (irpiajiivTiig). A general title 
 given to ambassadors, whether Ro- 
 man envoys to foreign states, or from 
 foreign princes to Rome. Cic. 
 Liv. &c. 
 
 LEGIO. A Roman legion ; two 
 of which constituted a consular army. 
 It consisted of about five or six thou- 
 sand (for the complement was not 
 always the same) heavy-armed foot 
 soldiers (legionarii) drawn from the 
 Roman citizens ; augmented by a 
 body of auxiliaries at least equal in 
 number, and a detachment of cavalry, 
 three hundred 'strong, which was 
 always joined with it ; so that the effec- 
 tive force of a legion in the field is 
 usually reckoned at ten thousand men 
 at the least. Varro. Liv. Tac. Veget. 
 
 LEGIONA'RII. Legionary sol- 
 diers ; i.e. the body of five or six thou- 
 sand heavy-armed 
 men, who formed 
 the contingent fur- 
 nished out of the 
 Roman Citizens to 
 each legion, the 
 rest of its entire 
 complement being 
 made up by auxili- 
 aries and cavalry. 
 (Cic. Fam. x. 32. 
 Cses. B.C. I. 42.) 
 The annexed figure, 
 from the column of I'rajan, probably 
 represents a legionary of the Imperial 
 age ; he wears a close helmet, a 
 sword suspended by a shoulder belt 
 (balteus), and hanging on the right 
 side, has an oblong square shield 
 (scutum), a cuirass formed of flexible 
 plates of metal (see LORICA, No. 7.), 
 and military shoes (caligce). On the 
 archesof Trajan and SeptimiusSeverus, 
 and the Columns of Trajan and Anto- 
 ninus, numerous bodies of men are 
 represented with the same accoutre- 
 ments, and engaged in all the various 
 duties which the soldiers of a legion 
 were expected to perform. 
 
 2. Legionarii equites. Legioriarv 
 troopers ; i.e. the soldiers comprised 
 in a detachment of three hundred 
 horse, who were always joined with a 
 Roman Legion. (Liv. xxv. 21. xxxv. 
 5. Veg. Mil. ii. 2.) Their defensive 
 armour appears to have been the same 
 as that of the infantry, at least during 
 
378 LEMBUS. 
 
 the Imperial epoch, as shown by the 
 
 annexed figure, from the Column of 
 Antoninus. 
 
 LEM'BUS (Xf^/Hof). A small sea- 
 going vessel remarkable for its swift- 
 ness, more especially used by the 
 pirates of lUyria. Tlie distinguishing 
 properties of the class to which it be- 
 longed are not ascertained ; further 
 than that they were generally small, 
 and rowed with oars, sometimes exceed- 
 ing sixteen in number (Liv. xxxiv. 35. ); 
 the largest of them being used in war 
 (Liv. xlv. 10.); the smallest as fishing 
 boats (Accius ap. Non. s.v. p. 534-) > 
 as stern boats towed behind larger 
 vessels, in which the sailors or pas- 
 sengers embarked and disembarked 
 from the shore (Plaut. Merc. ii. I. 35>); 
 and as river boats. Virg. Georg. i. 
 201. 
 
 LEM'BULUS, LEMUN'CULUS, 
 orLENUN'CULUS. Diminutive of 
 Lembus. Prudent. IlEpiiTrE^. v. 455. 
 Tac. Ann. xiv. 5- 
 
 LEJMNISCA'TUS. Decorated 
 with fillets or ribands [lemnisci), as ex- 
 plained and illustrated in the following 
 word. Cic. Rose. Am. 35. Serv. ad 
 Virg. Ain. v. 269. 
 
 LEMNIS'CUS {\r)\Lvi„Koii). A 
 sort of fillet or riband distributed as a 
 reward of honour ; sometimes by itself 
 (Liv. xx.xiii. 33. Suet. Nero, 25.), but 
 more commonly as a decoration to be 
 fastened upon other prizes ; such as 
 military crowns (Festus, s.v), pahn 
 branches (Auson. Epist. xx. 6.), &c., 
 which were considered more honour- 
 able when accompanied with a lemnis- 
 cus, than when they were simply given 
 by themselves. Originally it was made 
 
 LEMURES. 
 
 out of the thin membrane lying be- 
 tween the bark and wood of the lime 
 
 tree (Plin. H.N. xvi. 25.) ; afterwards 
 of wool dyed of different colours (Fes- 
 tus, s.v. Serv. ad. Virg. Ain. v. 269.); 
 and finally of gold and silver tinsel. 
 (Plin. H.N. xxi. 4.) The illustration 
 represents a figure of Victory, from a 
 painting in the pyramid of C. Cestius, 
 holding a simple leviniscus in her left 
 hand, and a corona lemniscata in the 
 other. 
 
 2. A bandage of lint steeped in 
 lotion for applying to wounds. Celsus, 
 vii. 28. Veg. Vet. ii. 14. 
 
 LEM'URES. A general name for 
 the departed spirits of men. Accord- 
 ing to the religious belief of the 
 Romans, the soul was converted 
 after death into a spirit, either bene- 
 ficent or malign, as the actions of the 
 individual had been good or bad 
 during his lifetime. The good spirit 
 then became a protecting angel, and 
 was properly termed lar ; the evil one 
 a spectre, or hobgoblin, properly de- 
 signated lai-va. But although some 
 passages plainly imply that the term 
 lemures meant departed spirits gene- 
 rally, and without reference to any 
 particular disposition, yet a number of 
 others lead to the conclusion that in 
 the popular belief, and in the language 
 of the common people, they were con- 
 founded with the larvts, and regarded 
 as spectres of evil omen and of mali- 
 cious propensities. Ov. Fast. v. 483. 
 Apul. Deo Socrat. p. 689. Augustin. 
 
LEPESTA. 
 
 LIBELLUS. 
 
 379 
 
 Civ. D. ix. II. Pers. v. iSj. Hor. Ep. 
 ii. 2. 109. Varro, ap. Non. s.v.p. 135. 
 
 LEPES'TA, LEPIS'TA, or LE- 
 PAS'TA (XfTraiTTi)). A large vessel 
 employed in early times as an acrato- 
 phoron, to hold the wine before it was 
 mixed with water for drinking at table 
 (Varro, de Vit. Pop. Rom. ap. Non. 0. 
 Sinum, p. 547.), and at a lectisternium 
 amongst the Sabine population. (Id, 
 L.L. V. 123.) It was originally made 
 of earthenware, subsequently of bronze 
 or the precious metals (Varro, ap. Non. 
 J. Lepista, p. 547. Nsevius ap. Mar. 
 Victorin. p. 2587.) ; and appears to 
 have possessed a form resembling 
 what is generally conveyed by our 
 term pan, the name being taJcen from 
 the shell of the limpet (XfTrar), after 
 which we may assume that it was 
 modelled. 
 
 LEPORA'RIUM (Xoyorpo0fJoi'). 
 A warren, or preserve, attached to a 
 country villa, and in which not 
 hares alone, but other kinds of game, 
 or animals ferce naturie, were bred 
 and preserved. Varro, R.R. iii. 12. I. 
 Id. iii. 3. I. Gell. ii. 20. 
 
 LIBA'RIUS. One who cries and 
 sells cakes about the streets, like our 
 muffin man. Senec. Ep. 56. 
 
 LIBEL'LA. A level ; employed 
 by carpenters and masons for testing 
 the evenness of flat 
 surfaces. It consists /A\' 
 of two sides joined at 
 the top by a cross bar, 
 over which a line and plummet de- 
 scend, as a pendulum ; so that when 
 the instrument is placed upright upon 
 any horizontal surface, if both legs do 
 not stand upon the same level, the 
 line and plummet incline from the 
 centre, and show which part is too 
 high or too low. (Lucret. iv. 517. Plin. 
 H.N. vii. 57. Varro, R.R. i. 6. 6.) 
 The example is taken from a sepulchral 
 bas-relief, on which it appears amongst 
 various other tools used in the carpen- 
 ter's trade. 
 
 2. A small silver coin of the 
 Roman currency, containing the tenth 
 part of a denarius, and, conse- 
 
 quently, equal in value to the as. 
 Varro. L.L. v. 174. Cic. Ros. Com, 4. 
 
 LIBEL'LO. A bookseller ; but 
 rather in a derogatory sense, as one 
 who keeps a book-stall with us. 
 Stat. Sylv. iv. 9. 21, 
 
 LIBEL'LULUS. Diminutive of 
 LiBELLUS. Mart. Cap. iii. 71. 
 
 LIBEL'LUS (/3ii3Xio7/). Diminu- 
 tive of Liber, a little book ; but 
 with this distinction, that the libellics, 
 accurately speaking, was a book con- 
 sisting of a few leaves of parchment 
 or papyrus, written and bound to- 
 
 ther in pages, as our books are (Suet. 
 Jul. 56. Cic. Or. i. 21. Hor. Sat. \. 
 10. 92.), as shown by the annexed 
 example, from a marble bas-relief. 
 
 2. Hence the word came to have a 
 more extensive, though characteristic 
 signification ; being used to designate 
 
 any paper or document containing 
 an advertisement, announcement of 
 a play or gladiatorial show, notice of 
 
38o 
 
 LIBER. 
 
 LIBRA. 
 
 sale, a legal notice, petition, or me- 
 morial, all of which were usually 
 written on a single sheet, as in the 
 example, which represents Roman 
 citizens presenting memorials and 
 petitions to M. Aurelius, from a 
 bas-relief in the Capitol at Rome. 
 Cic. Att. xvi. 1 6. Mart. viii. 31. 
 Plaut. Cure. i. 3. 6. Cic. Phil. ii. 38. 
 3. A bookseller's shop. CatuU. 
 
 55- 3- 
 
 LIBER (/3i/3Xos). Literally, the 
 fine bark or rind of the Egyptian 
 papyrus, which was used for writing 
 upon ; whence it came to signify the 
 loork or MS. so written, which we 
 call a book. Plin. H. N. xiii. 21.) 
 To form this, a 
 sufficient number 
 of strips were 
 glued together 
 into one long 
 continuous sheet, 
 which, for con- 
 venience in use, was made up into a 
 cylindrical roll {volumen), so that the 
 reader gradually undid it, as he went 
 on, in the manner represented by the 
 annexed example, from a Pompeian 
 painting ; hence the expressions fer- 
 volutare, volvere, evolvere lihruni, mean 
 to read a work. Cic. Att. v. 12. 
 Tusc. i. II. Brut. 87. 
 
 2. When the work extended to 
 any length, and was divided into se- 
 parate parts, it was usual to roll up 
 the MS. containing each one of these 
 parts into a separate volume ; which 
 was then called a book, in the same 
 sense which we attach to the word 
 when we say the twelve books of 
 Virgil's jEneiil. Cic. Div. ii. \. - 
 
 LIBITI'NA. The goddess in 
 whose temple all the apparatus and 
 paraphernalia required for furnishing 
 out a funeral were kept ; whence the 
 word is used in a more general sense 
 for the funeral apparatus (Liv. xl. 
 ig. xli. 21.); for the bier [leetus fu- 
 nebris) upon which a corpse was car- 
 ried (Mart. A. 97. Plin. H. N. xxxvii. 
 II. § 2.) ; and for the trade of an 
 undertaker (Val. Max. v. 2. 10.) 
 
 LIBTTINA'RIUS (CTtpiirr^r). A 
 furnishing undertaker ; who let out 
 or sold the furniture and apparatus 
 required for conducting a funeral. 
 Senec. Ben. vi. 38. Ulp. Dig. 14. 
 3- 5- § 8. 
 
 LIBRA {(TTaB/ioc, raXavrov.) A 
 balance, or pair of scales ; of which 
 a great many specimens, constructed 
 in different ways, are preserved in 
 the various cabinets of antiqui- 
 ties. The simplest kind consists of 
 a mere beam (jugum), with a pair 
 of scales {lances) at each end, and 
 a ring or short chain placed in 
 the centre of the beam, as a handle 
 {ansa) to poise it by. In some cases 
 
 the beam is furnished with ^ tongue 
 or index {exatnen) working in an 
 eye (agina), to mark the variation in 
 weight, as is usual with the modern 
 scales. And sometimes as in the 
 annexed example, from a Pompeian 
 original, the beam is divided into 
 fractional parts, in the same manner 
 as a steel-yard {trutina), with a weight 
 (atjuipondmm) attached to it, by 
 which means the difference in weight 
 between two objects is decided at 
 once, without the necessity of having 
 recourse to a number of fractional 
 weights for the purpose. 
 
 2. Sine bilance libra. (Mart. Ca- 
 pell. xi. 180. p. 42.) A balance with 
 only one scale, but having a fixed 
 weight instead of a scale attached to 
 the opposite end of the beam, as in 
 the annexed example, from an ori- 
 ginal in the Granducal Cabinet at 
 
LIBRARIA. 
 
 Florence. This was not used for 
 measuring unequal quantities, but to 
 test the just weight of a given quan- 
 
 LIBRIPENS. 
 
 381 
 
 tity ; and is supposed to have been 
 employed at the mint, for estimating 
 the proper weight of coinage, and by 
 jewellers, money-dealers, &c. 
 
 3. A carpenter's or stone-mason's 
 level, for which the diminutive, Ll- 
 BELLA, is more usual. 
 
 4. (Aquaria). A geometrical in- 
 strument, employed in taking the 
 levels of water. Vitruv. viii. 5. i. 
 
 5. A counterpoise. (Plin. //. N. 
 xvi. 65.) jEquipondium. 
 
 6. A measure made of horn and 
 divided by lines on the inside into 
 twelve fractional parts ; employed for 
 measuring oil. Galen. Compos. Med. 
 per gen. i. 1 7. vi. 8. Compare Hor. 
 Sat. ii. 2. 61. 
 
 LIBRA'RIA (from Liber); a 
 bookseller's shop. Gell. v. 4. xiii. 30. 
 
 2. (From Libra) ; same as Lani- 
 PENDIA. Juv. vi. 476. 
 
 LIBRA'RIUM. A box or case in 
 which books and writings were kept. 
 Cic. Mil. 12. Ammian. xxix. 2. 
 
 LIBRA'RII. A class of educated 
 slaves who were employed by their 
 masters in different occupations re- 
 quiring a certain amount of literary 
 acquirements and skill ; such as tran- 
 scribing and binding books, making 
 extracts, writing letters, acting as 
 librarian.s. Hence they were distin- 
 guished by an epithet denoting the 
 particular service which each had 
 to perform ; as scriptor librarius, the 
 transcriber or copyist ; a stuiiiis, who 
 
 made extracts, or performed the 
 duties of secretary and coadjutor in 
 the studies or business of his em- 
 ployer ; ab epistolis, who conducted 
 his master's correspondence in the 
 character of an amanuensis. Hor. 
 A. P. 354. Cic. Agr. ii. 5. Att. iv. 4. 
 Suet. Claud. 28. Cic. Fam. xvi. 21. 
 Orelli, Inscript. 2437. 
 
 2. Same as BiBLlOPOLA, ^txi. Ben. 
 vii. 6. 
 
 LIBRATO'RES. Professional 
 persons, employed by the officers who 
 had the superintendence of the public 
 aqueducts, to make all the necessary 
 surveys, ascertain the levels of diffe- 
 rent sources of water, and to regulate 
 the size of the pipes which conveyed 
 a supply of water from the reservoir 
 (casiellum) to the various establish- 
 ments and houses of the city, in order 
 that none might obtain more than 
 their legal allowance ; which was ef- 
 fected by calculating the quantity that 
 would pass through a pipe of certain 
 diameter in a given time. Plin. £p. 
 X. 70. 3. Frontin. Aj. 105. 
 
 2. In the army, soldiers who levelled 
 and worked the machines from which 
 missiles were discharged ; like the 
 engineers of modern warfare. Tac. 
 Ann. ii. 20. xiii. 39. 
 
 LIBRI'LE. The beam of a balance 
 {libra) from which the scales depend 
 (Festus s.v.) ; whence, also, the ba- 
 lance itself (Aul. Gell. XX. 1.9.). See 
 the illustration s. Libra, i. 
 
 LI'BRIPENS. Before the intro- 
 duction of stamped money, all sums 
 were reckoned by the pound weight, 
 and not by the number of pieces ; 
 whence the person who weighed out 
 the amount to be given for any pur- 
 chase was termed libripens, the weigh- 
 man. (XH. Tab. ap. Gell. xv. 13. 4 ) 
 But the name was retained in after 
 times, although the custom from 
 which it arose had long fallen into 
 disuse, to designate the person who 
 reckoned up and distributed their pay 
 to the soldiery, whom we might term 
 the quarter-master 0/ a regiment. Plin. 
 H.N. xxxiii. 13. 
 
382 
 
 LI BUM. 
 
 LICIUM. 
 
 LI'BUM. A sort of cake or biscuit 
 composed of flour, milk, eggs, and oil, 
 especially made as an oifering to the 
 gods (Cato, R. R. 75. Varro, R. R. 
 ii. 81.) ; and also as a birthday pre- 
 sent. Mart. X. 24. 
 
 LIBUR'NA or LIBUR'NICA, sc. 
 Kazns {\ij3vpvic), A vessel of war, con- 
 structed after a model invented by 
 the Illyrian pirates, and introduced 
 into the Roman navy after the battle of 
 Actium. It was built sharp fore and 
 aft, was worked with one or more 
 banks of oars, according to the size, 
 as well as sails, had the mast amid- 
 ship, and the levantine sail instead of 
 the common square one. (Veg. Mi^. 
 v. 7. Lucan. iii. 69 1. Sil. Ital. xiii. 
 240. Scheffer, Alt/. A/'av.pp. 92. 191.) 
 The smaller ones were used as tenders, 
 but the larger were brought into line 
 for action. Though the real build of 
 these vessels is not positively authen- 
 ticated, the annexed figure, which 
 appears upon medals, both of Claudius 
 .and Domitian, has sufficient affinity 
 
 to the above description, collected 
 from incidental passages, to be offered 
 as a probable representation of one of 
 the smaller class. 
 
 LICIAMEN'TUM. A set of 
 leashes (lieia) in weaving ; that is, the 
 number attached to one of the rods 
 or "heddles." (Not. Tires, p. 160.) 
 See the next illustration and LiciUM. 
 
 LICIATO'RIUM. The rod upon 
 which a set of leashes (licia) were 
 
 fastened in weaving (Vulg. i. Kings, 
 1 7. 7.), similar in use and purpose to 
 the heddles of our weavers. The illus- 
 tration shows two leash rods upon 
 
 the primitive Icelandic loom re- 
 ferred to by Scheffer, Index R. R. 
 Script, s. Tela. 
 
 LI'CIUM. (/iiVof). A leash em- 
 ployed in weaving, for the purpose of 
 decussating the threads of the warp, 
 so as to make an opening, technically 
 called a "shed," for the shuttle to 
 pass through. (Plin. H. A', viii. 74. 
 xxviii. 12.) It consisted of a string 
 with a loop at one end, through which 
 a thread of the warp was passed, each 
 thread through a separate leash ; and 
 the whole number were then fastened 
 in alternate order upon two rods {licia- 
 toria], as shown by the preceding 
 woodcut ; the first, third, and fifth to 
 one, the second, fourth, and sixth to 
 another ; so that when the two rods 
 were pulled apart, they drew every 
 alternate thread of the warp across 
 every other one in opposite directions, 
 making at the same time an open- 
 ing or shed between them, through 
 which the cross-thread of the woof 
 was conveyed. The process of putting 
 on the leashes in the manner described 
 is termed "entering" by our wea- 
 vers, and by the Romans was de- 
 scribed by the expressions, licia teles 
 addere, or adnectere. Virg. Georg. i. 
 285. TibuU. i. 6. 79. 
 
 2. Hence any thread, string, or 
 band : as the thread of a web ; a 
 string for tying or suspending any- 
 
LICTOR. 
 
 LIGULA. 
 
 383 
 
 I king ; a riband for the hair, an en- 
 chanted band, &c. Auson. Ep. 38. 
 Ov. Fast. iii. 267, Prudent, in Sym. 
 ii. 1 104. Pet. Sat. 131. 4. 
 
 LICTOR {pa^lovxoQ). A lictor ; 
 a public officer attached to the service 
 of certain Roman magistrates, whom 
 he preceded whenever they went 
 abroad ; viz. twenty-four for a dic- 
 tator, twelve for a consul, decemvir, 
 or tribune with military power ; six 
 for a prastor, and one for a Vestal 
 virgin. He carried the fasces ele- 
 vated on his left shoulder, and a rod 
 (virga) in the right hand, with which 
 he removed any persons obstructing 
 the way, and knocked at 
 the doors of those whom 
 the magistrate visited. 
 In the city he wore the 
 toga, and carried the 
 fasces without the axe 
 (securis), as exhibited 
 by the annexed figure 
 from a bas-relief of the 
 Vatican ; but out of 
 Rome he wore the mili- 
 tary cloak (sagum or 
 paludamentum), and had 
 the axe attached to his 
 fasces ; as shown by the 
 figure, p. 278. ; which also exhibits 
 the rod in the right hand. Morell. 
 Dissert, de' Littori. Milan, 1828. 
 
 LIGO (^aicfXXa). A sort of lioe, 
 with a long handle (Ov. Pont. i. 8. 
 59.), and blade curved rather inwards 
 (incui~jus, Stat. Tkeb. iii. 5S9.), the 
 edge of which was notched into teeth 
 (fracti dente ligonis, Columell. x. 88.). 
 
 The annexed figure is from an en- 
 graved gem, on which it appears in 
 the hands of Saturn, represented in 
 the character of an agricultural serf ; 
 and, strictly speaking, when in this 
 foi-m it was designated by a name of its 
 own (bidens, SiKiWa), the two-pronged 
 hoe, which would lead us to infer 
 
 that the regular ligo was furnished 
 with more than two prongs. But it 
 win serve to convey a general notion 
 of the character of the instrument, 
 and to illustrate the epithets applied 
 to it in the passages cited above. 
 
 LIG'ULA or LIN'GULA. Di- 
 minutive of Lingua ; a little tongue, 
 applied in the following characteristic 
 senses : — ■ 
 
 I. (y\dJ(T(7a, yXwrri'c). The mouth- 
 piece of a pipe (tibia), which was 
 inserted between the teeth, like that 
 
 Ela^liSHl 
 
 -^JhiC. 
 
 of a modern clarionet or flageolet. 
 (Plin. H. N. xxvi. 56. Festus s. Lin- 
 gula.) The example is from a bas- 
 relief 
 
 2. A kind of small spoon, possessing 
 a certain resemblance to the human 
 tongue, employed for eating sweet- 
 meats (Cato, R.R. 84.), taking oint 
 
 ment out of a bottle, skimming certain 
 dishes (Plin. H.N. xxi. 49.), and 
 various other purposes, for which its 
 peculiar form adapted it. (Mart. viii. 
 33. Columell. ix. 15.3.) The example 
 is from an original bronze, formerly 
 belonging to the Italian antiquary 
 Bellori. 
 
 3. A small tongue or leaf-shaped 
 sword, like the Greek Si'^of, which 
 the Roman soldiers also used in early 
 times, before they had adopted the 
 
 long straight Celtiberian glaive, gia- 
 dius. (Aul. Gell. X. 25. 2. Varro, 
 L.L. vii. 107.) The example is copied 
 from the device on a votive bronze 
 shield, found at Pompeii, formerly 
 belonging to a gladiator of the class 
 termed Retiarii, as the inscription 
 testifies. The trident {fuscina) is 
 likewise exhibited upon it : from 
 which we may collect that the Retia- 
 rius made use of the ligula as well as 
 the net and trident. 
 
384 
 
 I. IMA. 
 
 LIMB US. 
 
 4. The lapelle or lappet on each 
 side of a shoe (calceus), through which 
 -the strings (corrigia) that tied it on 
 the foot were passed ; 
 
 whence the expression „^=5, 
 
 demittere ligulas means, to /^^^] 
 leave the shoes untied. ^Zl"\^ 
 (Festus, s. c. Juv. V. 20. C— ^ 
 Schol. Vet. ad I.) The example is 
 from a Pompeian painting. 
 
 5. The wedge-like end of a lever 
 {vectis) which is inserted under the 
 weight to be raised (Vitruv. x. 3.), or 
 into any cavity or fixture for the pur- 
 pose of producing pressure, as with 
 the press beam (prelum) of an oil or 
 wine press. Cato, R.R. 18. and 
 illustration j. Torcular, i. 
 
 6. A tenon in carpentiy ; i.e., a 
 projecting tongue cut out upon the 
 edge of a board or end of a beam, to 
 fit into a mortise or cavity of corre- 
 sponding form in another timber. 
 Columell. viii. 11. 
 
 LIMA ipivri). A Jile or rasj>, of 
 the same description, and for similar 
 uses as the lilie instrument in our own 
 days. Pha;dr. iv. 7. Plin. Plant. &c. 
 
 LIMA'RIUS. See Piscina. 
 
 LIMBA'TUS. Adorned with an 
 ornamental border or limbus, as ex- 
 plained and illustrated under that 
 word. Gallien. ap. Trebell, Claud. 1 7. 
 
 LIMBULA'RIUS. One who made 
 borders to be sewed on to wearing 
 apparel, or on to bands for the hair 
 or waist. Plaut. Aul. iii. 5. 45. In- 
 script. ap. Don. cl. 8. n. 27. LiMBUS 
 I 2. 
 
 LIMBUS (irapvip-fj). An ornamen- 
 tal border woven into the fabric of a 
 piece of cloth, in order to make a 
 finish round the edges of wearing 
 apparel. Ov. Met. vi. 127. Virg. 
 yEn. iv. 137. Servius ad I. Stat. 
 Achill. i. 330. It was made in a 
 great variety of patterns, and was worn 
 amongst the Greeks by both sexes ; 
 by males on the skirts of their tunics 
 (woodcut J. V. Hieronika) and 
 edges of the chlamys (woodcut s. v. 
 p. 155.), and by females on most 
 arficles of their attire ; as shown by an 
 
 infinity of designs on the Greek fictile 
 vases, from one of which the annexed 
 example is taken. But amongst the 
 Romans, if we may judge from the 
 rareness of its occurrence upon the 
 
 works of art executed by or for that 
 people, even in the Pompeian paint- 
 ings, it would seem to have been but 
 seldom adopted, and its use mostly 
 confined to females. 
 
 2. Hence an ornamental band for 
 the hair, worked 
 with a pattern in 
 embroidery (Stat. 
 Achill. ii. 1 76. 
 Arnob. ii. 72.), as 
 shown by the 
 woodcut at p. 284. 
 J. Fibula 4; or 
 sash for the waist * ' 
 (Stat. Theb. vi. 
 367.), as exhibited by the annexed 
 figure from a statue in the Royal 
 Museum at Naples. 
 
 3. The band or zodiacal circle 
 which contains the figures of the 
 
 twelve signs, as if on an embroidered 
 sash ; like the example annexed, from 
 
LI MEN. 
 
 385 
 
 a painting at Pompeii. Varro, R. R. 
 ii. 3. 
 
 4. Tiie main rope of several twists 
 upon whicli a hunting or fisliing net 
 is made, and which, as being much 
 thiclier and stronger than the twine 
 
 I. (bpfxia). A fisJnng-line (Mart. 
 iii. 58. 28.) made of strong hair {seta. 
 Avian. Fab. xx. I.) or iiax twisted 
 into thread (Hnum, Ov. Met. xiii. 
 
 of the meshes, served as a sort of 
 border or edging to the net, as ex- 
 emplified by the annexed figure from 
 a Roman mosaic. Grat. Cyneg. 25. 
 
 LIMEN l^nKiif). The threshold, 
 including the sill and the lintel of a 
 door ; which, however, are sometimes 
 distinguished by a special epithet : as 
 limen inferior, the sill ; liiiien superior, 
 the lintel. Plaut. Merc. v. I. I. Id. 
 Cas. iv. 4. I. Vitruv. vi. 9 and II. 
 See the illustrations o. Janua. 
 
 2. Liinen or limina ejumiwt. The 
 threshold or doorway of the stalls in 
 the Circus, from which the horses and 
 chariots came out when they were 
 about to start for a race. Virg. ^n. 
 V. 316. Sil. Ital. xvi. 316. See the 
 illustration j. Carcer, 2. 
 
 L I ' M U S. A petticoat, reach- 
 ing from the waist to 
 the feet, and orna- 
 mented with a band or 
 stripe of purple colour, 
 all round the bottom of 
 the skirt. It was the 
 proper costume of the 
 Popa, who officiated 
 at the sacrifice, and is 
 distinctly shown by the 
 annexed example, from 
 the Vatican Virgil. 
 Virg. ^n. xii. 120. 
 Servius ad 1. Compare 
 Tiro. ap. Gell. xii. 3. 
 
 LI'NEA. In general a thread, 
 line, or string ; whence the following 
 more special senses ; — 
 
 923). The example represents an 
 angler in a Pompeian painting. 
 
 2. A line which sportsmen extended 
 along a given tract of country, with a 
 number of different coloured feathers 
 tied on it, for the purpose of frighten- 
 ing the game, and to deter them from 
 breaking out in the direction where it 
 was placed. Grat. Cyneg. 27. and 
 83. Nemes. 303. Same as FORMIDO. 
 
 3. (ardOjjrj). A carpenter's or 
 stone mason's line, which is a string 
 covered with chalk, and used for 
 striking a straight mark upon a boaid 
 or slab by which to direct the course 
 of the saw ; or for measuring gene, 
 rally. Pallad. iii. 9. 10. Vitruv. vii. 
 3. 5. Cic. Q. Fr. iii. I. I. 
 
 4. Alba linea {ypafti^i/). A rope 
 whitened with chalk, and drawn across 
 the opening of a race-course {circus) for 
 the purpose of making the start fair. 
 (Cassiodor. Var. Ep.\\\.<,\.) Its situ- 
 ation is shown by the dotted line, 
 marked E in the engraving on the next 
 page, which represents the ground- 
 plan of a small circus, still remaining 
 m considerable preservation, at a short 
 distance from Rome, on the Appian 
 Way ; and in which it is inserted on 
 the authority of a mosaic picture repre- 
 
 2 B 
 
;86 
 
 LINE A. 
 
 LINGUA. 
 
 seating a circus discovered at Lyons, in 
 the commencement of the present cen- 
 tury, where it is coloured white, and oc- 
 cupies the same position as liere as- 
 signed to it. It was Itept tight until all 
 the cars, having left their stalls ((ra?r«-<?j-, 
 AA. on plan), had arrived fairly 
 abreast of one another at the line in- 
 dicated, and until the signal for a 
 start was given, when it was slacked 
 away from one side, and the race 
 commenced. Had it not been for a 
 contrivance of this kind, the eagerness 
 of the horses would have led to a con- 
 stant succession of false starts, as fre- 
 
 quently happens at the horse races 
 during the Carnival at Rome, where a 
 similar expedient is resorted to ; and 
 an over-eager horse, who breaks away 
 from his trainers, rushes against the 
 rope, which either brings him up or 
 throws him down ; an accident 
 actually represented as occurring to a 
 pair of horses in the Lyons mosaic 
 above referred to. Moreover, as this 
 rope was whitened with chalk, it is 
 often referred to under the term 
 Calx or Creta ; and as the cha- 
 riots ran round the course, return- 
 ing at last to the end from which 
 
 they started, all three words are 
 figuratively applied to designate the 
 end of anything ; particularly of life, 
 the chances and accidents of which 
 both poets and artists were fond of 
 assimilating to the casualties of a 
 race. Hor. Ep. i. 16. 79. Cic. Sen. 
 23. Tusc. i. 8. 
 
 5. A string of pearls, which, under 
 the extravagant habits of the empire, 
 were sometimes cast among the people 
 for a scramble at the public games of 
 the circus, &c. Mart. viii. 78. Com- 
 pare Suet. Nero, II. TertuU. Hab. 
 Mil. 9. Ulp. Dig. 9. 2. 27. Com- 
 pare Miss ILIA. 
 
 6. A line described upon the face 
 of a sun-dial {solarium), and marked 
 with the various hours, 
 so as to indicate the time 
 of day by the shadow 
 which the index [gno- 
 mon) cast upon it. The 
 illustration represents an 
 ancient sun-dial engraved 
 upon a silver cup found 
 at Porto d'Anzio. 
 
 7. A line or incision cut across 
 
 the seats [gradus, sedilia) in a theatre, 
 amphitheatre, or circus, for the pur- 
 pose of defining the exact space 
 which each person was entitled to 
 occupy, and prevent inconvenient 
 crowding or selfish engrossment. 
 
 (Ov. Amor. iii. 2, 19. Id. A. Am. 
 i. 141. Quint, xi. 3. 133.) These 
 lines are still discernible in the am- 
 phitheatres at Pompeii and Pola, 
 from which last the annexed illus- 
 tration is taken ; it represents one of 
 the large blocks of marble which 
 formed the cavea divided by lines 
 into stalls for six occupants, some of 
 whose initials are carved upon the 
 seat. 
 
 LINGUA. The mouth-piece of a 
 pipe. (Plin. ff. N. x. 43.) Same as 
 LlGULA, I. 
 
LINGULA. 
 
 LINTER. 
 
 387 
 
 2. The short end of a lever. (Vi- 
 truv. 8. 2.) Same as Ligula, 5. 
 
 LINGULA. A vulgar and in- 
 correct writing for Ligula, vifhich 
 see. Mart. xiv. 120. 
 
 LI'NIGER. In a general sense, 
 wearing linen garments; but the word 
 is specially used to designate the 
 Egyptian goddess Isis (dea linigera, 
 Ovid. Met. i. 747.) ; and a certain 
 class of priests ministering in her 
 temples, who went bald-headed and 
 naked as far as the waist, below 
 which they were covered with a long 
 linen petticoat ; whence they are 
 styled linigeri calvi. (Mart. xii. 29. 
 18. Juv. Sat. vi. 533.) Both these 
 characteristics are exemplified by 
 the annexed figure, representing an 
 
 Egyptian priest of the kind described, 
 from a painting in the temple of Isis 
 at Pompeii. 
 
 LINIPHIA'RIUS, LINIPH'IO, 
 and LI'NYPHUS (XivoirsJoe). A 
 linen weaver. Hadrian, in Ep. ap. 
 Vopisc. Saturn. 8. Cod. Theodos. x. 
 20. 8. 
 
 LINOSTE'MA. A fabric made 
 of thread and wool mixed ; the warp 
 {stamen) of thread, the web {subtemeti) 
 of wool. Isidor. Orig. xix. 22. 17. 
 
 LINTEA'MEN. (Apul. Met. xi. 
 p. 245. Lamprid. Elag. 26.) Same 
 
 as LiNTEUM. 
 
 LINTEA'RIUS (XivoKijpu?). A 
 linen draper ; or hawker of linen 
 goods for sale. Ulp. Dig. 14. 4. 5. 
 Cod. Theodos. 10, 20. 16. 
 
 LINTEA'TUS. Clothed in &zot, 
 as contradistinct from wool or cotton. 
 Liv. X. 38. Festus, s. Legio. Senec. 
 V. B. 1-1. 
 
 LIN'TEO. Klinenweaver. Plaut. 
 Aul. iii. 5. 38. Serv. ad. Virg. .-Sre. 
 vii. 14. 
 
 LINTE'OLUM (ofloi/ioi). Any 
 small linen cloth ; thence, especially, 
 a napkin, or a handkerchief. (Plaut. 
 Ep. ii. 2. 48. Plin. H. N. ix. 45. 
 Apul. Apol. pp. 490. 494.) See Su- 
 
 DARIOLUM. 
 
 LINTER. A boat used chiefly 
 in marshy places, or waters abound- 
 mg in shallows (TibuU. ii. 5. 34.) ; 
 for the transport of produce u])on 
 rivers, or of cattle and soldiers across 
 them (Liv. xxi. 27.) ; for supporting 
 a bridge of boats (Cffis. B. G. i. 
 12.) ; and other similar purposes. 
 It was rowed with oars (Coes. 
 
 B. G. vii. 60.), not punted, and, as 
 it had but a slight draught, without 
 bemg flat-bottomed, could not have 
 been very steady in the water ; 
 whence Cicero {Brut. 60.) quizzes 
 an orator who swayed his body to 
 and fro while speaking, by saying 
 that he made use of a linter for his 
 pulpit. The example represents a 
 Roman soldier transporting wine 
 casks across a river in one of these 
 boats, from the Column of Trajan. 
 
 2. A tray or trough employed at 
 the vintage for carrying grapes from 
 the vineyard to the vat in which the 
 juice was trodden out by the feet , 
 doubtless so named from its resem- 
 blance in form to the boat just de- 
 scribed. Cato, R. R. xi. 5- Tibull. 
 i. 5. 23. Virg. Georg. i. 262. 
 
388 
 
 LINTEUM. 
 
 LITJCEN. 
 
 LINTEUM (oSoi'i,). Generally, 
 any cloth made of linen ; but Pliny 
 (H' N. xii. 22.) applies the same term 
 to cotton fabrics. Specially, a towel, 
 napkin, or handkerchief (Plant. Most. 
 i. 3. no. CatuU. xii. 3. 11. 14.), 
 same as Sudarium ; a curtain to 
 close the sides of a lectica, or palan- 
 quin (Mart. ii. 57.), same as Pla- 
 GULA ; the sail of a ship, which was 
 made of strips of cloth sewed together 
 (Virg. Ain. iii. 686. Liv. xxviii. 
 45.), same as Velum. 
 
 LINTRA'RIUS. One who rows 
 a linter. Ulp. Dig, 4. 9. I. 
 
 LINTRIC'ULUS. (Cic. Att. x. 
 10.) Diminutive of Linter. 
 
 LI'NUM (Xivov). Flax; thence 
 anything made with flax ; as, a 
 sewing thread (Celsus, vii. 14.) ; a 
 fishing line (Ovid. Met. xiii. 923. 
 LiNEA. I.) ; a string of pearls (Ter- 
 tuU. LiNEA, 5.) ; a string bound 
 round the tablets (tabella:) upon 
 which letters or any other document 
 were written, and then tied in a knot 
 over which the seal was affixed (Cic. 
 Cat. iii. 5. Plant. Bacch. iv. 3. 79 — 
 III.); a net, the meshes of which 
 were made of string. Ov. Virg. 
 Juv, 
 
 LITERA'TUS, Marked or let- 
 tered ; especially applied to any ob- 
 ject of use or ornament which has the 
 maker's or owner's name inscribed 
 upon it (Plant. Rud. iv. 4. ill. 114. 
 
 lb. ii. 5- 21.), as in the annexed and 
 many other articles, found at Pom- 
 peii. The letters engraved upon the 
 handle are L. Ansidiodo. 
 
 2. Branded; meaning a slave 
 marked on the forehead for thieving 
 or running away (Plant. Cas. ii. 6. 
 49.) ; also termed inscriptus, notatus, 
 stigmosus. 
 
 3. Lettered ; meaning versed in 
 letters ; applied to an educated slave, 
 
 whose literary knowledge and ac- 
 quirements were turned to account 
 by his master in a variety of ways, 
 as a librarian, reader, amanuensis, 
 secretary, &c. Orbilius ap. Suet. 
 G7-amni, 4. 
 
 4. (ypa/j/xartKOc). h. gramviarian ; 
 i.e., a scholar who employs himself 
 in writing notes and commentaries 
 upon the works of other authors. 
 Nepos. ap. Suet. Gramm. 4. 
 
 LITHOSTRO'TUM {XM^Tpui- 
 Tov.) Literally, paved with stones ; 
 whence the pavement of a Roman 
 road, which was laid with polygonal 
 blocks of volcanic formation [silex) ; 
 or of any flat open square, like an 
 area or a forinn, which were paved 
 with broad square flags ; or the floor 
 of a building, like that of the Pan- 
 theon at Rome, which is formed with 
 slabs of porphyry and jaune an- 
 tique ; were all lithostrota in a generic 
 sense. But the word is mostly ap- 
 plied, in the passages which remain, 
 to the various kinds of ornamental 
 pavements which go by the common 
 name of mosaie with us ; more espe- 
 cially to those which were composed 
 of small pieces of stone or marbles of 
 natural colours, as contradistinguished 
 from those which were made of glass 
 or composition, artificially stained to 
 imitate different tints. Varro, R. R. 
 iii. 1. 10. Plin. H. N. xxxvi. 60, Ca- 
 pitol. Gord. 32. and the various names 
 enumerated in the Classed Index. 
 
 LIT'ICEN. One who plays the 
 trumpet called litiius. (Varro, Z. L. 
 V. 91. Cato, ap. Gell. 
 XX. 2. Ammian. xiv. 
 2. ) The liticines 
 formed a corporation 
 (collegium) at Rome ; 
 and the instrument 
 they played, as well 
 as the costume which 
 they wore, is exhibi- 
 ted by the annexed 
 figure, from a sepul- 
 chral marble, having 
 the following inscrip- 
 tion underneath — M. 
 
LITUUS. 
 
 LOCULAMENTUM. 
 
 389 
 
 Julius Victor ex collegio liti- 
 CINUM. The piece of drapery over 
 the front of the chest is singular ; but 
 a Roman soldier, on a bas-relief 
 published by Du Choul {Castramet. 
 lies Romains), wears a cape of the 
 same description. 
 
 LIT'UUS. A brass trumpet, with 
 a long straight stock, like the tuba, 
 but furnished at its furthest extre- 
 mity with a curved joint, like the 
 huccina or cornu. (Festus, s. v, Gell. 
 V. 8. Sen. OEd. 734. adunco are. 
 Hor. Ovid. Cic. Virg. ) The en- 
 graving represents an original dis- 
 
 covered in clearing the bed of the 
 river Withara, near Tattershall, in 
 Lincolnshire, which, it will be per- 
 ceived, resembles precisely the instru- 
 ment held by the liticen in the pre- 
 ceding illustration. It is rather more 
 than four feet long, made of brass, 
 in three joints, like a modem flute, 
 and has been gilt. 
 
 2. (Xiruov). An augurs wand 
 (Virg. :^n. vii. 187. Plut. Rom. 22.^ ; 
 which was a short stick {brevis, Gell. 
 V. 8.), bent into a twist at the end, 
 like one side of a bishop's crosier, of 
 which it is supposed to have formed 
 the model. Liv. i. 18. Cic. Div. i. 
 17. It was used for describing or 
 marking out imaginary divisions in 
 the heavens, for the purposes of 
 
 divination ; and received its name 
 
 from a certain resemblance which it 
 bore to the military instrument last 
 described (Porphyr. ad Hor. Od. 
 i. I. 23. Gell. /. I. Orelli ad Cic. 
 /. c.) ; but in works of art, the end 
 of it is not formed with a gentle 
 curve, like the trumpet and the shep- 
 herd's crook [pedum], but is always 
 twisted into a spiral shape, like 
 the annexed examples ; one of 
 which represents the instrument itself, 
 from the frieze of an ancient temple 
 under the Capitol at Rome (supposed 
 temple of Saturn), and the other, an 
 augur with the lituus in his hand, from 
 a medal of M. Antoninus. 
 
 LIX^. Camp followers ; persons 
 of free birth, who followed an army 
 into the field with the object of sup- 
 plying the soldiery with goods and 
 provisions of various kinds, as a source 
 of individual profit. Liv. xxxix. i. 
 Val. Max. ii. 7. 2. 
 
 2. By Apuleius (Met. i. p. 18.), 
 servants or attendants upon a magis- 
 trate, such as the lictors. 
 
 LOCA'RIUM. The price or the 
 sum paid for lodgings at an inn or 
 lodging house. Varro, Z. L. v. IJ. 
 
 LOCA'RIUS. One who makes a 
 profit by relinquishing his seat at a 
 place of public entertainment, such as 
 the circus, theatre, &c. , to another who 
 arrives too late to find room. Mart. 
 V. 24. 
 
 LOCEL'LUS. Diminutive of Lo- 
 CULUS. Mart. xiv. 13. Pet. Sat. 140. 
 Val. Max. vii. 8. 9. Any small box 
 or case. 
 
 LOCULAMENTUM. Generally, 
 any case, receptacle, or locker divided 
 into separate compartments (Vitniv. 
 X. 9. 5. and 6.) ; thence more specially, 
 and in the plural, an open bookcase 
 covering the sides of a room from 
 top to bottom, and divided into a 
 number of separate compartments, or, 
 as we should say, a set of book 
 shelves (Senec. Tranquill. 9.) ; also, a 
 set of nests in a dove-cote or 
 pigeon-house (Columell, viii. 8. 3.) ; 
 and a hive for bees. Id. ix. 
 
390 LOCULUS. 
 
 LOC'ULUS. A coffin, in which 
 
 the body was deposited entire, when 
 not reduced to ashes on the funeral 
 pile. (Justin, xxxix. i. Plin. B.N.y'u. 
 i6. Id. vii. 2.) The illustration re- 
 presents a coffin of baked clay, with 
 the plan of the interior underneath, 
 in which the shaded part is a raised 
 sill for the head of the corpse to rest 
 upon; and the round hole, a recep- 
 tacle for aromatic balsams, which were 
 poured into it through a corresponding 
 orifice on the outside of the shell. A 
 marble coffin of more elaborate design 
 is introduced at p. 196. 
 
 2. A common wooden box, in 
 which the dead bodies of poor people 
 and criminals were carried out. Ful- 
 gent. Plane, s. Sandapila. 
 
 3. A crib or compartment in a 
 manger, whether of stone, marble, 
 or wood, in which the allowance of 
 each animal was separately deposited. 
 
 in order that a greedy horse might 
 not poach upon its neighbour, as 
 shown by the annexed example, 
 which represents the interior of an 
 ancient stable in the bay Centorbi, in 
 Sicily. Veg. Vet. ii. 28. 4. 
 
 4. A small cabinet, box, or case, 
 divided into separate compartments ; 
 
 LORARIUS. 
 
 such as we should call a desk; in 
 which money, keys, valuables, and 
 things of small size were deposited for 
 safe custody. Hor. Ep. ii. I. 175. 
 Juv. i. 89. Plin. H. N. xiv. 14. 
 
 5. A case divided into separate 
 compartments, in which the Roman 
 boys carried their books, writing ma- 
 terials, and other necessaries to school. 
 Hor. Sat. i. 6. 74. 
 
 LODI'CULA. Diminutive of 
 
 L O D I X. A coarse and rough 
 sort of blanket, chiefly manufactured 
 at Verona (Mart. xiv. 152.); used as an 
 outside wrapper (Suet. Aug. 83.) ; as 
 a counterpane for a bed (Juv. vi. 195.); 
 and as a rug for the floor. Pet. Sat, 
 20. 2. 
 
 LOGE'UM (Xoyeioi/). (Vitruv. v. 7.) 
 Properly, a Greek word, for which the 
 Latin expression is Pulpitum ; which 
 see. 
 
 LOMEN'TUM. A wash or paste 
 for the skin, made of bean meal and 
 rice worked up together, which the 
 Roman ladies applied to their faces 
 for the purpose of taking out wrinkles, 
 and giving a clear tint and smooth- 
 ness to the skin. Mart. iii. 42. Com- 
 pare Pallad. xi. 14. 9. 
 
 LONGU'RIUS. A very 'long 
 straight pole, employed for making 
 divisions or fences in a meadow (Varro, 
 R.R. i. 14. 2.); as a swinging bar for 
 separating the horses in a stable, 
 which the ancients did not divide into 
 stalls (Varro, R.R. ii. 7. 10.) ; as a 
 handle for the falx muralis (Cses. 
 B. iii. 14.); or, indeed, for any pur- 
 pose to which such an object was 
 adapted. 
 
 LORA. See Lura. 
 LORA'RIUS. A slave who in- 
 flicted the punishment of flogging 
 upon his fellow slaves with twisted 
 ropes or thongs of leather, at the 
 command of his master. A character 
 of this kind was frequently intro- 
 duced upon the Roman comic stage 
 (Gell. X. 3. 8. Plant. Capt. Act. i. 
 Sc. 2.), and is exhibited in the 
 illustration annexed, from a marble 
 bas-relief, representing a scene from 
 
LORICA. 
 
 some play. The entire composition 
 
 contains three 
 
 more figures, 
 
 a young girl 
 
 playing the 
 
 double pipes, 
 
 and two old 
 
 men, one of 
 
 whom, the 
 
 master of the 
 
 slave, is about 
 
 to chastise him 
 
 in a fit of anger 
 
 with his stick, 
 
 but is held back 
 
 by his friend ; 
 
 whilst the slave, 
 
 in flying from 
 
 his master, falls into the hands of the 
 
 lorarius, who is represented with a 
 
 twisted thong in his raised arm, with 
 
 which he is about to punish his 
 
 crouching comrade . 
 
 LORI'CA {BmpaV). The term used 
 generally to designate a piece of de- 
 fensive armour, which covered the 
 breast, back, belly, and sides as far as 
 the waist ; including the cuirass or 
 corselet of leather or metal, plain, 
 scaled, laminated, ringed, and quilted; 
 the coat of mail ; and the loose doub- 
 let, or flexible linen shirt ; all of which 
 are separately described in the follow- 
 ing paragraphs : — 
 
 I. (ytJa\o9wpa5). The Greek cui- 
 rass of the most ancient period, made 
 out of hvo separate and distinct pieces 
 
 of metal, modelled to the form of the 
 owner ; one of which fitted tlie breast 
 and upper region of the belly, the 
 other the back and loins ; the two 
 being fastened upon the person by a 
 
 number of clasps or buckles [fibula, 
 TTfpoi/ni) down the sides, and with a 
 shoulder strap or epaulette across the 
 top of each shoulder. Each of these 
 plates was termed a yvoKov. The 
 illustration represents a pair of bronze 
 originals discovered in a. tomb at 
 Paestum ; but it would appear that 
 Pausanias had never seen a cuirass 
 of this kind, excepting in pictures 
 (Pans. X. 26. 2.) ; a remarkable proof 
 of the value and antiquity of the spe- 
 cimen here copied. 
 
 2. (9wpa? (Tra^ioe or (Trarnf ) . The 
 cuirass usually worn by generals and 
 superiorofficers, 
 both Greeks 
 and Romans, 
 subsequently to 
 the Homeric 
 period; so 
 termed because 
 it would stand 
 by itself when 
 taken off and 
 placed upon the 
 ground. Like 
 the last men- 
 tioned, it was in reality formed of 
 two pieces, but on an improved prin- 
 ciple, being joined together by the 
 armourer on the right side with hinges 
 (yfyy\u/ioi), made by inserting a pin 
 through a series of sockets, so that 
 they would open and shut for putting 
 off or on with convenience and ex- 
 pedition. The joinings are clearly 
 shown by the annexed engraving, 
 from an equestrian statue of N. Bal- 
 bus found at Herculaneum ; and upon 
 a statue of the Pio- Clementine Mu- 
 seum (iii. II.), similarly accoutred, 
 they are represented with equal dis- 
 tinctness and precision. The cuirass, 
 as here exhibited, which was made of 
 very thick leather, bronze, or other 
 metals, constitutes the lorica itself ; 
 but the abdomen, the thighs, the del- 
 toid muscle, and the arm-pits, which 
 would be completely exposed when 
 the arm was raised above the level of 
 the breast, were protected by a series 
 of leather straps (ffripuyfe), usually 
 
392 
 
 LORICA. 
 
 appended to it round the 'arm-holes 
 and lower rim of its two plates, which 
 fell over the upper part of the arm, 
 like a sleeve, and over the thighs, 
 like a kilt, as exhibited in the illus- 
 tration s. Legatus. 
 
 3. {9iupa^ XETTii^wroc). A corselet 
 of scale armour in which the scales 
 {si/uamcs, Virg, ^^n. ix. 707 .xi. 487. 
 Sil. Ital. i. 527-)> composed of horn 
 or metal, and sewed on to a basis of 
 leather or quilted linen, were formed 
 to imitate the scales of a fish {\i- 
 Trij), which are mostly circular at their 
 bottom edges, and overlap one another 
 
 in regular succession, as in the an- 
 nexed example, from one of the tro- 
 phies on Trajan's Column. 
 
 4. {tiuipal ipoXiSuToi:) . A corselet 
 of scale armour, made of the same 
 materials as the last, similarly at- 
 tached, but having its scales formed 
 to imitate those of a serpent {<po\ig. 
 
 Hamart. 423. squamosum thoraca de 
 pelle colubm), which are mostly an- 
 gular at their extremities, and overlap 
 in a lozenge shape, so that one of the 
 angles points downwards in the 
 manner exhibited by the example, 
 from the Column of Antoninus, which 
 resembles exactly the scales of the 
 rattlesnake, the common viper, and 
 many other reptiles. 
 
 5. Lorica flumata. (Justin, xli. 
 2. ) A corselet of similar character 
 to the two preceding, but having the 
 plates of metal which cover it formed 
 to imitate the feathers of a bird (plu- 
 ma. Virg. Ain. xi. 770. Sallust. 
 Fragm, aj>, Serv. ad I, ), instead of 
 
 Compare Ov. Met. iii. 63. Prudent. 
 
 scales, as exhibited by the annexed 
 example, from the Arch of Trajan, 
 now inserted on the Arch of Constan- 
 tine ; in which it will be observed 
 that the plates are not so angular at 
 their extremities as the last example, 
 nor so regularly disposed as the one 
 which precedes it. 
 
 6. Lorica serta, or hamis conserta. 
 (Nepos. xi. I. Virg. Ain. iii. 467. v. 
 
 259. Sil. Ital. V. 140.) A corselet 
 also of scale armour, but in which the 
 
LORTCA. 
 
 393 
 
 plates of bone or metal, instead of 
 being sewn on to a leather or quilted 
 jerkin, were fastened to one another 
 by means of wire rings or hooks 
 (hami) ; of which the illustration 
 affords a specimen from an origi- 
 nal fragment found at Pompeii. The 
 plates are of bone ; and each has 
 two holes near the upper edges, 
 through which the connecting wire 
 link is passed, as shown on a large 
 scale by the right-hand part of the 
 engraving ; but when the parts are 
 put together, these are covered and 
 protected by the circular end of an- 
 other plate which laps over them, as 
 shown by the smaller pattern on the 
 left hand. 
 
 7. A cuirass, formed by two broad 
 plates of metal across the chest, and 
 long flexible bands {famince) of steel 
 over the shoulders, and round the 
 waist ; so arranged, that while they 
 fitted closely to the shape of the 
 wearer, they would adapt themselves 
 to all his motions by slipping under 
 and over one another, as the arms 
 were raised, or the body bent, as 
 shown by the annexed example, from 
 the Column of Trajan. The charac- 
 teristic name by which cuirasses of 
 this kind were distinguished has not 
 
 .survived ; but the object itself is of 
 very common occurrence on the tri- 
 umphal arches and columns. It ap- 
 pears to have constituted the ordinary 
 armour of the common legionary 
 soldier under the empire ; for it is 
 never worn by the superior officers, 
 but always by the gregarians, whose 
 
 rank is understood from the duties 
 they perform when not engaged with 
 the enemy ; such as felling timber 
 for stockades, building forts, trans- 
 porting provisions, &c. Some writers 
 have recognised this as the cuirass of 
 serpents' scales (^oAtOwr6j. No 4.), 
 to which it does not possess sufficient 
 resemblance. 
 
 8. [Oiopal, aXvaiSuiTOc). A shirt of 
 ckain mail, formed by a regular series 
 of links, connected together into a 
 continuous chain (uXvniq ; molli lorica 
 catena, Val., Flacc. vi. 233). It was 
 worn by the hasiati under the repub- 
 lic (Polyb. vi. 23.) ; and is repre- 
 sented on some of the cavalry sol- 
 diers in the slabs which were removed 
 from the Arch of Trajan to decorate 
 
 the one built by Constantine near the 
 Coliseum, as well as on the annexed 
 figure, from the Column of Antoninus ; 
 in which the minuteness of the touches, 
 as well as the close and elastic fit of 
 the shirt, are evidently intended to 
 characterise a coat of chain mail. 
 
 9. Loi-ka lintea (SiipcrJ Xivsof). A 
 loose jacket of linen, several folds 
 thick, steeped in 
 vinegar and salt 
 (Nicet. Choniat. 
 Script. Byzant. 
 p. 247. Paris. 
 1647-) ; more 
 especially worn 
 by the Oriental 
 nations, but also 
 adopted by the 
 Greeks and Romans (Nepos, Jp/itcr. 
 
394 
 
 LORICA TUS. 
 
 I. Suet. Gall). 19. Liv. iv. 20. 
 Avrian. I'act. p. 14.). It is fre- 
 quently represented on the columns of 
 Trajan and Antonine, similar to the 
 example, as a long doublet, reaching 
 below the hips, easily yielding as the 
 body bends, and fitting rather loosely 
 on the figure. 
 
 10. In a general sense, the word is 
 also applied to any thing which serves 
 as ti covering, protection, or defence 
 for what is behind or under it ; such 
 as the coating of cement upon a wall 
 (Vitruv. ii. 8. 18. vii. I. 4.), and a 
 breastwork which serves as a screen or 
 fortification (Tac. Ann. iv. 49. Com- 
 pare Veg. Mil. iv. 28. ) ; &c. 
 
 LORICA'TUS {TtBuipaKia^iroQ). 
 Armed with <x cuirass, corselet, or 
 coat of mail, as described in the vari- 
 ous paragraphs of the last article, and 
 shown by the woodcuts, pp. 144. 159' 
 178. 330., and many others in the 
 course of these pages. 
 
 2. Loricatus eques. (Liv. xxiii. 19.) 
 Same as Cataphractus. 
 
 3. Loricatus elephas. (Hirt. B. Afr. 
 72.) An elephant equipped for battle, 
 by having a breast- work, or tower for 
 armed men upon his back, like the 
 annexed example, from an engraved 
 
 gem. It is obvious that the almost 
 impenetrable hide of this animal 
 would not require the assistance of 
 armour, like the horse ; and Polybius 
 (Fr. Hist. 22.) uses the diminutive 
 WwpaKioi/ (loricula) for the breast-work 
 of a tower on an elephant's back. 
 
 4, Coated with cement. Varro, 
 R.R. i. 57. I. 
 
 LORI'CULA (0M|OOKioi/). Dimin- 
 utive of LoRiCA ; especially a slight 
 
 LORUM. 
 
 breastwork or fortification. Hirt, 
 B. G. viii. 9. Veg. Mil. i. 57. 
 
 LORUM (l/iat). In general, any 
 strap or throng of leather ; whence 
 applied more specially in the following 
 senses : 
 
 1. The rein of a bridle for riding or 
 driving. Virg. Ov. Juv. See Frenum, 
 Habena. 
 
 2. A long rein or rope with which 
 the ancient huntsman used to keep in 
 his dog, whilst tracking the lair of a 
 wild beast. Its object was to prevent 
 the hound from ranging, from starting 
 his prey too soon, and from closing 
 with it before the huntsman could 
 
 come up to his assistance. It was of 
 considerable length, which is indicated 
 by the coils in the annexed example, 
 from a sepulchral marble in the 
 Museum of Verona ; and the dog by 
 this means also led on his master at 
 a convenient distance to the lair, which 
 he traced by scent. Plin. H.N. viii. 
 61. Grat. Cyneg. 213. Senec. Thyest. 
 
 497- 
 
 3. The leathern bulla and thong 
 which attached it to the neck ; worn 
 by the children of plebeians. Plin. 
 H.N. xxxiii. 4. Juv. v. 164. See 
 Bulla, 4. 
 
 4. The thong by which a lectica 
 was suspended upon the poles (asse- 
 res], which rested upon the shoulders 
 of the bearers (Mart. ii. 57.), as ex- 
 plained and illustrated s. Asser, I. ; 
 also by which any burden was sus- 
 
LUCERNA. 
 
 LUCTA. 
 
 395 
 
 pended from the phalanga (Vitrav. 
 X. 3. 7 and 8.), as explained and illus- 
 trated J. Phalanga and Phalan- 
 
 GARII. 
 
 5. The leather thong by which a 
 boxing-glove was fastened round the 
 arm. Prop. iii. 14. 9. and illustration 
 0. C^STUS. 
 
 6. A thong of twisted leather with 
 which slaves were punished (Plaut. 
 Fs. i. 2. 13. Ter. Ad. ii. I. 28.) by 
 the LORARIUS ; which see. 
 
 7. The girdle of Venus. Mart. vi. 
 21. Same as Cestus. 
 
 LUCER'NA (\vxvoq). An oil- 
 lamp, as contradistinct from candela, 
 a candle ; gene- 
 rally made of 
 terra-cotta or 
 bronze, with a 
 handle at one 
 end, a nozzle 
 (myxa) for the wick {dlychnium) at the 
 other, and an orifice in the centre for 
 pouring in the oil. When in use they 
 were intended to be placed upon some 
 other piece of furniture, or on a tall 
 upright stem (Candelabrum 2.), or 
 suspended by chains from a lamp- 
 holder (Lychnuchus), or from the 
 ceiling. Of course they were made 
 in a great variety of shapes and pat- 
 terns, according to the nature of the 
 materials and the taste of the artist 
 who designed them ; but however 
 much ornamented, or enriched by 
 fanciful adjuncts and details, they 
 generally preserve more or less of 
 the characteristic form of a boat- 
 shaped vessel, exhibited by the an- 
 nexed example. 
 
 2. Lucerna 
 bilychnis (Si/i- 
 i/?ot'). A lamp 
 provided with 
 two wicks, and 
 consequently 
 with two noz- 
 zles, from each 
 of which a 
 separate flame 
 would issue, as 
 in the annexed 
 
 illustration from an original of 
 bronze. Pet. Sat. xxx. 2. 
 
 3. Lucerna polyjuixos (ttoXtjuv^o^). 
 A lamp with 
 several nozzles 
 or wicks (Mart, 
 xiv. 41.) The 
 annexed ex- 
 ample from an 
 original of terra- 
 cotta contains 
 four ; but others 
 with five, six, seven, eight, and even 
 twelve and fourteen, have been found 
 in the excavations of Herculaneum 
 and Pompeii. 
 
 4. Lucerna pensilis. A lamp sus- 
 pended by a chain (instead of being 
 placed upon a stand, candelabrum, like 
 the example No. 2.) from a supporter 
 with branches, or from the ceiling. 
 Pet. Sat. 30. 3. and illustrations s. 
 Lychnuchus and Lychnus. 
 
 LUCTA, LUCTA'MEN, LUC- 
 TA'TIO(jrd\i;, 7raXoin/ta). Wrestling, 
 one of the games of the Greek palaes- 
 tra, in which the combatants endea- 
 voured to throw one another on the 
 ground (Ov. Met. ix. 33—61. Stat. 
 Theb. vi. 830 — 905.) by every means 
 of bodily exertion, except striking, 
 which was not permitted, or by any 
 trick (Xen. Cyr. i. 6. 32.) which 
 their ingenuity could devise. Grace, 
 however, and elegance of attitude and 
 motion were regarded as an important 
 feature in the struggle. (Plato, de Leg. 
 796. Cic. Orat. 68.) The wrestling- 
 ground was strewed with sand, and 
 the bodies of the combatants were 
 sprinkled over with fine dust (haphe), 
 in order to give them a firmer hold 
 upon their adversaries ; which custom 
 is alluded to in the following illustra- 
 tion, by the basket upset upon the 
 ground. 
 
 The contest itself was of two kinds ; 
 the simplest and earliest in practice 
 being termed stand-up wrestling (ttoXj; 
 op9i]. Lucian. Lexiph 5.) ; in which 
 the contest was only carried on as 
 long as both parties kept their footing, 
 as represented in the annexed wood- 
 
396 
 
 LUCTATOR. 
 
 cut from a bas-relief of the Vatican 
 Museum ; but if one was thrown, his 
 
 antagonist permitted him to rise and 
 recommence the struggle, until he 
 met with three falls, which decided 
 the victory. (Senec. Ben. v. 3.) The 
 other kind, which was of later adop- 
 tion, was termed ground wrestling 
 (((An'5;(Tit-), and had a considerable 
 resemblance to the pancratium, for 
 the contest was continued on the 
 ground after one or both parties had 
 fallen, as exhibited by the annexed 
 illustration from the Vatican Virgil, 
 
 and until one of them, finding himself 
 unable to rise again, was obliged to ac- 
 knowledgehimself vanquished. Sen. I.e. 
 LUCTA'TOR (TraXaiiTT-yjc). A 
 wrestler. Gell. iii. 15. Senec. Ben. 
 
 LVD US. 
 
 V. 3. Ov. Trist. iv. 6. 31. See the 
 preceding article and illustrations. 
 
 LU'DIA. Originally designated a 
 female who danced and acted in public, 
 like the male ludius, in which sense 
 it may be applied by Martial (v. 24.) ; 
 but latterly it meant the wife of a 
 gladiator (Juv. vi. 266.), as the school 
 which he kept was termed ludus. 
 
 LUDIMAGIS'TER. A school- 
 master, who kept a school in which 
 young persons were instructed in the 
 rudiments of literature. Ascon. in 
 Cic. Div. Vcr. 14, Cic. N. D. i. 26. 
 Mart. ix. 69. a. 62. and illustration 
 J. Ludus. 
 
 LU'DIO and LU'DIUS (XuJ.'wi'). 
 The original name for a stage-player 
 or mimic dancer (Liv. vii. 2.) ; but 
 afterwards connected with a sentiment 
 of depreciation, such as is conveyed 
 by our expression, strolling player ; 
 for the name is applied to those who 
 danced and acted in the public streets 
 (Ov. A. Am. 112.), or in the Circus, 
 for the amusement of the populace 
 (Suet. Aug. 74.), in which jugglers, 
 fortune-tellers, tumblers, and persons 
 of that class used to congregate, as 
 they still do upon our race-courses. 
 
 LUDUS. Literally, a game, sport 
 or pastime, more especially such as 
 were invented for the purpose of 
 assisting to develop the powers of the 
 mind or body ; whence the same name 
 is given to the place where the neces- 
 sary discipline or exercises were gone 
 through, which all attainments, whe- 
 ther intellectual or physical, require. 
 
 I. Ludus literarius, or simply ludus 
 {SiSanKaXtloi'). A school for the in- 
 
LUMINAR. 
 
 struction of youth, to which the 
 children of both sexes and all classes 
 were sent when old enough, public 
 education being thought preferable 
 amongst the ancients as well as our- 
 selves, to private tuition. (Festus s. 
 Schola. Cic. Fa7n. ix. i8. Plaut. Pers. 
 ii. I. 6. Id. Merc. ii. 2. 32.) The 
 illustration represents the interior 
 of a school-room at Herculaneum, 
 from a painting discovered in that 
 city, in which both boys and girls 
 are taught together, as in Martial 
 ix. 69. 
 
 2. Ludtis gladiatorius. An estab- 
 lishment in which a company of 
 gladiators were trained and taught 
 the practice of their art, under the 
 instruction of the Lanista. Suet. Jul. 
 31. CiES. B. C. i. 14. 
 
 3. Ludus fidicinus. A school in 
 which instrumental music was taught. 
 Plaut. Rud. Prol. 43. 
 
 4. Ludus Troja. The Trojan 
 game ; a sort of review or sham-fight 
 exhibited by young persons of good 
 family on horseback. Tac. Ann. xi. 
 II. Suet. Aug. 43. Virg. Ain. v. 448. 
 — 587) ; also called Decursio, which 
 see ; the medal used to illustrate that 
 word bears the inscription Decursio 
 Ludus Troj.«. 
 
 5. Ludus latrunculoruni. A game 
 of skill having considerable resem- 
 blance to our draughts ; described j. 
 Latro 2. 
 
 6. Ludus duodecim scriptorum. A 
 game of skill approximating to our 
 backgammon. See Abacus, 2. 
 
 7. Under the general name of ludi 
 the Romans also included chariot- 
 races, gladiatorial combats, and thea- 
 trical representations, which were ex- 
 hibited on certain festivals in honour 
 of the gods, or given by wealthy 
 individuals as an entertainment to the 
 public. 
 
 LU'MINAR. Probably a window- 
 shutter (Cato, R. R. 14. Cic. Att. xv. 
 36) ; but the interpretation, as well as 
 the readings, in both passages are un- 
 certain. 
 
 LUNA(fjriff0i;pio>'). An ornament 
 
 LUPANAR. 397 
 
 in the shape of a half moon, which 
 the Roman senators wore upon their 
 boots. (Juv. vii. 193. Stat. Sylv. v. 
 2. 28.) Considerable difference of 
 
 opinion formerly existed amongst 
 scholars respecting the actual mean- 
 ing of this term ; but it is now gene- 
 rally admitted to have been a buckle 
 of ivory or silver, which joined 
 together the sides of the shoe, just 
 above the ankle (Viscont. Lnscrift. 
 Triop. p. 83. seqq.), as the Greek 
 name implies, and as shown by the 
 right - hand figure in the annexed 
 engraving, from a statue published by 
 Balduinus (de Calceo, p. 69.), after 
 Casali. The right-hand figure is copied 
 from an ivory ornament found in 
 the Roman catacombs, which is 
 believed to be an original senatorial 
 luna. 
 
 LUNA'TUS. Ornamented with 
 the senatorial luna ; of the shoe (Mart, 
 i. 50. pellis ; of the foot (Id. ii. 29. 
 T,\. planta) ; as shown by the pre- 
 ceding illustration. 
 
 2. Shaped hke a half moon ; of the 
 Amazonian shield, which is hollowed 
 into the form of a crescent (Virg. 
 ALn. I. 490. and illustration j. Pelta); 
 hence agnem lunatum (Stat. Tkeb. v. 
 145.), a body armed with such shields. 
 LU'NULA. Diminutive of Luna. 
 A small ornament in the form of a 
 half moon, worn by women suspended 
 from their necks (Isidor. Orig. xix. 
 31. TertuU. Cult. Fa:m. 10.); and by 
 children as a token, amulet, or play- 
 thing. Plaut. Ep. V. I. 33. and il- 
 lustration s. Crepunda, where it is 
 seen amongst other objects round a. 
 child's neck. 
 
 LUPA'NAR and LUPANA'- 
 RIUM (-Kopytiov). A receiving-house 
 for the accommodation of immoral 
 characters, kept by the procuress 
 (lend), who let out separate chambers 
 
398 
 
 L UFA TUM. 
 
 LYCHNUCHUS. 
 
 (cellae) to the women frequenting it. 
 Juv. vi. 121 — 8. Quint, v. lo. 39. 
 U]p. Dig. 4. 8. 21. 
 
 LUPA'TUM {cst6}]hov Trptoptjjrov), 
 (Pollux. X. 56.) A very severe kind 
 of snaffle-bit surrounded with pricks 
 or jags ((;^Ii'oi, rpijioXoi, Pollux, i. 
 148.), like the teeth of a wolf, from 
 which it took the name (Serv. ad 
 Virg. Georg. iii. 20S. ) ; and, in conse- 
 quence, usually characterized by the 
 epithet durum. Virg. /. <.. Ov. A. 
 Am. i. 2. 15. Hor. Od. i. 8. 6. Stat. 
 Theb. iv. 730. 
 
 LUPUS (XijK-of). Same as LurA- 
 TUM. Ov. Trist. iv. 6. 4. Stat. Ach. 
 1. 281. Plut. ii. 641. F. 
 
 2. A small straight-handled saw. 
 Pallad, i. 43. 2. Same as Serrula 
 
 MANUBRIATA. 
 
 3. Lupus /€7'Teus. A sort of grap- 
 pling iron, employed in the defence 
 of fortified places to seize upon the 
 beam of a battering-ram {aria), and 
 break the force of its blows by di- 
 verting it from the proper direction. 
 Liv. xxviii. 3. Veg. Mil ii. 25. iv. 23. 
 
 LURA. Properly i/i^ mou/A oi the 
 large leathern sack or skin called 
 culeus, in which wine and oil were 
 transported from place to place, as 
 
 exhibited in the annexed cut from a 
 Pompeian painting ; or of a common 
 wine-skin (Uter, and the illustration 
 there given) ; whence it was also 
 used to signify the skin itself, ' or a 
 leathern bag. Festus s. -u. Auson. 
 Perioch. Od. 10. 
 
 LUSTRUM. A solemn purifica- 
 
 tion or expiatory offering, made by 
 the censors every five years, upon 
 their retirement from office, on behalf 
 of the whole people ; at which a sow, 
 a sheep, and an ox, were conducted 
 three times round the assembled mul- 
 titude in the Campus Martins, and 
 afterwards sacrificed. Liv. i. 44. 
 XXXV. 9. xlii. 10. 
 
 LYCHNU'CHUS (\vxvovxoi) 
 Properly a Greek word, which in 
 that language appears to have de^ 
 signated more particularly a contri- 
 vance in the nature of our candlestick ; 
 viz., u. stand into which u candle or 
 torch was inserted, in order to keep it 
 in an elevated and upright position 
 (Candelabrum, i.) ; or a lantern in 
 which an oil lamp {lucerna, Xvxvoi) 
 was placed for the convenience of 
 transport (Laterna) ; for the pas- 
 sages which allude to the manner of 
 using it express the action of putting 
 the light in or taking it out of a stand 
 or case — ivOsic top \vxvov, Pherecr. 
 AoyX. 5- t^iX<jiv IK Tov Xvxpovxov tov 
 Xvxpoi'. Alex. KijpvTT. I. 
 
 2. The Latin word lychnuchus has 
 a signification somewhat differing 
 from its Greek original, and contradis- 
 
 tinct from Candelabrum, being used 
 to designate a laTnp-stand adapted for 
 holding many lamps (Suet Jul. 47. 
 Id. Dom. 4. Cic. Q. Fr. iii. 7.) ; 
 whereas the candelabrum only sup- 
 ported one. A great number of con- 
 trivances of this kind have been 
 
LYCHNUS. 
 
 discovered in the excavations of Her- 
 culaneum and Pompeii, of various 
 forms and designs, from one of which 
 our illustration is copied ; but 
 tliey all possess this characteristic 
 feature, that the lamps are suspended 
 from them by chains, as in the ex- 
 ample, instead of being placed upon a 
 flat plate (supericies), as is the case 
 with the candelabra. This peculiarity 
 may also be taken into account as 
 marking a difference between the two 
 objects, and the words by which they 
 were respectively named. 
 
 3. Lychnuchus pensilis. A stand 
 supporting several lamps, suspended, 
 like our chandeliers, from the ceiling, 
 (Plin. H. N. xxxiv. 8.) The illus- 
 tration represents the upper surface 
 
 of one of these pendant lamp-stands 
 of marble, in the Villa Borghese, 
 which carried eight lamps at least, 
 one from each of the cross-hooks 
 round its margin. The surface is 
 flat, and without any orifice. The 
 small circle in the centre shows a 
 portion still remaining of the iron 
 bar, by which it was suspended ; 
 and the eight other projecting points 
 may have served for placing additional 
 lamps upon, when required. 
 
 LYCH'NUS (Xuxf""!.)- Properly a 
 Greek word which in that language 
 signifies any portable light, including 
 also the stand or case, a candlestick 
 or lamp for instance, in which it was 
 placed. (Herod, ii. 62. 133. Aristoph. 
 Nub. 56.) But the Romans appear 
 to have adopted the word in a more 
 special sense, to indicate a light or 
 
 LYRA. 399 
 
 lamp suspended from the ceiling, as 
 in the annexed example, from a paint- 
 
 ing discovered in the villa Negroni, 
 at Rome ; for the lychnus is expressly 
 mentioned as a pendant light by most 
 of the writers who use the term. 
 Ennius ap. Macrob. Sat. vi. 4. depen- 
 dent lychni laquearibtis ; copied by 
 Virgil, Ain. i. 730. Lucret. v. 296. 
 pendentes lychni ; Stat. Theb. i. 521. 
 tendunt vinciila lychnis, &c. 
 
 LYRA (Mprj). A /yre ; a small 
 and very ancient stringed instrument, 
 the invention of which is fabulously 
 attributed to Mercury, though it was 
 undoubtedly introduced into Greece 
 through Asia Minor from Egypt. 
 The cords were open on both sides. 
 
 n 
 
 
 n 
 
 
 
 
 
 
 
 
 
 
 
 ^ 
 
 
 
 without any sounding-board, and 
 varied in number from three to nine. 
 It was sounded with both hands, one 
 on each side ; or with a quill (plec- 
 trum) in one hand and the fingers of 
 the other ; being placed upon the 
 knees if the player was in a sitting 
 position, or suspended by a band over 
 the shoulder if erect. The form of 
 the frame would naturally be varied 
 according to the taste or fancy of the 
 maker ; but without destroying the 
 leading characteristics of the instru- 
 
400 
 
 LYRICEN. 
 
 ment, as shown by the difference in 
 the two examples introduced, both of 
 which are from sepulchral paintings ; 
 the one on the left representing a 
 tetrachord, i. c, with four strings ; 
 the other, a hexachord, witlt six. 
 
 LYR'ICEN. Same as Lyristes. 
 
 LYRIS'TES (\i/picrr^i,-)- One who 
 plays upon the lyre (Plin. Ep. i. 15.); 
 which was done either by twanging 
 the strings witli both hands, like a 
 harp in the manner represented by 
 the left-hand figure in the illustration 
 
 from a statue of Apollo in the Vati- 
 can ; or by striking them with a 
 small quill (plectrum) held in one 
 hand, and the fingers of the other, 
 as performed by the female figure 
 on the right side of the illustra- 
 tion, from a Roman fresco painting, 
 also preserved in the Vatican. The 
 female player was termed Lyristria. 
 Schol. Vet. ad Juv. xi. 162. 
 
 M. 
 
 MACELLA'RIUS (o^ottmAj/i,). A 
 victualler J or one who kept a cook's 
 shop, as contradistinct from Lornio, 
 the meat-purveyor. (Varro, R. R. 
 iii. 2. II.) He dealt m provisions of 
 every description, flesh, fish, and fowl 
 (Suet. Vesf. 19. Compare Plaut. 
 Atil. ii. 8. 3 — 5.) which he sold ready 
 cooked (Suet. Jul. 26). His shop 
 was termed taberna macellaria, and 
 
 MACELLUM. 
 
 his trade regarded as one of the 
 lowest, sordidissima mercis. Val. 
 Max. iii. 4. 4. 
 
 M A C E L'L U M (^aKcXXov). An 
 enclosure or building which served as 
 u market, in which all kinds of pro- 
 visions, fish, flesh, poultry, game, and 
 vegetables were sold (Varro, Z. L. v. 
 147. Plaut. Aul. ii. 8. 3. Suet. Jul. 
 43.), and probably ready dressed ; for 
 in early times when cooks were not 
 regularly kept in private families, each 
 person hired one from the macellum 
 when his services were required. 
 (Plin. ff. N. xviii. 28.) It differs, 
 however, from the forum, which was 
 an open area surrounded by colon- 
 nades, and in which the market was 
 held upon stated days in each week, 
 and supplied with various kinds of 
 manufactured articles, as well as all 
 descriptions of agricultural produce. 
 There were two edifices appropriated 
 for this purpose in the city of Rome, 
 one on the Esquiline, called Macellutii 
 Livianum ; the other on the Coelian, 
 called Macelhan Magnum, surrounded 
 
 1^ 
 
 ^m^"o 
 
 -^=w 
 
 with two stories of columns, and 
 covered in the centre with a high 
 dome {tkolus, Varro, ap. Non. s. 
 Sulcus, p. 448.), which is represented 
 by the annexed woodcut from a medal 
 of Nero, by whom it was, perhaps, 
 restored, or decorated, or enlarged. 
 The square platform in front upon two 
 legs represents a tray or stand (mensa) 
 upon which the provisions were set 
 out ; and the two objects upon it, on 
 either side, which in our engraving 
 look like balusters, from imperfect 
 
MACERIA. 
 
 MACROCHERA. 
 
 401 
 
 delineation, are in the original clearly 
 meant for a pair of scales. 
 
 MACER'IA (ixaKi\ov). A rough 
 wall or enclosure to a vineyard, garden, 
 paddock, &c. (Isidor. Orig. xv. 9. 4. 
 Cic. Fam. xvi. 18.) These were 
 either made of irregular stones, put 
 together without mortar (Serv. ad 
 Virg. Georg. ii. 417.), or sometimes of 
 brick, botli baked and raw ; as well 
 as of earth and small stones rammed 
 into moulds, like what is now termed 
 pise. Varro, R. R. i. 14. 4. 
 
 MACH^'RA (/iaxaipn). A sword 
 which has only one edge (Isidor. 
 Orig. xviii. 6. 2.); consequently, in 
 an especial manner, adapted for cut- 
 ting rather than thrusting ; as the 
 passages in which the word occurs, 
 with any context to illustrate the 
 manner of using it, also distinctly 
 imply an operation like that of 
 chopping or cleaving. (Plant. Mil. 
 ii. 5. 51. Suet. Claud. 15. Senec, 
 Ben. V. 24.) By the Homeric Greeks 
 it was worn next to the sword-sheath. 
 
 and employed as a hunting-knife, for 
 sacrificing animals, and cutting up 
 meat at table ; but it came origmally 
 from the Oriental nations, who are 
 especially characterised for the use of 
 it (jEsch. Pen. 56.). It is, moreover, 
 distinguished from the leaf-shaped, 
 two - edged, cutting and thrusting 
 sword (Sl^oe gladius, Xen. Symp. 
 ii. II. Plato, Syinp. p. 190. A.). All 
 these circumstances induce a belief 
 that the machcem was similar to the 
 hunting-knife {cidter vettato^ius); and 
 that its peculiar form is exhibited in 
 the annexed woodcut from an en- 
 graved gem (Agostini. ii. 26.), on 
 which it is used by a gladiator, evi- 
 dently of a foreign race ; as it likewise 
 is by a bestiarius contending with a 
 leopard in a Roman bas-relief inserted 
 at p. 83. 
 
 MACII^'RIUM {jxaxaifsiov, jia- 
 
 Xaipii;). Diminutive of MacHvERA. 
 A fishmonger's knife (Plant. Aul. ii. 
 9. I.) ; surgeon's knife (Aristot. Gen. 
 An. V. 8. 13 )■ ; barber's razor (Aris- 
 toph. Eq. 413.) ; all vvhich senses 
 imply a form of instrument similar to 
 the one described and exhibited in the 
 last article, and thus confirm the sug- 
 gestion there made respecting its par- 
 ticular formation. 
 
 MACH^ROPH'ORUS (/^ax^'po- 
 0opoc). Armed with the hunting- 
 knife (machara) , as characteristic of 
 foreign nations (Cic. Q. Fr. ii. 10.) ; 
 the Egyptians (Herod, ix. 32.) ; Per- 
 sians (vEsch. Pers. 56.); Thracians 
 (Thucyd. ii. 96.) 
 
 MA'CPIINA (fitjxa^'l). A general 
 term, like our machine, comprising 
 every sort of artificial contrivance 
 invented by men to assist them in 
 their operations, or which is itself 
 made to perform the part of an agent ; 
 as for raising or drawing weights 
 (Vitruv. X. I.) ; erecting columns 
 (Cic. Verr. ii. I. 55.) ; drawing 
 vessels on shore (Hor. Od. i. 4. 2.) ; 
 discharging missiles (Liv. Sail. &c.) ; 
 u. scafifolding for builders and deco- 
 rators (Ulp.Zi/V xiii. 6. 5. VYxa.H.N. 
 xxxv. 37.) ; a stand upon which 
 slaves were exposed for sale (Q. Cic. 
 Pet. Cons. 2.), &c. ; all of which are 
 described and illustrated under the 
 special names by which they were 
 designated. 
 
 MACHINAMEN'TUM. (Liv. 
 Tac. Cels.) Same as Machina. 
 
 iVlACHINA'RIUS. Any one who 
 works upon a scaffolding (Paul. Dig. 
 9. 2. 31.) ; but more frequently used 
 as an adjective to express that which 
 is worked by, or itself works with, 
 machinery ; as mola machinaria 
 (Apul. Met. vii. p. 143.), a corn-mil] 
 driven by cattle (see Mola 2. ) ; asinus 
 machinarius (Ulp. Dig. ii. 6. 7.), an 
 ass which works a mill. 
 
 MACROCHE'RA. A word 
 coined out of the Greek liaxpSxnp, 
 which means long-armed ; whence 
 used to designate a tunic with long 
 sleeves (Lamprid. Alex. Sev. 33.^ ; 
 2 C 
 
402 
 
 MACROCOLUM. 
 
 Mj^NIANUM. 
 
 only another term for Chiridota, 
 which see. 
 
 MACROCO'LUM or MACRO- 
 COL'LUM. Paper of the largest 
 size, such as we might call royal. 
 (Cic. Att. xvi. 3. xiii. 25. VYm.H.N. 
 xiii. 24. ) It is not clear whether this 
 paper was manufactured in one large 
 sheet, or made by glueing several 
 ordinary sheets into one ; nor 
 whether the name was formed from 
 KuiXoi/, a limb, or KoXXa, glue, with 
 the adjective ^tciKpog affixed. 
 
 MACULA. The mes/i of a net. 
 Ov. Ner. v. 19. Varro, /i. R. iii. 11. 
 3. Cic. Verr. ii. 5, :i. Rete. 
 
 M^AN'DER, MEAN'DROS, or 
 M^AN'DRUS (naiavpoQ). A Greek 
 ornament designed, as it were, in imi- 
 tation of the peculiarly winding course 
 of the river Meander, from which it 
 derived its name. (Festus s. v. SeiT. 
 ad Virg. JEn. v. 250. Strabo xii. 7. 
 15.) It is often employed as a border 
 for dresses, round the edges of fictile 
 vases, and as an architectural decora- 
 tion ; of which latter kind the annexed 
 
 example affords an instance, from a 
 small brick building near Rome, 
 which goes by the name of the temple 
 del Dio Redicolo. 
 
 M^E'LIUM. See Melium. 
 
 M^'NAS (/univrif). Properly a 
 Greek word, signifying a. raving 
 woman ; whence adopted by the 
 Roman poets for a Bacchante (see 
 Baccha and illustration) infuriated 
 by the rites of Bacchus (Sil. Ital. iii. 
 395. Senec. Troad. 675.) ; an ener- 
 vated priest of Cybele (CatuU. 63. 
 23.) ; or >i prophetess under the ex- 
 citement of inspiration. Senec. Agam. 
 ■Jig. 
 
 M^NIA'NUM. A balcony; pro- 
 jecting over the street from the upper 
 floor of a house or other building ; 
 and supported upon brackets affixed 
 to the external wall, or upon columns 
 
 planted on the ground. (Festus, 
 s. V. Val. Max. ix. 12. 17. Cic. Acad. 
 ii. 22.) These balconies were fre- 
 quently constructed over the colon- 
 nades of a forum (Vitruv. v. I. 2. ) ; 
 or thrown out over the entrance 
 porch of a house (Isidor. Orig. xv. 
 13. II.), as exhibited by the annexed 
 example, from a house discovered at 
 
 Herculaneum, with the ground-plan 
 of the street and adjacent part of the 
 house on the right hand. A. The 
 balcony, springing from the upper 
 story (c) ; constructed over the en- 
 trance (e on ground-plan), and sup- 
 ported upon three square pilasters in 
 file (b b elevation and ground-plan), 
 placed upon the margin of the foot 
 pavement (g), so that it projects to a 
 considerable extent over the road- 
 way (f). At one period, such acces- 
 sories were prohibited by law in 
 ancient Rome (Ammian. xxvii. 9, 
 10. ), on account of the narrowness of 
 the streets ; but by a subsequent 
 building act they wei'e allowed, pro- 
 vided they had an open space, in 
 some cases of ten, in others of fifteen, 
 feet clear from any adjacent building. 
 Impp. Honor, et Theodos. Cod. 8. 
 10. II. 
 
 2. In a theatre, amphitheatre, or 
 circus, a mcenianum means one entire 
 range of seats, rising in concentric 
 circles between one landing place 
 [prcEcinciio) and another, but divided 
 perpendicularly into a number of 
 compartments (cunei) by the flights 
 of steps {scales) which the spectators 
 descended or ascended to and from 
 their places. (Inscript. ap. Marin. 
 Fr. A}V. p. 224. seqq.) The number 
 of these varied according to the size 
 
MAGALIA. 
 
 M AGISTER. 
 
 ^oz 
 
 of the building ; the Flavian amphi- 
 tlieatre contained tliree, with a co- 
 vered portico for women above ; the 
 theatre at Pompeii, from wliich tlie 
 annexed illustration is taken, had 
 
 only two, of each of which a portion, 
 containing three cunei, is shown by 
 the engraving ; sufficient, however, 
 to elucidate the object, for it will be 
 readily understood that each mania- 
 num comprised an entire circuit. 
 
 MAGA'LIA and MAPA'LIA. 
 Carthaginian words, designating in 
 the language of that country the cot- 
 tages of the rural population (Serv. 
 ad Virg. yEn. i. 420. iv. 259.), 
 which were slight huts made of reeds 
 or cane (Sil. Ital. xvii. 88—89.) ; 
 sometimes of a circular and conical 
 form, like an oven (Cato, Orig. ap. 
 Serv. /. c. Hieron. in prol. Amos) ; 
 or at others of an oblong shape, with 
 bulging sides, like the hull of a vessel 
 (Sallust, Jug. 211.), both of which 
 models were also of common occur- 
 rence in other countries. The Ro- 
 mans described them by the words 
 CASiE and Casul^, where see the 
 
 illustrations ; and the example here 
 
 introduced represents a German vil- 
 lage of similar huts from the column 
 of Antoninus. Some scholars make a 
 distinction between magalia and 
 mapalia ; thinking that the first word 
 was used to designate the stationary 
 huts of a village, the latter when they 
 were placed upon carriages, and 
 movable from place to place (Heyne 
 n(/Virg. Ain. i. 421.) ; at all events, 
 the first syllable of magalia is long, 
 in mapalia short. 
 
 MAG'IDA and MAG'IS. A 
 large sort of dish used at table ; but 
 of which nothing precise is known. 
 Varro, Z. L. v. 120. Plin. H. N. 
 xxxiii. 52. 
 
 MAGIS'TER. A word very ge- 
 nerally applied to any person who 
 has a command or authority as the 
 chief over a number of others ; e. g. 
 magister populi, the dictator (Cic. 
 Fin. iii. 22.) ; magister equitiitn, the 
 officer who commanded the cavalry 
 under the dictator (Liv. iii. 27.) ; 
 magister moium, the censor (Cic. 
 Fam. iii. 13.) 
 
 2. In the navy, the magister was 
 an officer answering to our master ; 
 he directed the navigation of the 
 vessel, gave orders to the steersman, 
 sailors, and rowers ; and sat under 
 the tent (thronus) at the stem of the 
 vessel, as in the annexed example, 
 
 from the Vatican Virgil. (Liv. 
 xxix. 25. xlv. 42.) In the commer- 
 cial marine he answered to what we 
 call a skipper, to whom the charge of 
 the vessel and crew was entrusted 
 by the owners, under whose instruc- 
 tions he acted. (Ulp. Dig. 14. i. i.) 
 But these accurate distinctions are 
 not always observed. 
 
404 
 
 MAGISTER. 
 
 MALLEATOR. 
 
 3. In civil offices the term answers 
 to our principal, president, or chair- 
 man of the board ; as, magister socie- 
 tatis, tlie director of a company (Cic. 
 Favi. xiii. 9.) ; viagister vicoriim, a 
 parisli overseer, elected by tlie in- 
 habitants of each vicits, to manage 
 the parocliial affairs of the district 
 (Suet. Aug. 30. Tib. 76.) ; and the 
 chairman or president of any corpo- 
 rate body. Inscript. ap. Grut. 489, 
 10. ap. IMarin. Fr. Arv. n. xv. 
 
 4. In private and social life, the 
 president at a feast and drinlcing 
 bout (Apul. Apol. p. 556.) ; also 
 termed rex convivii, arbiter bibendi, 
 and (ju^TToaiapxoc by the Greeks. 
 He was elected by a throw of the 
 dice, regulated all the proceedings, 
 fixed the proportions in which the 
 water and wine were to be mixed, 
 the quantity each person was to 
 drink, exacted the fines for breaches 
 of order, and, in short, his word was 
 to be a command. Hor. Od. ii. 7. 
 25. Sat. ii. 2. 123. Xen. An. vi. I. 30. 
 
 5. Magister ludi. (Plaut. Bacch. 
 iii.3. 37.) Same as Ludi MAGISTER. 
 
 6. Under the empire, Magister 
 was a title given to the chiefs of 
 several departments or offices in the 
 state and Imperial household ; as, 
 magister epistolarum, a chief secretary 
 who answered letters on belialf of the 
 emperor ; magister libellorum, who 
 received and answered petitions ; 
 magister viemorice, who received the 
 decisions from the emperor's mouth, 
 and communicated them to the par- 
 ties interested ; magister scrinioruj?i, 
 who had the custody of all the docu- 
 ments and papers belonging to the 
 emperor ; magister officiorurn, a sort 
 of chamberlain at the Imperial court, 
 who attended and assisted at audi- 
 ences, &c. (Ammian. Cassiodor. Spar- 
 tian. Lamprid. Inscript. &c.) 
 
 7. The title of magister militum or 
 armorum was given by Constantine 
 to each of the two generals who re- 
 spectively commanded in chief over 
 each branch of the army, the infantry 
 and cavalry. (Ammian.) 
 
 MAGISTRA'TUS. The office 0/ 
 a magistrate ; that is, of any person 
 invested with public autliority to ad- 
 minister the law. Thus, during the 
 monarchy, the king ; under the re- 
 public, the dictator, consuls, censors, 
 prcetors, aediles, tribunes of the peo- 
 ple, the propr^tor and proconsul, as 
 well as the decepiviri litibus Jzidieandis, 
 had each magisterial authority. 
 
 2. A magistrate ; .the title given to 
 any of the officers mentioned in the 
 preceding paragraph, but who were 
 also divided into the following classes, 
 distinguished by a name descriptive 
 of the rank or position which each 
 enjoyed. 1. Majores ; chief magis- 
 trates elected at the comitia centiiriata, 
 including consuls, censors, and prae- 
 tors. 2. Minores ; inferior magis- 
 trates appointed at the comitia tributa, 
 viz., iediles, tribunes, and decemvirs. 
 3. Curules ; curule magistrates, who 
 were entitled to the honour of a sella 
 ciirulis, comprising dictators, consuls, 
 praetors, censors, and curule aediles. 
 5- Plebeii ; who were originally only 
 chosen from plelDeian families ; viz. 
 the plebeian sediles and tribunes of 
 the people. 6. Ordinarii, who held 
 office for a fixed period, as the con- 
 suls for one year. 7. Extraordinarii, 
 who were only appointed upon parti- 
 cular occasions, and for an uncertain 
 period, like the dictator. 
 
 MAJU'lVTA. A Maying, or di- 
 version enjoyed by the inhabitants of 
 Rome during the month of May ; 
 upon which occasion they descended 
 the Tiber to the sea-board at Ostia, 
 and amused themselves by bathing in 
 the sea. (Suidas.) Though the name 
 is not met with until a late period, 
 it is probable that the practice it de- 
 signates was by no means a modern 
 one, for it is then spoken of as the 
 revival of an old custom, which had 
 been abolished by law in consequence 
 of the excesses it gave rise to. Impp. 
 Arcad. et Honor. Cod. Theodos. 15. 
 6. 1 and 2. 
 
 MALLEATOR. One who beats 
 out or condenses any thing with a 
 
MALLEATUS. 
 
 MA I. US. 
 
 405 
 
 mallet {malleus), like a gold-beater, 
 book-binder, striker of a die in coin- 
 ing, &c. Mart. xii. 57. Inscript. ap. 
 Grut. 1070. I. 
 
 MALLEA'TUS. Beaten with a 
 mallet, for the purpose of compres- 
 sion, extension, &c. ; as, of books 
 (Ulp. Dig. 32. 50.) ; Spanish broom 
 (spartmn, Columell. xii. 19. 4. 
 
 MALL'EOLUS (a^i-p/o.-). Dimi- 
 nutive of Malleus. Cels. viii. 3. 
 
 2. A missile employed for firing 
 the works, shipping, or military en- 
 gines of an enemy. It consisted of a 
 reed shaft, fitted at the top with a 
 frame of wire-work, like the head of 
 a distaff (see the illustration s. Co- 
 LUS), which was filled with inflam- 
 mable materials, such as tow steeped 
 in pitch, and had an arrow head 
 affixed to the top, so that the whole 
 figure resembled a mallet, as shown 
 by the subsequent figures. It was 
 set alight before being discharged, 
 and when it reached the object 
 against which it was directed, the 
 arrow head stuck firmly into it, while 
 the tow blazed away, and ignited 
 whatever it had fastened upon. Liv. 
 xxxviii. 6. xlii. 64. Cic. Cat. i. 13. 
 Vitruv. X. 16. 9. Veg. Mil. iv. 1 8. 
 Ammian. xxiii. 4. 14. 
 
 MALLEUS. (ff^dCpa). A mallet; 
 i. c, a hammer with a large wooden 
 head, employed by ^— c-j^ fg-i- 
 gold-beaters, book- 
 binders, &c., for beat- 
 ing out into fine plates 
 or leaves (Plin. H. N. 
 xvi. 84. xiii. 26.) ; by 
 carpenters, shipwrights, masons, &c., 
 for driving the chisel when the blows 
 require to be fine and tempered 
 (Plant. Ma-c. ii. 3. 57.) ; as a beetle 
 for beating out hemp (Plin. H. N. 
 xix. 13,) ; or, in short, for any pur- 
 pose to which the same object is 
 applied at the present day. Both 
 the examples annexed are copied 
 from the tomb-stones of Roman 
 artizans. 
 
 2. A large wooden mallet used by 
 butchers, and by the Popa at a sacri- 
 
 fice, for knocking down the ox before 
 its throat was pierced by the knife 
 of the ciiltrarius. (Ov. Met. ii. 625. 
 Suet. Cal. 32.) The example is 
 copied from a small structure at 
 
 Z3 
 
 Rome, erected by the Silversmiths' 
 Company as a compliment to Sep- 
 timius Severus, on which it appears 
 amongst various other implements of 
 sacrifice. 
 
 3. A large mallet used by smiths 
 at the anvil, the head of which was 
 
 either formed entirely of iron, or of 
 wood bound with iron, as in the an- 
 nexed example, which represents the 
 mallet used by one of the smiths de- 
 lineated at p. 283, from a Roman 
 bas-relief, upon a larger scale. Plin. 
 //. N. xxxiv. 20. lb. if^i. 
 
 MALLUV'IA and MALLU- 
 VIUM (xitp&i'iT'Tpov). A wash-hand 
 basin {quasi majiu-lu- 
 via, Festus, s. v. ). The 
 illustration represents a 
 basin upon its stand, 
 with the towel beside it, 
 altogether very similar 
 to a piece of modern 
 furniture, from the cele- 
 brated Roman fresco 
 painting in the Vatican, which goes 
 by the name of the Aldobrandini 
 marriage. 
 
 MALUS (Iirroc'). A ship's mast, 
 mostly made of fir and of a single 
 pole. Plin. H. N. xvi. 76. Ordi- 
 nary sized vessels carried but one 
 mast (woodcuts, pp. 9. I47-) 5 ^^ 
 larger kinds, especially merchantmen, 
 had two, of the same height, as in the 
 example annexed to this article, from a 
 medal of Commodus, or one consider- 
 ably smaller and made to rake, as in the 
 
4o6 
 
 MALUS. 
 
 specimen at p. 247. ; and an en- 
 graved gem of the Stosch collection 
 
 appears to afford an instance of three 
 masts. Wink. Pierres gravies, p. 
 531. No. 41. 
 
 3. A mast, or strong wooden pole 
 affixed to the top of the outer wall of 
 a theatre or amphitheatre, from which 
 an awning {vela7iujn) was strained 
 over the entire opening of the cavea, 
 to shield the spectators from the sun 
 and weather. (Lucret. vi. no.) 
 The illustration represents the top 
 courses of the external wall of the 
 great theatre at Pompeii, which is 
 furnished with large stone rings to 
 receive the masts in the manner here 
 exhibited; in the Flavian amphi- 
 
 theatre at Rome, a more deco- 
 rated building, consoles which were 
 employed for the same purpose, 
 still remain, and are situated in the 
 same manner as the rings here shown. 
 3. The upright pillar in a clothes' 
 or wine press {pTessorium, torcular), 
 
 which is worked by ,—, \ \ ^-^ 
 
 means of a worm and L 
 screw (Plin. H. N. 
 xviii. 74- )i ^s shown 
 by the annexed engra- 
 ving, representing the 
 press employed in 
 the fullers' establish- ' 
 
 :..^^, 
 
 MAMPHULA. 
 
 ment at Pompeii, from a painting 
 still remaining on a pilaster within 
 the premises. 
 
 MAMILLA'RE {a-woUaiioq). A 
 bosom band ; made of soft leather 
 (Mart. xiv. 66.), and intended to 
 elevate or confine the bust when in- 
 
 clined to excessive development. It 
 is not to be regarded as precisely 
 similar to the modern stays ; for it 
 was not intended to compress the 
 figure into an unnatural appe&rance 
 of slimness, nor was it worn by every 
 female, but only where the extreme 
 fulness of the person rendered such 
 a restraint necessary. It is very ap- 
 parent in the annexed illustration, 
 from a Pompeian painting believed 
 to represent Sophonisba ; it is worn 
 under the tunic and next the skin, 
 while the ample bust of the African 
 beauty, pointedly expressed by the 
 artist, indicates at once the necessity 
 for it, and its use. 
 
 MAMPHUXA. A bread cake, 
 amongst the Hebrews, Syrians, and 
 other Oriental races, of the following 
 description. When a batch of bread 
 was made in the household, a piece 
 of the dough was made into a cake, 
 and baked under the ashes (Festus, 
 S.V.), in order to be presented as 
 an offering to the priest. This 
 was called maniphula in the Syrian 
 language, whence the word, and 
 probably the custom itself, was 
 adopted by the ancient Romans. 
 (Lucil. Sat. p. 83. 15. Gerlach.) In 
 
21 AND R A. 
 
 MANES. 
 
 .407 
 
 our 0W11 times it is a common prac- 
 tice to malce a piece of tiie dougli at 
 a baking into a calce, and balce it in 
 the ashes for tlie cliildren. 
 
 MANDRA (jxavSpa). Properly, 
 an enclosure for cattle, a fold, stall, 
 or pen ; whence the word is trans- 
 ferred to the animah themselves, and 
 more especially to a crowd of carts 
 with their cattle and drivers, forming 
 a stoppage in a public thoroughfare. 
 Juv. iii. 237. Mart. v. 22, 
 
 2. A division or space marked out 
 by lines, on which the pieces moved, 
 in a draught board (tabula latrimcu- 
 laria, Mart. vii. 72. Auct. Pan. in 
 Pis. 190.). The first notion of the 
 Avord implies that the mandra was a 
 square enclosure, like a sheepfold, 
 similar in some degree to those by 
 which our draught and chess boards 
 are divided ; and that it was not 
 formed by parallel lines {duodecim 
 scripla), lilie the backgammon board 
 (see the illustration j-. Abacus, 2.) ; 
 but as all the works which represent 
 persons playing at this game have 
 the board only presented in profile, 
 and no original has been discovered, 
 it is impossible to speak decisively 
 respecting the manner in which its 
 surface was marked out. 
 
 MANDU'CUS. A grotesque 
 kind of masked character, with an 
 enormous mouth, set full of teeth, 
 introduced in early times in the 
 
 Atellane plays, and on rustic thea- 
 tres, for the purpose of exciting rner- 
 riment by his ugliness and voracious 
 propensities, which gave rise to the 
 name. (Festus, j. v. Plaut. Pud. ii. 
 6. 51.) The illustration is from an 
 original of bronze, in which the 
 teeth are inserted of silver. 
 
 MANES. The shades of the de- 
 parted. The ancients themselves 
 seem to have attached a vague and 
 indefinite notion to this term, so that 
 it is not easy to arrive at its real and 
 distinct meaning. The following, 
 however, appears to afford the most 
 satisfactory result. It was believed 
 that the souls of men, upon the disso- 
 lution of the body, were converted 
 into spirits, which still continued to 
 exercise an influence over their de- 
 scendants ; some into good spirits, 
 who were termed lares, others into 
 bad ones, who were called larva. 
 But as the survivors could not know 
 which of these two conditions had 
 been allotted to the souls of their de- 
 ceased relatives, they made use of 
 the word manes as an indeterminate 
 expression, which did not define 
 either condition, while it would in- 
 clude both ; though their supersti- 
 tious dislike to any thing of evil 
 sound and omen led them generally 
 to attach the most favourable idea to 
 the term. Hence, in the great ma- 
 jority of cases, it is used in reference 
 to good spirits, who were .supposed 
 to reside in the lower world, and al- 
 lowed to return three times a year 
 upon earth, to visit their descendants 
 in the forms they bore whilst alive. 
 Thus the spirit of Anchises, when he 
 meets jEneas in the lower regions, 
 is represented in the Vatican Virgil 
 as draped in the costume of his 
 country ; and Hector, in the same 
 work, when he appears to ^neas on 
 earth, is attired in the same way, 
 with the words Hectoris otizk^'j- written 
 over the figure. In this case, as well 
 as others, the name is given to the 
 spirit of an individual person ; it is 
 also used to designate the regions 
 below, where the manes resided, who 
 were lilcewise regarded in the light 
 of inferior deities ; whence they are 
 commonly styled on sepulchral in- 
 scriptions Dii Manes. Apul. Deo 
 Socrat. p. 6S9. Augustin. C. D. ix. 
 II. Compare Serv. ad Virg. ^«. 
 iii. 63. Festus, .?. v. and Isidor. 
 
40S" MANGO. 
 
 Orig. viii. Ii. loo. Virg. ^n. iv. 
 .427. Georo. I. 243. 
 
 MANGO. A slave-dealer (Mart, 
 i. 59.), more especially one who en- 
 deavours to increase the personal at- 
 tractions of young people exposed 
 for sale by artificial devices, such as 
 high-feeding, rouge, cosmetics, &c., 
 in order to increase their value, and 
 give them a semblance of properties 
 which in reality they did not possess. 
 (Quint, ii. 15. 95. Plin. //. A'', xxiv. 
 22.) Hence the word is transferred 
 in a more general sense to a second- 
 hand dealer, or furbisher up of fic- 
 titious and old articles. Plin. H. N. 
 xxxvii. 76. of dealers in jewellery. 
 
 MA'NIA. A bugbear; any 
 great ugly person which nurses in- 
 vent to frighten children. Festus, 
 s, V. Arnob, 6. fin. 
 
 MAN' I C A (xfip/c)'. A long 
 sleeve reaching down to the wrist, 
 more especially characteristic of fo- 
 reign nations, both of the East and 
 North ; but regarded by the Greeks 
 and Romans of the virtuous ages as 
 a mark of ex- 
 treme effemi- 
 nacy ; though 
 at a later era, it 
 was commonly 
 added to the 
 tunics of both 
 sexes. (Virg. 
 Mn. ix. 616. 
 Tac. Germ. 17.) 
 The example re- 
 presents a figure 
 in the Niobe 
 group, supposed 
 to be the chil- 
 dren's attendant 
 (piedagogus) ; consequently, a slave 
 and foreigner, as the style implies ; 
 probably from Asia Minor. 
 
 2. An antilet, or piece of armour, 
 which some of the Roman gladiators 
 wore upon the right arm, from the 
 shoulder to the wrist, like a sleeve 
 (Juv. vi. 256.), as represented by 
 the illustration, from a bas- 
 relief in the street of the tombs at 
 
 MANIC A. 
 
 appearance 
 
 Pompeii. The appearance indi- 
 dicates that it 
 was either made 
 by a bandage 
 \fascid) or of 
 straps of lea- 
 ther, or plates 
 of metal, so 
 commonly worn 
 by the legion- 
 ary soldiers on 
 the columns 
 and arches ; 
 See LoRiCA, 
 7. 
 
 3. A sheath, or armlet, worn by 
 archers on the left arm between the 
 elbow and wrist, 
 as in the an- 
 nexed example, 
 from the column 
 of Trajan ; that 
 part being par- 
 ticularly exposed, and the nature of 
 their arms not permitting the use of a 
 shield. Veg. Mil. i . 20. 
 
 4. (xfio"!.). A glove or mitten for 
 the hand only ; made of leather or 
 fur (Pallad. i. 43- 4-), and worn by 
 the Persians and some northern na- 
 tions more generally than either by 
 Greeks or Romans, amongst whom 
 the use of such a protection was con- 
 fined to huntsmen and agricultural 
 labourers (Horn. Od. xxiv. 230,) or 
 to delicate persons (Cic. Phil. xi. 
 II.), whose hands suffered from the 
 cold. (Plin. Ep. iii. 5. 15.) Xeno- 
 phon makes a clear distinction be- 
 tween the two words X'V'!.' ^"<i ^'"^' 
 TvXiiOpa (Cyr. viii. 8. 17.), which 
 answer to the Latin manica and digi- 
 tate ; though both are applied to ob- 
 jects which enveloped the hand ; 
 whence it may be inferred that the 
 manica was made without finger- 
 stalls, like the gloves of our hedgers, 
 and the other with fingers like the 
 example j. Digitale. 
 
 5. (tcnpirciSeniia). A manacle, as 
 contradistinguished from compes, a 
 fetter. (Virg. Ain. ii. 146. Hor. 
 Ep. i. 16. 76. Lucian. Lex. 10.) 
 
MANICATUS. 
 The illustration is from a Roman 
 
 bas-relief. 
 
 6. A grappling-iron, used in naval 
 warfare (Lucan. iii. S^S-)) ^'^'i' ^^ 
 the name implies, formed in imitation 
 of the fingers in the human hand. 
 Similar in general character to the 
 ntanus ferrea and Harpago, where 
 an illustration is given. 
 
 MANICATUS. Furnished with 
 long sleeves; applied to tunics. 
 (Cic. Cat. ii. lo.) See Manica, i. 
 
 2. Columell. i. 8. 9. xi. I. 21. 
 See Manica, 4. 
 
 MANIC'ULA or MANIB'ULA. 
 A cross bar on the top of the stiva, 
 or handle of a plough, which the 
 
 ploughman held in his hands to faci- 
 litate the operation of pressing the 
 share into the soil, as exhibited in 
 the annexed woodcut, from an Etrus- 
 can example. Varro, L. L. v. 135. 
 
 MANIP'ULUS and MANIP'- 
 LUS {dpayiin, (i/mXXn, oi!\oi-). Liter- 
 ally, a handful of anything, but 
 especially the number of stalks 
 which the reaper takes in his left 
 hand when cutting the corn ; and 
 as these were subsequently bound 
 together into; shocks or sheaves, 
 
 MANSIONES. 409 
 
 in the same manner as now prac- 
 tised, the word is also 
 used to designate a. 
 bundle of corn, straw, 
 or more commonly 
 hay, which the an- 
 cient farmers tied up 
 into bundles before 
 it was carried. (Plin. 
 H. N. xviii. 72. Ov. 
 Renud. 191. Varro, 
 K.R. i. 49. I. Colu- 
 mell. ii. 18. 2. xi. 2. 40.) The sheaf 
 of wheat in the illustration is copied 
 from a device upon a terra-cotta 
 lamp. 
 
 2. The standard, or ensign of a 
 company of soldiers ; in the earlier 
 periods of Roman his- 
 tory said to have been 
 a wisp or handful of 
 hay fixed to a pole, 
 and carried before the 
 men ; a record of 
 which was preserved 
 in after times by the 
 figure of a human hand placed on 
 the top of the standard, as in the an- 
 nexed example, from the Column of 
 Trajan. Ov. Fast. iii. 115— 11 S. 
 Serv. ad Virg. ^k. xi. 870. Aurel. 
 Vict, de Orig. P. R. 22. 
 
 3. [a-Kupa, Polyb.) Also a maniple 
 of foot soldiers ; that is, the number 
 of men who followed one standard. 
 A maniple of principes, hastati, or ve- 
 lites consisted of 120, but of the triarii 
 only 60 ; and four maniples formed a 
 cohort (cohors). (Ctes. Tac. Virg. &c.) 
 In a few cases, also used for a troop of 
 horse ; but that is contrary to the 
 strict sense. Sil. Ital. iv. 316. 
 
 MAN'NULUS (Plin. £p. iv. 2. 
 3). Diminutive of 
 
 MANNUS. A. galloway ; !L STnzW 
 horse of Gallic blood, but veiy fast 
 paces, much esteemed by the Romans 
 for its fleetness in harness. Lucret. 
 iii. 1076. Hor. Epod. iv. 14. Prop, 
 iv. 8. 15. Pet. Sat. 45. 7. Isidor. 
 Ofig. xii. I. 55- 
 
 MANSIO'NES (nTaepol). Sta- 
 tions ; or resting places distributed at 
 
410 
 
 MA NS UE TA RIUS. 
 
 MANUBRIUM. 
 
 certain distances along the high 
 roads ; more particularly intended to 
 afford quarters for troops, but also 
 containing houses for the accommo- 
 dation of travellers, where they could 
 bait their cattle and obtain refresh- 
 ment ; whence the distance from one 
 place to another is sometimes indi- 
 cated by reckoning the number of 
 mansiones which intervened between 
 them. Suet. Tit. lo. Lamprid. Alex. 
 Sev. 45. 
 
 2. Mansiones eamelorum. In the 
 East, stations furnished with wells, 
 at which the camels stopped to water. 
 Plin. 11. N. xii. 32. 
 
 MANSUETA'RIUS {neaaaiVT-hii). 
 A tamer of wild animals ; who not 
 only rendered them tractable and 
 docile, but also taught them to per- 
 form certain exercises and tricks. 
 (Lamprid. Elag. 21. Compare Senec. 
 
 Ep. 85.) The example, from an en- 
 graved gem, shows one of these men 
 training or showing off a learned 
 bear. His right arm, which flou- 
 rishes a whip, is quite bare ; but the 
 left one, from which two pieces of 
 meat are extended, as well as the 
 belly, is protected with a sleeve and 
 girth, composed of rings of metal or 
 leather. 
 
 MANTE'LE, MANTI'LE, and 
 MANTE'LIUM {xtipop-a^^rpor, U/ja- 
 yi'iov). Originally, a napkin or towel 
 for the mouth and hands at meals, in 
 
 which sense it would be synonymous, 
 or nearly so, with Mappa ; but at a 
 later period, when it became custom- 
 ary to lay a cloth over the dinner 
 table, the same name was also used 
 to designate a table-cloth. In other 
 respects it may be collected from 
 the passages cited below, that the 
 mantele was of a larger, rougher, and 
 coarser description than the mappa, 
 and that it was furnished by the host 
 to his guests ; a single one, perhaps, 
 serving for all of tliem ; whereas it 
 was the custom for each individual 
 to bring his own niappa with him. 
 Varro, L. L. vi. 85. Serv. ad Virg. 
 Geo!-g. iv. 377. Mart. xii. 29. 12. 
 xiv. 138. Isidor. Orig. xix. 26. 6. 
 
 MANTEL'LUM or MANTE'- 
 LUM. That which serves as a 
 cloak to conceal anything ; the ori- 
 ginal of the Italian mantello, and our 
 mantle. Plaut. Capt. iii. 3. 6. 
 
 MAN'TICA. A double wallet, 
 employed as a knapsack for pedestri- 
 ans (Apuk j1/^/. p. 14.), or a saddlebag 
 on horseback. (Hor. Sat. i. 6. 104.) 
 It consisted of two bags joined toge- 
 ther, and when carried by foot pas- 
 sengers, was slung over the shoulder 
 so that one bag hung in front, the 
 other behind the bearer (Phajdr. iv. 
 9, CatuU. xxii. 21. Pers. 4. 23.) ; 
 on horseback , it was placed behind 
 the rider, and across the animal's 
 loins. Hor. /. e. 
 
 MANTIC'ULA. Diminutive of 
 the preceding. 
 
 MANUA'LE. A small wooden 
 case, or binding for a book (libellus), 
 which prevented the margins of the 
 leaves from getting rubbed or dog's- 
 eared by the dress of the person who 
 carried it about with him. Mart, 
 xiv. 84. 
 
 MANUBALLI'STA. A hand 
 balUsta ; probably similar to the 
 modern cross-bow. Veg. Mil. ii. 15. 
 iv. 22, 
 
 MANUBALLISTA'RIUS. One 
 who uses a manitballista. Veg. Mil. 
 iii, 14. iv. 21. 
 
 MANU'BRIUM. That by which 
 
MANUCLA. 
 
 411 
 
 anything is held in the hand ; a 
 general term for any kind of handle : 
 of a jug or other vessel (Cic. Verr. ii. 
 4. 27. Ansa :.) ; of a knife (Juv. 
 xi. 133. Capulus I. CULTEU) ; of 
 agricultural implements (Columell. 
 xi. 2. 92., and the list of them col- 
 lected in the Classed Index) ; the 
 spigot of a water-cock. Vitruv. x. 
 8. 3. Assis 2. and EpiSTOMiUM. 
 
 MANUCLA and MANUC'ULA. 
 See Manulea. 
 
 MANUCULA'TUS. See Manu- 
 leatus. 
 
 MANUL'EA. A long sleeve, cov- 
 ering the arm down to the wrist and 
 hand. Front, ad. M. Cces. Ep. iv. 3. 
 ed. A. Maio. Same as Manica I. 
 
 2. A piece of defensive armour for 
 the arm (Accius ap. Non. s. Balteus, 
 p. 194 ). Same as IManica \l. 
 
 3. A particular part of the military 
 engine called CaiapuUa ; viz. that 
 which held the cord in tension. Vi- 
 truv. X. 10. 
 
 MANULEA'RIUS. One who 
 makes manulea, or garments with long 
 sleeves. Plaut. Aul, iii. 5. 37. 
 
 MANULEA'TUS. Furnished 
 
 with, or wearing long sleeves. Plaut. 
 Ps. ii. 4. 48. Suet. Cal. 52. Senec. 
 Ep. 33. Same as Manicatus. 
 
 MANUS FERREA (xeipni^wa). 
 The iron-hand; a sort of grappling- 
 iron, used especially in the navy for 
 seizing hold upon the rigging or hull 
 of another vessel, so as to lock the 
 two together while one of the crews 
 attempted to board. (Liv. xxvi. 39. 
 xxxvi. 44. xxxvii. 30. Frontin. Strut. 
 ii. 3. 24. Lucan. iii. 635.) This con- 
 trivance is sometimes confounded with 
 tlie Harp AGO (Curt. iv. 2. 12.); 
 but the two are distinctly mentioned 
 as separate objects by Csesar (B. C. i. 
 57.), and by Pliny {H. N. vii. 57.), 
 who ascribes the invention of the 
 vianus to Pericles, and of the harpago 
 to Anacharsis. One, and perhaps 
 the principal, point of difference con- 
 sisted in this, that the manus was 
 fastened to a chain, and discharged as 
 a missile from an engine ; so that it 
 
 grappled a vessel at a certain distance, 
 and took it in tow ; or, when drawn 
 in, brought it close up alongside 
 (Curt. iv. 3. Lucan. iii. 375. Scheffer, 
 Mil. Nav. ii. 7.) ; whereas the har- 
 pago was affixed to a long shaft or 
 pole (asser), Liv. xxx. 10. 
 
 MAPA'LIA. See Magalia. 
 
 MAPPA. A table-napkin (Hor. 
 Sat. ii. 8. 63.); which the Romans 
 used for wiping the 
 hands and mouth at 
 meals, and vulgar peo- 
 ple fastened under 
 their chins to protect 
 their clothes from 
 stains, as some do in 
 our days. (Pet. Sat. 
 32. 2.) In ordinary 
 cases the host did not 
 furnish his guests ivith napkins ; but 
 each person brought his own mappa 
 with him (iVlart. xii. 29. II.) ; and 
 occasionally carried away in it some 
 of the delicacies which he could not 
 consume at table (Mart. ii. 37. vii. 
 20 ) ; a practice not uncommon in 
 modern Italy. The example is copied 
 from a painting at Pompeii, of the 
 kind called Xenia, in which it is 
 represented hanging upon a peg 
 amongst a variety of eatables and table 
 utensils. 
 
 2. A cloth or napkin which was 
 thrown down as a signal for the races 
 to commence at 
 the Circensian 
 and other games 
 by the magis- 
 trate who fur- 
 nished the show. 
 (Suet. A^ero, 22. 
 Mart. xii. 29. 9. 
 Juv. xi. 191 
 The origin of 
 this practice appears to have been of 
 very great antiquity, since it is attri- 
 buted to the Phcenicians (Quint, i. 
 5. 57.) ; though, in after times, a 
 story gained currency which made 
 Nero its author, who was reported, 
 upon some occasion, to have taken up 
 a napkin from the table where he 
 
412 
 
 MARCULUS. 
 
 MARTIOLUS. 
 
 was dining in the golden house 
 which oveiloolied the Circus Maxi- 
 mus, and thrown it down as a signal, 
 when the populace in the circus 
 below were becoming impatient for 
 the races to begin. (Cassiodor. Var. 
 Ep. iii. 5I') I'he illustration, which 
 shows a magistrate in the act of 
 raising tlie viappa^ is taken from a 
 representation of a chariot race, on a 
 Roman bas-relief 
 
 MAR'CULUS. Diminutive of 
 Marcus. A smith's hammer (Mart. 
 
 xii. 57. 6. Plin. H. N. vii. 57. Isidor. 
 Orig. xix. 7. 2.) ; and as the word 
 is a diminutive, it will represent one 
 of the smaller kinds, used with one 
 hand, as by the annexed figure from 
 a sepulchral urn, and by one of the 
 smiths at p. 288. 
 
 MARCUS. A large iron-headed 
 
 hammer, used by smiths, such as we 
 call a sledge-\axaxa&x (Isidor. Orig 
 
 xix. 7. 2.) ; as shown by the example 
 from the Vatican Virgil, and used by 
 one of the smiths at p. 288. 
 
 MARRA. A sort of hoe with a 
 broad head (lata, Columell. a. 70.), 
 indented with teeth (Id. x. 88.), 
 which was employed in gardening 
 and husbandry, for tearing up and 
 clearing away weeds and fibrous 
 encumbrances from the ground, &c. 
 (Plin. H. N. xvii. 35. § 4. Juv. xv. 
 166. Columell. //. cc.) The example 
 shows the head of an instrument 
 corresponding with the above descrip- 
 tion, which was found in the tomb of 
 
 one of the Christian marlyrs at Rome, 
 with which it is supposed that he may 
 probably have been tortured. 
 
 MARSU'PIUM iiinpainrio,,). A 
 purse for money (Varro, ap. 
 Non. .5. V. p. 141. Id. /i./C. 
 iii. 17. 3. Plant. liuii. v. 2. 
 26.) ; often represented in 
 works of art in the hands of 
 Mercury, the god of gain, and more 
 or less ornamented with tassels, &c. 
 The example is from a Pompeian 
 painting. 
 
 MARTIOBAR'BULUS. A word 
 of doubtful authority which occurs in 
 Vegetius (AT//, i. 17.); where, if the 
 reading be correct, it may designate a 
 soldier armed with leaden bullets 
 {giand^s) for discharging from a sling. 
 
 MAR'TIOLUS. Diminutive of 
 Marculus. A common 
 /ifZOTWd'rofthesmallestkind; . 
 such as used by carpenters 
 for driving nails, or ham- 
 mering and beating out 
 anything which does not require 
 extraordinary force or labour ; like 
 the delicate works in metal, called 
 tpya aipupriXara by the Greeks. (Pet. 
 Sat. 51. 4.) The example is repre- 
 
 F3 
 
MARTULUS. 
 
 sented on the sepulchral stone of a 
 Roman mechanic. 
 
 MARTULUS. (Plin. .fi^. ^. vii. 
 57.) Same as Makculus. The Ita- 
 lian " martello." 
 
 MASTl'GIA (/jn^T-iytne). Pro- 
 perly a Greek expression of reproach, 
 meaning a good-for-nothing fellow, 
 who deserves to be flogged (Plaut. 
 Cure. iv. 4. II. Terent. Ad. v. 2. 6.) ; 
 equivalent to the Latin verbero. 
 
 2. Hence a whip (^(iari?). Sulp. 
 Sev, Dial. ii. 3. 
 
 MASTIGOPH'ORUS (^xaa-nyo- 
 ^opo^). A term borrowed from the 
 Greeks, amongst whom it signifies 
 something like a slave driver (Thucyd. 
 iv. 47.) ; but the Romans, and per- 
 haps the Greeks also, gave the same 
 name to an officer who bore a near 
 resemblance to our foliceman, and 
 clerk of the course on a race-ground, 
 whose duty it was to repress disorderly 
 conduct at public places and popular 
 festivals, keep off the populace, and 
 prevent crowding or tumult, for which 
 purpose he was provided with a whip 
 {liCKSTil^, whence the name arose. 
 Arcad. Dig. 50. 4. 18. Prad. adv. 
 Symm. ii. 516. 
 
 MASTRU'CA and MAS- 
 TRU'GA. A word of foreign ori- 
 gin, probably Phcenician, which de- 
 signates a coarse and common kind 
 of covering made of the skins of wild 
 animals (Isidor. 
 Orig. xix. 23. 
 S), more espe- 
 cially peculiar 
 to the peasantry 
 and common 
 
 people of Sardi- 
 nia (Cic. Fragm. 
 pro Scaur, ap. 
 Isidor. I.e. Quint, 
 i. 5. 8.), and of 
 Carthage (Plaut. 
 Pa:,i. V. 5. 33.) ; 
 both of which 
 were Phoenician colonies. Its form 
 and character is doubtless shown in 
 the annexed figure, from a mosaic 
 found at Palestrina. representing the 
 
 MA TERIA TIO. 4 1 3 
 
 rape of Europa, in which the artist 
 skilfully announces the country of his 
 heroine, and the locality whei'e the 
 scene took place, by the introduction 
 of a, rustic figui-e in the mastruca, 
 expressing by his attitude and gestures 
 the greatest alarm at the strange 
 abduction of his young mistress. 
 
 MASTRUCA'TUS. Wearing the 
 mastruca, as shown by the preceding 
 woodcut. Cic. Prcv. Cons. 7. of Sar- 
 dinians. 
 
 MAT'ARA and MAT'ARIS. 
 See Materis. 
 
 MATAX'A. See Metaxa. 
 
 MATEL'LA. Diminutive of Ma- 
 TULA. Varro, ap. Non. .f. v. p. 543 
 Mart. xii. 32. 13. 
 
 MATELL'IO. Diminutive of 
 Matula. Varro, L. L. v. 119. Id. 
 ap. Non. s. Trulliinn, p. 547. Cic 
 Par. V. 2. 
 
 MATERIA'RIUS. A timber- 
 merchant. Plaut. Mil. iii. 3. 45. 
 
 2. A worker in wood, such as a 
 carpenter, shipwright, &c. Inscript. 
 ap. Grut. 642. 4. 
 
 MATERIA'TIO. A collective 
 term, including all the timber-work 
 employed in the construction of a 
 roof (Vitruv. iv. 2. I.); arranged by 
 the ancient architects in the manner 
 exhibited by the diagram on the next 
 page, which represents a timber roof in 
 elevation and section, from Gwilt's En- 
 cyclopedia of Architecture. It was dis- 
 tributed into the following component 
 parts: aa. trabes, the beams which 
 formed the architraves, supported 
 upon columns and pilasters ; bb. colu- 
 men, the ridge-piece which forms the 
 culminating point ; u. columna, the 
 king-post, which supports the central 
 apex ; dd. tigna, the tie-beams which 
 extend transversely from side to side 
 of the building, and across the archi- 
 traves on which they rest; e. capreohis, 
 the strut, placed diagonally between 
 the king-post and rafter, the centre of 
 which it supports ; ff. canto ii, the 
 principal rafters of the roof, which 
 fonn a bed for the purlines to rest 
 upon ; gggg. templa, the purlines. 
 
4t4 
 
 MA TERIA TUS. 
 
 MA USOLEUM. 
 
 which lie transversely over the rafters, 
 and form a bed for the common raf- 
 
 ters ; hh. asseres, the common rafters, 
 over which the tiles are placed. 
 
 MATERIA'TUS. Built or con- 
 structed of wood- work. Vitruv. iv. 2. 
 
 MAT'ERIS. A Celtic word, de- 
 noting a particular kind of javelin em- 
 ployed by the Belgse (Strabo, iv. 4. 3.), 
 which had a broader head than usual 
 (Hesych.) ; but I'especting which no- 
 thing furtheris known. Liv.vii.24. Cces. 
 £. G. i. 26. Sisenn. ap. Non. j.z/.p. 556. 
 
 MATRIMO'NIUM. Matrimony, 
 which amongst the Romans was con- 
 tracted in three ways : by use (usus), 
 when a man lived with a woman for a 
 year; by contract {coemptid)^ in which 
 the parties went through a mock cere- 
 mony of mutually selling themselves 
 to one another ; and by a religious 
 solemnity, termed confarreatiOy under 
 which term the rites are explained. 
 
 MATTA {iiiaQov). A mat made 
 of rushes. Ov. Fast, vi. 679. 
 
 MATTA'RIUS. One who sleeps 
 upon a mat, or on a coarse mattress 
 no better than a mat. August, contra 
 Faust, v. 5, 
 
 M ATT' E A or M ATT'YA(;iaTrua). 
 A general name given to any choice 
 and delicate food, especially poultry 
 and game, which we might term 
 dainties. Pet. Sat. 65. i. lb. 74. 6. 
 Mart, xili. 92, 
 
 MAT'ULA(n^if,jtini'TAi;). This word 
 like its diminutive, is the one usually 
 em.ployed to designatea chamber uten- 
 sil (Plaut. Most. ii. 1. 39. Ulp. Dig. 
 34. 2. 25. § 10. and the authorities 
 
 cited s. Matella and Matellio) ; 
 though they were all likewise referred 
 to any kind of vessel for holding water. 
 MAUSOLE'UM. The sepulchre 
 of Mausolus, king of Caria, which 
 from the beauty and magnificence of 
 its structure passed for one of the 
 wonders of the world (Plin. !!.[/. 
 xxxvi. 4. § 9-) ; hence the word was 
 adopted by the Romans as a name for 
 any sepulchre of extraordinary magni- 
 ficence, especially of kings and em- 
 perors, like that of Augustus in the 
 Campus Martius ; and of Hadrian on 
 the opposite bank of the Tiber. 
 (Floras, iv. II. lO. Suet. Aug. 100. 
 Vesp. 23. Mart. v. 64.) Considerable 
 remains of both these edifices are still 
 in existence ; the first being now used 
 
 as a ring for bull baiting ; the latter 
 as a fortress, which goes by the name 
 of the Castle St. Angelo. Both, 
 however, are entirely deprived of their 
 
MA VOR TE. 
 
 external ornaments : but the annexed 
 woodcut represents the mausoleum of 
 Hadrian, as it appeared in its original 
 state, before the statues and columns 
 which decorated it were destroyed 
 during the siege of Rome by the Goths 
 under Vitiges. The restoration is by 
 the Venetian architect Labacco {Libra 
 delC Architettura, Roma, 1558), from 
 remaining vestiges, representations on 
 medals, and the description of Proco- 
 pius. It will convey a just idea of 
 the former magnificence of the se- 
 pulchre and may be regai-ded as an 
 accurate design, with the exception 
 that there should be a statue of 
 Hadrian on the top, instead of the fir 
 cone, which is erroneously, placed 
 there. 
 
 MAVOR'TE or MAVOR'TIUM. 
 A term introduced at a late period, 
 or used by the common people, in- 
 stead of RICINIUM, which see. 
 Serv. ad Virg. Ain. i. 282. Isidor. 
 Orig. xix. 25. 
 
 MAZON'OMUM. {nalovoiiuov, 
 Hrri^ovoiios). Properly an article of 
 Greek domestic use ; viz. a round 
 wooden trencher upon which barley 
 cakes were served up (Hesych. Com- 
 pare Harmod. ap. Athen. iv. 31.) ; 
 whence the name was transferred 
 to a large salver of bronze or gold, 
 upon which burning incense and 
 other perfumes were carried by young 
 boys in the religious ceremonies of 
 Bacchus (Calix ap. Athen. v. 27.), 
 as shown by the annexed example, 
 
 from a bas-relief of the Pio-Clementine 
 Museum. 
 
 2. The Romans also adopted the 
 
 MEDIC US. 4 I 5 
 
 name, but used it in a somewhat dif- 
 ferent meaning ; for a dish of very 
 large dimensions 
 (sui iniquo pon- 
 dere mazonomi. 
 Nemes. Fragm. 
 de Aucuf.K. 17.), in which game pies 
 were served up (Hor. Sat. ii. 8. 86. 
 Schol. Vet. ad I. Varro, R.R. iii. 4. 
 3.), like the annexed example from an 
 ancient fresco discovered near the 
 church of St. John of Lateran, at Rome. 
 It represents a number of slaves, each 
 of whom brings in a different dish at 
 a feast ; the pastry is painted yellow : 
 and a bas-relief of the Pio-Clementine 
 Museum (v. 14.) exhibits a disli 
 with a pastry crust, of precisely the 
 same character presented by an at- 
 tendant to Hercules, who is reclining 
 at his meal. 
 
 MEDIASTI'NI. A class of slaves 
 whose distinctive services and condi- 
 tion are not fully ascertained. They 
 appear, however, to have been the 
 lowest in point of rank, performing 
 the commonest drudgery both in 
 agricultural employments and house- 
 hold work. Columell. i. 9. 3. ii. 13. 
 7. Dig. 7. 7. 6. Aero ad Hor. Ep. i. 
 14. 14. Non. s.v. p. 143. 
 
 MEDIC AMEN TA'RII. Dealers 
 in herbs and prepared medicines 
 (Plin. H.N. xix. 33.) ; perhaps quack 
 nostrums, or something worse, for 
 these men were certainly held in little 
 repute, and the Theodosian poisoners 
 of both sexes are designated by the 
 same name. Cod. Theodos. 3. 16. 
 
 MED'ICUS (mrpof). A medical, 
 man, like our word "doctor," or 
 "general practitioner," applied to 
 those who practise both branches of 
 the healing art, surgery as well as 
 medicine. (Plant. Men. ■/. 3. 6. Cic. 
 Chieitt. 21. Plin. ff. N. xxix. 6. Suet. 
 Cal. 8. Nero. 2.) From these pas- 
 sages we also learn that generally the 
 medicus of Rome was a foreigner, 
 who gained a livelihood by attending 
 all persons choosing to employ him ; 
 or a slave kept by wealthy indivi- 
 duals as apothecary to the house- 
 
4i6 
 
 MEDIMNUS. 
 
 MENS A. 
 
 hold, whose services were not acces- 
 sible to the public. 
 
 2. The same title was also given to 
 veterinaries and cattle doctors ; a 
 class of professionals who divided 
 themselves into many branches, each 
 confining itself to studying the dis- 
 eases of a separate race of animals, 
 after which the practitioner took his 
 characteristic appellation ; as medicus 
 equaiius, mulo-viediciis, viedicus pe- 
 coriivi, &c. Val. Max. ix. 15. 2. 
 Veget. i. Praf. 6, Varro, .ff./v'. ii 7.16. 
 
 MEDIM'NUSand MEDIM'NUM 
 (wiSi/uvoc). A Greek measure of ca- 
 pacity ; mostly a dry measure, but 
 also used for liquids ; it contained six 
 Roman niodii. Nepos. Att. 2. Rhemn. 
 Fann. de Pond., &c., 64. 
 
 MEDIPON'TUS. Enumerated by 
 Cato amongst the necessaries of a 
 wine-press, but without any further 
 explanatory details ; excepting that it 
 is mentioned as one of the ropes, and 
 apparently of the strongest and thick- 
 est description. Cato, R. R. iii. 3. 
 and 12. 
 
 ME'LINA. A wallet or pouch 
 made out of the skin of a badger 
 [meles). Plaut. Ejnd. i. 21. 
 
 ME'LIUM. A dog's collar, made 
 of leather studded with iron-headed 
 nails [davtilis capitaiis, Varro, R. R. 
 ii. 9. 15.) ; particularly used for 
 sporting dogs as a. protection to the 
 throat and neck. Compare MiLLUS, 
 and the illustration there introduced. 
 
 MEMBRA'NA (ii^Qkpa). Pre- 
 pared skin or parchment ; sometimes 
 employed for writing books upon, 
 though not of such common or 
 general use as paper (charta) made of 
 papyrus (Plin. //. N. xiii. 21. Hor. 
 Sat. ii. 3. 2.), and in the East for 
 letters and royal rescripts. Nichol. 
 Damasc. Hist. p. 260. Tauchnitz. 
 
 2. A wrapper or cover made of 
 parchment, dyed on the outside with 
 purple or yellow colour (TibuU. iii. I. 
 9. Compare Ov. Prist. I. I. 5.), in 
 which a roll was enveloped, to keep 
 it clean, and preserve it from injury. 
 That the membrana V/3.S not a box or 
 
 case like the capsa, is clear from its 
 being assimilated to articles of outside 
 clothing (Mart. x. 93. toga purpurea. 
 Id. xi. I. sindone). 
 
 MEMBRA'NULA. Diminutive 
 of tire preceding ; a small strip of 
 parchment upon which the title-pages, 
 lettering-pieces, or contents of a book 
 (indices) were written. Cic. Atl. iv. 4. 
 
 MENDI'CULA, sc. vestis. A 
 beggar's garment (Plaut. Epid. ii. 2. 
 41.), as seen in the next illustration. 
 
 MENDI'CUS (Trru^xof), a vien- 
 dicant or beggar-man, who lives upon 
 charitable donations. (Plaut. Bacch. 
 iii. 4. 16.) The illustration repre- 
 
 sents a scene in the forum at ITercu- 
 laneum, from a painting discovered 
 in that city, in which a blind beggar, 
 exactly as described by Juvenal, half- 
 clad, with his ragged mat and staff (Sat. 
 V, 8. ib. xiv. 134.), and led by a dog is 
 receiving alms from a young female. 
 
 2. A mendicant priest, belonging to 
 the order of Cybele, who lived upon 
 pubhc alms, like the modem Capu- 
 chins. Hor. Sat. i. 2. 2. 
 
 ME'NIS (from the Greek fiiivri). 
 An oiTiament in the shape of a half- 
 moon, which the Romans used to 
 place at the commencement of their 
 books ; hence a menide, from the 
 beginning. Auson. Profess. 25. 
 
 MENSA (TpaTTita, shortened from 
 TCTpaTTiKa). In the primary notion, 
 zl sui'v eying board or table (from me- 
 tier) ; whence it came to be applied 
 in as general a sense as our word 
 
MENS A. 
 
 417 
 
 table, including eveiy kind of form 
 both round and square, though the 
 square form is mostly implied when 
 the word is used by itself, without 
 any adjunct descriptive of the shape 
 intended. The following are the 
 most characteristic senses in which 
 the word is employed : — 
 
 I. Either simply, or with the epi- 
 thet escaria, w diniug-table. In the 
 earliest times, at least amongst the 
 Romans, dinner tables were square, 
 and supported upon trestles, or several 
 legs, according to the size of the slab, 
 as exhibited by the annexed example. 
 
 from a painting in the Vatican Virgil, 
 representing the companions of Ulys- 
 ses at dinner in the island of Circe. 
 But after the invention of circular 
 dining-tables, this form was generally 
 relinquished, excepting in the soldiers' 
 messroom, where it was still retained. 
 Varro, L. L. v. 118. 
 
 2. Mensa prima [ttpuitt] TpdrnZa). 
 The ^rs( course at dinner ; sometimes 
 brought in upon a tray (ferculum), 
 which was placed upon the table ; at 
 others the table itself was brought up 
 already set out, and placed before the 
 guests, the whole being removed to- 
 gether when its contents had been 
 eaten ; hence the expressions mensavi 
 ponere, auferre, toUere, removere, cor- 
 respond with our own, "to bring 
 in," and "to take away the dinner." 
 Ov. Afet. xi. 19. Plaut. True. ii. 4. 
 13. Cic. Pis. 27. Virg. A^n. i. 216. 
 
 3. Mensasecunda (liVTspa Tpdirii^a). 
 The second or last course at a meal, 
 consisting of fruit, sweetmeats, and 
 confectionery ; our dessert. Hor. 
 Sai. ii. 2. 121. Nep. ^^. 8. Cic. Ait. 
 xiv. 6. and 21. Cels. i. 2. 
 
 4. Mensa tripes. A table sup. 
 ported upon three legs, as contradis- 
 tinguished from mono- 
 podiunt, which had a 
 single trunk or stem. 
 Though sometimes 
 made of an ornamental 
 character, like the ex- 
 ample, from a Pom- 
 peian painting, the 
 three-legged table was one of the 
 commonest, as it was likewise con- 
 sidered to be of the humblest kind 
 in use amongst the Romans. Hor. 
 Sat. i. .3. 13. Ov. Met. viii. 662. 
 
 5. Mensa vinaria. A table for 
 taking wine upon. When round, as 
 in the last woodcut, whicli represents 
 a table of this kind, with the drinking 
 vessels upon it, it was termed cili- 
 bantum (Varro, L. L. v. 121.) ; a 
 distinction which implies that square 
 ones were likewise employed for the 
 same pui-pose. 
 
 6. Mensa vasaria. A table in- 
 tended to hold the jugs, cans, and 
 other utensils [rasa) employed for 
 domestic purposes. Of these, there 
 were two kinds ; one for the atrium, 
 and the other for the kitchen, both, 
 however, square or oblong, and each 
 distinguished by a characteristic name, 
 Cartibulum and Urnarium, imder 
 which descriptions and illustrations 
 are given. Varro, L. L. v. 125, 126. 
 
 7. Mensa Delphica. A table used 
 as a piece of ornamental furniture, 
 explained and illustrated s. Del- 
 phica. 
 
 8. Mensa sacra. A table made of 
 
 marble, gold, or silver, which served 
 as a sort of altar, and was placed before 
 2 D 
 
4i8 
 
 MENSA 
 
 MENSARII. 
 
 the statues of the gods, with the wine 
 vessels, fruits, and viands offered to 
 them at the solemn feast of the lecti- 
 sternium, as exhibited by the illus- 
 tration, from a terra-cotta lamp. 
 Festus, J. V. Cic. N. D. iii. 34. Virg. 
 JEn. ii. 764. 
 
 9. A table or stand upon which 
 some tradesmen, such as greengrocers, 
 poulterers, fishmongers, &c. displayed 
 their commodities for sale in the 
 
 streets and markets. (Hor. Sat. ii. 4. 
 37.) Tlie illustration represents a 
 stand of this kind covered with vege- 
 tables, poultry, and fish, in the forum 
 at Herculaneum, from a painting dis- 
 covered in that city. The owner sits 
 by the side of his stand, while a 
 customer presents a plate for the 
 article purchased ; the jars on the 
 ground also contain eatables. 
 
 10. Mensa lanionia. A butcher's 
 chopping-block ; probably similar to 
 those still used by the same class of 
 tradesmen. Suet. Claud. 15. 
 
 11. Mcnsa argentaria. A money- 
 dealer's table or counter, upon which 
 he sets out the sums of money required 
 for transacting his daily routine of 
 business. (Donat. ad Terent. Ad. ii. 
 4. 13. Compare Hor. Sat. ii. 3. 148.) 
 It is to this early practice that our 
 terms "banker" and "bankrupt" 
 owe their origin, which have come to 
 us through the language of the Flo- 
 rentines, the principal bankers of 
 Europe during the middle ages. At 
 that period they used to set out their 
 money, like the old Romans, upon a 
 
 ^vooden bench or bank, ' ' banco ; " 
 hence they were termed " banchuri;" 
 and if any of them could not meet 
 his liabilities, his counter was imme- 
 diately broken to pieces, and himself 
 prohibited from further continuing 
 his business, whence the broken bank 
 (Italian banco rotto) gave rise to the 
 name of bankrupt. 
 
 \2. Mensa publica. A public 
 counter or bank; i.e. of which the 
 capital belonged to the state, derived 
 from the taxes, and was disbursed for 
 the public service. Cic. Fl. 19. Pis. 
 36. 
 
 13. A raised stand or platform 
 uporL which slaves were exposed for 
 sale. (Apul. Met. viii. p. 171. Apol. 
 p. 432.) Same as Catasta. 
 
 14. A fiat square grave-stone, laid 
 over the remains of the deceased ; the 
 simplest kind of monument to the 
 memory of the dead. (Cic. Leg. ii. 
 26.) The illustration represents an 
 
 3irxxx-si.s"wv-jjxi/r 
 aivioiv vnAi 
 
 original found near Rome ; the hole 
 in the centre was intended for pour- 
 ing unguents into the grave or tomb. 
 
 15. A long flat board or slab, 
 forming one of the component parts 
 of military engines (Vitruv. x. 11. 
 6.) ; but how it acted, or what pur- 
 pose it sei'ved, is not easily understood. 
 But see the illustration i. Carrobal- 
 LISTA. 
 
 MENSA'RII. Officers appointed 
 by the state upon certain occasions, 
 and in times of general distress, to 
 act as public bankers. They were 
 authorised to advance money on be- 
 half of the state to debtors who could 
 produce sufficient security ; to examine 
 into the debts of the poorer classes ; 
 to direct issues of specie, and so forth ; 
 but are not to be confounded with the 
 
MENSORES. 
 
 MERIDIANI. 
 
 419 
 
 argentarii, who were private bankers, 
 negotiating their own and their 
 customers' capital, though, hke them, 
 they had their tables or counters 
 (menses) displayed in public in the 
 colonnades of the forum. Liv, xxiii. 
 21. Salmas. de. Mod. Usur. p. 509- 
 Budfeus de Asse, v. p. 509. 
 
 MEXSO'RES. A general" name 
 for persons employed in taking mea- 
 surements of any kind ; as 
 
 1. Land surveyors (Coluraell. vi. 
 I.) ; also termed agrimensores. 
 
 2. Surveyors who measured out 
 and distributed the several sites to 
 be occupied by the different divi- 
 sions of tents, &c. in a Roman camp ; 
 as contradistinguished from metatores, 
 whose duty consisted in selecting the 
 position itself, which the entire camp 
 was to occupy. Veget. ii. 7- 
 
 3. Under the empire, certain offi- 
 cers who selected and marked the 
 houses upon which each soldier was 
 to be billeted during a march, or for a 
 given period. Cod. Theodos. "]. 8. 4. 
 
 4. Mensores adificwruni. Build- 
 ers ; i.e., persons who contracted to 
 build an edifice after a specified plan 
 furnished to them by an architect. 
 Plin. Ep. A. 19. 5. Trajan, ad Plin. 
 Ep. X. 20. 3. 
 
 5. Mensores frumentarii. Corn 
 meters ; who were employed to mea- 
 sure the corn brought up the Tiber 
 into the public granaries (horrea). 
 Paul. Big. 27. I. 26. 
 
 M E N ' S U L A. Diminutive of 
 Mensa 
 
 MENSULA'RII. A class of the 
 public bankers or mensarii ; and as 
 the name is formed from a diminu- 
 tive, mensula, we may suppose them 
 to have held a lower rank, and to 
 have been of an inferior grade. They 
 acted in the capacity of money chan- 
 gers, providing Roman coinage for 
 the foreign pieces brought into the 
 country by strangers ; and also were 
 appointed to examine all kinds of 
 money, and decide if it was genuine 
 or forged. Tac. Ann. vi. 17. Dig. 
 16. 3. 7. Id. 42. 5. 24. Id. 46. 3. 39. 
 
 MEREN'DA. One of the Roman 
 meals taken early in the afternoon, 
 which we might translate a luncheon ; 
 in which sense the word is still re- 
 tained by the inhabitants of modem 
 Italy. Plant. Most. iv. 2. 49. Cal- 
 pum. Eel. V. 5i., where the ninth 
 hour in summer is called late for the 
 merenda of rustics. 
 
 MER'GA (xap^aiiariov. Hesych.). 
 An implement employed at harvest 
 work ; but whether for reaping the 
 com, or collecting it after it was cut, 
 and of what precise nature, is not 
 clear. Festus (s. v.) says that it was 
 a pitchfork (furcula), with which 
 the labourer loaded or carried off the 
 sheaves (manipulos) from the field ; 
 but Plautus (Fa!n. v. 2. 58.) and 
 Palladius (ii. 20. 3.) evidently speak 
 of it as an instrument which was 
 used for reaping the com ; and 
 Pliny (ff. N. xviii. 72.) indicates 
 that two of these were used together, 
 between which the ears of com were 
 nicked off. 
 
 MERGES. A bundle, or sheaf, of 
 com ; i. e. strictly the quantity taken 
 up, or cut, by a merga. Virg. Georg. 
 ii. 517. Serv. ad Virg. ALn. xi. 532. 
 
 MERIDIA'NI. A class of light- 
 armed gladiators who fought as a 
 sort of interlude at midday, after the 
 termination of the combats with wild 
 beasts, which took place in the 
 morning. (Orelli. Inscript. 2587. 
 Suet. Claud. 34 Senec. Ep. 7. and 
 95.) The simple tunics in which the 
 annexed figures are clothed, and the 
 
 absence of all body armour, renders 
 
420 
 
 MER UM. 
 
 MET A. 
 
 it extremely probable that they afford 
 an example of the ineridiani ; the 
 more so as they are copied from a 
 mosaic, which represents several other 
 classes of gladiators in the character- 
 istic suits of armour belonging to each 
 class. 
 
 MERU.M {axpaTBV, li^phr). Neat 
 wine^ unmixed with water ; rarely 
 drunk in this state by the ancient in- 
 habitants of Greece and Italy, except 
 by regular bousers and drunkards ; 
 the usual beverage being about two- 
 thirds of water to one of wine. Mart. 
 i. 12. and 57. Id. iii. 57. 
 
 MESAN'CULON (/jEffnyrnXo)-). 
 Properly, a Greek name, which the 
 Romans expressed by hasta atisata^ 
 or teluin ansatum. It occurs, how- 
 ever, in the above form ap. Gell. x. 
 25. I. and is described and illustrated 
 at p. 83. s. Ansatus. 
 
 MESAU'LOS (fiEffauAoc). A pas- 
 sage or corridor in a Greek house, 
 between the two principal divisions of 
 the ground-floor, the andronitis and 
 gynceconitis ; in the centre of it there 
 was a door, which, when closed, shut 
 off all communication between the 
 two suites of apartments. (Vitruv. 
 vi. 7. 5.) See the plan at p. 252. on 
 whicli it is marked d. 
 
 M E S O C H'O RUS (^tuoxopor). 
 The leader or director of a band of 
 musicians, both vocal and instru- 
 mental ; he stood in the centre of the 
 band^ to give the signals and mark 
 the time. Plin. Ep. ii. 14. 7. Sidon. 
 Ep. i. 2. 
 
 MESSOR (n/i')'-^''. Sip'^rin). A 
 reaper of grain. Cic. Oral. iii. 12. 
 Virg. Georg . i, 316.) Themostcom- 
 mon practice among the ancient 
 reapers was to cut the stalk with a 
 reaping hook (falx viessoria, or sira- 
 mentaria) about midway between the 
 ear and the ground, as represented by 
 the annexed figure from a sepulchral 
 painting of the Christian era, the 
 straw being afterwards cut by itself. 
 But in some places, Umbria more 
 especially, they cut the straw near 
 the ground, as we do, leaving only a 
 
 stubble behind ; and for a particular 
 kind of bearded corn, like the Egyp- 
 tian, Avhich has several ears clustered 
 
 together on the top of a single stem, 
 they nicked the heads off the top of 
 the stalk, with an instrument furnished 
 with teeth, like a saw (falx denticti- 
 lata); an operation which is exhibited 
 in an Egyptian painting published by 
 Wilkinson {Ancient Egyptians, vol.iv. 
 p. 89.). Varro. R. R. i. 50. Com- 
 pare Columell. ii. 20. 3. 
 
 2. Alessor /(sniseca. A mower of 
 grass with a scythe (falx fcenaria). 
 Columell. ii. 17. $. 
 
 ME'TA. Any object with a broad 
 circular base, gradually tapering off to 
 the top, like a cone (Liv. xxxvii. 27. 
 Cic. Div. ii. 6. Plin. II. N. ii. 7.) ; 
 whence the following characteristic 
 applications of the term. 
 
 I. {icainrTi^Pyi'vaaa, TTtjXi]. Soph..£"/. 
 720.)The goal or turning post in a race- 
 course, which consisted of a group of 
 three conical-shaped columns, placed 
 upon a raised basement, and situated at 
 the end of the barrier (spina), round 
 which the chariots turned, each race 
 comprising seven circuits round the 
 course. (Prop. ii. 25, 26. Suet. Dotn. 4.) 
 There were necessarily 
 two metes, one at each 
 extremity of the spina, 
 marked respectively c 
 and D on the ground- 
 plan of a circus at 
 p. 165. The one 
 nearest the end from 
 which the chariots 
 started was called 
 meta prima ; the other, at the further 
 
ME7A. 
 
 METITORES. 
 
 421 
 
 extremity, where the first turn was 
 made, meta secunda. The driver in 
 turning always liept these on his left 
 hand, or, as we say, on his near side, 
 which a Roman called on his inner 
 wheel (interiore 7'ota. Ov. Amor iii. 
 2. 12. ) ; and the great art of driving 
 well consisted in getting round these 
 points without talking too large a 
 sweep, so as to let an antagonist cut 
 in between, nor by shaving too close, 
 to run the risk of an upset by coming 
 into contact with the base on which 
 the columns stood ; hence the writings 
 of the poets abound in metaphorical 
 allusions to the chances and accidents 
 which here occurred (Ov. Trist. iv. 
 8. 35. Hor. Od. i. i. 5. Cic. Cal. 31.); 
 and as the race which commenced at 
 the first meta also ended there, the 
 word is frequently used, like our term 
 goal, for the boundary or conclusion 
 of any other object or thing. (Virg. 
 Ov. Stat., &c.) The illustration is 
 copied from a Roman bas-relief, re- 
 presenting a circus. Tlie doorway 
 under the columns gave access to a 
 small chapel in which the altar of the 
 god Consus was placed. Tertull. de 
 Spectac. 5. 
 
 2. The innermost or lowest of the 
 two stones in a mill for grinding corn, 
 (Paul. Dig. 33. 7. 18. § 5.), which was 
 formed in the shape of a cone, as ex- 
 hibited by the annexed example, re- 
 presenting a section and elevation 
 from an original found in a baker's 
 shop at Pompeii. The outer one, 
 called catillus (Dig. I. c), it will be 
 
 observed, is made in the shape of an 
 hour-glass, the lower portion of which 
 
 fitted on to the conical head of the 
 meta, as a cap (section on left hand); 
 and the upper part served as a hopper 
 to receive the corn, which gradually 
 dropped through a^small orifice at its 
 base, and was ground into flour 
 against the heads and sides of the 
 meta, by turning the outer stone round 
 it. Before the discovery of the mills 
 at Pompeii, by which the real form of 
 a Roman mill has been ascertained, 
 it was the common notion that the 
 upper stone was the meta, and the 
 lower one the catillus — an error which 
 is still left uncorrected even in our 
 best dictionaries. 
 
 3. Meta fcsni. A hay-rick ; which 
 the Roman farmers made 
 
 up into a conical shape, 
 with a very sharp point 
 (Columell. ii. 19. 2.) ; 
 like the annexed example 
 from the column of An- 
 toninus. Thus, also, other 
 articles, such as cream 
 cheese, when made up into a conical 
 mass, were designated by the same 
 name. Mart. i. 44. iii. 58, 35. 
 
 4. Mela sudans. A fountain at 
 Rome, near the Flavian amphitheatre, 
 which was designed to imitate a cone, 
 over which the water distilled from 
 the top. (Sext. Ruf. de Reg. Urb. 4). 
 Remains of this fountain are still to 
 be seen between the Coliseum and 
 the arch of Constantine ; and re- 
 presentations of it exist on several 
 medals, testifying the appropriateness 
 of the name, which was also given to 
 other fountains of a similar pattern. 
 Seneca. {Ep. 56.) mentions one at 
 Baiae. 
 
 METATO'RES. In the army, 
 officers who selected the site for a 
 camp, and marked out its general 
 position and dimensions. Cic. Phil. 
 xi. 5. Lucan. i. 382. 
 
 METITO'RES. Officers connected 
 with the service of the aqueducts, 
 whose duty it was to see that water 
 was regularly laid on from the reser- 
 voir {ccLttellum) into the branch pipes, 
 which conducted it through the city, 
 
422 
 
 ME TOP A. 
 
 MICA TIO. 
 
 and to measure out the proper quan- 
 tity allotted by law to each district. 
 This was effected by regulating the 
 diameter of the main pipes, and by a 
 meter (calix) affixed to them. Fron- 
 tin. Aq. 79. 
 
 MET'OPA. (utTOTTt]). A metope in 
 Doric columnar 
 architecture; i.e., 
 the panel which 
 covered the open- 
 ing between the 
 triglyphs (Vitruv. 
 iv. 2. 4. iv. 3. 5.) 
 in a frieze, some- 
 times left with 
 a plain face, at 
 others richly 
 
 ornamented with 
 sculpture, like 
 those of the Parthenon, now preserved 
 in the British Museum, and the an- 
 nexed example from the Temple of 
 Theseus at Athens. The triglyphs 
 represent externally the heads of the 
 tie-beams (tigna), and in the early 
 wooden structures the space between 
 one tie-beam and another (intertig- 
 nium) was left open ; so that a 
 stranger could effect an entrance 
 through them, as Orestes did into the 
 temple of Diana at Tauris. Euri]5. 
 Ij>h. Taur. 113. 
 
 METOPOS'COPUS (lUErwJTo- 
 (TicoTroc). A physiognomist, who tells 
 another's fortune by observing the 
 expression or character of his counte- 
 nance. Suet. Tit. 2. Plin. H. N. 
 XXXV. 36, § 14. 
 
 METRE'TA (ixtrprtTl^g}. The prin- 
 cipal liquid measure of the Greeks, 
 containing about 8 gallons, y-S^S 
 pints, English (Plant. Mere. prol. 75. 
 Columell. xii. 22. i.); whence also an 
 earthenware vessel of considerable 
 size (Columell. xii. 51. 2.), used to 
 contain oil, received the same name. 
 Cato, R. R. 100. Juv. iii. 246. 
 
 ME'TULA. Diminutive of Meta. 
 Phn. Ep. v. 6. 35. 
 
 MICA'TIO ; or digitis micare. A 
 game of chance, combined with skill, 
 still common in the south of Italy, 
 
 where it now goes by the name of 
 Morra. (Varro. ap. Non. s. v. p. 547- 
 Suet. Aug. 13. Calpurn. Eel. ii. 26.) 
 It is played by two persons in the 
 following manner. Both hold up 
 their right hands with the fist closed ; 
 they then simultaneously extend a 
 
 certain number of their fingers, call- 
 ing out at the same time by guess- 
 work the collective number extended 
 by the two together, and he who 
 succeeds in naming the right num- 
 ber wins the game. The annexed 
 figures, representing a couple of Egyp- 
 tians playing at 77107'ra, from a paint- 
 ing in the tombs, testify the very great 
 antiquity of the game, and will serve 
 to convey a distinct notion of the 
 manner in which it was conducted to 
 those who have never seen it played, 
 It is the same as that still prac- 
 tised, with the exception that 
 the performers are in a sitting in- 
 stead of a standing posture, as is 
 now usual ; and that they appear to 
 make use of all their fingers, instead 
 of the right hand only, which must 
 have greatly increased the difficulty 
 and intricacy of the game, as it 
 admits the various combinations which 
 might be made out of twenty num- 
 bers instead of ten only. The right- 
 hand figure has extended all the 
 fingers of his right hand, and three of 
 his left ; his opponent puts out two 
 with the right hand, and three on the 
 left one ; thus the number exhibited 
 is thirteen. If either of the parties 
 cry out " thirteen " at the moment of 
 opening their hands, but before the 
 opened fingers are actually displayed, 
 he wins ; if neither succeeds in guess- 
 ing right, they again close their 
 hands, cry out a number, and open 
 the fingers until one of them calls 
 
MILIARIUM. 
 
 the right amount. What appears to 
 be so simple is most difficult to exe- 
 cute with any chance of success, and 
 requires more skill and calculation 
 than a person, who had not himself 
 made the experiment, would imagine. 
 Each player has first to settle in his 
 own mind how many fingers he will 
 show ; then to surmise how many 
 his opponent is likely to put up, which 
 he does by observing his usual style 
 of play, by remembering the numbers 
 he last called, and those he last 
 showed ; he then adds these to his 
 own, and calls the collective number, 
 thus endeavouring to make the num- 
 ber which he calls. But as all this 
 which takes so much time in narrating, 
 is actually done with the greatest 
 rapidity, the hands being opened and 
 closed, and the numbers simulta- 
 neously called as fast as one can pro- 
 nounce them — eight, two, six, ten, — 
 it requires great readiness of intellect, 
 and decision of purpose, for a player 
 to have any chance of winning, as 
 well as a quick eye and acute oljser- 
 vation, to see in a moment the aggre- 
 gate number of fingers shown, so as 
 not to overlook his own success ; nor, 
 on the other hand, suffer himself to 
 be imposed upon by a more astute 
 opponent ; whence the Romans cha- 
 racterized a person of exceeding pro- 
 bity and honour, by saying that one 
 might play at mora with him in the 
 dark — dignus^ quicujn in tenebris vikes. 
 Cic. Off. iii. 19. 
 
 MILIA'RIUM. A copper for 
 heating water, of considerable height, 
 but small diameter, so that it presented 
 the appearance of a tall and narrow 
 vessel. (Pallad. v. 8. , 
 7. altinn et angnstum.) 
 It was commonly used 
 in heating water for 
 the baths (Pallad. i. 
 40. 3.), as well as for 
 domestic purposes 
 (Senec. Q.N', iii. 24.) ; 
 and, consequently, was ^ 
 made of various di- 
 mensions. (Senec. 
 
 MILLIARIUM. 
 
 423 
 
 Q. N. iv. 9.) The illustration, which 
 corresponds exactly with the above 
 description, represents a miliarium, 
 formerly used in the baths of Pom- 
 peii, restored according to the im- 
 pression which it has left in the 
 mortar of the wall against which it 
 was set ; the square aperture under- 
 neath is the mouth of the furnace, 
 actually existing, over which it was 
 placed. 
 
 2. A short thick column, which rose 
 from the centre of the basin (riwrla- 
 rium) in a mill for bruising olives 
 {t7-apetum, Cato. R. R. xx. i. Id. 
 xxii. I.) It is marked 2,2. on the 
 
 annexed section and elevation of an 
 original olive-mill, found at Stabia. 
 The object of it was to support the 
 square box {cufa, 5.), into which one 
 extremity of each axle, on which the 
 wheels (orbes, 3.3.) revolved, was 
 inserted ; so that when the wheels 
 were driven round the basin (i.l.), it 
 constituted the pivot upon which they 
 and their axles turned. 
 
 MILLIAKIUM. A milestone; 
 which the Romans placed 
 along the sides of their 
 principal roads, in the 
 same manner as we do, 
 with the respective dis- 
 tances from the city in- 
 scribed upon them, rec- 
 koned at intervals of 
 1000 Roman paces (our 
 mile) apart. This custom 
 was first introduced by C. 
 Gracchus ; and the illus- 
 tration represents an original Roman 
 mile-stone, now standing on the Capi- 
 tol, but which originally marked the 
 first mile from Rome, as indicated 
 by the numeral I. on the top of it. 
 The rest of the inscription refers to the 
 
424 
 
 MILL us. 
 
 Emperors Vespasian and NeiTa, by 
 whom it was successively restored. 
 
 2. Milliarium aureitm. T/ti golden 
 milestone; a gilt column, erected by 
 Augustus, at tlie top of the Roman 
 forunr {in capite -Ran. fori. Plin. H.N. 
 iii. 5. Suet. Otho, 6. Tac. Hist. i. 27.), 
 to mark the point at which all the 
 great military roads ultimately con- 
 verged and ended. (Plul. Galb. p. 
 1064.) The precise spot where it 
 stood was not ascertained till about 
 ten years ago, when an excavation, 
 luidertaken by the late pope, revealed 
 a circular basement coated with marble 
 at the north-east angle of the forum, 
 close beside the arch of Septimius 
 Severus, which, by the common con- 
 sent of all archaeologists, has been 
 received as the remaining base of the 
 golden miliary column. But it does 
 not appear that the mileage of the 
 roads was constantly reckoned from 
 this standard ; on the contrary, actual 
 measurements of the distances marked 
 upon Roman milestones, which have 
 been found standing iu their original 
 places, prove tliat those distances 
 were computed from the gates of the 
 city (Marin. Frat. Arv. p. 8. Fabrett. 
 Aq. p. 136.) ; and the law books also 
 cite a third principle of measuring, 
 from the last row of houses (mille 
 passns non u inilliario Uriels, sed a 
 contineiUibiis cedijiciis numerandi sunt. 
 Macer. Dig. 50. 16. 154.). All which 
 testifies that the practice varied at 
 different periods, and led to litigation 
 amongst the Romans themselves. It 
 will be remembered that our mileage 
 on some roads, which used to be 
 marked from the standard at Cornhill, 
 is now reckoned more commonly 
 from one of the bridges. 
 
 MILLUS. A collar for a sporting 
 dog, made of leather, 
 and armed with pro- 
 jecting iron spikes 
 {clavis fe7'reis eviinen- 
 tibus), particularly 
 used for those which 
 were trained for hunt- 
 ing v/ild beasts, to 
 
 protect the vulnerable parts of tlie 
 neck and throat from their formidable 
 adversaries. (Scipio Aemilian. ap. 
 Test. s. v.") The example Iiere intro- 
 duced represents one of Melcager's 
 hounds, in a painting of Iderculaneura, 
 
 MILVI'NUS. Applied to pipes ; 
 see Tibia. 
 
 MIMA. (Cic. rhil. ii. 24. Hor. 
 Sat. i. 2. 56.) A feniale mime. See 
 
 MiMUS. 
 
 MIMALL'ONES(w"'^^"rR). A 
 Greek name for Bacchanals (Stat. 
 7'heb. iv. 660.) ; distinguished, how- 
 ever, from BacchcE by Strabo, x. 3. 10. 
 
 MIMALL'ONIS. (Ov. A. Am. i. 
 541.) A word coined from the 
 Greek ; the same, or similar to Bac- 
 CHA ; which see. 
 
 MI'MULA. Diminutive of Mima. 
 in a derogatory and contemptuous 
 sense. Cic. J^hil. ii. 25, 
 
 MI'MULUS. Diminutive of Mi- 
 MUS ; also with an implied sense of 
 inferiority. Arnob. ii. 69. 
 
 MI'MUS. In a general sense, 
 means any person who takes off or 
 imitates the manners, deportment, or 
 expression of another, by gestulation, 
 grimace, or feigned tones of the voice, 
 corresponding with our mimic. But, 
 in a more restricted meaning, the 
 name was given to an actor on the 
 stage, who played a part in a particu- 
 lar kind of drama, designated by the 
 
 same name ; a very broad, and for the' 
 most part indecent farce, in which 
 
MIRMILLONES. 
 
 MISS ILIA. 
 
 425 
 
 private characters were shown up 
 and exposed to ridicule. The mimic 
 who performed these parts expressed 
 his meaning by gesticulation and 
 pantomimic action chiefly, though dia- 
 logue was not entirely excluded. Ori- 
 ginally he danced upon the floor be- 
 low the stage, not upon it, and with- 
 out a mask ; accordingly, in the an- 
 nexed example, from an engraved 
 ring, it will be perceived that nearly 
 the whole of the face is exposed to 
 view ; the mask, unlike those usually 
 worn by comic actors, only covering 
 a small portion of the cheeks ; the 
 scalp is covered by a fur cap. Cic. 
 Or. ii. 59. Ov. A. Am. i. 501. Id. 
 Trist. ii. 497. Diomed. iii, 487. Com- 
 pare Planipes. 
 
 2. Bufl'oons, or mimics of this de- 
 scription, were also employed off the 
 stage, especially at great funerals 
 {indictiva funera), at which they fol- 
 
 lowed the Prafica, dancing grotesque 
 dances, and acting the part of merry, 
 andrews, as exhibited by the annexed 
 figure from a sepulchral lamp found 
 in a tomb excavated in the Villa 
 Corsini ; whilst the leader of their 
 hz.'!\i.{archimimus) affected topersonate 
 the deceased. (Dionys. viii. 72. Suet. 
 Vesp. 19.) The instruments, which 
 the figure holds, are crotala (see p. 
 217.) ; and his head is decorated with 
 the appropriate appendage of a fool's 
 cap. 
 MIRMILLO'NES. A class of 
 
 gladiators usually matched in combat 
 with the Thraces, 
 or the retiarii. 
 They wore the 
 Gallic helmet, 
 with the image 
 of a fish for the 
 crest, as exhibi- 
 ted by the an- 
 nexed figure, 
 from a tomb near 
 the gate of 
 Herculaneum, at 
 Pompeii. They 
 are believed to < 
 have been originally Gauls ; but the 
 derivation, as well as the allusive 
 ■meaning of the name, is very doubt- 
 ful. Cic. Phil. vi. 5. Suet. Dom. 
 10. Juv. viii. 200. Festus j. Reti- 
 arius. 
 
 MISTA'RIUS. A vessel em- 
 ployed for the same puipose as the 
 crater, in which wine was mixed 
 with water ; it is described as of 
 tall proportions, and with a handle 
 on each side. Lucil. Sat. v. 16. 
 Gerlach. 
 
 MISSIL'IA. Presents of various 
 articles, thrown from an elevated 
 platform amongst the people by the 
 Roman emperors, or other wealthy 
 individuals who sought to gain the 
 favour of the populace by a largess 
 (coitgiaritim) ; to which the modern 
 practice of scattering money amongst 
 the crowd at a coronation or other 
 solemnities owes its origin. The 
 missilia were in general the objects 
 themselves actually thrown, and be- 
 longed to those who had the good 
 luck to catch them in the scramble ; 
 but as some things, such as corn or 
 wine, could not be disposed of in this 
 mannSr, and others would be damaged 
 by the fall and contest for their pos- 
 session, billets or tokens I^Usserce) 
 were in such cases thrown in their 
 stead, upon which the name and 
 quantity of the article to be received 
 was inscribed, accompanied by a 
 written order for the same, payable 
 to the Ijearer upon presentation at the 
 
426 
 
 MITELLA. 
 
 MITRA. 
 
 magazine of the donor. Suet. Nero, 
 II. Turneb. Advcrs. xxix. 9. 
 
 MITEL'LA {\uTpiov). Diminu- 
 tive of MiTRA. 
 in the shape of a 
 half- handkerchief 
 (Celsus, viii. 10. 
 3.) ; worn by the 
 Greek women 
 (Virg. Cop. I.) 
 round the head, 
 as shown by the 
 annexed exam- 
 ple, from a bust 
 in the British Museum, and fre- 
 quently represented on fictile vases 
 and the Pompeian paintings. Men 
 used a similar bandage tied round 
 their heads when at home, or at 
 drinking bouts, to counteract the 
 effects of the wine (Aristot. ap. 
 Athen. xv. 16.) ; and Cicero speaks 
 of it as a scandal that he had seen 
 both young and old persons in the 
 public streets of Naples wearing 
 mitella. (Rab. Post. 10.) 
 
 2. A sling for a broken arm, made 
 of a bandage in the shape described. 
 Celsus, /. c. 
 
 MITRA (li'iTpa). In the strict 
 generic sense, means a long scarf 
 with ties {redimi- 
 ciila) at the end, 
 which served to 
 fasten it as re- 
 quired for the 
 various uses to 
 which it might 
 be put. This is 
 clear from Callix- 
 enus [ap. Athen. 
 V. 28.), who de- 
 scribes the colossal figure of Bacchus 
 in the Dionysiac procession of Pto- 
 lemy, as bearing a thyrsus in his left 
 hand, with a mitra fastened round it, 
 precisely as shown by the annexed 
 example, from a bas-relief of the 
 Pio-Clementine Museum, on which 
 various implements and persons per- 
 taining to the worship of Bacchus 
 are sculptured. Hence the Greek 
 writers apply the same term to the 
 
 virgin zone (Callim. Jov. 21. Zona) ; 
 to a broad sash worn under the 
 bosom (Apoll. Rhod. iii. 867. Stro- 
 phium) ; and the epithet a/itrpog 
 (Callim. Dian. 14.), to designate a 
 young woman who has not arrived 
 at her full development or at mar- 
 riageable years ; i.e., who did not yet 
 require the zona or the slrophium. 
 Also the military belt worn round 
 the waist, at the bottom of the cuirass, 
 as a protection to the belly, was called 
 by the same name. Hom. //. iv. 137. 
 CiNGULUM, 4. 
 
 2. In accordance with the preced- 
 ing definition of a scarf with ties at 
 the extremity to fasten it, the same 
 name was given by the writers, both 
 of Greece and Italy, to a particular 
 kind of covering for the head, worn 
 by the natives of Persia, Arabia, 
 Asia Minor, and by the women of 
 Greece, arranged so as to envelope 
 the whole of the head from the fore- 
 head to the nape of the neck, the 
 sides of the face, and the chin, under 
 which it passed ; whence the person 
 who wears it is said to be veiled in 
 it (mitra velatus. Claud, de Laud. 
 Stilich. i. 156.), as characteristically 
 displayed by the annexed example. 
 
 representing a Persian viitra, worn 
 by one of the followers of Darius, in 
 the large mosaic at Pompeii. The 
 Asiatic mitra, worn by the Phry- 
 gians and Amazons, was a cloth cap, 
 which covered the head as completely 
 as the preceding, and was tied by 
 strings or lappets under the chin 
 (Isidor. Orig. xix. 31.4. Serv. ad. 
 Virg. .Mn. iv. 216. ix. 616.), in the 
 
MITRA TUS. 
 
 MODIOL US. 
 
 427 
 
 manner shown by the annexed ex- 
 ample, representing the head of Paris, 
 from a Pompeian painting ; and 
 
 in works of art, generally, it is one 
 of the usual characteristics of Priam 
 and the Trojans, which distinguish 
 them from Greeks and Romans, 
 amongst whom the use of it was re- 
 garded as a sign of extreme effemi- 
 nacy. (Cic. Har. resp. 21.) The 
 mitra of the Greek women was 
 formed of a scarf of mixed colours 
 [versicoloribus. Plin. H. N. xxxv. 
 35.), fastened 
 
 round the head 
 and under the 
 chin, in a style 
 similar to the pre- 
 ceding examples, 
 as exemplified by 
 the annexed illus- 
 tration, from a 
 bust at Dresden ; 
 but when intro- 
 duced into Italy, its use was more 
 particularly confined to aged persons 
 and women of abandoned character, 
 whether foreign or native. Ov. 
 Fast. iv. 517. Prop. iv. 5. 70. Juv. 
 iii. 66. Ulp. Dig.->,\. 2.25., in which 
 passage it is mentioned as of a similar 
 description, but different from the 
 calantica. 
 
 3. A strong cable, bound round 
 the hu'l of a vessel amidship, to 
 strengthen the timbers in stress of 
 weather. Isidor. Orig. xix. 4. 6. 
 quo navis media vincitur. TertuU. 
 Carm. de yona et Kinive. 42. 
 
 MITRA'TUS (/iirp>)0upos;). Wear- 
 ing the mitra, as explained and illus- 
 
 PHn. vi. 
 7. 62. of 
 
 trated in the last article. 
 32. of Arabs ; Prop. 
 Asiatics. 
 
 MITTENDA'RIUS. An officer 
 of the Imperial age, who was sent 
 into the provinces to collect the 
 tribute. Cod. Theodos. 6. 30. 2. 
 
 MODIOLUS. Diminutive of 
 MoDlus ; whence specially applied 
 to various objects possessing a re- 
 semblance in form to the modius ; as, 
 
 1. (^I'o^j y^QiviKT], ^(otviKic, 7rX///ii';/). 
 The box or naz'e of a wheel, into 
 which the spokes {radii} and axle 
 (axis) are inserted (Plin. J7. iV. ix. 
 3. Vitruv. X. 9. 2,); 
 whence also ap- 
 plied to the axle 
 itself (Soph. Electr. 
 745. and by Varro, 
 R. R. XX. xxi) to 
 the axles which 
 suspend the wheels 
 {orhes) in an oil 
 mill (trapetum). The illustration re- 
 presents an ancient wheel, preserved 
 in the museum of Prince Esterhazy 
 at Vienna. The second and third of 
 the Greek names bracketed imply 
 that the principal dry measures of the 
 Greeks and Romans (^oi'''? and mo- 
 dius) were of the same form, if they 
 differed in capacity. 
 
 2. A box, bucket, or scoop, in the 
 shape of a tnodius affixed to the outer 
 circumference of a water-wheel, 
 which fills itself with water, and dis- 
 charges the contents into a receiver 
 as the wheel revolves. (Vitruv. x. 
 5.). Sometimes wooden boxes were 
 employed for the purpose, at others 
 jars ; and the Chinese make use of a 
 joint of bamboo. See the illustration 
 s. Rota aquaria; which will explain 
 their application and object. 
 
 3. A particular part of the cata- 
 pulta and ballista (Vitruv. x. 12. I.) ; 
 supposed to be a box or cap, which 
 contained the rope ; but as the exact 
 manner in which these machines 
 were constructed is involved in doubt 
 and obscurity, an authorized defini- 
 tion is not attainable. 
 
428 
 
 MODIUS. 
 
 MOLA. 
 
 4. (TruSi't', Hero de Spirit, p. 180.). 
 The box or cylinder in wliich the 
 piston and sucker of a forcing pump 
 acts (Vitruv. x. 7.) ; marl<ed B B re- 
 spectively on tlie woodcuts j-. Cte- 
 siBiCA Machina and Sipho. 
 
 5. (\;ou'iic>j). A surgical instru- 
 ment, like a trepan, for cutting out 
 parts of bones, consisting of a cylin- 
 drical borer, with serrated sides. 
 Cels. viii. 3. 
 
 6. A small drinking goblet. Sc;ev. 
 Dig. 34. 2. 37. 
 
 MOD'IUS and MOD'IUM, The 
 principal dry measure of the Romans 
 
 containing sixteen ^-_-_ -. 
 
 sextayii, or the , — 1 ; :- Mfa. 
 
 sixth part of the 
 Greek medimnus., 
 something Uke 
 the English feck. 
 Its principal use 
 was for measuring corn after it had 
 been threshed ; differing in this from 
 the corbis, which was employed for 
 measuring corn in the ear, that had 
 not been cut with its straw by the 
 sickle, but nicked off under the ear 
 with a serrated or a forked instrument 
 {falx denticitlata, vierga. Cato, R. R. 
 136. Hor. Ep. i. 16. 54. Cic. Div. 
 Verr. 10.) The illustration is copied 
 from a terra-cotta lamp, evidently 
 intended to rejn'esent a inodius, from 
 the introduction of several shocks of 
 corn, which in the original design are 
 placed by its side. 
 
 2. The sheath or socket in which 
 the mast of a ship is fixed. Isidor. 
 Orig. xix. 2. 9. 
 
 MOD'ULUS. In a general sense, 
 a measure by which anything is 
 measured ; but more especially, a mo- 
 dule, or measure of division, adopted 
 by architects as a standard by which 
 the proportions of an order, or the en- 
 tire building, may be regulated. It 
 may be taken at pleasure ; but the dia- 
 meter or semidiameter of a column 
 at the bottom of the shaft is the module 
 mostly resorted to. Vitruv. v, 9. 3. 
 
 2. In aqueducts, a watermeter ; 
 same as Calix, 3. Front. ^17. 34. 36. 
 
 MCE'NE, or MCE'NIA, plural, 
 which is more usual. The walls 
 of a town (Caes. ^. C. iii. 80.), al- 
 most synonymous with murus ; but 
 with a more comprehensive sense, as 
 it frequently includes all the build- 
 ings in a town which were surrounded 
 by a vturits. Cic. Cat. ii. I, Vitruv. 
 viii. 3. 24. Virg. ^S«. vi. 549. 
 
 MOLA {twXj]). A mill ; a general 
 term, like our own, including various 
 contrivances for grinding different 
 kinds of objects, wliether driven by 
 human labour, cattle, or water ; 
 amongst which the following varieties 
 are particularly specified : — 
 
 I. Mola inammria, or trusatilis, 
 {xsipo^vXrj) ; a Jiandviill for grinding 
 wheat, or other farinaceous produce, 
 such as beans, lupins, &c. (Aul. 
 Gell. iii. 3. Cato, R. R. xi. 4. Ov. 
 Med. fac. 72. Jabolen. Dig. 33. 7. 
 26.) Several of these mills, more or 
 less perfect, have been discovered in 
 the bakers' sliops at Pompeii ; all of 
 which are constructed in the same 
 manner, and consist of two stones 
 cut into the peculiar shape exhibited 
 by the annexed woodcut, represent- 
 
 ing the mill with both its stones 
 fitted together and ready for use on 
 the right hand, and a section of the 
 outer stone on the left, to show the 
 different forms of each. The base 
 consists of a cylindrical stone, about 
 five feet in diameter, and one in 
 height, out of which rises a conical 
 projection about two feet high, which 
 forms the lower millstone (tneta), 
 and has an iron t)ivot fastened at its 
 
MO LA. 
 
 429 
 
 top. The outer stone (catUlus) is 
 formed in the shape of an hour-glass, 
 so that one half of it would fit, like a 
 cap, upon the conical surface of the 
 lower stone, receiving the pivot just 
 mentioned into a socket made 
 for the purpose in the centre of the 
 narrowest part, between tlie two hol- 
 low cones, which served the double 
 purpose of keeping it fixed in its 
 position, and of diminisliing or equal- 
 izing the friction. The corn was 
 then poured into the hollow cup at 
 the top, which tlius served as a hop- 
 per, and descended gradually through 
 four holes pierced in its bottom on 
 to the solid cone below ; where it 
 was ground into flour between the 
 outer surface of the cone and the inner 
 one of its cap, as the latter was turned 
 round and round (lapis lapidem terit ; 
 Plaut. As. i. I. 16.) by the slaves who 
 drove it, with the aid of a wooden 
 bar inserted in each of its sides, for 
 which the square socket is shown in 
 the cut. The flour then fell out from 
 the bottom into a channel cut round 
 the base to receive it. 
 
 2. Mola asinaiia, or machinaria. 
 A mill of the same construction and 
 use, but worlced by cattle instead of 
 men, as shown by the annexed ex- 
 ample, from a marble in the Vatican. 
 
 i:^-^ 
 
 XL 
 
 IL 
 
 (Cato R. R. xi. 4. Ov. Fast. vi. 318. 
 Apul. Met. vii. p. 143.) It will be 
 perceived that the animal is blind- 
 folded, as stated by Apuleius {Met. 
 ix. p. 184). 
 
 3. Mola aquaria. A mill for 
 grinding flour, driven by water in- 
 stead of men or cattle. (Vitruv. x. 
 5. Pallad. R. R. \. 42. Auson. Mo-_ 
 sell. 362.) The millstones were 
 similar to those represented in the 
 two preceding woodcuts ; but the 
 outer one was turned round by 
 means of a wheel {rota aquaria), fur- 
 nished with float-boards, and having 
 a cog-wheel {tyvipanum dentatum) 
 affixed to the opposite extremity of 
 its axis, the cogs of which fitted into 
 those of another wheel placed ver- 
 tically over it, so that as the water- 
 wheel revolved, it communicated a 
 rotatory motion througli the cogs to 
 the outer stone (calillus) of the mill. 
 See also Hydraletes. Ausonius 
 mentions likewise saw-mills for cut- 
 ting marble into slabs, driven by 
 water (Mosell. 363.). 
 
 4. Mola buxea. A small wooden 
 handmiU for grinding pepper and 
 articles of a similar description. Pet. 
 Sat. 74. 5. 
 
 5. Mola versatilis. Probably a 
 grindstone, llice the annexed example, 
 from an engraved gem, in which the 
 stone [cos) is worked round by the 
 foot in the same manner as now 
 practised. (Plin. H. N. xxxvi. 29.) 
 Livy also (xxviii. 45.) appears 
 to indicate a machine of the same 
 
 kind ; but the interpretation is not 
 altogether certain, for both passages 
 might be referred to the common 
 corn-mill, No. I. 
 
 6. Mola olearia. An olive mill, 
 employed for bruising the olives, and 
 grinding off the fleshy parts of the 
 
430 
 
 MOLARIVS. 
 
 fruit from tlie stones without breaking 
 them. (Columell. xii. 52. 6.) In the 
 opinion of Columella, the mola was 
 the best of all the contrivances em- 
 ployed for the purpose. He does 
 not, however, explain the manner in 
 which it was constructed, further than 
 by saying that the bruising stone 
 could be elevated at pleasure to suit 
 the exact size of the olives, and thus 
 avoid the danger of crushing the stones 
 with the flesh, which deteriorates the 
 oil ; but the same could also be done 
 in the trapetmn, by placing a block 
 [orbiculus) under the axle, between 
 the cupa and miliariuin. (Cato, R.R. 
 22. 2.) Still as Columella pointedly 
 distinguishes the mola from the trape- 
 tum, it may be inferred that the for- 
 mer was a machine of somewhat simi- 
 lar character to the common corn-mill 
 {No. I.), consisting of two stones, the 
 upper one being moveable, and work- 
 ing round a stationary one below it. 
 (Compare Geopon. x. 18. Pallad. xii. 
 17. I.) A third machine used for the 
 same purposes was the solea el canalis 
 (Columell. /.c), the nature of which 
 is entirely unknown ; and lastly a con- 
 trivance called Tl'DICULA, which see. 
 
 MOLA'RIUS, MOLENDA'RIUS, 
 MOLENDINA'RIUS, sc. Asinus. 
 An ass which works in a mill. Cato, 
 ^.A'. xi. I. Paul. Dig. 33. 7. 18. § 2. 
 
 MOLENDINA'RIUS. A miller. 
 Inscript ap. Grut. II 14. 6. 
 
 MOLETRI'NA (/uuXwj/). The 
 building or place in which a mill is 
 worked. Cato ap. Non. s.v. p. 63. 
 
 MOLI'LE. The name given to a 
 part of the apparatus used for turning 
 a mill, both in those which were 
 driven by men and by cattle. Varro, 
 R.R. x. andxi. In the former pas- 
 sage, it probably means the handles 
 inserted into the sides of the upper 
 stone (woodcut s. Mola, i.) ; in the 
 latter, the frame over the animal's 
 back, to which he was attached when 
 harnessed to his work (woodcut j. 
 Mola, 2.). 
 
 MOLTNA. The term employed 
 by late writers for a mill. Ammian. 
 
 MONERIS. 
 
 xviii. 8. II. P. Victor. Urb. Rom. 
 Reg. iv. 
 
 MOLLIC'INA. See the next word. 
 
 MOLOCH'INA, sc. vestis (fnoKo- 
 X"'l)- A garment made of cloth 
 woven from the fibrous parts of the 
 bark of the hibiscus (]xaKixn), a spe- 
 cies of mallow, which is still em- 
 ployed in India for making cordage. 
 The word is also written moUicina, 
 moliiina, and molocinia, all evident 
 varieties from the Greek original. 
 Isidor. Orig. xix. 22. 12. Novius ap, 
 Non. p. 540. Ca:cil. lb. p. 548. 
 Yates, TextHn. Antiq. pp. 304—309. 
 
 MOLOCHINA'RIUS. One who 
 deals in cloth made from the mallow 
 plant. Plant. Aul. iii. 49. MoLO- 
 
 CHINA. 
 
 JIONAU'LOS and -US {yimavXoi). 
 A single pipe, of the simplest charac- 
 ter, and played in the same way as our 
 flageolet and clarionet. (Plin. H.N. 
 vii. 57. Mart. xiv. 64.) The Greek 
 name also designates the person who 
 played it (Hedyl. Ep. ap. Athen. iv. 
 78.), for which we find monaules. 
 (Not. Tires, p. 1 73. ) The illustration 
 represents a single pipe of this de- 
 
 scription, from a statue in the Vatican, 
 with a performer, showing the manner 
 in which it was handled, from the 
 Vatican Virgil. 
 
 MONE'RIS iiiovripriQ, /uoi/onrporoj). 
 A vessel which has only a single line 
 of oars in file ; a galley ; as opposed 
 to those which have two or more 
 (Liv. xxiv. 33. Tac. Hist. v. 23. i/uls 
 simpUci ordine agebantur), as shown by 
 the example, from the Vatican Virgil. 
 
MONET A. 
 Vessels of this class were sometimes of 
 
 MONOBOLON. 
 
 431 
 
 considerable size, and rated amongst th e 
 naves longa ; in which several r-wers 
 worked upon the same oar, by means 
 of a false handle attached to it, in the 
 same way as was practised in the 
 Mediterranean galleys of the 15th, 
 l6th, and 17th centuries, and explamed 
 at length s. Remex. 
 
 MONE'TA. The mint, where 
 money was coined ; a building on the 
 Capitol adjoining the temple of Juno 
 Moneta. Cic. Phil. vii. I. Suet. Jul. 
 76. Liv. vi. 20. 
 
 2. Hence the money itself (Ov. 
 Fast. i. 221.) ; and the die or mould 
 with which it is coined. (Mart. xii. 
 55.) See Forma, 2. 
 
 MONI'LE (/javvof). K. necklace; 
 a very usual ornament worn by the 
 
 females of Greece and Italy, in the 
 same manner as still practised ; and 
 made in every conceivable variety of 
 form, pattern, and material, of which 
 the excavations of Herculaneum, 
 
 Pompeii, and the tombs of Etruria 
 have afforded numerous and highly 
 valuable originals. The examples 
 here introduced are all from Pompeian 
 paintings, which are selected for illus- 
 tration because they afford specimens 
 of designs which appear to have been 
 general favourites, as they are fre- 
 quently met with on the fictile vases 
 and other works of art. The top 
 figure is a head of Juno, who wears a 
 necklace formed of stars of gold, alter- 
 nating with a large bead between each 
 star ; the two below are dancing girls ; 
 the left-hand one with a single row of 
 pearls or beads, the other with a num- 
 ber of gold drops or pendants, pre- 
 cisely similar in pattern to an original 
 necklace now seen in the royal museum 
 at Naples. 
 
 2. Monile haccatum. A necklace 
 made with a string of beads, berries, 
 or stained glass, of which the left- 
 hand figure in the preceding woodcut 
 affords an example. Virg. vSre. i. 
 654. Lamprid. Alex. Sev, 41. 
 
 3. A collar or necklace placed as 
 an ornament round the throat or neck 
 of favourite animals, such as horses 
 (Virg. ALn. vii. 
 278.) or deer. 
 (Ov, Met. A, 
 112.) The fawn 
 of Silvia is re- 
 presented with 
 this appendage 
 in the Vatican 
 Virgil ; and 
 the annexed example, from a fictile 
 vase, shows it upon a horse, having 
 pendants in the shape of a crescent 
 depending from it, which explains 
 the monUe lunatum of Statius, Theb. 
 ix, 689. 
 
 MONOB'OLON. A game in 
 which various feats of leaping were 
 displayed without the assistance of a 
 leaping pole, or any other aid to 
 muscular exertion, like the " sauts 
 perilleux" of the French, or the 
 " mortal leaps" of our itinerant show- 
 men. (Imp. Justin. Cod. 3. 43. 3.) 
 The example is after an engraved 
 
43 2 MONOCHROMA TA. 
 
 MONOXYL US. 
 
 gem ; and Ihoiigli the word it illus- 
 
 trates belongs to a late period, the 
 work of art is of a mucli earlier date. 
 
 MONOCHRO'MATA (^oi-o^pw- 
 fxara). Paintings tinted with a single 
 colour, either red or white for in- 
 stance, upon a dark ground, as fre- 
 quently seen on fictile vases. Plin. 
 H. N. xxxiii. 39. Id. XXXV. 36. § 2. 
 
 MONOGRAM'MOS (ixovofpaix- 
 fiot:). Literally, drawn in outline, 
 like the earliest attempts at painting, 
 which consisted only of outlines 
 (Plin. I/. JV. XXXV. 5.) ; thence 
 transferred to anything which has 
 no substance, as the gods (Cic. N. D. 
 ii. 23.) ; or a wretchedly attenuated 
 person (Lucil. Sat. ii. 17. Gerlach.). 
 
 MONOLI'NUM. A necklace 
 formed with a single string of pearls. 
 Capitol. Maxim. Jun. I. Left-hand 
 figure s. MoNlLE, i. 
 
 M O N O L I T H'O S (^oi'oXi0oc). 
 Formed out of a single block of stone 
 or marble, as a statue, column, or 
 pillar. Laberius ap. Non. j. Lenis. 
 p. 544. Ampel. 8. Compare Plin. 
 H. N. xxxvi. 5. § 13. 
 
 MONOLO'RIS, sc. vestis. Deco- 
 rated with a single paragauda, or 
 band of gold and purple, as explained 
 s. Paragauda. Aurel. Vofisc. 46. 
 
 MONOPOD'IUM. Aword coined 
 from the Greek to (^' 
 denote a table sup- " ~ 
 ported upon a sin- 
 gle foot and stem 
 tLiv. xxxix. 6. 
 Plin. H. N. xxxiv. 
 8. ) ; though it is not met with in that 
 
 language with the same meaning. 
 The illustration represents an ori- 
 ginal of marble found at Pompeii. 
 
 MONO P'T EROS (^loviTtrtpoq). 
 Literally, with only one wing ; 
 whence adopted by architects to de- 
 signate a circular shrine or temple, 
 consisting of an open colonnade 
 supporting a dome, under which an 
 altar might be placed, but without 
 any cell (celia, Vitruv. iv. 8. i.), as 
 shown by the annexed example. 
 Vitruvius cites a temple of Bacchus 
 at Teos as a specimen of this style 
 (vii. Prccf. 12.) ; and some architects 
 
 recognise another instance in the ex- 
 isting ruins of an edifice at Pozzuoli, 
 known as the temple of Serapis. 
 
 MONOX'YLUS (^ioi-oCi/Xof). Li- 
 terally, made out of a single piece of 
 
 wood ; applied adjectively to any 
 small boat scooped out of a solid 
 trunk, such as the linter, alveus, sca- 
 pkula (Plin. H. N. vi. 26.); and, 
 absolutely, as the name of a small 
 broad-bottomed boat, employed by 
 
MONUMENTUM. 
 
 MORA. 
 
 433 
 
 the Roman soldiers in making bridges 
 over unfordable rivers. A certain 
 number of these were usually trans- 
 ported Vi'ith an army upon carts 
 (Veget. Mil. iii. 7.), and are re- 
 peatedly represented on the columns 
 of Trajan and Antonine, from the 
 latter of which the annexed example 
 is taken. 
 
 MONUMENTUM (iuvij/ia, ixvi)- 
 liilov). In general, any monument, 
 record, or memorial intended to per- 
 petuate the memory of persons or 
 things, such, for instance, as a statue, 
 a building, or a temple, particu- 
 larly one on which the name of the 
 founder is inscribed. Cass. B. C. ii. 
 21. Cic. Ferr. i. 4. Id. £>iv. i. 9. Ii. 28. 
 
 2. Monttmentiim Sepulcri, or abso- 
 lutely ; a momwient^ tomb, or sepul- 
 chre, erected in memory of a deceased 
 person, including both those in 
 which the remains were actually de- 
 posited [sepulcnt7?i, strictly), and 
 such as were merely erected to record 
 the memory of any one apart from 
 the place where his remains were 
 buried. (Florent. Dig. 11. 7. 42. 
 Festus, s. V. Varro, L. L. vi. 45. 
 Sulpic. ap Cic. Fam. iv. 12. Hor. 
 Sat. i. 8. 13. Nepos, Dion. 10.) 
 These monuments were not allowed 
 within the city walls, excepting in a 
 few solitary instances, granted as an 
 especial distinction, but were usually 
 constructed by the sides of the high 
 roads in a long line of magni- 
 ficent elevations, forming a striking 
 vista, suggestive of moral and 
 noble sentiments to every passer 
 by. The annexed illustration repre- 
 
 .'entsarange of tombs on each side 
 of the way immediately outside of 
 
 the gates of Pompeii, on the high 
 road to Herculaneum, and will con- 
 vey an idea of the imposing character 
 which the approach to ancient Rome 
 must have possessed from the Appian 
 Way, on which the monuments of so 
 many of her illustrious men, both 
 civil and military, once stood. The 
 remains and ruins of these are still 
 visible to the eye, in a continuous 
 line along both sides of the deserted 
 road, for a distance of four or five 
 miles from the city. 
 
 3. (yi'wpi(7/uara). The toys or to- 
 kens tied round the necks of infants 
 when they were exposed as found- 
 lings, in order that they might be 
 recognized by any members of their 
 families in after years, if they hap- 
 pened to survive (Ter. Eiin. iv. 6. 
 15.) ; more usually designated by 
 the general term Crepundia, under 
 which a more full description and 
 ilustration is introduced. 
 
 MORA (ki/wOwj', TrrEpi'S). A pro- 
 jecting tooth or cross-bar on each 
 side of a hunting- 
 sjear, below the 
 head, and fixed to 
 the ferrule or 
 socket into which 
 the shaft fits. 
 .Such an adjunct 
 was more particularly employed in 
 boar hunting ; and its object was to 
 prevent the point from penetrating 
 too far, which would bring the ani- 
 mal into close contact with the 
 huntsman ; for as it came on with 
 enormous weight and force, the shaft 
 of the spear would follow the point, 
 unless it met with some resistance, 
 up to the hands of the person who 
 held it. (Grat. Cyneg. no. Xen. 
 Cyneg. x. 3. and 16. Pollux, v. 22.) 
 The last-cited author makes a dis- 
 tinction between the kj'W^wv and 
 TTTipv^, which is satisfactorily ex- 
 plained by the two examples an- 
 nexed, both representing spear-heads 
 from ancient monuments. (Alstorp. 
 de Hast. p. 1 79. ) The sharp curved 
 points, like teeth, are the KriiSovriQ ; 
 2 E 
 
434 
 
 MORIONES. 
 
 the straight ones with widening ends, 
 lilie wings, the irj-Epi/^ff ; but as both 
 served the same purpose of staying 
 the onward course of tlie animal, they 
 are included by the Latin writers 
 under the one general name of inora, 
 literally, a delay or hindrance. 
 
 2. The cross-bar which guards the 
 handle of a sword, and prevents the 
 
 blade from penetrating beyond it, as 
 shown by the annexed example from 
 the sarcophagus of Alexander Seve- 
 rus, at Rome. Sil. Ital. i. 515. 
 
 3. A flat cross piece of wood at the 
 bottom of a splint in which a broken 
 leg is confined, for the purpose of 
 supporting the foot and keeping the 
 instrument in its proper place. Celsus, 
 viii. 10. 5. 
 
 MORIO'NES. Deformed idiots ; 
 who were purchased as slaves, and 
 kept in the great Roman 
 houses for the purpose 
 of affording amusement 
 by their want of mental 
 capacity, conjoined, as 
 it always was, with phy- 
 sical malconstruction 
 (Mart. viii. 13. Id. xii. 
 94. Plin. Ep. ix. 17. I.), 
 botli of which properties 
 are visibly expressed in 
 the annexed figure from 
 a'Small bronze statue, in 
 wliich the eyes and teeth 
 are inserted of silver, and which faith- 
 fully illustrates the description given 
 by Martial (vi. 39.) of one of these 
 creatures, acuto capite, et auribus longis, 
 Qua sic moventur, ut sohnt aselloruni. 
 
 MORTA'RIUM (oXmoc). A mor- 
 tar, in which ingredients are kneaded 
 up and mixed together with a small 
 pestle (pistillum), worked by one 
 hand (Virg. Moret. 100.) in a round- 
 about direction (lb. 102. it manus in 
 ^yrum), and formed, as it still is, of 
 a stone or other solid material, hol- 
 
 MUCINIUM. 
 
 lowed into the shape of a shallow 
 basin (lb. 96. lapidis cavum- orbem. 
 Plin. H. N. xxxiv. 
 50. lb. xxxiii. 41. 
 Scrib. Comp. iii. 
 Columeli. xii. 57. 
 I. Cato^ R. R. 74.) 
 The illustration re- 
 presents an original 
 found amongst the ruins of Roman 
 buildings in London. Compare Pila. 
 2. The hollow basin in which 
 olives were placed in the bruising- 
 machine, called a trapetum, to be 
 crushed by the wheels which worked 
 round it. (Cato, R. R. xxii. i.) It 
 will be observed from the figure on 
 the right hand of the annexed wood- 
 cut, representing an original trapetum 
 found at S labia in elevation and sec- 
 tion, that the mortarium (marked I. 
 I. on each plan) is a sort of basin 
 with sides and bottom of the same 
 hollow curvilinear form as the com- 
 mon mortar, though the centre of it is 
 occupied by a short thick column 
 
 (miliarium, 2. 2.), which supports the 
 bruising-stones (orbes, 3. 3.). 
 
 3. A large basin, or receiver of si- 
 milar form, in which fine cement or 
 stucco was kneaded and mixed. Plin. 
 ff. W. xxxvi. 55. Vitruv. vii. 3. 10. 
 
 4. A hollow trench dug round the 
 roots of a tree to collect moisture 
 (Pallad. iv. 8. I.); a meaning which 
 clearly arises from the resemblance 
 which the trench and trunk of the 
 tree bear to the mortarium and mili- 
 aritim of an oil mill, as shown by the 
 section in the preceeding illustration. 
 
 MUCI'NIUM orMUCCI'NIUM. 
 (Arnob. ii. 5.) A pocket-handker- 
 chief for wiping the nose. See Su- 
 
 DARIUM. 
 
MUCRO. 
 
 MU'CRO. The point of any in- 
 strument, weapon, or other artificial 
 or natural object which is pointed, 
 jagged, or sharply acuminated ; but 
 more especially the point of a sword, 
 as opposed to cuspis, the point of a 
 spear. Ov. Met. xii. 485. Cic. PhU. 
 xiv. 3. Virg. Lucan, &c. 
 
 MULCTRA, MULCTRATLE, 
 andMULC'TRUM ^.a^ioK-^i-i^). A 
 milk-pail, for milking cows and goats 
 (Virg. Eel. iii. 30. Georg. iii. 177. 
 
 Vrel 
 
 MUL TICIUS 
 
 435 
 
 Hor. Epod. xvi. 49.); and in which 
 the milk was carried while cried 
 through the town. (Calpurn. Ed. iv. 
 25.) The example is from the Vatican 
 Virgil. 
 
 MULI MARIA'KI. C. Marius, 
 with the object of remedying the 
 inconvenience resulting 
 from the immense bag- 
 gage-trainwhich accom- 
 panied an army on its 
 march.made each soldier 
 carry his own rations 
 for a certain number of 
 days' provision, together 
 with thevessels for dress- 
 ing it, and his personal 
 baggage, on the top of a pole fixed to 
 his back. This custom was subse- 
 quently retained, as shown by the 
 annexed figure, representing one of 
 the soldiers in Trajan's army, from 
 the column of that emperor ; but when 
 first introduced, the practice, being a 
 novelty, gave rise to the joke which 
 attached to these men the nickname 
 of "Marius' mules," because they 
 carried their loads like beasts of 
 burden, on their backs. Frontin. 
 
 Strateg. iv. i. 7. Festus, s. v. and j. 
 ./Erumnula. 
 
 MU'LIO (opfoKo/ioc). A person 
 who keeps mules to let out for hire, 
 or for sale ; a mule-dealer and Job- 
 master. Suet. Vesp. 4, 
 
 2. {rffiioi'rjyoi;, aaTpo^7]\dr7](;). A 
 muleteer, or mule-driver ; without re- 
 ference to whether the animals were 
 his own or not, or whether he drove 
 them as a coachman, in harness (Suet. 
 Nero. 30. Vesp. 23.); or on foot, as 
 beasts of burden. Id. Vit. 7. 
 
 MULL'EOLUS (Tertull. />«//. 4. ) 
 Diminutive of 
 
 MULL'EUS. A half boot of a 
 reddish or plum colour, worn by the 
 patricians of Rome ; not, however, by 
 all of them, but only those who had 
 borne the cunile magistracy, a dic- 
 tator, consul, prjetor, censor, or cu- 
 rule aedile. (Cato. ap. Fest. s. v. 
 Vopisc. Aurel. 49. Isidor. Orig. xix. 
 34. 10.) Some think the ;/;w//i?«x was 
 the same as the calceus patriciusiviooi- 
 cut s. V. p. 99. ) ; others, that it re- 
 sembled the caleeus repandus or unei- 
 natus, of which a figure is given on 
 the same page, No. 3. 
 
 MULOMEDTCUS (KT-ij^arpot). 
 Strictly a veterinary who confines his 
 practice to the diseases of mules, as 
 contradistinguished from equarius me- 
 dicus, a horse doctor ; but the word 
 also bears a more extensive signifi- 
 cation for a cattle doctor generally. 
 Veget. Midomed Preef. i. and iv. 
 
 MULTIC'IUS, MULTITIC lUS, 
 orMULTIT'IUS. Used to designate 
 some particular kind of fabric, either 
 of a very ingenious, or costly, or fine 
 texture, out of which the wearing 
 apparel of women, and men of luxu- 
 rious or effeminate habits, was made. 
 The precise meaning of the word is 
 not clearly ascertained. Some derive 
 it from multum and icio, and interpret 
 it to mean " closely condensed " by 
 the batten (radius, spatha), which is 
 contrary to the character of trans- 
 parency attributed to it ; others from 
 mollitie (a muleendo), in allusion to 
 the softness of its texture ; and others 
 
43^ 
 
 MUNERARIUS. 
 
 fiom muliis liciis, i.e., which is made 
 witli many leashes (Ikia), thus indi- 
 cating an intricate and elaborate pat- 
 tern woven up in the fabric ; wliicli 
 seems to be the most rational inter- 
 pretation. Juv. ii. 66. xi. 1 86. Va- 
 lerian. Aug. lit Ep. aj> Vopisc. Aurel. 
 
 12. Gloss. Philox. 
 MUNERA'RIUS. The person 
 
 who gives a public show of gladiators. 
 Suet. Dom. lo. Quint, viii. 3 34. 
 
 2. Munerarius libellus. A bill of 
 the sho7v ; or list announcing the names 
 and descriptionsof the gladiators about 
 to be exhibited at a public show. 
 Trebell. Claud. 5. 
 
 MURCUS. A nickname given to 
 those who maimed themselves by 
 cutting off their thumbs in order to 
 escape from military service. (Am- 
 mian. xv. 12. 5.) This appears to 
 have been not an uncommon practice 
 (Aelian. V. H. ii. 9. Suet. Aug. 24. 
 27. Plut. Lysand. Cod. Theodos. 7. 
 
 13. 4. 5. and 10.) ; and to it our 
 term poltroon owes its origin, through 
 the Italian poltrone, abbreviated from 
 pollice trttnco. 
 
 MUREX. A kind of fish, with a 
 sharp-pointed and twisted shell, poet- 
 ically given to the 
 Tritons for a trum- 
 pet (VaL Flacc. iii. 
 726. ), as in the an- 
 nexed example from 
 a terra-cotta lamp ; 
 also used as a bottle 
 for holding un- 
 guents (Mart. iii. 
 82.) ; and in ornamenting grottos 
 (Ov. RIet. viii. 563.), of which exam- 
 ples are still seen in the gardens of 
 two houses at Pompeii. 
 
 2. In a secondary sense, any 
 thing which has a rough and prickly 
 surface, with projecting points, like 
 the end of the murex shell ; as a 
 rock or stone full of acuminated pro- 
 tuberances (Plin. H. N. xix. 6. Virg. 
 JEn. V. 205.) ; a box or case set with 
 spikes inside (Gell. vi, 4.) ; and, as 
 some think, a very sharp bit, armed 
 with spikes (Stat. Achill. i. 221. mu- 
 
 MURRHINA. 
 
 ricefranat acuta Delphinas), like the 
 lupaium, or the bits lormerly used by 
 the Mamelukes ; but as the passage 
 of Statins has reference to a Triton 
 and his dolphins, the more poetical 
 interpretation would be, that he 
 checks their course with the sound of 
 his sharp-pointed shell instead of a bit. 
 3. Murex ferreus. A caltrop ; an 
 instrument made with four spikes of 
 iron, adjusted in such a manner that 
 when thrown upon the ground from 
 any distance one of them always 
 
 stood upright, as shown by the an- 
 nexed example from an original. It 
 was used in ancient warfare to impede 
 the advance of cavalry and disable 
 the horses. Val. Max. iii. 7. 2. 
 Curt. 4. 17. 
 
 MURICA'TUS and MURICTUS. 
 Armed or formed with sharp projec- 
 tions, like the point of the viiircx. 
 Plin. H.N. XX. 99. Auson. Ep. ix. 4. 
 
 MURILEG'ULUS. One who 
 follows the occupation of viurex fish- 
 ing, the juices of which were exten- 
 sively used by the ancients for making 
 a purple dye. Cod. Justin. II. 
 
 MUR'RHINA, MUR'RHEA, and 
 MYR'RHINA. Porcelain vases. (Plin. 
 H. A^ x.xxvii. 7. Prop.iv. 5.26. Juv. 
 vi. 156. Lamprid. Elag. 32.) Modern 
 investigations seem to have placed it 
 almost beyond dispute that the murrha 
 of the ancients was a fine earth, dug 
 in the East, out of which vases of 
 different kinds, but of a light and fra- 
 gile substance, were made ; and many 
 fragments of ancient porcelain have 
 been discovered in various excava- 
 tions, agreeing remarkably with the 
 description of Pliny (//. N. xxxvii. 8.), 
 in regard to the variety of colours 
 with which they are covered ; though 
 
MURUS. 
 
 MUSEUM. 
 
 437 
 
 in other respects his idea of the 
 material which composes them may 
 be said rather to verge 
 upon the truth, than to 
 afford a faithful ac- 
 count of the actual 
 substance. But the 
 well-attested fact that 
 several bottles of real 
 Chinese porcelain in- 
 scribed v.ith native characters, have 
 bee:i found in the tombs of Egypt 
 (one of which is represented in the 
 annexed woodcut, from the original 
 of Salt's collection in the British 
 Museum), distinctly proves that ob- 
 jects of that material were exported 
 from China at a very early period 
 although the art of making it may 
 not have been discovered by the 
 Romans ; and this would account for 
 the pro'ligiom value set upon them. 
 
 MCRUS (T-£ixof)- Awall of stone 
 or brick, built as a defence and forti- 
 fication round a town, in contradis- 
 tinction to paries, the wall of a house, 
 or any other edifice. (Cic. N. D. iii. 
 40. Id. Off'.\. II. Cses. B. G. ii. 12.) 
 Town walls were usually constructed 
 with square or round towers (turres) 
 at certain intervals, a fortified gate 
 {porta) at every point from which 
 any of the great roads emanated ; 
 sometimes -n-ilh a trench {fossa) on 
 the outside, having a mound {agger) 
 within it, upon which the ramparts 
 {lorica propugnacula) were raised, 
 surmounted Ijy turrets {pinna) to 
 shield the defenders. 
 
 Murus crinalis. A crowm or 
 ornament for the hair, 
 made in imitation of 
 the walls of a town, 
 with its towers and l 
 fortifications attri- /^ 
 
 buted by poets and - 
 artists to the goddess 
 Cybele, to typify the 
 cities of the earth over 
 which she was pre- 
 sumed to reign ; as in the annexed 
 example from a marble bas-relief 
 Claud, in Eittrop. ii. 284. 
 
 MUSCA'RIUM. ((TO/3,). A fly- 
 flap for driving away flies, or ivhis'k 
 for dusting anything ; made of the 
 long peacocks' feathers (Mart. xiv. 
 67.), or the tuft at the end of a cow's 
 tail (Id. xiv. 71.) ; whence the word 
 is also used for a horse's tail. Teg. 
 Vet. vi. 2. 2. 
 
 2. A case or closet in which papers, 
 tablets, &c., were placed to preserve 
 them from fly stains (Inscript. ap. 
 Romanelli, Viagg. a Pompci, p. 1 68.) 
 The modem Italians retain the same 
 elements with a similar meaning in 
 their word moscajuola, which signi- 
 fies a cupboard or safe where eatables 
 are put by. 
 
 MUSCA'RIUS. See Clavus 4. 
 MUS'CULVS. A contrivance 
 employed in sieges for covering 
 and protecting the men from the 
 enemy's missiles whilst engaged in 
 throwing up their earth-works, and 
 making their approaches to the walls. 
 The manner in which it was con- 
 structed is detailed at length by 
 Csesar (B. C. ii. io.> and Vegetius 
 (J/;/, iv. 16.) ; but no representation 
 of the object itself, except conjectural 
 ones, exists ; amongst these the one 
 designed by Guischard {J/emoires 
 Milit. tom. ii. p. 58. tab. 2, ), affords 
 a good practical illustration to the 
 text of Csesar. 
 
 2. A small sailing vessel of ex- 
 tremely short dimensions between stem 
 and stem (Isidor. O'ig. xix. i. 14. 
 Not. Tir. p. I 78. ) ; the characteristic 
 build as well as the name of vhich is 
 retained by the Venetians, ^^ho still 
 use the name of iopo, the incuse, to 
 distinguish a particular kind of small 
 craft, amongst the many different 
 ones which trade in their waters. 
 
 MUSE'UM and lIU.'^^l;M (Moi-- 
 fffior). Originally .signified a temple, 
 seat, or haunt of the Muses ; thence 
 an establishment instituted byPlolemy 
 Philadelphus, at Alexandria, for the 
 promotion of learning and the support 
 of literary and scientific persons who 
 lived there at the publicexpense (Suet. 
 Claiid. 42. Spart. Hadr. 20. ) ; and the 
 
438 
 
 MUSIVARIUS. 
 
 MUTULUS. 
 
 Romans also gave the same name 
 to a grotto, or place in their villas 
 where they used to retire and enjoy 
 intellectual conversation. Plin. 
 
 H.N. xxvi. 42. Varro, R.R. iii. 5. 
 9. Compare Cic. Leg. ii. i. 
 
 MUSIVA'RIUS. An artist who 
 made mosaic work, the opus musiviim, 
 as explained under the followingword: 
 
 MUSrVUM (^ovai'iov). The ori- 
 ginal from which our term mosaic is 
 derived ; but the ancients employed 
 the word in a somewhat more re- 
 stricted sense than we attach to our 
 term. Amongst them niusivum means 
 a mosaic formed with small pieces of 
 coloured glass or composition in 
 enamel, as opposed to lithosirotum, 
 which was made of natural stones or 
 diiTerent coloured marbles. Mosaics 
 of this description were not originally 
 used forpavements, but onlyin ceilings 
 (Plin. H. N. xxxvi. 4. Inscript. ap. 
 Furnaletti de Miisvv. cap. i. p. 2.), 
 because at first it was feared that the 
 material was not of sufficient dura- 
 bility to bear the wear and tear of 
 footsteps ; but when this was dis- 
 covered to be a groundless alarm, the 
 same materials were employed in the 
 construction of ornamental pavements 
 (Augustin. Oj*. D. xvi. 8.), either alone, 
 or with the admixture of real stones, 
 which enabled the artist to make his 
 work more perfect, and his tints more 
 varied and more true ; in short, to 
 imitate <i. picture with considerable 
 precision in all its colours, forms, and 
 varieties ; whence this style of the 
 art obtained the name of mosaic 
 painting — pictura de viusivo — and 
 became the most perfect amongst the 
 different processes employed for works 
 of this nature, each of which had a 
 characteristic name of its own, 
 which will be found in the list of the 
 Classed Index. Plin. H.N. xxxvi. 
 64. Spart. Pesc. 6. Visconti. Mus. 
 Pio-Clem. vii. p. 236. 
 
 MUSTA'CEUM. A wedding-cake, 
 distributed to the friends of the bride 
 and bridegroom when they left the 
 marriage feast. (Juv. vi. 202.) It 
 
 was made of flour kneaded with new 
 wine or must, cheese, and aniseed, 
 and baked upon bay leaves. Cato, 
 li.R. 121. 
 
 MUSTUM {rpiii). Must; i. e. 
 new wine not yet fermented and 
 racked off from the lees. Cato. Colu- 
 mell. , &c. 
 
 MUTATIO'NES. Posting-houses, 
 at which relays of horses were kept 
 along the high roads for the service 
 of the state, and the accommodation 
 of travellers. The postmaster of the 
 smallest mutatio was compelled to 
 keep as many as twenty horses ; of 
 the largest, not less than forty. Impp. 
 Arcad. et Honor. Cod. Theodos. S. 5. 
 53. Cod. Just. 12. 51. 15. Com- 
 pare Ammian. xi. 9. 4., where the 
 word is used for a relay or change of 
 horses. 
 
 MUTATOR, sc. equorum. (Val. 
 Flacc. vi. 161.) A poetical expres- 
 sion for Desultor, which see. 
 
 MUT'ULUS. In a general sense, 
 any projection of 
 stone or wood 
 like the end of 1 
 small beam or 
 rafter, standing 
 out beyond the 
 surface of a wall 
 (Cato, R. R. viii. 
 9. 3. Varro, R. R. 
 iii. 5. 13. Serv. 
 ad Virg. A^^n. i. 
 740.) ; whence' 
 specially a mutule 
 in architecture ; 
 i. e. an ornament properly character- 
 istic of the Doric order, consisting of 
 a square projecting member, arranged 
 at intervals over the triglyphs and 
 metopes under the corona, and 
 intended to represent in the ex- 
 terior elevation the end of a prin- 
 cipal rafter (canterius) in the timber 
 work of the roof (see woodcut s. 
 Materiatio, ff.); consequently it 
 is recessed upwards towards the 
 front of the corona, in order to 
 express the slanting position of the 
 rafter, as shov^fn by the angular 
 
MYOPARO. 
 
 NABLIA. 
 
 439 
 
 nratule in our cut, representing a | 
 portion of the entablature to the 
 temple of Theseus, at Athens. Vitruv. 
 iv. 2. 3. and 5. 
 
 2. In the Corinthian order, these 
 members are now styled modiUiorLs, 
 and are made of a more elaborate 
 character, resembling ornamental 
 brackets ; but in many Roman and 
 modem elevations, their original pur- 
 
 pose of representing the ends of the 
 principal rafters of the roof (canterii) 
 is destroyed by the custom of insert- 
 ing a row of dentils (denticuli), which 
 represent the ends of the common 
 rafters (asseres and woodcut j. Ma- 
 TERIATIO, hh.), below them ; a prac- 
 tice always censured and avoided 
 by the Greeks. (Vitruv, iv. 2. 5.) 
 The illustration represents a portion 
 of the portico in front of the Pantheon 
 at Rome, and shows the order in its 
 pure state, having modUlions without 
 the objectionable introduction of den- 
 tils underneath. 
 
 MYOP'.A.RO. Diminutive of 
 Paro. a small piratical craft em- 
 ployed by the Sa.xon corsairs, made 
 of mcker-work, covered with raw 
 hides (Isidor. Orig. xix. I. 21.), and 
 remarkable for its swift saiUng. (Cic. 
 Fragm. and Sallust. ap. Non. s. v. 
 p. 534. Scheffer. Mil. Nav. ii. p. 72. 
 Savaro ad Sidon. Ep. viii. 6. 
 
 MYROPO'LA ifivpoTTuXrig). A 
 Greek perfumer or dealer in unguents 
 and perfumes. Plant. Cos. ii. 3. 10. 
 
 MYROPO'LIUM (,i«po-(iXioi). 
 A Greek perfumer's shop or stalL 
 Plant. Ep. ii. 2. 17. 
 
 MYSTA or MYSTES {uia-n)i). 
 Properly a Greek term, designating 
 one who is initiated in the secret rites 
 or mysteries of certain worships. Ov. 
 Fast. iv. 536. 
 
 MYSTAGO'GUS Oiuaraywydf, 
 ■!rspitiy7]Ti](). A guide or ckerone, 
 who conducts strangers over places 
 unkno^vn to them, and points out the 
 objects most worthy of observation, 
 especially at the temples. Cic. Verr. 
 ii. 4. 59. 
 
 WYSTRUil (f/iVrooj.). A liquid 
 measure of the Greeks, containing 
 the fourth part of a cyathus. Rhemn. 
 Fan. 77. 
 
 MYX'A or MYX'US (]ivla, 
 fivKTr]p), A 
 
 word borrowed 
 from the Greek 
 signifying lite- 
 rally the mu- 
 cus which is 
 discharged from the nostrils ; whence 
 it is applied in both languages to de- 
 signate the nozzh of an oil lamp 
 through which the wick protrudes ; 
 as sho%vn on the left side of the an- 
 nexed example. Mart xiv. 41. 
 
 X. 
 
 XABXIA and XAU'LIA (vafiXa, 
 vavXa, and vavKov). A musical instru- 
 ment of Phcenician origin according 
 to Athenasus (iv. 77.^ and doubtless 
 the same as the Hebrew nmel, so 
 often mentioned 
 in the Psalms, 
 whence it came 
 to the Greeks 
 and Romans. It 
 was a stringed in- 
 strument, having 
 ten cords accord- 
 ing to Sopater 
 (Athen. I.e.), or twelve according to 
 Josephus (Antiq. vii. 10.), was of a 
 square form (Schilte ad Kircher. Mu- 
 surg. ii. p. 49.), and was played with 
 
44° 
 
 NANI. 
 
 NATATIO. 
 
 both hands without \he plectrum, but 
 in the same manner as a harp. 
 (Joseph /. c. Ov. A. Am. iii. 327. 
 duplici ginialia naulia palma verrere. 
 C33^ius in Asterismo Lyr<z p. 189.) 
 Ovid mentions it as an instrument of 
 tlie same class as the lyra and citkara, 
 but distinct from both ; particularly 
 adapted for use in social life and fes- 
 tive occasions, and the study of which 
 he recommends to all young females 
 who wish to gain admirers and culti- 
 vate the art of pleasing. All these 
 particulars agree so well with the in- 
 strument and figure exhibited by 
 the illustration, from a Pompeian 
 painting, as to make it extremely 
 probable that it was intended to re- 
 present the nrud, while at the same 
 time they are scarcely reconcileable 
 with the statement of Athenoeus (/, c.) 
 that the instrument in question was a 
 hydraulic organ. 
 
 NA'NI (vavvoi and I'ai'oi). Pig- 
 mies or dwarfs, beings of diminutive 
 stature, kept for ostentation, and as 
 rarities amongst the number of state 
 slaves (Suet. Tib. 61.), both males 
 and females, nans. (Lamprid. Akx. 
 Sev. 34.) They were neither dis- 
 
 torted in figure, nor of mental imbe- 
 cility, like the moriones, for they 
 were taught music and other accom- 
 plishments (Propert. iv. 8. 41.). The 
 •illustration is from a small ^ statue, 
 probably executed as a portrait. 
 
 NARTHE'CIUM {vap9riKi.ov,vip- 
 01)5). A small case for keeping 
 unguents and medicines (Cic. Fin. 
 
 ii. 7- Mart. iv. 78.) ; made in a 
 cylindrical form, like a joint of the 
 fennel giant (I'OpSi)?), which 
 may itself have been used for 
 the purpose, but doubtless 
 suggested the name, and au- 
 thorised the application of it 
 to an object of corresponding 
 form, though made of other 
 materials ; as the annexed ex- 
 ample, from an original of 
 ivory found at Pompeii. 
 
 NASITER'NA. A vessel which 
 appears to have been very similar in 
 use and character to our liuitcring-pot, 
 employed by the ancients for watering 
 the race-course; in gardens and vine- 
 yards, for watering the ground to lay 
 the dust before a house, and similar 
 purposes. (Festus s. v. Cato, R. R. 
 X. 2. Plaut. Stick, ii. 3. 28.) It is 
 formed from iiasus, a nose or spout, 
 with an augmentative termination, 
 like cisterna from cista, thus meaning 
 a vessel with a very long spout, and 
 not with three spouts or three handles, 
 as some have imagined. 
 
 NASSA [Rmibi:, KvpTT]). A 'ceei, 
 or basket for snaring fish, made of 
 -wicker work with a wide funnel- 
 
 shaped mouth, long body, and narrow 
 throat, constructed as our own are, 
 in such a manner that the fish could 
 enter it but not get out again. Fes- 
 tus, s. V. Oppian. Hal. iii. 85. and 
 341. Sil. Ital. v. 48., where the form 
 and manner of making it is described 
 at length, corresponding exactly 
 with the annexed figure, composed 
 from two Roman mosaics, in both of 
 which it is represented as lying half- 
 buried amongst sedges in a shallow 
 piece of water. 
 
 NASSITER'NA. SeeNASiTERNA. 
 
 NATA'TIO. A swimming-bath 
 both in the open air and under cover 
 (Celsus, iii. 27. i. Crel. Aurel. Tard. 
 i. I.) ; consequently of a higher tem- 
 
KAUCLERUS. 
 
 NAVICULARIUS. 
 
 441 
 
 perature and of larger dimensions 
 than the plunging-bath, baptisterium. 
 NAUCLE'RUS [vavt\r\poi). A 
 Greek ship-owner, who gained his 
 subsistence by carrying freights of 
 merchandize and passengers from 
 place to place, himself generally act- 
 ing as the skipper or captain of his 
 own vessel. Isidor. Orig. xix. i. 3. 
 Plaut. Mil. iv. 3. 16. iv. 6. 68. Xen. 
 J^Iem, iii. 9, 1 1. 
 
 X-\U'CULA ; for Xavicula, 
 XAU'LIA. See Nablia- 
 XAVLL M {vavXov). The price 
 paid for a freight of goods or for a 
 passage in a ship. Juv. viii. 97, 
 Paul Dig. 30. 39. I. rip. Big. 20. 
 4- 6. 
 
 XAUMACH'IA {l■av^axia). A 
 naval engagement ; but in Latin usu- 
 ally applied to the representation of a 
 sea-fight, exhibited as an entertain- 
 ment to the people of Rome, in an 
 artificial piece of water made for the 
 purpose. Suet. Claud. 21. Jul. 44. 
 Nero, 12. 
 
 2. An edifice constructed for the 
 exhibition of sham fights, in imitation 
 of naval engagements (Suet. Tib. "j^. 
 Tit. 7. ) ; of M-hich there were several 
 in the city of Rome ; consisting of a 
 large basin of water, surrounded by 
 
 example from a silver medal of the 
 Emperor Domitian. 
 
 XAUPE'GU.s (i-oi-jjjot). Aj:.-;.- 
 
 wri^ht. Pandect. 
 
 IsA\A'LE {rn»y, 1 fi' ptoy oXfrdf, 
 Herod, ii. 159.) A dcci and a\\-i- 
 yard in which ships were built, re- 
 paired, and laid up in ordinary, with 
 all the gear and tackle belonging to 
 them. Virg. ALn. '\\. 593. Liv. viii. 
 14. xl. 51. Vitruv. \. 12. 7. 
 
 2. \i'av<JTaQ\iov). A roadstead, or 
 harbour for ships on the coast. Ov. 
 Her. xviii. 207. 
 
 XAVAR'CHUS (I'oinpYoc). A 
 naval captain who commanded a single 
 vessel in a squadron. (A'eg. Mil. v. 
 2. Cic. Verr. ii. 5. 32.) But the 
 Greeks gave the same title also to the 
 Spartan admiral-in-chief. ThuCMj. 
 iv. II. 
 
 XA'VIA. A small boat, like the 
 ahetis, linter, or monoxlyus. Macrob. 
 Sat. i. 7. 
 
 2. Caf'ita aut naz-ia. An expres- 
 sion used by the Roman boys when 
 tossing up, corresponding with our 
 '■ heads or tails," instead of ^^■hich 
 they cried " heads or vessel," because 
 the oldest coins, the As and Semissis, 
 had the head of Janus for a device 
 on one side, and the prow of a ship 
 
 an architectural elevation, containing 
 seats for the spectators, similarly dis- 
 posed to those in the Circus or Am- 
 phitheatre ; as shown by the annexed 
 
 on the reverse, as shown by the 
 annexed example, representing an 
 original half as. ilacrob. Sat. i. 7. 
 
 3. A shallow trough, excavated 
 from a. single trunk of wood, like a 
 boat, especially employed at the vint- 
 age. Feslus, s. v. 
 
 XAVICEL'LA and NAVICULA. 
 Diminutives of Na'\'is. 
 
 XAVICULA'RIUS. A Roman 
 shipowner, who made an income by 
 transporting goods and passengers 
 from place to place in a vessel of 
 which he was the o%raer and master ; 
 
442 
 
 NAVICULATOR. 
 
 NA VIS. 
 
 corresponding with the Greek naucle- 
 rus. Cic. Fam. xvi. 9. Id. Verr. ii. 
 2. 55. Tac. Ann. xii. 55. 
 
 NAVICULA'TOR. (Cic. Manil. 
 5.) Same as last. 
 
 NAVIGIOLUM. Diminuti-ve of 
 
 NAVIG'IUM (tt-XoIo).). a general 
 term for any kind of vessel con- 
 structed for sailing or rowing. Cic. 
 Virg, &c. 
 
 NAVIS (vavQ). A skip; as a 
 general term, including all kinds, 
 whether worked by oars or sails ; but 
 mostly applied to vessels of the 
 larger class, with an epithet added to 
 discriminate the particular kind in- 
 tended ; as, 
 
 I. Navis oneraria [arpoyyvXrj vadc;, 
 ttXoIov (^opriKov). A ship of burden ; 
 employed as a store ship in attendance 
 on a fleet ; or as a merchant vessel for 
 the transport of goods, merchandize, 
 or any kind of freight. It was of a 
 heavy build, with a round hull, and 
 generally whole decked, but had not 
 an armed beak {rostrujn], and was 
 always worked as a sailing vessel, 
 without oars or ^sweeps ; all which 
 particulars are exhibited in the an- 
 nexed example, representing the 
 
 vessel of a Pompeian trader or ship- 
 owner, from a sepulchral monument. 
 Liv. xxii. II. XXX. 24. Nep. Them. 
 2. Non. s. V. p. 536. 
 
 2. Navis actuaria (tTrkwTrot'). A 
 vessel, worked with sweeps as 
 well as sails ; not intended to be 
 brought into action, but employed in 
 a fleet for all purposes requiring ex- 
 pedition ; for keeping a look out, as 
 a packet-boat, transport, and also by 
 
 pirates. (Non. j. v. Gell. x. 25. 3. 
 Liv. xxi. 28. XXV. 30.) It was never 
 fitted with less than eighteen oars 
 (Scheffer, Mil. Nav. ii. 2.) ; and the 
 example introduced, representing the 
 
 vessel which transported .^neas and 
 his companions to Italy, in the Vati- 
 can Virgil, has twenty, ten on a side. 
 3. Navis longa {vavq fiaxpa). A 
 long sharp-keeled ship, or galley; 
 propelled by a single bank of oars, 
 and forming an intermediate class 
 between the navis actuaria and those 
 which had more than one bank, such 
 as the bi7-emis^ triremis, &c. (Liv. 
 XXX. 24.) These vessels were equip- 
 ped with as many as fifty oars (He- 
 rod, vi. 13S.); and the annexed ex- 
 
 ample, which is copied irom a mosaic 
 in a tomb near Pozzuoli, has forty- 
 eight, twenty-four on a side, the 
 exact number carried by the Medi- 
 terranean galleys of the middle ages. 
 (Jal. Archeologie Navale, tom. i. p. 
 25.) The same word is also used in 
 a g^eneric sense for a man-of-war in 
 general, including those which had 
 several banks of oars, because, in 
 reality, they were all laid down upon 
 the long principle, with a sharp keel 
 and lengthened line from stem to 
 stern, instead of the short round bot- 
 toms adopted for the commercial 
 marine and some piratical vessels. 
 
NAXA. 
 
 NEO. 
 
 443- 
 
 4. Navis iecia, strata, or constrata 
 [vavi KardippnKTri). A decked vessel, 
 as opposed to one which is open or 
 half-decked. (Liv. xxx. 10. xxxvi. 
 43. Hirt. B. Alex. 11. Tac. Ann. ii. 
 6.) The first woodcut shows a 
 decked vessel of the commercial 
 marine ; the one following, of the 
 navy proper. 
 
 5. Navis aperta (d^paKrof). An 
 open vessel, without any deck, or 
 only half-decked. (Liv. xxii. 19. 
 xxxvi. 43. ) See the example, No. 3. 
 
 6. Navis turrita. A war galley, 
 with a tower erected on its deck, 
 from which the combatants discharged 
 their missiles as from the walls of a 
 
 Mt&. 
 
 fortress (Virg. Ain. viii. 693. Flo- 
 rus, iv. II. 5.); said to have been first 
 introduced by Agrippa. (Serv. ad 
 Virg. /. <:.) The illustration is from 
 a bas-relief, published by Montfaucon. 
 
 NAXA. The reading of some 
 editions of Cicero (Att. xv. 20.) for 
 Nassa ; which see. 
 
 NEB'RIS (.'f/Hpif). K fawn's 
 ski7i; worn as an article of dress by 
 persons addicted to the chase (Serv. 
 ad Virg. Gearg. iv. 342.) ; but more 
 especially occurring in works of art, 
 
 and amongst poets, as a character- 
 istic covering of Bacchus and his 
 
 followers, by whom it is usually put 
 on &s 2.Vi exomis, (Stat. Theb.\\. 664. 
 Achill. i. 609.) The illustration, from 
 a Greek bas-relief, represents a Faun 
 attending upon Bacchus, with the 
 nebris in his hands ; and the wood- 
 cut s. SiMPULUM shows it upon the 
 person of a priestess engaged in mak- 
 ing a libation. 
 
 NEO (I'fw, VTjSw, KXiiSiu). To 
 spin, or twist a number of separate 
 fibres of wool or flax into a single 
 thread. The practice of spinning 
 afforded universal occupation to the 
 women of ancient Greece and Italy, 
 as it does to the modern population 
 of the same countries, in which every 
 peasant woman spins her own thread, 
 with the same simple machinery as 
 was employed by the females of the 
 heroic ages, the distaff (coins) and 
 spindle (fusus). The annexed illus- 
 tration, representing Hercules with 
 the distaff and spindle of Omphale 
 from an ancient mo- 
 saic in the Capitol at 
 Rome, will elucidate 
 the manner in which 
 the process is con- 
 ducted, and explain 
 the terms employed 
 to describe the differ- 
 ent steps in the ope- 
 ration. The loaded 
 distaff (coins compta, 
 or la7ta amicta) was 
 fixed to the left side 
 of the spinner, by running the end of 
 thestick through t\'ieg\'cA\e{cingulnm), 
 instead of which the modern women 
 use their apron strings. A number of 
 fibres (stamina) are then drawn 
 down from the top with the left 
 hand {ducere lanam. Ov. Met. iv. 
 34.), and fastened to the spindle, 
 which is then set twirling with the 
 thumb and finger, as boys spin a tee- 
 totum (stamina nere. Ov. Fast. ii. 
 771. pollice versare. Met. iv. 34. ver- 
 sare pollice fiisum. Met. vi. 22. Com- 
 pare TibuU. ii. I. 64.) The rotatory 
 motion of the spindle, as it hangs 
 suspended (wood-cut, p. 192.), twists 
 
444 
 
 NEOCORUS. 
 
 NEUROBATA. 
 
 these fibres into a thread (Jilum), 
 which is constantly fed from above 
 by drawing out more fibres from the 
 distaff as tlie twist tiglitens [ducere 
 stamina versato fuso. Ov. Met. iv. 
 221.). When the length of the thread 
 has grown so long that the spindle 
 nearly touches the ground, the por- 
 tion made is taken up and wound 
 round the spindle, and the same pro- 
 cess is again resi.:ned, until other 
 lengths are twisted, and the spindle 
 is entirely covered with thread, so 
 that it can contain no more, when the 
 thread is broken from the distaff 
 (rumpere supremas colas. Val. Place, 
 vi. 645.), and the whole rolled up 
 into a ball {glomus) ready for use. 
 Compare CatuU. Ixiv. 312 — 318., 
 where the operation is described in 
 detail. 
 
 NEO'CORUS (I'Ewicopoc). A 
 Greek term, corresponding to the 
 Latin adituus ; a verger who has the 
 charge of a temple, and the objects 
 contained in it ; and whose duty it 
 was to attend to the sweeping and 
 cleaning of the same. Hence the 
 inhabitants of the Greek towns often 
 styled themselves the neocori of their 
 patron divinity ; and in later times, 
 as a piece of refined flattery, of the 
 Roman Emperor ; thereby intending 
 to express devotion and piety towards 
 the sovereign, and at the same time 
 insinuate his divinity. Firm. Math. 
 3. 7- n. 9. Inscriptions on coins and 
 medals. 
 
 NER'VIA. (Varro, ap. Non. s. v. 
 p. 215.) Same as Nervus, I. 
 
 NER'VUS (rfDpor). The string 
 of a musical instrument. Cic. Or. 
 iii. 57. 
 
 2. A bow-string. Virg. Ain. x. 
 131. ix. 622. 
 
 3. A raw hide, with which shields 
 were covered. Tac. Ann. ii. 14. Sil. 
 Ital. iv. 291. 
 
 4. (Ji'XoTTJJij. Gloss. Philox.) A 
 contrivance for confining slaves and 
 criminals ; which appears to have 
 had a considerable resemblance to 
 our stocks, being made of wood or of 
 
 iron, with holes through which the 
 feet were inserted, and fastened with 
 tliongs. (Festus, s. v. Plant. As. iii. 
 2. 5. XII. Leg. ap. Geil. xx. i.) 
 Hence frequently used for Career. 
 
 NESSOTROPHrUM (vr,<7mTpo- 
 (pioiv). A duck-yard, where ducks 
 were reared and kept ; comprising 
 one of the principal dependencies of 
 a country villa or farm. It was en- 
 closed by a wall fifteen feet high, 
 carefully covered with cement of a 
 fine quality, which was highly po- 
 lished to prevent cats and vermin 
 from climbing up it, and surmounted 
 by a strong trellis, from the top of 
 which a net was spread over the 
 whole enclosure, in order to protect 
 the inmates from birds of prey, and, 
 at the same time, prevent theni from 
 flying away. The centre of the en- 
 closure was occupied by a pool of 
 water, having an island planted with 
 aquatic shrubs in the middle ; and 
 the sides of the pool laid down in 
 grass to a depth of twenty feet from 
 the margin of the water. Beyond 
 this and against the outer wall the 
 nests for the birds were ranged, each 
 one being a foot square, formed of 
 stone, and having some plants of box 
 or of myrtle between it and its neigh- 
 bour. Along the front of the nests 
 there was a narrow trough or gutter 
 sunk in the ground, through which a 
 constant stream of water was directed, 
 and in this the food was mixed. 
 (Varro, /?. R. iii. 10. Columell. viii. 
 15.) It is not to be supposed that 
 every duck-yard was formed upon so 
 extensive and perfect a plan ; but the 
 above description, from Cato and 
 Columella, supplies a notion of the 
 care and expense bestowed upon 
 these birds by large farmers and 
 wealthy country gentlemen. 
 
 NEUROB'^ATA (.'ELpo/Barlir). 
 
 One who danced upon a very fine but 
 strong cord made of gut, so that he 
 would appear to the spectators at a 
 little distance to tread upon nothing 
 but the air ; whereas the regular rope 
 dancer (funambulus) performed his 
 
I^EUROSPASTON 
 
 exploits upon a stout rope easily dis- 
 cernible, and, consequently, his art 
 was inferior in point of skill and of 
 the illusion produced. Vopisc. Ca- 
 tin. 19. Firm. Math. 8. 17. 
 
 NEUROSPA.S'TON yvtvpoa-Rcw- 
 roy). A puppet, or marionette (Aul. 
 Gel. xiv. I. 9.), having the different 
 limbs attached by wires, so that they 
 could be put in motion imperceptibly 
 by a thread (Hor. Sat. ii. 7. 82.), as 
 is still a common practice. These 
 dancing dolls (which were very com- 
 mon amongst the Greeks)were usually 
 exhibited at their shows, and appear 
 to have been brought to great perfec- 
 tion ; for Aristotle (de Ahind. cap. 
 6.), paraphrased by Apuleius [de 
 Mund. p. 741.) speaks of some which 
 moved their limbs, hands, head, and 
 eyes in a very natural manner. 
 
 NICETE'RIUM (viKitriipiov) . A 
 prize of victory, or reward of valour, 
 like the phalara or torquis, which the 
 recipient wore on his breast or neck 
 (Juv. iii. 68.), as the modems do their 
 crosses and ribands ; but the word is 
 properly Greek, and has reference 
 more particularly to the customs of 
 that nation. 
 
 NIMBUS. In its ordinary signi- 
 fication, is applied to gloomy and 
 troubled weather, a dark and stormy 
 cloud, ii shower of rain ; whence it is 
 also used to express any thing which 
 spreads itself like a cloud, especially 
 the light fleecy vapour which poets 
 assign to their gods when they 
 
 appear upon earth ; as a lustrous veil 
 
 ^vi^- 
 
 NIMBUS. 445 
 
 irradiated by the heavenly splendour 
 which emanates from them, like the 
 nimb round Christian saints, and the 
 annexed example, representing Iris, 
 in the Vatican Virgil. (Virg. ^n. 
 A. 634. Id. ii. 615.) 
 
 2. But as an accessory of this ex- 
 tent would be generally embarrassing 
 in the conduct ...- ^ .... 
 
 of a picture, ,-■'' '; '/ '-, 
 
 the ancient ar- 
 tists resorted to 
 the expedient of 
 representing the 
 same thing in 
 a conventional 
 manner by a 
 circle of light 
 thrown only round the head, as in 
 the annexed example, from a paint- 
 ing of Pompeii. The later writers de- 
 signated this circle by the same term 
 (Serv. ad Virg. ^-En. ii. 615. iii. 585. 
 Isidor. Oiig. xxix. 31. 2.) ; and it 
 formed the original of the glory or 
 aureole round the heads of Chris- 
 tian saints. Most writers ascribe 
 the use of the nimbus and glory, as 
 now explained, to the Greek \xt]viaKoc, 
 which was a, circular disk of metal 
 placed horizontally over the head of 
 a statue in the open air, to protect it 
 from the weather and bird-stains 
 (Aristoph. Av. II14.); an object of 
 undoubted utility in actual use, but 
 scarcely appropriate, considering the 
 association of ideas connected with 
 it, to be adopted as an ornament for a 
 god or a saint. 
 
 3. A linen band, oniamented with 
 gold embroidery, and worn by fe- 
 males across the 
 forehead (Isi- 
 dor, Orig. xix. 
 31. 2. Arnob. 
 ii. 72. Compare 
 Plant. Pan. i. 
 2. 138.); in or- 
 der to contract 
 its size, which 
 produces a more 
 juvenile appearance (compare Pet. 
 Sat. 126. 15. frons minitna,) as a mark 
 
446 
 
 NIVARIUS. 
 
 NODUS. 
 
 of beauty ; for a high forehead is 
 the attribute of age, which bares the 
 temples, not of youth. 
 
 4. Nimbus viheus. A vessel of 
 glass, supposed to be used for cooling 
 wine ; and so termed, because, when 
 filled with snow, the steam on the 
 glass gave the appearance of a mist, 
 or to the contents that of a fleecy 
 cloud. Mart. xiv. 112. 
 
 NIVA'RIUS. See Colum, 2. 
 and Saccus, 3. 
 
 NODUS. A knot ; by which cer- 
 tain articles of apparel were tied on 
 the top of the 
 shoulder, instead 
 of being fastened 
 with a brooch 
 (fibula). Virg. 
 
 yEn. vi. 301. 
 The example re- 
 p resents two 
 Roman soldiers 
 in their military 
 cloaks, the one on 
 the left fastened 
 by a nodus, the 
 other with a fi- 
 bula, from a group on the Column of 
 Trajan. The rustic at p. 429. play- 
 ing the monaulos, has an exoniis fast- 
 ened in the same way, which was also 
 the ordinary costume of the Greek 
 and Roman mariners (Plant. Mil. iv. 
 4. 44.) ; and the barbarians on the 
 columns are frequently represented 
 with their cloaks isaga) tied by a knot 
 like the above figure. From these 
 instances it will be readily understood 
 that the practice was especially 
 characteristic of the poorer classes, 
 who could not afford an ornamental 
 fastening ; hence it is assigned to the 
 ferryman Charon to describe his 
 poverty and occupation — sordidus ex 
 humeris nodo dipendet atnictus. Virg. I.e. 
 
 2. A knot ; by which the girdle 
 (cingulum) was tied under the bosom 
 (Virg, ALn. i. 320.) ; as shown by the 
 next illustration, from a small ivory 
 carving ot Diana, draped in the man- 
 ner described by Virgil in the pas- 
 sage just cited — nodo sinus collecta 
 
 fluentes. Hence the word is also 
 
 applied to the embroidered girdle of 
 Venus. (Mart. vi. 13.) See Cestus. 
 
 3. A knot ; by which the band was 
 tied round a tuft of hair (cirrus, co- 
 rymbus, crobylus), 
 produced by 
 drawing the hair 
 back from the 
 roots all round 
 the head into a 
 mass at the occi- 
 put, as shown by 
 the annexed example, from a bas-re- 
 lief of the Vatican ; a fashion fre- 
 quently adopted by the young women 
 and youths of Greece, and common 
 to some of the German tribes. Mart. 
 Sped. iii. 9. Ep. v. 37. 8. Tac. Germ. 
 38. 
 
 4. The knot or thong by which 
 the common leather amulet (bulla 
 scortea) was tied round the neck of 
 poor people's children. (Juv. v. 165.) 
 See the illustration s. Bulla, 2. 
 
 5. A thong attached to a spear, for 
 the purpose of discharging it with 
 greater power when used as a missile 
 (Sil. Ital. i. 318.) ; more commonly 
 termed Amentum ; where see the 
 illustration. 
 
 6. The knot by which each mesh of 
 a net is fastened ; whence the mesh 
 itself. Manil. v. 664. 
 
 7. (oZ,oq) A wood-bud on the branch 
 of a tree (Columell. Arb. iii. 4.) ; 
 whence the knot produced by cutting 
 off the minor shoots from the parent 
 branch (Liv. i. 18.) ; and thence, in a 
 special sense, the club of Hercules, 
 
NOMENCLA TOR. 
 
 which is always represented as co- 
 vered with knots. Senec. Here. CEt. 
 1661. Alciphr. Ep. iii. 55. 57. 
 Clava, 3. 
 
 XOMENXLA'TOR. A sort of 
 usher ; a slave kept by great person- 
 ages amongst the Romans, whose bu- 
 siness it was to make himself ac- 
 quainted with the names and persons 
 of every one who was in the habit of 
 attending his master's levees, so that 
 when the great man met any of them 
 out of doors, the noTnenclator, who 
 accompanied him, announced their 
 names, and enabled him to address 
 them personally, or pay them some 
 little appropriate compliment ; for to 
 pass a client without notice, even in- 
 advertently, might be regarded as an 
 affront, and possibly be resented at 
 the next elections. (Cic. Att. iv. i. 
 Senec. Ep. 27.) In great houses, 
 where the acquaintances and hangers- 
 on were very numerous, the nomen- 
 claior arranged the order of prece- 
 dence amongst the guests, announced 
 the name of each dish as it was served 
 up, and enumerated its peculiar excel- 
 lencies. Pet. Sat. 47. 8. Senec. Ep. 
 19. Plin. H. N. xxxii. 21. 
 
 NORMA (Kavwv). A square for 
 measuring right angles ; employed by 
 
 NUDUS. 
 
 447 
 
 carpenters, masons, builders, &c., to 
 prove that the angles are true. (Vit- 
 ruv. vii. 3. Plin. xxxvi. 51.) It was 
 formed in two ways ; either by two 
 rules (regula) joined together at 
 right angles, Ojp by a flat piece of 
 board with a right angle cut out of 
 it ; both of which are exhibited in 
 the illustration, from sepulchral 
 marbles. 
 
 NOSOCOMI'UM (roCTOKO/itToi). 
 A hospital, or infirmary for the poor. 
 Imp. Justin. Cod. I. 2. 19. and 20. 
 
 NOTA'RII. Short-hand writers ; 
 belonging to the class of slaves 
 termed generally librarii, amongst 
 
 whom they formed a distinct body, 
 being especially employed to commit 
 to writing the thoughts of their master 
 at his dictation. Plin. Ep. iii. 5. 15. 
 ix. 26. 2. Mart. xiv. 208. 
 
 NOTA'TUS. K %\-i.y^ branded 0x1 
 the forehead with certain marks or 
 letters declatory of the offence com- 
 mitted. Mart. iii. 21. 
 
 NOVA'CULA (£up6j'). A knife with 
 avery sharp edge, employedforshaving 
 the hair of the head or beard, like our 
 razor. (Pet. Sat. 103. I. Mart ii. 66. 
 Suet. Cal. 23. Alciphr. Ep. iii. 66. 9. 
 Compare CuLTELLtJS and CuLTER, 
 5.) Martial (vii, 61.) applies the 
 same name to the assassin's knife [siea). 
 
 NUBILA'RIUM. A large shed or 
 bam, open on one side, and situa- 
 ted close by the threshing-floor (area), 
 which was in the open air, in order to 
 house grain until it was threshed out, 
 and shelter it from sudden or partial 
 showers. Varro, Ji.jR. i. 13. 5. Colu- 
 mell. ii. 21. 3. 
 
 NUDUS (yu/ivoc). Unclad; in 
 the ordinary sense, denoting absolute 
 nakedness ; thence, in common lan- 
 guage, scantily or imperfectly clad, 
 .denoting a person of either sex who 
 
 is digested of all clothing except that 
 which is worn next the skin — the 
 Roman of his toga, the Greek of his 
 pallium — as we say undressed of a 
 man without his coat, or of a female 
 without her gown. But the Latin 
 nudus, as well as the Greek yviiv6Q, 
 appear to have indicated something 
 
448 
 
 NUMELLA. 
 
 NYMPHMUM. 
 
 more precise than the mere absence of 
 an outer garment (amictits) over the 
 tunic. For both words are particu- 
 larly used in describing the hard- 
 working population, agricultural la- 
 bourers, ploughmen, &c. {Hesiod. 
 Op. 391. Virg, Georg. ii. 299. Aurel. 
 Vict. Vir. llhist. 17.), who either 
 wore an exomis (wood-cut, p. 269.), 
 or a very short tunic, girt high up 
 above the knees, as the left-hand 
 figure in the illustration from a Pom- 
 peian painting , and when applied to 
 females they occur as descriptive of 
 one who escapes from danger in a 
 hurried flight and half dressed (Xen. 
 A nab. i. 10. 3.) ; or of the young 
 Doric virgins who contended in the 
 gymnasium (Aristoph. Lys. 82 ), 
 and wore a very small chemise, not 
 reaching to the knees, and leaving 
 the right shoulder exposed (Pausan. 
 •I. 16. 2.), precisely as shown by the 
 right-hand figure, from a statue in 
 the Vatican. In all these instances, 
 the style of clothing, which scarcely 
 conceals the person, really does sug- 
 gest a notion of nudity ; but that is 
 not so obviously the case when a 
 person wears an ordinary tunic, with- 
 out an amidns over it (see the ex- 
 amples f Tunica) ; besides which 
 both the Greeks and Romans had a 
 separate word to distinguish that 
 kind of dishabille ; viz. [iovox^twv or 
 cioxirwv, and TUNICATUS. 
 
 NUMEL'LA and NUJVIEL'LUS. 
 A contrivance devised for the pur- 
 pose of keeping men and animals 
 in a fixed position without the power 
 of motion, while under the infliction 
 of punishment (Non. s, v. p. 144. 
 Plant. As. iii. 2. 5.), the operations 
 of the veterinary {Columell. vi. 19. 
 2.), or any process for which steadi- 
 ness of posttire was deemed requisite 
 (Id. vii. 8. 6.). It was made hke a 
 pair of stocks for the neck, with two 
 boards or bars sliding in grooves 
 against the sides of two strong up- 
 rights, so as to open and shut at 
 pleasure, whicli allowed the head to 
 pass between them, and when closed 
 
 acted as a grip round the neck. (Co- 
 lumell. vi. 19. 2.) The legs were 
 then picketted by thongs round the 
 ankles, or fetlocks, if necessary, 
 Festus. s. V. 
 
 NUM'IDA. An outrider, or cou- 
 rier-a-cherual ; a slave who rode be- 
 fore his master's carriage, to clear 
 the way, announce his approach, or 
 for the sake of ostentation ; gene- 
 rally, a Numidian, a race of people 
 who were famous for their horseman- 
 ship. Senec. Ep. 87. lb. 123. Tac. 
 Hist. ii. 40. Inscript. ap. Marin. Fr. 
 Arv. p. 691. 
 
 NUP'TA (j-y/i^r;). A bride, 
 meaning, literally, a female who is 
 covered with a veil 
 (from mibere], because 
 the Roman women en- 
 veloped themselves 
 from head to foot in a 
 large yellow-coloured 
 veil at the wedding, as 
 shown by the annexed 
 figure of a bride, in a 
 Roman bas-relief, re- 
 presenting a marriage 
 ceremony. Cic. Ov. 
 Cass. Juv., &c. 
 
 NUP'TLE (ya/iof). A wedding ; 
 marriage nuptials. See Matrimo- 
 NIUM and CONKARREATIO ; under 
 which the rites and ceremonies are 
 explained. 
 
 NYCTOSTRATE'GUS. A title 
 adopted under the empire instead of 
 the old Prafecttts Vigilum, to desig- 
 nate the officer who commanded the 
 city watch, and went his rounds at 
 night, attended by a guard, to protect 
 the citizens from fire, robbery, house 
 breaking, &c. Arcad. Dig. 50. 4. 18. 
 § 12. 
 
 NYMPH^'UM or NYMPHE'- 
 UM (Ni;/i0ato»' or 'i^ii^(puov}. Lite- 
 rally, ii building dedicated to the 
 Nymphs (Phn. /T. A', xxxv. 43.) by 
 which was understood a grand and 
 lofty chamber, decorated with co- 
 lums, statues, and pictures, and 
 having a stream of spring water 
 gushing from a fountain in its centre 
 
OBBA. 
 
 OBSERA TVS. 
 
 449 
 
 (Liban. Antioch. p. 372,), so as to 
 form a cool and agreeable retreat for 
 the resort of a luxurious population. 
 (Philostr. iv. 8.) Many edifices of 
 this description are enumerated by 
 P. Victor ( Urb. Rom. ) in the city of 
 Rome ; and others writers generally 
 speak of them in connection with the 
 Theritue (Ammian. xv. 7. 3. Capitol. 
 Gord. 32. Cod. Theodos. et Valent. 
 1 1. 42. 5. and 6.), to which establish- 
 ments an apartment of the character 
 described would form a most appro- 
 priate appendage. 
 
 O 
 
 OBBA ui/i/?!?). A particular 
 kind of drinking-cup (Pers. v. 148. 
 Varro, ap. Xon. s. v. p. 545.), made of 
 earthenware, and sometimes of wood, 
 or of the Spanish broom. (Xon. /. c.) 
 The Latin name is translated by the 
 Greek a/j/3i? in the glossary of Phi- 
 loxenus ; and that word is explained 
 by Athenasus (xi. 8.) to be a drink- 
 ing vessel with a 
 sharp point. Di- 
 oscorides (v. 1 10. 
 applies it to the 
 lid of a vessel 
 used for making quicksilver, in a 
 passage translated by Pliny (H. jV. 
 xxxiii. 41.), who employs the word 
 cahx for the same object. The fi- 
 gure annexed, from an original of 
 baked clay, corresponds so com- 
 pletely with all these particulars, the 
 pointed form of Athenaeus, the caUx 
 of Pliny, and, when inverted, the lid 
 of Dioscorides, as to remove all 
 doubt respecting the genuine and 
 characteristic form of the oMa. 
 
 OBBA'TUS. Made in the shape 
 of an oiia, as described under that 
 word ; applied to 
 the skull caps 
 worn by Castor 
 and Pollux 
 
 (Apul. Met. X. 
 p. 234.), which 
 are often represented on works of 
 
 art ending in a sharp point at the top, 
 like the example annexed, from a 
 painting of Pompeii. Charon wears 
 a cap of still closer resemblance in 
 shape to the drinking-cup delineated 
 in the preceding wood-cut on a fic- 
 tile vase in Stackelberg's Grad. d. 
 Hell. PI. 47. ; so that there is no 
 necessity for altering the reading in 
 the passage of Apuleius, as some 
 have done. 
 
 OBELIS'CUS [h^tXldKoe). Lite- 
 rally, a small spit ; whence applied 
 to other things which pos- 
 sess a sharp or pointed ex- 
 tremity, like a spit ; and 
 especially to the tall, slender, 
 rectangular, columns, upon 
 a narrow base, and terminat- 
 ing in a point of the top, 
 which were originally in- 
 vented by the Egyptians, 
 and retain their ancient name ' If:' | 
 of obelisk with us. (Plin. [('Tm 
 
 //. N. xxxvi 13. Ammian. - '^^■' ' 
 
 xvii. 4. 6. ) The illustration repre- 
 sents an original Egyptian obelisk, 
 covered %vith hieroglyphics, which 
 was originally brought to Rome for 
 the purpose of decorating the mauso- 
 leum of Augustus, in the Campus 
 MartiiH. 
 
 OBEX. A fastening to a door. 
 It does not appear that the word had 
 any special meaning, being applied in 
 a manner which admits of various in- 
 terpretations ; a bolt, for instance, 
 bar, lock, or latch ; and, conse- 
 quently, it may be considered as a 
 general term applicable to any of the 
 various contrivances adopted by the 
 ancients as door fastenings. Ov. 
 Met. xiv. 780. Tac. Hist. iii. 30. 
 Paulus ex Fest. s. Obices. 
 
 O B' O L U S (o/3oX6!.). A small 
 piece of Greek money, originally of 
 silver coinage, but in later times of 
 bronze ; and of which there were 
 two standards — the Attic, worth 
 about I la', of our money, and the 
 iEginetan, worth about 2\d. Vitniv. 
 iii. I. 7- 
 
 OBSERA'TUS. Fastened with a 
 2 F 
 
45° 
 
 OBSTRAGULUM. 
 
 OCREA. 
 
 Sera, which see. Terent. Eun. 
 iv. 6. 25. Liv. V. 41. Mart. vii. 
 20, 21. 
 
 OBSTRAG'ULUM. The flat 
 leather strap or thong with which a 
 shoe of the 1 
 
 kind called 
 
 crepida was 
 bound round 
 the foot, 
 passing be- 
 tween the 
 great and first toe, and over the in- 
 step, as shown by the annexed ex- 
 ample, from a Greek marble. Ex- 
 travagant persons had these some- 
 times studded with pearls. Plin. 
 H. N. ix. 56. 
 
 OBSTRIGIL'LUM. A particu- 
 lar kind of shoe, which had the lap- 
 pets for the strings sewed 
 on to the sole at each rVF* 
 side, as shown by the 
 annexed example, from a 
 Pompeian painting. Isidor. Orig. 
 xix. 34. 8. 
 
 OBTURA'CULUM and OBTU- 
 RAIVIEN'TUIM. A stopper, bung, 
 or cork, for closing the mouth of a 
 bottle, jar, or anything 
 of a like nature, some- 
 times made of cork, and 
 sometimes of glass. (iMar- 
 cell. Empir. 35. Plin. 
 H. N. xvi. 13.) The 
 example represents a glass bottle 
 and stopper, from a Pompeian paint- 
 ing. 
 
 OCCA'TIO Ow\oK07ri'a). The 
 process of breaking up the clods of 
 earth left by the plough (Cic. Sen. 
 15.), which we call harrowing. It 
 vras effected by drawing a hurdle 
 [crates] over the land, or a wooden 
 frame set with teeth (dentata), simi- 
 lar to our harrow, often weighted by 
 the driver standing upon it ; and 
 in very stiff soils the clods were 
 broken and levelled by hand, with a 
 heavy pronged instrument (rasirmn), 
 possessing the properties of a rake 
 and hoe. (Plin. H. N. xviii. 49. § 3. 
 Virg. Georg. i. 94, 95-) But the 
 
 most approved practice amongst the 
 old Romans was to subdue the land 
 
 by repeated cross ploughings instead 
 of harrowing. (Columell. ii. 4. 2. 
 Plin. /. IT. § 2.) The illustration re- 
 presents the process as performed in 
 Egypt, from a tomb at Thebes, in 
 which one man sows the seed, while 
 the occator covers it with his harrow. 
 
 OCCA'TOR (;8a>AoK(iTroF). One 
 who harrows, as explained by the 
 preceding article and illustration. Co- 
 lumell. li. 13. 1. Plant. C«//.iii. 5. 3. 
 
 OCELLA'TA. Marbles ; for boys 
 to play with. Suet. Aug. 83. Varro, 
 ap. Non. s. Margaritum, p. 213. 
 
 OCREA (KV-nfiis). A greave or 
 leggin ; that is, a piece of defensive 
 armour which covered the shin bone 
 from the ankle 
 to a little above 
 the knee (Varro, 
 L. L. V. 116.), 
 being fastened 
 by straps and 
 buckles at the 
 back of the 
 leg, which part 
 was left unco- 
 vered, whence 
 cruris dimidmm tegimen, Juv. vi. 257. 
 It was made of various metals, tin or 
 bronze, modelled to theformand.sizeof 
 the person's leg by whom it was worn, 
 and often highly ornamented by ar- 
 tistic designs embossed or chased 
 upon it. The illustration exhibits a 
 pair of original bronze greaves, from 
 Pompeii, represented in three-quarter 
 front and in profile ; the buckles by 
 which they were fastened on the legs 
 are seen at the sides, and a number 
 of small holes all round the edges, by 
 which the linings were fastened into 
 them. The originals are entirely 
 
OCREA TVS. 
 
 (ECUS. 
 
 451 
 
 piece in 
 helmet 
 Pompeii ; 
 nites and 
 
 covered with ornamental chasing 
 over the surfaces left plain in our 
 engraving, on account of the small 
 scale on which the drawing is made. 
 
 2. A hunter's leggin or boot ; 
 poetically for Pero ; which see. 
 Virg. Morel. I2i. 
 
 OCREA'TUS. Vie&xing greaves. 
 The Greeks and Etruscans wore a 
 pair, one on each leg, 
 as frequently repre- 
 sented on their fic- 
 tile vases, and exhi- 
 bited by the annexed 
 figure, which forms 
 an ornament to the 
 front of the ridge 
 a bronze 
 found at 
 the Sam- i 
 gladiators 
 equipped like them, 
 wore only one, and that upon the 
 left leg (Liv. ix. 40. Juv. vi. 256. ) ; 
 and the heavy infantry of the Ro- 
 mans also wore a single greave, but 
 on their right leg (Veg. Mil. i. 20.) ; 
 for it was their system to come at 
 once to close quarters, and decide 
 the battle at the sword's point, the 
 right leg being consequently in ad- 
 vance and unprotected — a position 
 exactly the reverse of the one 
 adopted by those who use a spear, 
 either for thrusting or hurling. 
 
 2. When applied to huntsmen, as 
 by Hor. Sat. ii. 3. 234, poetically 
 used for Peronatus ; which see. 
 
 OCTASTY'LOS (oKTaarvXas). 
 Octastyle ; that is, which has a row 
 of eight columns, in front of the pro- 
 naos. Vitruv. iii. 3. 7- 
 
 OCTOPH'ORON or OCTA'- 
 PHORON. A palanquin [lectica) 
 carried by eight slaves (Suet. Cal. 
 43. Cic. Q. Fr. ii. 10. Mart. vi. 84.), 
 in the manner shown by the illus. 
 trations J-. AssER, I. aflid Phalan- 
 
 GARII. 
 
 OCULARIA'RIUS. One who 
 followed the trade of making false 
 eyes, of glass, silver, or precious 
 stones, which were frequently in- 
 
 serted in marble or bronze statues. 
 Inscript. ap. Grut. 645. 1, ap. Fabretti, 
 p. 641. n. 357. 
 
 OCULA'RIUS. An oculist 
 (Scrib. Covip. 37.) ; often connected 
 with medicus or chirurgus. Celsus, 
 vi. 6. 8. Inscript. ap. Grut. 400. 7. 
 
 ODE'UM (4ii1ov). The Odeum ; 
 a small theatre with a convex roof, 
 built by Pericles at Athens for mu- 
 sical performances (w5oi. Plutarch, 
 Pericl. 13. Vitruv. v. 9, 10.). Hence 
 the name was adopted for any small 
 theatre covered with a roof (theatrum 
 tectum], and appropriated as a concert 
 room. Suet. Dom. 5. 
 
 .OE'CUS or -OS (oTKor). Literally, 
 the Greek name for a house Latin- 
 ized ; and for a particular apartment 
 in a house ; originally of Greek de- 
 sign, but subsequently adopted by the 
 Roman architects, who introduced 
 several novelties into its constructive 
 details. In general style of arrange- 
 ment, it bore a close resemblance to 
 the atrium, with the exception of 
 being a close apartment, covered en- 
 tirely by a roof, without any opening 
 (compluvium) in the centre ; and was 
 principally, though not exclusively, 
 used as a banquetting hall, but sur- 
 passing in height and area, as well as 
 splendour, the ordinary dining-room 
 (triclinium). (Vitruv. vi. 7. 2. and 
 4. Plin. H. N. xxxvi. 60.) These 
 apartments were built in four diffe- 
 rent styles, each designated by an 
 epithet descriptive of the construc- 
 tion employed, or naming the country 
 from which the particular plan was 
 borrowed, or where it was most in 
 use, viz. 
 
 1. CEcus tetrastylos. The four- 
 columned cecus resembled an atrium 
 of the same name (wood-cut s. Atri- 
 um 2.), excepting that it had no im- 
 pluvium, and the roof covered the 
 square within the four columns, as 
 well as the aisles all round them. 
 Vitruv. vi. 3. 8. 
 
 2. (Ecus Corinthius. The Corin- 
 thian cecus resembled an atrium 
 of the same name (see wood-cut j. 
 
452 
 
 (£NOPHOR UM. 
 
 OLLA. 
 
 Atrium, 3.), excepting that it had a 
 vaulted roof, supported upon columns 
 at a certain distance from the side- 
 walls, but without any opening in 
 the centre or impluvium below. Vi- 
 tiTiv, vi. 3. 9. 
 
 3. (Ecus ALgyptius. The Egyp- 
 tian oecus was more splendid than 
 the last described, having its roof 
 over the central portion of the saloon 
 supported upon a double row of co- 
 lumns, like a basilica (see wood-cut 
 p. 8l.), and thus a story higher than 
 the sides, which projected like wings 
 all round, and were covered with a 
 flat roof and pavement, forming a 
 promenade round the central ajid 
 higher portion of the building. Vi- 
 truv. vi. 3. 9. 
 
 4. CEcus Cyzicenus. The Cyzi- 
 cene oscus, which was a novelty in 
 Italy at the time of Vitruvius, though 
 of frequent occurrence in Greece, 
 was principally intended for summer 
 use ; its characteristic peculiarity 
 consisted in having glass doors or 
 windows reaching down to the 
 ground, in order that the persons re- 
 clining at table might enjoy a view 
 of the surrounding country on all 
 sides. Vitruv. vi. 3. 10. 
 
 CENOPH'ORUM (olm(p6pov). A 
 basket or portable case for trans- 
 porting small quantities of wine from 
 place to place ; especially for the 
 supply of persons on a journey who 
 preferred carrying their own \\\\\e 
 with them to taking the chance of 
 buying what they could upon the 
 road. Hor. Sat, i. 6. 108. Pers. 
 V. 140. 
 
 CENOPH'ORUS (olvo'p6pos). A 
 slave who carried the wine basket 
 {anophoruni) last described. Such a 
 character was represented by one of 
 the statues of Praxiteles, which went 
 by the name. Plin. H. N. xxxiv. 
 
 CENOPO'LIUM (oii/oTTwA.ioi'). A 
 wine shop ; like the modem beer 
 shop and public house ; from which 
 the inhabitants of the vicinity sup- 
 plied themselves daily with the re- 
 
 quisite quantity of wine consumed at 
 each meal. Plaut. As. i. 3. 48. 
 
 OFFEN'DIX. Plural offendices ; 
 the strings by which the apex, or 
 cap worn by cer- 
 tain orders of the 
 priesthood, the 
 flamiiies and Sa- 
 lii for instance, 
 was fastened un- 
 der the chin, as 
 shown by the annexed example, from 
 a Roman bas-relief. Festus, s. v. 
 
 OFFICI'NA (epyaiTTripioi>). A 
 %aorks}wp, manufactory, or place in 
 which any handicraft trade is carried 
 on (Cic. Off. i. 42. ) ; as contradis- 
 tinguished from taberna, a shop 
 where retail goods are sold, and from 
 apothcca, a magazine or store ; the 
 particular kind being indicated by 
 the name of the workmen em- 
 ployed in it ; as, officina fullonum 
 (Plin. H. N. XXXV. 40. § 39.), of 
 fullers and scourers: tinge^itium (Id. 
 ix. 62.), of dyers; arariorum (Id. 
 xvi. 8.), of smiths; cetarioriim (Co- 
 lumell. viii. 17. 12.), of dry salters ; 
 and so en. 
 
 OLTTOR (Kaxo-vi-T-ns). A kitchen 
 gardener, as contradistingl^ished from 
 topiariiis, who attended to the shrubs 
 and evergreens. Columell. x. 229. 
 Id. xi. I. 2. 
 
 OLITO'RIUS, sc. hortus, a kit- 
 chen garden {\i\^. Dig. 50. 16. 198. ; 
 sc. forum, [Xa.xo.voTraX^loi') a vegetable 
 market. Liv. xxi. 62. 
 
 OLLA. A large jar or pot of 
 very common use and manufacture, 
 being formed 
 of baked earth 
 (Columell. viii. 
 8. 7. Id. xii. 
 43. 12.), though 
 sometimes me- 
 tal was em- 
 ployed for the ^^ 
 same _ object. 
 (Avian. Fab. xi. Plin. H. N. xxxiv. 
 20.) It had a flat bottom, swelling 
 sides, very wide mouth, and lid to 
 cover it ; and was employed for 
 
OLLARIUM. 
 
 OPIFERM. 
 
 453 
 
 many purposes, especially for cook- 
 ing, like the French pot-a-feu, and 
 for preserving fruits ; whence grapes 
 kept in jars are called ol lares uvce. 
 (Columell. /. t. Mart. vii. 20.) The 
 illustration, from a painting at Pom- 
 peii, shows all these particulars. 
 
 2. Olla ossuaria, or cineraria. An 
 earthenware jar of the same descrip- 
 tion, in which the bones 
 and ashes of the dead 
 were enclosed after burn- 
 ing, and deposited in the 
 sepulchral chamber. (In- 
 script. ap. Murat. 917. 
 I. ap. Grut. 626. 6.) 
 Ollce of this kind were 
 mostly employed for 
 persons of the humbler classes, many 
 of them being deposited in one vault 
 (wood-cut. s. Sepulcrum Com- 
 mune) ; sometimes standing under 
 niches round the walls of the cham- 
 ber, but more commonly buried up 
 to the neck in them, as shown by the 
 following wood-cut. The example 
 annexed represents an original found 
 in one of the sepulchres excavated in 
 the Villa Corsini at Rome ; the 
 mouth is covered with a tile or lid 
 (operculum), on which the name of 
 the person whose ashes were con- 
 tained inside is inscribed ; which ex- 
 plains an inscription in Muratori 
 (1756. 7.), Ollce quce sunt operculis 
 et titulis niarvioreis. 
 
 OLLA'RIUM, A niche in a se- 
 pulchral vault, in which cinerary urns 
 (c//<?)were deposited (Inscript. ap. Fa- 
 bretti, p. 13. No. 60.), mostly in 
 pairs, like pigeons in a nest, whence 
 
 missiles and stones of great weight. 
 It is described at length by Ammianus 
 (xxiii. 4.) ; but the details of ma- 
 chinery are always obscure, when the 
 actual form of the object itself is un- 
 known. 
 
 ONERA'RIA. (Cic. Att. x. 12.) 
 See Navis, i. 
 
 OP'A or OP'E (oirrj). A Greek 
 term, for which the Roman architects 
 employed the word columbarium. 
 (Vitruv. iv. 2. 4.) It signifies the 
 bed or cavity in which the head of a 
 tie-beam (lignum) rests ; whence the 
 space between one opa or lignum and 
 another was termed metopa or inter- 
 tignium. 
 
 OPER'CULUM (irtiS^uo). A Ha 
 or cover for a jar, pot, or other vessel 
 of similar description. (Cato, R. R. 
 104. Columell. viii. 8. 7.) See the 
 three last illustrations. 
 
 2. Operculum ambulatorium. A 
 sliding or moveable lid, which might 
 be depressed or raised, so as to cover 
 exactly the contents in the vessel it 
 belonged to, like that now used for 
 snuff and tobacco jars. The Romans 
 sometimes covered their beehives 
 with lids of this kind, in order that 
 the size of the honeycomb and hive 
 might be exactly proportioned to 
 each other. Plin. //. N. xxi. 47. 
 
 OPERIMEN'TUM. A general 
 name for anything which serves as a 
 cover or covering. 
 
 OPIF'ER^. Probably a cor- 
 
 c ivLiva .CAi:s\j< 
 
 t. DEMtTKlVS 
 
 CfiMt;!,!. 
 
 also termed columbarium. The il- 
 lustration represents two niches, each 
 one containing a pair of urns, from a 
 sepulchre near Rome. 
 
 ON'AGER. A powerful engine 
 employed in sieges for discharging 
 
 ruption of hypera (uwepa.i). The 
 
454 
 
 OPIFICINA. 
 
 OPTIONES. 
 
 ropes attached to the extreme ends 
 of the sail yard [antenna), for the 
 purpose of bracing the yard round 
 to the wind, called by our sailors the 
 braces. (Isidor. Orig. xix. 4. 6. 
 Horn. Od. V. 260.) They are very 
 plainly indicated in the example an- 
 nexed, from the device on a terra- 
 cotta lamp, each handled by a diffe- 
 rent sailor in the act of bracing round 
 the yard by their assistance. 
 
 OPIFICI'NA. (Plaut. Mil. iii. 3. 
 6.) Same as Officina ; which, 
 though a contraction, is the more 
 usual form, 
 
 OPIL'IO (oiWiJaos). a shepherd, 
 or a shepherd boy who watches a 
 
 flock of sheep at pasture. (Plaut. 
 As. iii. 1. 36. Columell. vii. 3. 13. xi. 
 I. 18.) The illustration is from an 
 ancient manuscript of Virgil in the 
 Vatican library. 
 
 OPISTHOD'OMUS(ojricrWS<,;«os). 
 A private chamber, like the modern 
 sacristy, built at the back of a temple. 
 Front, ad M. Cfes. I. 8. ed. Ang. 
 Maio. 
 
 OPISTHO'GRAPHUS (oTr.crfl^- 
 7pa(f>os). Written on both sides of 
 the paper, or backed, as it is techni- 
 cally called by our compositors ; a 
 practice not habitual to the ancients, 
 tjut adopted sometimes for economy, 
 especially in the case of foul copies 
 which were intended to be written 
 out fair afterwards. Plin. Ep, iii. 
 5. 17. 
 
 OPOROTHE'CA or OPORO- 
 THE'CE (oirapoeiiKTi). A store for 
 preserving autumnal fruits, such as 
 pears, apples, grapes, &c. Varro, 
 J?. R. i. 2. 10. Id. i, 59. 2. 
 
 OPPESSULA'TUS. (A-pu\. Met. 
 i. p. 16. ix. p. 198. Ammian. xxxi. 
 13.15.) Fastened with a Pessulus ; 
 which see. 
 
 OP'PIDUM. Generally, a town ; 
 thence, in a special sense, the mass of 
 buildings occupying the straight end 
 of a Circus (N^evius op. Varro, L. L. 
 V. 133. Festus, s. V. ), which included 
 the stalls for the horses and chariots 
 [carceres], the row of seats above, 
 where the musicians and spectators 
 sat, the gate between them, through 
 
 which the Circensian procession en- 
 tered the course (porta pompce), and 
 the towers which flanked the whole 
 on either side, all which together 
 presented the appearance of a town, 
 as shown by the annexed example, 
 representing the oppidum in the cir- 
 cus of Caracalla near Rome, restored 
 from the existing remains, which are 
 very considerable. One stall has 
 been added on each side of the en- 
 
 trance, because there were generally 
 fourteen, though this particular cir- 
 cus, which was a very small one, 
 only had twelve. Its general situa- 
 tion as regards the rest of the edifice 
 is shown by the ground-plan, p. 165. 
 A A and B., and a portion in elevation, 
 belonging to the hippodrome once 
 existing at Constantinople, at p. 166. 
 OPTIO'NES. Deputies or adju- 
 tants in the army, whom the superior 
 
OPTOSTROTUM. 
 
 officers and centurioEs had the power 
 of appointiiig to assist them in the 
 discharge of their duties, or to per- 
 form their duty for them in case they 
 were themselves invalided, or other- 
 wise incapacitated. Varro, L. L. v. 
 91. Veg. Mil. ii. 7. 
 
 OPTOSTRO'TUM. A flooring 
 made, or paved, with bricks. Not. 
 Tires, p. 164. ; from oirriir, coctiis, 
 and tTrpcoT6v, stratum. 
 
 O R A. A hawser, or cable by 
 which a vessel is made fast to the 
 shore, and which was thrown out 
 from the stem, whilst the anchor and 
 its cable (aruorale) kept the head 
 seawards. Liv, xxii 19. Quint, iv. 
 2. 41. 
 
 ORA'RIUM. A scarf or hand- 
 kerchief given to the populace by 
 some of the emperors at the Circen- 
 sian games, to hold up and wave in 
 the air as a sign of encouragement to 
 the drivers. Vopisc. Aurel. 48. Au- 
 gust. C. D. xxii. 8. n. 7. Compare 
 Hieron. Ep. 52. 9. 
 
 ORBIC'ULUS. K roller ox pulley 
 revolving upon an axis, and 
 having a groove in its circum- 
 ference for the rope to fit into ; 
 employed as a mechanical 
 power for raising or drawing 
 weights in the same manner as 
 still practised. Cato, R. R. 
 iii. 6. Vitruv. x. 2. passim. 
 
 2. A small roller placed at each 
 end of an axle or cylinder, to make 
 it revolve when drawn over the 
 ground ; applied specially to the re- 
 volver of the dentated cylinder used 
 for threshing out com in the ma- 
 chine called Plostellum Punicum. 
 Varro, R. ^. i. 52. I. 
 
 3. A weight made in a flat cir- 
 cular form, like the pulley, such as 
 still used in our shops ; a set being 
 made of different sizes, to fit one 
 another, of which a specimen is en- 
 graved by Caylus (vii. 31. i.), from 
 originals. Columell. iv. 30. 4. ; but 
 the passage is very obscure. 
 
 ORBI'LE. Varro, R. R. iii. 5. 
 15. ; but the meaning, as well as the 
 
 ORSIS 
 
 455 
 
 ! reading of the passage, is extremely 
 doubtfal. Some interpret the word 
 
 1 to mean the felloe of a wheel ; 
 others the extreme end of the a.xle 
 
 I which enters the nave. Schneider 
 
 j would read orbis. 
 
 ! ORBIS. In a general sense, 
 anything of a circular shape ; par- 
 ticularly when of a flat or hoUow 
 circular body, in contradistinction to 
 globus, which expresses a solid round. 
 Thence the word is frequently used, 
 especially amongst the poets, for any 
 object partaking of this constractive 
 form ; as, the disk of stone or metal 
 employed as a quoit (Ov. Fast. iii. 
 588. Stat. Tkeb. vi. 656. Discus) ; 
 the dish which contains the objects 
 to be weighed in a pair of scales (Ti- 
 bull. iv. I. 44. Lanx, 3.) ; the metal 
 plate employed as a looking-glass, 
 
 ! when made of a circular shape (Mart. 
 ix. 18. Speculu.m) ; a circular shield 
 (Pet. Sat. 89. 61. Stat. T/ieb. iv. 
 
 j 132, Clipeus, Parma) ; the circle 
 of a finger ring (Ov. Am. ii. 15. 6. 
 .\NULUS) ; the iron tire of = wheel 
 (Virg. Ceorg. iii. 361. Plin. B. A'. 
 
 ' viii.' 19. Rota) ; a fiUet of wool 
 
 ' (Prop. iv. 6. 6. Infula) ; a circular 
 table (Mart. xiv. 138. Cilibantu.m, 
 
 [ MONOPODIUM. ) 
 
 2. Orbis olearius (Spoj. jEsch. 
 Fragm. Pollux, vii. 150. x. 130. and 
 TpiiTT-np, Nicand. ap. Ath. iv. 11.). 
 A round fiat board of strong wood, 
 placed over the heap of bmised olive 
 skins, or of grapes already crushed 
 by treading, when they were subjected 
 to the action of the press beam {pre- 
 lum), in order that the beam might 
 distribute its pressure evenly over 
 the whole surface. (Cato, R. R. 18.) 
 See the article and illustration s. 
 TORCULAR, 2. where it is indicated 
 by the number 6, and which will 
 give a distinct notion of its use and 
 character. 
 
 3. (rpoxiJs. Geopon. ix. 19.) The 
 grinding or bruising stone in an olive 
 mill (trapetitm), formed of a circular 
 mass of volcanic stone, made flat on 
 one side, and cyhndrical on the other. 
 
45 6 
 
 ORCA. 
 
 ORCHESTRA. 
 
 in order to coincide with the circular 
 shape of the basin (mortarhim), 
 round which it worked. (C3.\.o,R.R. 
 xxii. I. cxxxvi. 5. and 7.) The cha- 
 racter and action of these stones will 
 be better understood by referring to 
 the article and illustration s. Trape- 
 TUM, on which they are marked by 
 the numbers 3. 3. 
 
 ORCA {opKT) or Kpx")- An ear- 
 thenware vessel of considerable size, 
 but smaller than the am- 
 phora, employed for holding 
 pickled fish (Her. Sat. ii. 
 4. 66. Arist. H-.t/. 676), 
 dried figs. (Coluraell. xii. 
 15. 2. Plin. II. N. XV. 21.), 
 oil and wine (Varro, R. R. 
 i. 13. 6.). It is described 
 as having a full body, sharp 
 pointed bottom, small mouth, and 
 long narrow neck (Bartolom. Font. 
 Comment, in Pers. iii. 48), precisely 
 as exhibited by the annexed figure, 
 which represents one of the numerous 
 earthenware vessels discovered in the 
 wine cellar of which a description 
 and representation is inserted p. 142. 
 J. Cella, 2. The form of the vessel 
 is also equally well adapted for the 
 purpose ascribed toit byPersius{/. c.) ; 
 whether his words are taken to mean 
 a dice box with a long narrow neck 
 — august a collo non fallier orca;, — or 
 to describe a game played by the 
 Roman children, in which a vessel of 
 this kind was stuck upright in the 
 ground, for boys standing at a certain 
 distance to pitch nuts into its mouth. 
 
 ORCHES'TA (o/)X7?crT:^j)- (Cas- 
 siodor. Var, Ep. iv. 51.) Properly, 
 a Greek word, for which the Romans 
 used Pantomimus. 
 
 ORCHESTOPOLA'RIUS (op- 
 Xijo^TOTToAos). A dancer in some par- 
 ticular style not ascertained, beyond 
 the inference collected from the 
 name, which seems to imply that his 
 art consisted in spinning his body 
 round and round with great rapidity, 
 like a dancing dervish of the East ; 
 from opxv^Tris, saltator, and 'n-o\€a, 
 versor. Firm. Math. viii. 15. 
 
 ORCHES'TRA {opxh<TTpa). The 
 orchestra of a Greek and Roman 
 theatre ; which occupied a corre- 
 sponding position, as regards the rest 
 of the edifice, with the pit of our 
 theatres, and consisted of a flat open 
 space in the centre of the building at 
 the bottom, circumscribed by the 
 lowest row of seats for the spectators, 
 and the boundary wall of the stage 
 in front, as shown by the annexed 
 
 iZilSffl 
 
 wood-cut, representing a view in the 
 smaller theatre at Pompeii, in which 
 the low wall on the left forms the 
 boundary to the stage, and the flat 
 semicircular recess on the right the 
 orchestra. 
 
 2. In the Greek theatres, the or- 
 chestra was the spot where the Chorus 
 stood and performed its evolutions, 
 for which a considerable space was 
 required ; consequently, it was deeply 
 recessed, and consisted of more than 
 a semicircle, as shown by the plan of 
 the Greek theatre s. Theatrum, on 
 which it is marked B. Plans of ten 
 different theatres discovered in Lycia 
 are engraved by Spratt and Forbes 
 ( Travels in Lycia, vol. ii. pi. 2. ), all 
 of which possess the same construc- 
 tive form. In the centre of the 
 orchestra was the thymele, or altar of 
 Bacchus. 
 
 3. In the Roman theatres, the or- 
 chestra has a close affinity with our 
 pit ; for as the Romans had no chorus 
 to their dramatic representations, it 
 was occupied by spectators, being ap- 
 propriated for the accommodation of 
 the senators and persons of distinc- 
 tion (Suet. Aug. 35. Nero, 12. Jul. 
 
ORCULA. 
 
 ORDO. 
 
 457 
 
 39. ) ; whence the word is used to 
 designate the upper classes as opposed 
 to the populace. (Juv. iii. 178.) It 
 was likewise much smaller than the 
 Greek orchestra, for the reason al- 
 ready given, and consisted of an 
 exact semicircle, as shown by the 
 plan of the theatre at Herculaneum s. 
 Theatrum, on which it is marked c. 
 
 OR'CULA. (Cato R. R. 117.) 
 Diminutive of Orca. 
 
 ORDINA'RII. A general name 
 for those slaves who occupied a posi- 
 tion corresponding to what we should 
 call upper se7-vants in our households, 
 including the atrieiisis or house por- 
 ter, cellarius or cellarman, dispensa- 
 tor or steward, pronius-coiidus, pro- 
 curator, &c. They superintended and 
 directed the execution of menial ser- 
 vices, but did not themselves per- 
 form them, for they had slaves of 
 their own (vicarii), purchased with 
 their own money, who attended upon 
 them. Suet. Galb. 12. UIp. jOig. 
 47. 10. 15. Id. 14. 4. 5. 
 
 2. Gladiatores ordinarzi. Gladia- 
 tors bred and trained in the regular 
 manner, that is, who were thoroughly 
 instructed in the rules of their art 
 (Seneca, Ben. iii. 28. Id. Efi. 7- 
 Compare Suet. Aug. 45.), as opposed 
 to the calervarii, who fought without 
 science and in tumultuous bodies. 
 
 ORDO. In a general sense, a row 
 or series of things placed in regular 
 order of succession one after the 
 other, as a row of trees, rank or file 
 of soldiers, &c. 
 
 2. In the ancient marine, a tier, 
 file, or, as it is commonly translated, 
 a bank of oars, varying in number, 
 according to the class and size of the 
 vessel, from one to fifty. The man- 
 ner in which these banks or ordines 
 were arranged or counted is still in 
 some respects a subject of dispute, 
 and will probably remain without a 
 satisfactory solution, unless the lucky 
 discovery of some artistic representa- 
 tion should enable future antiquaries 
 to base their theories upon some 
 better authority than mere conjec- 
 
 ture ; for amongst the many plans 
 which have been suggested, there is 
 not one entirely free from objection. 
 Those which appear reasonable upon 
 paper, and have, perhaps, some appa- 
 rent classical authority to lean on, 
 are found to involve mechanical im- 
 possibilities when reduced to prac- 
 tice ; and those which are both feasi- 
 ble, and proved by actual experiment 
 to be practicable, must still be ac- 
 cepted with hesitation, because they 
 are wanting in classical authorities to 
 support them. Up to the number of 
 five banks, we have pretty clear evi- 
 dence, both circumstantial and posi- 
 tive, that each one was counted by 
 rank, and not by file ; i. e. that the 
 entire number of oars, no matter how 
 many, extending in a line from the 
 stem to the stern, formed an ordo or 
 bank. Thus Tacitus describes a 7?to- 
 neris, or vessel which had only one 
 line of oars, by the expression, qut:e 
 otdine simplici agebatur {Hist. v. 23.), 
 as shown by the annexed illustration, 
 from a mosaic discovered near Poz- 
 
 zuoli. In the bireme or vessel with 
 two ordines, it is equally clear, from 
 other words in the same passage of 
 Tacitus, and the following illustra- 
 tion, from a marble bas-relief, that 
 
 the second bank was placed under 
 
45 8 
 
 ORDO. 
 
 ORE^. 
 
 the first, and counted in rank from 
 the bulwarks to the water's edge, the 
 lower oar ports, and, consequently, 
 the rowers' seats, being placed diago- 
 nally under the first, in order to di- 
 minish as much as possible the inter- 
 val between one bank and the other. 
 That the same principle was observed 
 in the disposition of a trireme or 
 vessel with tliree ordines, and each 
 bank counted in a similar manner be- 
 tween the water and the bulwarks, is 
 testified by the expression of Virgil 
 — icr7io C07isurgitnt ordijze remi {ALn. 
 V. I20. ), and the annexed illustration, 
 from an ancient Roman fresco paint- 
 
 ing, which confirms it. A similar 
 construction for four ordijies is indi- 
 cated by the illustration j. QuADRl- 
 REMIS, in which the banks are visibly 
 four deep, in an ascending line from 
 the water, though the individual de- 
 tails are less circumstantial and ex- 
 plicit, from the minuteness of the 
 design, which is only the device upon 
 a coin ; and we may thence fairly 
 conclude that a fifth ordo was dis- 
 posed and counted in the same way, 
 because it has been ascertained by 
 experiments that a series of five oars 
 ascending in a slanting direction 
 from the water's edge to the gunwale 
 could be arranged within the space 
 of nine perpendicular feet, the high- 
 est point of elevation from the water 
 at which an oar could be poised from 
 its thowl (scalmus] to be handled 
 with effect. (Howell, War Gallies 
 of the Aitcients, pp. 49. 51.) Beyond 
 
 this number the difficulty of counting 
 the banks commences, and conjecture 
 alone takes the place of authority, 
 whether written or demonstrative. 
 If more than five parallel tiers were 
 placed one over the other, it would 
 be practically impossible to use the 
 oar in a sixth tier, the fulcrum being 
 placed so high above the water that 
 it would elevate the handle above the 
 reach of the rower, or hinder the 
 blade from touching the water, or the 
 oar must be of such an inordinate 
 length that the part in-board would 
 reach from one side of the vessel to 
 the other, and beyond it. How then 
 are we to account for a vessel with 
 forty banks of oars, like the one 
 built by Ptolemy ? The most plau- 
 sible solution is, that, in all the larger 
 class of vessels, the oars were dis- 
 posed in five parallel lines, as in a 
 quinquereme, but that the banks or 
 ordines, after the number of five, 
 were counted in file instead of in 
 rank ; i. c. each ascending file of five 
 oars from the water's edge was called 
 an ordo, but the number of banks or 
 ordines were enumerated from stem 
 to stern, instead of from the water to 
 the gunwale. Thus a vessel with ten 
 banks would have ten files of oars, 
 counted from stem to stern, each one 
 of five deep in the ascending line, as 
 exhibited by the following diagram ; 
 
 a vessel with forty banks would pre- 
 sent the same arrangement of five 
 deep in file, but each rank between 
 stem and stern would contain forty 
 oar ports instead of ten ; a, length 
 quite within reasonable bounds, for 
 even the vioneris, a small vessel, in 
 the first cut, has twenty-four. 
 
 O'RE^ {Xo.\wi%). A snaffle bit ; 
 for riding and draught horses. (Ti- 
 tinnius, Nsevius, Cato, and Ccelius 
 ap. Fest. s. v. ) The curb bit, as used 
 
ORGANUM. 
 
 ORTHOGRAPHIA. 
 
 459 
 
 by us, in which a chain is pressed 
 against the under lip and jaw by the 
 leverage of branches, was unknown 
 to the ancients, amongst whom the 
 most approved bits were constructed 
 with great regard to the tenderness 
 of the animal's mouth, being formed 
 with easy supple joints, so that its 
 action was elastic, like that of a 
 chain, and the substance thick, in 
 order that it might bear with less 
 severity upon the parts, by distri- 
 buting its surface more extensively 
 over them. (Xen. Eq. a. 6. seqq.) 
 
 All these properties are exhibited in 
 the annexed example, from an ori- 
 ginal of bronze, which is made to 
 bend in joints, and is furnished with 
 a circular revolver, midway between 
 the centre and bridle ring on each side, 
 which induced the animal to keep his 
 tongue and mouth in motion. 
 
 OR'GANUM (opyavov). A gene- 
 ral name given to any instrument, 
 machine, or contrivance by which 
 human labour is assisted in agricul- 
 ture, architecture, warfare, &c. ; dif- 
 fering, however, from machina in this 
 jiarticular, that it required a certain 
 amount of skill from the person using 
 it, whereas that only wanted brute 
 force or numbers to work it. (Vi- 
 truv. X. I. 3. Columell. iii. 13. 12. 
 Plin. H. N. xix. 20. ) llence the 
 word is especially given to musical 
 instruments (Quint, ix. 4. 10. xi. 3. 
 20. ), and amongst these, more parti- 
 cularly to the one from which our 
 organ is descended (Suet. Nero, 41. 
 Lamprid. Alex. Sev. 27. Id. Heliog. 
 32. ) ; but which also had a special 
 nameof its own, inallusiontothewater 
 originally employed, instead of weights, 
 for working it. See Hydraulus. 
 
 ORNA'TRIX (Koa-niiTpia). A 
 lady'smaid, afemale slave, whose chief 
 business consisted in attending the 
 toilette of her mistress, to dress and 
 decorate her person, and especially 
 
 for the purpose of arranging her hair 
 (Ov. A. Am. iii. 239. Suet. Claud. 
 40. ), upon which the Roman women 
 bestowed a vast deal of attention 
 and ingenuity, judging from the 
 
 various and often fantastic coiffures 
 exhibited in the numerous busts re- 
 maining of the Imperial period. The 
 annexed illustration represents an 
 ornatrix, in a Pompeian painting, 
 dressing her mistress's hair with 
 flowers, some of which are seen lying 
 on the toilette table beside her. 
 
 ORNI'THON (ofvi6<iiv). An 
 aviary or poultry-house, forming one 
 of the principal appurtenances to a 
 farm, or country villa, in which all 
 kinds of domesticated birds were 
 reared, kept, and fattened for the 
 table. These buildings were con- 
 structed and laid out upon a very 
 magnificent scale by the Roman gen- 
 try and farmers. Varro, R. R. iii. 3. 
 Columell. viii. 3. 
 
 ORPHANOTROPHI'UM (op(f>a- 
 voTpo(p€7oy). An asyluvi for orphans, 
 where they were supported and edu- 
 cated at the public expense. Cod. 
 Justin. 22. 
 
 ORTHOGRAPIITA(opflo7pn(^;n). 
 A geometrical or architectural draw- 
 ing, representing an elevation or a 
 section of a building ; the first of 
 which consists in showing the exter- 
 nal front of the edifice, with all its 
 parts, apertures, and decorations, not 
 in perspective, but as they would ap- 
 pear to the eye of a spectator placed 
 at an infinite distance from it ; the 
 1 latter, in showing the whole plan of 
 
460 
 
 ORTHOSTATA. 
 
 OSSARIUM. 
 
 the interior as it would appear in like 
 manner if the external wall were re- 
 moved. (Vitruv. i. 2. 3. ) The de- 
 signs which originally accompanied 
 the work of Vitruvius being lost, we 
 have no example left of this style of 
 drawing amongst the ancients ; but 
 the skill they exhibited in making out 
 ground-plans, or mapping [icknogi-a- 
 phia) will stand surety for their excel- 
 lence in this other branch of the art. 
 
 ORTHOS'TATA (opeoirTcjTT)?). 
 Literally, which stands upright ; 
 whence employed by architects to 
 designate the front or facing of a wall. 
 
 composed of different materials from 
 the internal part of it ; viz. of regu- 
 larly laid bricks or ashlar outside an 
 irregular mass of rubble (fartura), 
 as in the annexed specimen of Ro- 
 man building. Vitruv. ii. 8. 4. 
 
 OSCILLA'TIO (alipo.). A swing, 
 or game at swinging (Pet. Sat. 140. 
 'Hygm.Fab. 130. Festus s. Oscillum. 
 Serv. ad Virg. Georg. ii. 389. ) ; a 
 favourite amusement with the an- 
 
 cients, and practised much in the 
 same manner as now, excepting that 
 the swing had four legs to stand upon 
 the ground like a chair, and was sus- 
 pended by four ropes instead of two, 
 as indicated by the example, which 
 represents a Greek lady swinging, 
 from a design upon a fictile vase. 
 The entire composition, intheoriginal, 
 
 contains another figure standing on 
 the ground behind the swing, with 
 her arms extended, in the attitude of 
 one who has just pushed it forward, 
 and awaits its return, to repeat the 
 operation. 
 
 OSCIL'LUM, Diminutive of Os ; 
 a small mask or image of the face; 
 more especially of Bacchus, which 
 the country people suspended in a 
 vineyard in such a manner that the 
 mask turned round and fronted dif- 
 ferent directions, as it was impelled 
 by the action of the wind ; it being a 
 current belief that the district became 
 
 fi-uitful towards which the aspect of 
 the god was directed. (Virg. Georg. 
 ii. 388—392. Macrob. Sat. i. 7.) 
 The illustration represents several of 
 these oscilla suspended on a tree, 
 from an engraved gem; and an ori- 
 ginal marble mask of Bacchus, in the 
 British Museum, with a ring at the 
 top for hanging it up. 
 
 OSSA'R'IUM and OSSUA'RIUM. 
 A case of marble, stone, or other ma- 
 terial within which 
 a more valuable 
 vase, containing the 
 bones and ashes of 
 the dead, were fre- 
 quently enclosed, 
 when deposited in 
 the sepulchral cham- 
 ber. (Inscript. ap. 
 Grut. 1043. 1. /*. 915. 3. ossuarium 
 viva sibi fecit. Ulp. Dig. 47. 12. 2.) 
 The example represents the original 
 case, in which the cinerary urn of 
 Agrippina was enclosed when depo- 
 
 ^-f^:- -r-y v"-?^ 
 
 
 ' ossaII 
 
 
 
 Ac;pir-nNA.M-Acmi'iw 
 
 
 
 DlVlAVCNCmS'/XDHIS 
 
 
 
 CtSliAMcl.CftEfiUW 
 
 
 
 lurais-cAisuus-tvi; 
 
 
 
 CEK4AH ICi-tnill CJVD, := 
 
 ^ 
 
 
 «i:» .111(1 
 
 / 
 
 
OSTIARIUS. 
 
 OVILE. 
 
 46 1 
 
 sited in the mausoleum of Augustus, 
 as testified by the inscription upon it ; 
 and is now preserved in the Capitol 
 at Rome. 
 
 OSTIA'RIUS (9i;pwp(fs). The 
 door keeper or house porter ; a slave 
 who sat in the porter's lodge (cella 
 ostiaria. Pet. Sat. 29. i.), or, in an- 
 cient times, who was chained himself 
 by the side of the entrance (Id. 28. 8. 
 Suet. Hh. 3.), to take cognizance of 
 all who entered. Same as Janitor. 
 
 OS'TIUM (eOpa). In strictness, 
 designates a door within the house, 
 as the door of a room contradistin- 
 guished from the street door (janua). 
 (Isidor. Orig. xv. 7. 4. Vitruv. vi. 3. 
 
 6. ) This distinction is clearly drawn 
 in a passage of Plautus (Pers. v. i. 
 6. ), ante ostium et janicam ; and is 
 aptly illustrated by the annexed en- 
 graving, representing the door-way 
 of a house at Pompeii, to which the 
 ceiling and doors are restored, for the 
 purpose of making the subject more 
 clear and comprehensible. The ja- 
 nua is the door flush with the exter- 
 nal wall of the house, which gives 
 admission to an entrance hall or pas- 
 
 sage (protkyrum), at the further end 
 of which is another door, the ostium, 
 half closed in the engraving, which 
 shuts off the atrium, or the aula of a 
 Greek house, from the entrance pas- 
 sage. Vitruvius styles both these 
 duas jamias (vi. 7. I . ) ; because the 
 distinction above mentioned, though 
 doubtless an accurate one, was seldom 
 observed, the word ostium being com- 
 monly used as synonymous with 
 janua, for any front or entrance door, 
 and especially for the entrance to a 
 temple (Vitruv. vi. 3. 6.), an example 
 of which is introduced p. 342. 
 
 2. The door which closed the front 
 of the stalls in which the chariots and 
 
 horses were stationed at the Circus 
 (Auson. Ep. xviii. II.) ; as shown 
 by the annexed example, from a bas- 
 relief in the British Museum. 
 
 3. Tfie mouth or entrance to a 
 port. (Virg. Ain. i. 400.) See the 
 illustration s. PoRTUS. 
 
 OVI'LE. Literally, a fold or pen 
 for sheep or goats ; thence used to 
 designate an enclosure in the Campus 
 Martins, in which each of the tribes 
 and centuries was separately mus- 
 tered, before the members proceeded 
 to give their votes (Liv. xxvi. 22. 
 Lucan. ii. 197. Juv. vi. 527.) ; so 
 called because it was partitioned off 
 with a railing, p ^er.a a 
 like a sheep ^ (\ 
 
 pen, which is .-v fej>^ 
 
 indicated by -^^9'J:;— j^~'v ■. „ 
 the palisade at (:A M (j • |pj 
 the bottom of - "'^,<,.v>^..3nj^ ' 
 the annexed en- K^<^t^(^^^<U 
 graving, from ' ^ 
 
 a coin of Nerva ; the figures above 
 are intended to represent the voters 
 as they come out of the tn/ile, and 
 
462 
 
 OVUM. 
 
 PMDAGOGUS. 
 
 pass over the bridge {pons suffragi- 
 onini), to throw their balloting cards 
 (tabella) into the balloting basket 
 {cista). 
 
 OVUM. An egg ; applied spe- 
 cially to a number of conical balls, 
 like eggs, which were 
 placed on the top of a 
 slab supported by co- 
 lumns, on the barrier 
 {spina) of a race-course 
 (circus), in order to 
 inform the spectators 
 of the number of cir- jmN»'x\m\\w»s 
 cuits round the goals 
 which had been run in each race. 
 As a single race comprised seven 
 circuits round the course, and the 
 eagerness and interest taken by the 
 populace in these exhibitions amounted 
 to a sort of phrenzy, some contrivance 
 became necessary for showing the 
 number of rounds that had been 
 made, in a manner which would at 
 once preclude the possibility of dis- 
 pute. This was effected by the plan 
 shown in the annexed illustration, 
 representing seven egg-shaped balls 
 supported upon four columns, as they 
 appear upon the spina in a Roman 
 bas-relief, on which a chariot race 
 is sculptured. The form of an egg 
 was selected in honour of Castor 
 and Pollux ; and one of these was 
 either put up immediately that each 
 round was completed by the leading 
 chariot, until all the courses had 
 been run ; or the entire number of 
 seven eggs were put up at the com- 
 mencement of each race, and one 
 taken down, as each circuit was 
 made. Considerable doubt and con- 
 tradiction exist respecting which of 
 these two methods was adopted ; but 
 the object and effect would be the 
 same in either ; perhaps, the practice 
 varied at different periods, or in dif- 
 ferent towns. Liv. xli. 27. Varro, 
 K. R. I. 2. II. Cassiodor. Var. Ep. 
 iii. 51. Dio. xHx. p. 417. 
 
 OXYB'APHUS (hi,v&6.^ov). 
 (Rhemn. Fann. de Pond. 75. Isidor. 
 Orig. xvi. 27.) A liquid measure 
 
 containing fifteen drachms ; properly, 
 a Greek form, for vdiich the Latin 
 word is Acetabulum ; which see. 
 
 P. 
 
 P^DAGOGIA'NI, sc. piteri. 
 Young slaves selected for their per- 
 sonal beauty, and brought up in the 
 houses of great people under the em- 
 pire, to act as companions and atten- 
 dants for their master's children, in 
 place oli\vt pccdagogus o[ etxXi^x times. 
 {Ammian. xxvi. 6. 15. xxix. 3. 3.) The 
 name, as well as the custom, in some 
 measure, has passed down through 
 the middle ages to the present day ; 
 for the modern name of ^^ page^^ is 
 an evident corruption of the old 
 I^atin term. 
 
 P^DAGO'GIUM. The division 
 or department in great houses where 
 young slaves were trained up for the 
 service oi pages (pcedagogiani), apart 
 from the rest of the slave family. 
 Plin. Ep. vii. 27. 13. 
 
 2. A page. (Senec. Vit. Beat. 17. 
 Id. Ep. 121. Plin. H. N. xxxiii. 54. 
 Compare Suet. Nero, 28. ) See Vm- 
 DAGOGIANI. 
 
 P^DAGO'GUS (waLoayayS^.) A 
 slave of the better class, whose pecu- 
 liar duty it was to superintend the 
 moral habits of his master's son, ac- 
 company him in his walks, conduct 
 him to and from school, and perhaps 
 also to give instruction at home. 
 {Cic. Ajn. 20. Senec. /j'a, ii. 22. 
 Quint, i. I. 8. Id. i. 2. 10.) He 
 thus occupied 1 position somewhat, 
 though not exactly, analogous to 
 that of tutor amongst us ; but resem- 
 bled more closely the "/?iiore" of 
 modern Italy, who is generally an 
 "abate," and accompanies his charge 
 upon all occasions, even when he 
 goes to pay a visit, precisely like 
 the pedagogue of ancient Greece and 
 Italy. The figure introduced at p 
 407. J-. Manica, I. is believed to be 
 intended for the padagogus of one of 
 Niobe's children ; the style of the 
 
PMNULA. 
 
 PAG US. 
 
 463 
 
 head and drapery are evidently meant 
 to characterize a foreigner. Artem. 
 
 PjE'NULA (iJ>oi>'(iA7)s). Oiieir. ii. 
 3. p. 135. Reiff. An article of 
 the outer apparel belonging to 
 the class of garments termed vesti- 
 menta clausa, or close dresses. It 
 was a round frock, with a hood, and 
 opening at the top for the head, but 
 otherwise entirely closed down the 
 front ; or sometimes with a slit reach- 
 ing half way up from the bottom of 
 the skirt in front, so that the flaps 
 might be taken up and turned over 
 the shoulder, in the manner shown 
 by the right-hand figure in the an- 
 nexed wood-cut ; but in all cases 
 
 without sleeves, whence those who 
 wore it are said to be entangled, con- 
 strained, and, as it were, enclosed in 
 their pcEnula [irretiti ; adstricti et 
 velut indusi. Cic. Mil. 20. Auct. 
 Dial, de Oral. 39.). It was worn 
 over the tunic ; particularly on jour- 
 neys, and in the city during very cold 
 or wet weather (Quint, vi. 3. 65. 
 Lamprid. Alex. Sev. 27.) ; occasion- 
 ally by women (Quint, viii. 3. 54.) ; 
 and was either made of cloth with a 
 very thick and long nap (Mart. xiv. 
 145.), or of leather (Id. xiv. 130.). 
 The illustrations exhibit a front and 
 back view of the article, from statues 
 engraved in the treatise of Bartholini, 
 de Psnula. 
 
 2. A particular part of the forcing 
 pump invented by Ctesibius of Alex- 
 
 andria, and called after him Cte- 
 SIBICA Machina, under which its 
 character is illustrated by the part 
 marked n. Vitruv. x. 7. 
 
 P^NULA'RIUS. One who 
 makes or sells panulce. Inscript. ap. 
 Grut. 646. 5. 
 
 P^NULA'TUS. (Cic. Mil. 10. 
 20.) Wearing the pcsnula, as ex- 
 plainedandillustrated under that word. 
 PAGA'NICA, sc. Pila. A parti- 
 cular kind of ball, stuffed with down, 
 and covered with leather, originally 
 used by the country people (pagani), 
 from whom it received the name, 
 though subsequently adopted by the 
 more refined inhabitants of the city. 
 It was larger and softer than the 
 trigon, but smaller and of more con- 
 sistency than the follis. Mart. xiv. 
 45. Id. vii. 32. 
 
 PA'GINA. Is either synonymous 
 with scheda ; that is, a sheet of paper 
 composed of a 
 number of strips 
 of the inner bark 
 of papyrus (phi- 
 lyrie), a number 
 of which, when 
 glued together, 
 formed a book or roll {liber, volumen) ; 
 or it signifies one of the written co- 
 lumns upon the sheet, as seen in the 
 annexed example, from a Pompeian 
 painting; thus corresponding pretty 
 nearly with our page, which seems 
 the best interplretation. Plin. //. N. 
 xiii. 24. Cic. Q. Fr. i. 2. 3. 
 
 PA'GUS (ttoyos). A Greek word 
 signifying literally a mountain peak, 
 in which sense it was adopted by the 
 Romans to designate any strong 
 position in the midst of the open 
 country, more fortified by nature than 
 by art, like the top of a precipitous 
 hill, to which the rural population of 
 the surrounding district could retreat 
 with their families, cattle, and pro- 
 perty, as to a place of security, upon 
 the occasion of any sudden incursion 
 or razzia so frequent during the bar- 
 barous methods of warfare which 
 characterized the earlier periods of 
 
464 
 
 PALA. 
 
 PALMSTRICUS. 
 
 Roman history. (Dionys. ii. 76. iv. 
 15.) And as each of these positions 
 naturally formed the nucleus of a 
 village, much in the same way as 
 many of the towns in modern Europe 
 have sprung up, from the tendency 
 of the industrious classes to establish 
 themselves within the protection of a 
 baronial castle, the name of pagus 
 was given to the village and district 
 immediately surrounding it, and the 
 name of pagani to the peasantry 
 spread over it, expressly to distinguish 
 them from the military. Varro, Z.Z,. 
 vi. 24. 26. Virg. Ceorg. ii. 328. Ov. 
 Fast. i. 669. Tac. Ann. i. 56. Cic. 
 Dont. 28. Suet. Aug. 27. 
 
 PA'LA. A spade, with an iron 
 blade (Columell. x. 45.), employed 
 both in gardening and husbandry. 
 (Id. V. 9. 8. Varro, L. L. v. 134 
 Liv. iii. 26. fossam foditns pala inni- 
 sits.) The ancient spade was, how- 
 ever, not so heavy an implement as 
 the one now in use, having a longer 
 handle, and smaller, as well as pointed 
 blade, as exhibited by the annexed 
 example, from a sepulchral painting 
 
 a considerable dittance into the air 
 across the direction of the wind, which 
 
 of the Christian era. The modem 
 Romans make use of a spade of pre- 
 cisely the same form, which they 
 designate by its ancient name, " la 
 pala.''^ 
 
 2. {izrvov.') A wooden spade, or 
 shovel of the same form as the iron 
 one, employed for winnowing com, 
 in the same manner as still practised 
 both in Italy and Greece. (Cato, 
 R. R. xi. 5.) It is made use of on 
 the threshing floor, and in the open 
 air when the wind sets in with a mode- 
 rate freshness. The labourer takes 
 up a shovel-full from the heap of com 
 already threshed out, and throws it 
 
 separates and carries away with it the 
 lighter particles of chaff and refuse, 
 leaving the heavier grain to fall back 
 upon the floor. The illustration re- 
 presents an Albanian peasant win- 
 nowing corn with a pala in the Ete- 
 sian wind. 
 
 3. (yuacSpa, a<pfvSuvr}, ttueAi?.) The 
 6ezi/ of a ring. (Cic. O^. iii. 9.) 
 Same as Funda, 4. where an illustra- 
 tion is given. 
 
 PALESTRA {iraXaiaTpa). Pro- 
 perly a Greek word, often used in 
 the same sense as Gymnasium ; or, 
 the distinction between the two terms 
 may consist in this, that the palasti-a 
 originally and properly speaking was 
 the place where the athletes who con- 
 tended at the public games were 
 trained and exercised in the art of 
 boxing, wrestling, &c. ; the gymna- 
 sium, on the contrary, an establish- 
 ment in which the youth of Greece 
 enjoyed the recreation of juvenile 
 sports and gymnastic exercises ; the 
 palastra being that particular depart- i 
 ment of it in which the gymnastic 
 discipline was undergone. (Plant. 
 Bacch. iii. 3. 23. Catull. Ixiii. 60. 
 Vitruv. V. II.) See Gymnasium. 
 
 2. The Romans, when they applied 
 the word specially, used it to desig- 
 nate a. particular part of their villas 
 fitted up for the purpose of active 
 games and exercises. Cic. Q. Fr. 
 iii. I. 2. 
 
 PAL^S'TRICUS (TOAaio-TpiKrfs). 
 In a general sense, one who is skilled 
 in, or addicted to, the exercises of the 
 
PALMSTRITA. 
 
 PALL A. 
 
 465 
 
 palaestra. (Quint, i. 11. 15.) But 
 the same name was more frequently 
 used in a special sense, to designate 
 a person who acted in a capacity 
 something between our drill master 
 and dancing master, whose particular 
 province it was to teach the young 
 men of Greece and Italy how to 
 avoid awkwardness or rusticity of 
 manner, to acquire an elegant deport- 
 ment and graceful carriage, as well 
 as ease and propriety of attitude and 
 gesture (Quint, i. II. 16. Id. ii. 8. 
 7. Id. xii. 2. 12.) ; for, amongst the 
 Greeks more especially, who were 
 devoted admirers of the beautiful 
 under every form and combination, 
 grace was regarded as an essential 
 requisite, even in the violent contests 
 of the palzestra ; hence palcsstrici 
 motus (Cic. Off. i. 36.) mean the mo- 
 tions and gestures acquired from 
 these masters, which Cicero very 
 properly condemns when carried to 
 excess, or, as we should say, remind- 
 ing one of the dancing master. 
 
 PAL^STRI'TA (7ro\c«o-Tpi'T7)s). 
 One who exercises himself in the pa- 
 laestra. Cic. Verr. ii. 2. 14. Mart. 
 iii. 58. 25. 
 
 PALAN'GA. See Phalanga. 
 
 PALA'RIA. Neuter plural. The 
 exercise of tilting, practised by re- 
 cruits of the Roman armies, against 
 a stake (palus) set up in the ground as 
 a manikin, by which they learnt to go 
 through their exercise. Charis. i. 21. 
 Compare Veg. Mil. i. II. Id. ii. 23. 
 
 PAL'E (Tri\-r\). (Stat. Ach. ii. 
 441.) Properly, a Greek word, for 
 which the Latin expression is Lucta. 
 
 PALEA'RIUM. A loft, for the 
 stowage of fodder straw, or chaff 
 (palea). Columell. i. 6. 9. 
 
 PAUMPSES'TUS(7raA.iV<^7)irTos). 
 Parchment from which former wri- 
 tings have been erased to make room 
 for fresh ones. (Cic. Fam. vii. 18. 
 CatuU. xxii. 5.) Hence the name 
 oi palimpsest is given by the learned 
 to those manuscripts, which, though of 
 themselves of a respectable antiquity, 
 are found to have been written over 
 
 others still older. It is probable that 
 this practice of obliteration and re- 
 writing upon the same skin was some- 
 times pursued by the Greek and Ro- 
 man booksellers, in cases where the 
 original composition was of little in- 
 terest or value ; but none of those now 
 actually in existence are believed to 
 possess a higher date than the ninth 
 century ; and it is often found that 
 works of superior merit have been 
 washed out, in order to receive other 
 matter ; the original writing under- 
 neath being still discoverable, and 
 even legible. Thus Cicero's treatise 
 de Rcpub. was found, and deciphered 
 by A. Maio, under a commentary of 
 St. Augustin on the Psalms. 
 
 PALLA (^uo-Ti's, Tti-nXoti'). A term 
 employed by the Latin authors to de- 
 signate an article, strictly speaking, 
 of the Greek female costume ; worn 
 as a robe of state by ladies of distinc- 
 tion, goddesses, and mythological 
 personages ; and by musicians and 
 actors on the stage. Non. j. v. p. 
 537. Hor. A. P. 278. 
 
 It was composed with an oblong 
 rectangular piece of cloth, folded 
 before being put on, in a very pecu- 
 liar manner, which will be readily 
 understood from the annexed dia- 
 gram and description. The entire 
 square A B c D was first turned back 
 or folded down in the line E F, which 
 reduces it to the parallelogram 
 E F c D, the line A B coinciding at 
 the back with the line G H in front. 
 It was then doubled across the middle 
 in the line IKL, and the side FC 
 brought together with the opposite 
 one ED, the part turned back 
 being left on the outside, so that the 
 whole is finally reduced in size to the 
 figure EDLI, which is double, and 
 entirely closed on one side, repre- 
 sented by I K L, but open at the other, 
 EGD. It was then put on in the fol- 
 lowing manner. The wearer opened 
 the two sides, thus brought together 
 at EGD, and passed one of them 
 round the back, so as to stand ex- 
 aclly in the centre of the square 
 2 G 
 
466 
 
 PALLA. 
 
 ED LI, or edli inthe illustration on the | 
 opposite column. She then fixed the 
 
 A B 1 
 
 sents the side view of a figure, from 
 a statue of Herculaneum, belonging 
 
 ) L C 
 
 back and front together by a brooch on 
 the point of the left shoulder at N, pass- 
 ing her arm through the aperture N I 
 of the diagram, and Nz in the draped 
 figure. Another brooch was then 
 fixed on the top of the right shoulder, 
 at M, which one of the females is in 
 the act of doing, so that the parts be- 
 tween M and N afford an opening for 
 the head, and those between M E (or 
 M^, draped figure), another arm-hole 
 for the right arm, similar to the one 
 on the other side. The comers E, 
 G, and I, K, on the first diagram, or 
 e and i on the last one, will fall down 
 in the direction mdicated by the 
 dotted lines, and occupying the situ- 
 ations marked eg, i k, on the drapery 
 of the right-hand figure ; while the 
 whole of the upper portion of the 
 costume corresponds exactly with the 
 words of Sidonius ApoUinaris (Carm. 
 xxii. 31.), which describe a statue of 
 Bacchus in female attire, like the one 
 in the Vatican (Mus. Pio-Clem. vii. 
 2. ) ; nee tegit exserios^ sed tangit^ 
 palla lacertos. It is, moreover, obvious, 
 from the preceding account, that the 
 falla thus described was in itself a 
 loose piece of drapery, adjusted on the 
 person by folding round it, like any 
 other article of the Amictus ; whence 
 it is that persons thus attired are said 
 to \iQ pallis amict<E (Varro, ap. Non. 
 s. V. p. 549.) ; and this peculiarity 
 will be brought still more forcibly 
 under observation by referring to the 
 wood-cut J. Peplum, I. which repre- 
 
 to the same set as the two preceding, 
 and wearing the same kind of cos- 
 tume, with the whole of the left side 
 completely open, so that it might be 
 mistaken by careless observers for a 
 pallium. But sometimes the square 
 piece of drapery, after being folded 
 down at the top, and again in half, 
 as above described, was partially 
 sewed together at one of its sides, from 
 the bottom to half or two-thirds of 
 iis length, as is clearly exemplified 
 by the figure on the left hand in the 
 preceding illustration, in which the 
 broad band down the right side shows 
 the hem by which the united parts are 
 joined. In this state it becomes a. 
 round or close dress — vestivienUun 
 claustim — which was of necessity 
 put on over the head, like any 
 other article of the Indutus ; whence 
 a person so draped is said to be pal- 
 lam induta (Ov. Met. xiv. 262.) ; and 
 in appearance, it possesses consider- 
 able resemblance to a tunic, a resem- 
 blance still further increased by the 
 usual practice, when thus adjusted, 
 of confining it round the waist, or 
 above the hips, by a girdle, as shown 
 by the right-hand figure above ; 
 whence the expression palla succinc- 
 tam occurs in Hor. Sat. i. 8. 23. 
 
 It should not be concealed that this 
 explanation is at variance with the 
 ordinary interpretation given to the 
 term by lexicographers and phi- 
 
PALLA. 
 
 467 
 
 lologists, who content themselves with 
 saying that falla is merely a poetical 
 word for pallium, more especially 
 used in regard to women. But, i. 
 The pallium is never an article of the 
 induius^ as the palla is ; on the con- 
 trary, it, or a piece of drapery similar 
 in general character, was sometimes 
 worn over the palla, as by Circe in 
 Ovid (/. c. ) —fallamque induta ni- 
 tentem, Insiiper aurato circujnvelaiur 
 amictu. 2. The palla is frequently 
 described as a garment that covered 
 the feet(Ov. Am. iii. 13. 26. Compare 
 Virg. j^n. xi. 576. Stat. Acli. i. 
 262.), which lYit pallium never does, 
 nor could do. 3. It was fastened 
 with a girdle (Hor. /. c), which the 
 pallium never is, nor could be. 4. 
 Nonius (j-. V. p. 537 ) and Servius 
 (aaf Virg. yE7t. i. 648.) both explain 
 the term palla by a compound word, 
 tunico-pallium, meaning that it pos- 
 sessed the properties of a tunica and 
 a pallium, or in other words, that it 
 was both an indutus and an amictus ; 
 which corresponds exactly with the 
 description given by Pollux (vii. 
 47.) of the Greek female dress tenned 
 ^vffTis, €fSu/xd Te o/xou, Kol Tr€ pi ^\T]fj.a, 
 Kol x'Ta". 5. All the other fashions 
 of the palla, which are described 
 and illustrated in subsequent para- 
 graphs, have a positive affinity with 
 the preceding one, but have no re- 
 semblance whatever to the pallium, 
 for they are close dresses in the 
 nature of a tunic or indutus. 6. 
 When Seneca (Ira, iii. 22.) desig- 
 nates a curtain by the terra palla, he 
 does not invalidate the accuracy of 
 the above reasoning ; for, when the 
 garment was removed from the body, 
 it formed a large rectangular piece of 
 cloth, as already explained. 7. In a 
 variety of other passages where the 
 word occurs, it is introduced without 
 any characteristic adjunct or context 
 to explain whether a sole covering, 
 or an inner or outer garment, is in- 
 tended. The above are some of the 
 most obvious reasons which establish 
 a conviction that the pallium and 
 
 palla are not identical terms, and 
 which help to confirm the accuracy 
 of the interpretation here affixed to 
 the latter word ; set out with extreme 
 conciseness, it is true, as the nature 
 of this work requires ; but it seemed 
 incumbent, when departing from old 
 established opinions, supported by the 
 sanction of great names, to produce 
 some authority for the innovation. 
 
 2. Although the palla, when worn 
 as a robe of state, was always a 
 long dress reach- 
 ing to the feet, as 
 described in the 
 preceding para- 
 graphs ; yet it 
 was sometimes of 
 much shorter di- , 
 mensions, and ter- 
 minated just above 
 the knees, as is 
 proved by written 
 testimony, and ex- 
 hibited in works 
 of art. In this 
 state it is given to the hunting 
 nymphs attendant on Diana by Vale- 
 nus Flaccus (iii. 525. sutnmo pilla 
 genu) ; to Tisiphone by Ovid [Met. 
 iv. 481.); and is so worn by the 
 Furia, in the Vatican Virgil. The 
 illustration, from a bas-relief of the 
 Villa Borghese, shows u drapery 
 made up and put on by means of a 
 brooch on each shoulder, precisely 
 similar to those exhibited in the 
 former part of this article, with the 
 sole exception in regard to length. It 
 is supposed to represent a Spartan 
 damsel dancing at the fetes of Diana, 
 which were celebrated in one of the 
 villages of Laconia, called Caria, at 
 which dancing was one of the charac- 
 teristic solemnities, and the costume 
 worn would be naturally allusive to 
 the goddess of the chase (Visconti, 
 Mus. Pio-Clem. vii. 38, n.) ; who is 
 herself represented, in a great number 
 of statues, clad in a palla precisely 
 similar to the one here exhibited, 
 with the only difference of having 
 a girdle on the outside, under the 
 
468 
 
 bosom, to keep the drapery close to 
 the person during the pursuit and ex- 
 ertions of the chase. 
 
 3. Ihepalla worn by the ladies of 
 Rome, though not exactly identical 
 with the Greek one, yet possessed suffi- 
 cient resemblance to it in all essential 
 particulars to justify its being included 
 in the same class of dresses with the 
 one already described, and designated 
 by the same name. Like that, it par- 
 took of the double character of an 
 indunienUwt and an aniictus^ being 
 worn as a tunic, and cnier a tunic 
 (Varro, L. L. v. 131. Hor. Sat. i. 2. 
 99.), and adjusted to the person by 
 clasps upon the shoulders in the same 
 manner as explained 
 in the two preceding 
 paragraphs, with 
 only this difference, 
 that the upper part 
 was not turned 
 down to make a 
 fall-over, because 
 the tunic underneath 
 it completely covered 
 the bosom, and ren- 
 dered such a protec- 
 tion unnecessary. 
 The annexed figure 
 from a statue of the priestess Livia, 
 found at Pompeii, illustrates all these 
 particulars. The undermost gar- 
 ment, which comes close up to the 
 throat, and has sleeves looped down 
 the fleshy part of the arm, is the 
 under tunic, or stola (Hor. /. c); 
 over this is seen the palla, with its 
 back and front edges fastened toge- 
 ther by clasps upon the shoulder 
 points, in the same manner as the 
 three preceding figures ; while a 
 large veil or loose piece of drapery 
 [amicitts] is finally thrown over the 
 whole, in the manner stated by Ovid 
 (Met. xiv. 262.), and implied by 
 Livy (xxvii. 4.), pallam pictam cum 
 amiculo purpureo, where the diminu- 
 tive expresses fineness of texture, not 
 smallness of dimensions. The skirts 
 ■ of the palla are concealed by the 
 Qutpi;- 'drapery, so that its actual 
 
 length cannot be ascertained ; but it 
 probably did not reach much below 
 the knee, in order not to hide the 
 flounce (instita) of the stola, the 
 lower edges and plaits of which are 
 seen over the feet, and on the ground. 
 In addition to all this, the lady with- 
 out doubt wore a regular chemise 
 [ticnica intima) next the skin, which 
 would be entirely concealed by the 
 over-clothing. Thus we may rea- 
 dily understand what Horace means 
 (/. c. ) by contrasting the scanty ap- 
 parel of immodest women with the 
 dense barricades presented by the 
 attire of the virtuous and high-born 
 females ; and the reason of the defi- 
 nition given by Nonius (j. v. p. 537. ) 
 to the term palla — honestce imilieris 
 vestiuientum. 
 
 4. The palla with which Isis is 
 invested by Apuleius (Met. xi. p. 
 240.) would appear from his words 
 to be a dress of a character totally 
 different from those which have been 
 thus far sufficiently authenticated by 
 written as well as demonstrative evi- 
 dence, had it not been for the exist- 
 ence of a bas-relief in the Pio-Cle- 
 mentine Museum, representing a 
 priestess of Isis, as here annexed, 
 whose costume corresponds so closely 
 and minutely with the particular de- 
 tails enumerated by 
 Apuleius, as to leave 
 no doubt that his de- 
 scription was drawn 
 from some well known 
 artistic type, after 
 which the figure here 
 exhibited was also in a 
 great measure model- 
 led. It is here at once 
 apparent that she wears 
 a palla exactly the 
 same in form and 
 mode of adjustment as 
 the right-hand figure, 
 from the Pompeian statue, inserted 
 above, over the outside of which 
 there passes a broad scarf decorated 
 with embroidered stars and half- 
 moons, which is carried from under 
 
PALLA. 
 
 PALLIOLATUS. 
 
 469 
 
 the right arm, across the breast, and 
 over the left shoulder, then turned 
 down, so as to leave an end with 
 fringes at its extremity depending in 
 front ; the whole of which, as well 
 as the ornamental details, are circum- 
 stantially described in so many words 
 by Apuleius. The obscurity of the 
 passage arises from his giving the 
 name o{ palla to the scarf only ; that 
 is, he describes the part which forms 
 so prominent a feature in the cos- 
 tume, and attracts so much attention, 
 under the name of the vest on which 
 it was embroidered, or attached as a 
 decoration. 
 
 5. Palla citharcedica. The palla 
 worn by musicians upon the stage ; 
 whence frequently represented in 
 works of art as an appropriate .cos- 
 tume for Apollo in his character of 
 citharcedus and musagetes. This was 
 a long flowing robe, with sleeves 
 reaching to the 
 wrists, and fastened 
 with a broad girdle 
 round the waist, the 
 skirts of which fell 
 over the feet, or 
 sometimes trained 
 upon the ground. 
 It thus resembles 
 in many respects the 
 ordinary chiridota or 
 tunica manicata, and, 
 consequently, is men- 
 tioned as an article 
 of the indutus (Auct. 
 ad Ha-enn. iv. 47. citharcedus palla 
 indutus. Compare Apul. Flor. ii. 
 15. 2. where a robe precisely like 
 the one here exhibited is minutely 
 described) ; but it differs from the 
 common tunic in this respect, that it 
 was not made, like that, of oneuniform 
 width from top to bottom, but was 
 narrow at the upper part over the 
 chest and shoulders, gradually widen- 
 ing downwards, until it became a 
 loose and sweeping robe towards the 
 feet, from which circumstance it pro- 
 bably received the name of palla. 
 All these particulars are conspicu- 
 
 ously apparent in the annexed illus- 
 tration, representing a statue of 
 Apollo in the Vatican ; the loose 
 drapery hanging behind from the 
 shoulders is an nTnictus worn over 
 the paUa. In the original «tatue the 
 arms are restorations, and the artist 
 has given to them short sleeves, 
 which are corrected for long ones in 
 the present drawing, in accordance 
 with other representations of the 
 same subject, and more particularly 
 of an ancient type in the archaic 
 style of Greek sculpture (Wink. 
 Mon. Ined. Vignette to dedication), 
 which formed the original after which 
 they are all more or less modelled. 
 
 6. Palla Gallica. The Gaulish 
 jerkin ; a short, close-fitting dress, 
 slit up before and behind as high 
 as the fork. (Mart. i. 93. compared 
 with Straboiv. 4. 3.) When adopted 
 at Rome, it received the name of 
 Caracalla, after the emperor who 
 introduced the fashion of wearing it ; 
 under which it is described and il- 
 lustrated. 
 
 PALLIAS'TRUM. Anaugmen- 
 tative of pallium ; the augmentative 
 indicating coarseness of texture, and, 
 consequently, an inferior article worn 
 by the poorer classes, and certain phi- 
 losophers who affected severity of at- 
 tire. Apul. Flor. ii. 14. Met. i. p, 4. 
 
 PALLIA'TUS. Wearing the 
 Greek pallium; thence, by implica- 
 tion, dressed as a Greek; for, the 
 word is opposed in Latin to togatus ; 
 that is, to a Roman, whose national 
 costume was the toga. (VXsMt. Cure. 
 iii. 2. 9. Cic. Rabir. Post. 9. Suet. 
 Jul. 48. Claud. 15.) The illustra- 
 tioms s. Pallium and Toga will at 
 once explain the difference. 
 
 PALLIOLA'TUS. Wearing the 
 pallioliim upon the head, as explained 
 and exhibited in the following word 
 and illustration. Suet. Claud. 2. 
 Mart. ix. 33. 
 
 2. Palliolata tunica. (Vopisc. Bo- 
 nos. 15.) Like iunico-pallium, .another 
 expression or gloss for Palla, , 
 which see ; and appropriately* em- 
 
470 
 
 PALUOLUM. 
 
 PALLIUM. 
 
 ployed, because the upper part of 
 the piece of drapery which formed 
 the tunic, was turned down in such a 
 manner that it resembles a palliolum 
 over the shoulders and bosom, in- 
 stead of the head, as is plainly shown 
 by the figures under Palla, i. 
 
 PALL'IOLUM. A diminutive of 
 pailiitm ; consequently, used in a 
 general sense for any mantle of ordi- 
 nary quality, small dimensions, of 
 fine texture, adjusted and worn in the 
 same manner as the pallium. Plaut. 
 Epid. ii. 2. 12. Cic. Tusc. iii. 23, 
 
 2. {SepiaTptof, probably). A square 
 cloth, doubled and adjusted to the 
 head, lil-.e a veil 
 or cap ; and worn 
 as a protection 
 against the wea- 
 ther, especially 
 by invalids (Ov. 
 A. Am. i. 733. 
 Quint, xi. 3. p. 
 443. torn. 4. 
 
 Spalding. ), and females of advanced 
 age, as shown by the annexed 
 example, representing the head of an 
 old nurse, in a marble bas-relief. 
 
 PALLIUM {i/jaTiov, (papos). The 
 principal article of the Greek amicius, 
 or outer object of their apparel, as 
 the toga was of the Romans. (Quint, 
 xi. 5. 143. Suet. Tib. 13. Liv. xxix. 
 19.) It consisted of a large sheet or 
 blanket, made of wool, and of a square 
 or oblong square form (Pet. Sat. 135. 
 4. Tertuil. de Pall. 1. Athen. v. 50.), 
 fastened round the neck or on the 
 shoulder by a brooch (fibula, Ter- 
 tuil. /. c.\ and sometimes worn over 
 the naked body as the only covering, 
 but more commonly as an outside 
 mantle over the tunic. (Plaut. Ep. 
 V. 2, 59. Cic. Verr. ii. 5. 52. ) A 
 garment of this nature might be ad- 
 justed upon the person in various 
 ways, according as the fancy of the 
 wearer or the state of the atmosphere 
 suggested ; and, as each arrangement 
 presented a different model in the set 
 and character of its folds, the Greeks 
 made use of a distinct term to cha- 
 
 racterize the particular manner in 
 which it was put on, or the appear- 
 ance it presented when worn. Of 
 these the most important are the fol- 
 lowing : — 
 
 1. ivi&Kt\iia. Meaning literally, 
 that which is thrcnvn on or oTjer, de- 
 signates the pallium when worn in 
 the simplest manner ; i. e. when the 
 centre of one of its sides was merely 
 put on to the back 
 of the neck, and 
 fastened round the 
 throat, or on one 
 shoulder, by a 
 brooch, so that all 
 the four corners 
 hung downwards 
 in the manner ex- 
 hibited on the 
 annexed figure, 
 representing a 
 Greek soldier in 
 his travelling 
 dress, from a fic- 
 tile vase. 
 
 2. ava$oAii. Meaning, in a literal 
 sense, that which is thrown up, desig- 
 nates the pallium 
 when adjusted in 
 a manner similar 
 to the old style of 
 wearing the toga ; 
 i. e. when the part 
 which hangs down 
 on the right side 
 of the preceding 
 figure, was taken 
 jip, and cast over 
 the left shoulder, 
 so that it would 
 depend at the 
 back of the wearer, 
 as represented by the annexed exam- 
 ple, from the celebrated statue of 
 Aristides in the Farnese collection. 
 When thus worn, the brooch was 
 not used ; and the blanket, instead of 
 being placed on the back, at the mid- 
 dle of its width, was drawn longer 
 over the right side to allow sufficient 
 length for casting on to the opposite 
 shoulder ; the right arm likewise 
 
PALLIUM. 
 
 471 
 
 was raised up and kept on a level 
 with the chest, forming, as it were, a 
 right angle (Quint, xi. 3. 141.), and 
 having only the hand exposed ; all 
 of which particulars are plainly per- 
 ceivable in the illustration. At the 
 same time both skill and attention 
 were required to adjust the garment, 
 so that it should sit firmly and grace- 
 fully upon the. body, which was 
 considered as a mark of elegance, if 
 well arranged, or awkwardness, if 
 otherwise. Plato. Theat. 175. Com- 
 pare Aristoph. Av. 1565. 
 
 3. Trepi^Arjfia, Tr€pt^6\atou, Mean- 
 ing, in a literal sense, that which 
 is thrown round 
 one, designates the 
 fallhim when so ad- 
 justed as completely 
 to envelope the 
 wearer all round 
 from head to foot, 
 in the manner shown 
 by the annexed ex- 
 ample, from a fic- 
 tile vase. In this 
 method the blanket 
 was put on, and a 
 part thrown over 
 the shoulder, the 
 same as in the last 
 example, but in- 
 stead of the hand being exposed, and 
 an opening or shins left in front of 
 the chest, the end thrown over the 
 shoulder was drawn up tight under 
 the chin, which gave a greater length 
 to the part depending behind. The 
 right arm was sometimes kept up in 
 a similar position to the preceding ; 
 or it might be dropped down at the 
 side, under the drapery, which fixed 
 itself on the body by its own close 
 folds, as it is represented in tlie illus- 
 tration, in which the projection ob- 
 served midway in front of the figure 
 is produced by the hand being slightly 
 elevated ; but in either case the 
 whole of the arm, as well as the 
 hand, is completely covered by the 
 drapery. The Romans indicated 
 this confinement by the expression 
 
 manum intra Jialliumconlinere(Qmnt. 
 xi. 3. 138.), or intra fallhim reducerc 
 (Val. Max. vi. 8. Ext. I.) : and the 
 Greeks by a similar one — ivths ri)!' 
 Xfipa €X^'^ (yEschin. i/t Tiiiiarch. 52. 
 Demosth. de Fals. Leg. p. 420. 10. ) ; 
 which was considered a becoming 
 practice for young persons, as charac- 
 teristic of a quiet, modest, and re- 
 spectful demeanour. 
 
 4. Women also wore the pallium 
 (Pet. Sat. 135. 4. Hom. Od. v. 230.) as 
 well as men, and adjusted it upon 
 their persons with the same varieties 
 that have been already described, as 
 evinced by numerous works of art 
 
 both in sculpture and painting. The 
 illustration annexed, from a fresco 
 of Pompeii, represents two females 
 in the pallium, the one on the left 
 having it adjusted in a manner simi- 
 lar to that exhibited by the statue 
 of Aristides, introduced above ; while 
 the right hand one, by raising her 
 arm over her head, has drawn away 
 the end previously cast over her left 
 shoulder, and allowed the opposite 
 side to slip off from her back ; but the 
 two together afford a good notion of 
 the manner in which the drapery was 
 put on and arranged. The only dif- 
 ference, when there was any, between 
 the pallium of a male and female, con- 
 sisted in the difference of texture and 
 variety or brilliance of colour, the 
 finer material and gaudier tints being 
 naturally selected by the women ; but 
 amongst persons of slender means the 
 wife would sometimes wear her hus- 
 band's blanket ; — a piece of economy 
 which the wife of Phocion practised, 
 
472 
 
 PALLULA. 
 
 PALUDA MENTUM. 
 
 but to which Xantippe, the wife of 
 Socrates, refused to subriit. ^lian. 
 Var. Hist. vii. 9. and 10. 
 
 5. In a more general sense the 
 name is given to any large rect- 
 angular piece of cloth, employed for 
 covering various objects ; as, a pall 
 laid over a bier (Apul. Flor. i. 4.) ; a 
 counterpane or blanket for a bed 
 (Juv. vi. 236.) ; a warm sheet to 
 wrap in after the bath (Pet. Sat. 28. 
 2.) ; a curtain for a room (Prudent. 
 ad SymjH. ii. 726) ; &c. 
 
 PALL'ULA. Plaut. True, i. i. 
 32. Diminutive of Palla. 
 
 PALMA (TTttAaMl)- The palm of 
 the hand ; thence, from its resem- 
 blance, the broadest part or blade of 
 an oar (ropo-os). Vitruv. x. 3. 6. 
 CatuU. 64. 7., and woodcuts s. Pes 
 and Proreta. 
 
 2. ((^oiVi|). The palm tree (phee- 
 nix daetylifera\ regarded amongst the 
 ancients as an 
 emblem of vic- 
 tory, in conse- 
 quence of the 
 great elasticity 
 and power of re- 
 sistance, without 
 breaking, pos- 
 sessed by its 
 wood. (Aul. Gell. 
 iii. 6.) Hence 
 it was frequently employed by sculp- 
 tors and medalists to indicate the 
 conquest of a province, as in the 
 annexed example, from a medal of 
 Trajan. 
 
 3. K palm branch, or, as we say, 
 the palm of victory ; for both the 
 Greeks and Romans bestowed palm 
 branches upon successful champions 
 amongst the military combatants in 
 athletic games, and on drivers in tlie 
 race course (Liv. x. 49. Cic. Brut. 
 47. Hor. Od. iv. 2. 17. ) ; hence, in 
 works of art, wherever any object is 
 seen with a palm branch upon it, or 
 by its side, or a figure with one in 
 the hand, it implies that the object 
 has been presented as a prize to some 
 victor, and that the person so repre- 
 
 sented is himself the successful cham- 
 pion ; as the annexed figure, from a 
 statue representing a victorious driver 
 
 in the Circus, who holds a palm 
 branch in his right hand, and a purse 
 of money contain'ng the prize (bra- 
 bewn, iselasticum) in his left. 
 
 PALMA'TUS. Tunica palmata. 
 See Tunica. 
 
 PAL'IMULA (To.f,ah). Diminu- 
 tive of Palma. The blade of a small 
 oar. CatuU. iv. 4. 
 
 PALUDAMEN'TUM. A mili- 
 tary cloak worn by generals and su- 
 perior officers over their armour 
 (Isidor. Orig. xix. 24. 9. Apul. 
 Apol. p. 441.), as the saguin was by 
 the common soldier, from which it 
 mainly differs in being larger, of 
 finer texture, and richer colour, 
 either a brilliant white, scarlet, or 
 purple. (Val. Max. 
 i. 6. II. Isidor. /. c.) 
 On the other hand, 
 it was not so large 
 as the Greek pal- 
 liu?ii, for in all the 
 numerous instances 
 where it occurs on 
 the triumphal arches 
 and columns, it is 
 never thrown over 
 the shoulder, nor 
 round the figure ; 
 that is, it is always an €Vifl\7)jua, , 
 never an ava^o\i), nor a Trept^ATj^uo ; 
 being only worn as a pendant mantle, 
 in the manner shown by the annexed 
 
PAL UDA TUS. 
 
 PA NCR A TIUM. 
 
 473 
 
 example, representing the emperor 
 Trajan, from the column which 
 bears his name. It was fastened by 
 a brooch (fibula) upon the shoulder ; 
 and though somewhat larger, was cut 
 out in the same shape as the Greek 
 chlamys (Non. j. v. p. 538.) ; whence 
 the later Greek writers translate the 
 Latin word paludamentum by that 
 term. Dio. Ix. 30. compared with 
 Plin. H. N. xxxiii. 19. 
 
 PALUDA'TUS. Wearing the 
 paludamentum, as explained and illus- 
 trated by the preceding article and 
 example : but in most cases with a 
 notion specially implied that the per- 
 son so habited was engaged in mili- 
 tary service (Cic. Fain. xv. 17. Suet. 
 Vit. II. Claud. 21.); during which 
 the toga or garb of peace was relin- 
 quished for the military mantle or 
 paludatnentum-. Isidor. C^r;^. xix.24.4. 
 
 PA'LUS (TriffaaKos). In a' general 
 sense, any pale or stake driven into 
 the ground as a support or fixture for 
 other objects to rest upon ; and espe- 
 cially a pale, set up for the exercise 
 and practice of gladiators and the 
 Roman soldiery, which they were 
 made to attack with a discharge of 
 missiles from a distance, or with 
 wooden swords at close quarters, in 
 order to learn the exercise, and ac- 
 quire the habit of taking a just aim 
 at any particular part of the body 
 Juv. vi. 247. Veg. Mil. i. 11. Id 
 ii. 23. 
 
 PAMMACH'IUM (iraiiixixio")- 
 Hygin. Fad. 273. Same as Pan- 
 cratium. 
 
 PAN'ACA. (Mart. xiv. 100.) A 
 kind of drinking cup of which nothing 
 characteristic is known ; but the word 
 only occurs as the title to the epigram 
 cited, and, in consequence, is not used 
 by Martial himself ; for the headings 
 to his epigrams were affixed by a later 
 hand. 
 
 PANA'RIOLUM. Diminutive of 
 PANARI0M ; a Small bread-basket. 
 Mart V. 49. 
 
 PANA'RIUM (apToe^KT)). A 
 bread pantry, in which the bread for 
 
 a household was kept. Varro, L. L. 
 V. 105. 
 
 2. A bread basket for transport 
 from place to place. Plin. Fp. i. 6. 
 3. Suet. Cal. 18. 
 
 PANCRAT'IAS and -AS'TES 
 (iTayKpa.TiaaTi]s). One who contends 
 in the Pancratium. Aul. Gell. iii. 15. 
 xiii. 27. See the next word and 
 illustration. 
 
 PANCRATIUM (-rrayKpaTiov). 
 An athletic contest of Grecian origin, 
 which also became popular at Rome, 
 after the time of Caligula. It com- 
 bined both wrestling and boxing with 
 the naked fists, but not with the cas- 
 tus ; the combatants being allowed to 
 majje use of any means for worsting 
 an opponent, by blows, throwing, 
 kicking, or tripping, and to continue 
 the contest on the ground, even when 
 both had fallen, and until one of them 
 was killed, or acknowledged himself 
 to be vanquished. They fought 
 naked, had their bodies sprinkled 
 with fine sand [haphe], and their hair 
 drawn up backwards from the roots, 
 and tied in a tuft on the occiput 
 {cirrus in vertice), to prevent an an- 
 tagonist from seizing hold by it ; 
 most of which particulars are ex- 
 emplified by the illustration, repre- 
 
 senting a pair of Greek pancratiasta, 
 from a bas-relief in the Vatican. 
 Both figures have their hair tied up 
 in the manner described ; the one on 
 the left also uses his fist as a boxer, 
 whilst the right hand one attempts to 
 trip up his adversary by hooking his 
 leg forward and pushing the body 
 
474 
 
 PANDURA. 
 
 PANTOMIMUS. 
 
 back, as still practised by our wrest- 
 lers. Prop. iii. 14. 8. Quint, ii. 8. 
 13. Aristot. Rhet. i. 5. 14. 
 
 PANDU'RA (iro^-SoBpa). A musi- 
 cal instrument, the precise character 
 of which is not known. According 
 to Pollux (iv. 60.) it was a stringed 
 instrument with three chords ; and 
 tlie guitar is still called by the same 
 term, " /a /iz«a'a?'a," in Tuscany ; but 
 Ilesychius (j-. 01)^17765) makes it the 
 same as the pan-pipes. To play upon 
 it was expressed by the \word. pajidu- 
 rizo. Lamprid. Elag. 32. 
 
 PANIS (Spros). Bread; a loaf of 
 bread ; binos panes, two loaves (Plaut. 
 Pers. iv. 3. 2.) ; mollia fanis, the 
 crumb (Plin. H. N. xiii. 36.) ; panis 
 crusta, the crust (Id. xxix. 23.). The 
 illustration represents some loaves as 
 
 they were discovered in a baker's 
 shop at Pompeii ; they are about 
 eight inches in diameter, have a crust 
 at top and bottom, are scored above, 
 and one has a stamp upon the top. 
 
 2. Panis gradilis. Bread distri- 
 buted gratuitously to the people, 
 from the top of a 
 flight of steps, as 
 a largess from 
 the emperor. 
 
 For this purpose 
 flights of steps 
 were erected in 
 different parts of 
 the city contigu- 
 ous to the bakers' 
 shops, and each person who had ob- 
 tained a billet or order {tessera) as- 
 cended the steps in turn, and there 
 received the donation from the dis- 
 tributing officer in change for his 
 ticket ; the plan being adopted as a 
 means of preventing frauds and mob- 
 bing, by only admitting the recipients 
 to come up in regular order, and one 
 
 by one. (Prudent, in Symm. i. 584. 
 Id. ii. 984. Cod. Theodos. 14. 17. 3. 
 and 4. ) The whole process is shown 
 by the illustration, from a medal of 
 Nerva ; on the left hand sits the em- 
 peror in person upon a curule chair 
 placed on the top of an elevated plat- 
 form (suggestuni) \ in front of him is 
 the relieving officer giving the bread 
 to a citizen ascending the steps, while 
 another figure behind him holds up 
 for the emperor's inspection the billet 
 containing the order handed in by 
 the recipient. 
 
 PANTOMI'MUS (itavTiiLtixoi). A 
 word first used in Italy about the 
 time of Augustus to designate a per- 
 former on the stage, corresponding 
 with the ballet or opera dancer of the 
 present day, who represented a part 
 
 by dancing and dumb show, or, as 
 the term implies, by all sorts of con- 
 ventional signs and mimic gestures, 
 without the aid of the voice ; thus 
 constituting a distinct class from the 
 actor of comedy or tragedy. He wore 
 a mask, and was dressed in a costume 
 appropriate to the character imper- 
 sonated, but studiously designed with 
 the view of exhibiting his personal 
 beauty and bodily development to 
 the greatest advantage (though often 
 indelicately scanty, according to our 
 notions of propriety) ; considering 
 that love stories and bacchanalian 
 and mythological subjects furnished 
 the majority of characters for the 
 exercise of his art. Hence the scan- 
 
PANUCELLIUM. 
 
 PARASTAS 
 
 AIS 
 
 dal and corruption of morals super- 
 induced by the ballet dancers of 
 Rome compelled several of the empe- 
 rors to banish them at various periods 
 from Italy. (Macrob. Sai. ii. 7. Suet. 
 Aug. 45. Nero, 16. Tac. Ann. iv. 14. 
 xiii. 25. Plin. Paneg. xlvi. 4. Cassio- 
 dor. Var. Ep. i. 20. ) The paintings 
 of Pompeii exhibit numerous ex- 
 amples of this class of stage perform- 
 ers, from one of which the annexed 
 illustration is copied ; all more or 
 less bearing testimony to the accuracy 
 of the preceding account ; yet proving 
 by the originality and grace with 
 which the groups are composed, the 
 variety of the poses, the display of 
 muscular power exhibited in the atti- 
 tudes, and the animal beauty in re- 
 spect of bodily form which distin- 
 guishes the perfonmers, that the 
 ancient Italians, or the Greek artistes 
 employed by them, far excelled, in 
 professional dexterity and graceful- 
 ness (its most essential requisite), the 
 dancers of the operatic ballet in 
 modern times. 
 
 PANUCEL'LIUM. This word 
 is written in seven different ways ; as 
 uncertain as the meaning attached to 
 it. Some suppose it to mean a spool 
 or bobbin ; others, a shuttle with the 
 bobbin inserted, like the example s. 
 Alveolus. Varro, L. L. v. 114. 
 Compare Isidor. Orig. xxix. 7. 
 
 PAPILTO. In its primary sense, 
 a butterfly; whence the name was 
 transferred to a mi- 
 litary tent, either 
 because the cur- 
 tains with which it 
 was closed in front, 
 when set open, were 
 fastened up at the 
 sides in such a 
 manner as to present 
 an appearance like 
 the wings of a but- 
 terfly, as obsei-vable 
 in the annexed ex- 
 ample, from the co- 
 lumn of Trajan; or, possibly, be- 
 cause it was made of richer materials 
 
 and more varied colours than the 
 common tent (tentorium). Lamprid. 
 Alex. Sro. 51. Spart. Pescenn. 11. 
 Veg. Mil. i. 3. 
 
 PAR'ADA. Believed to be a 
 Gaulish word, indicating either an 
 awning over the deck of a vessel ; 
 or, which seems more probable, a 
 private and state cabin for the use of 
 persons of wealth or distinction. 
 Auson. Ep. V. 27. Sidon. .£)*. viii. 12. 
 Jal. Archeologie Navale, vol. ii. p. 362, 
 
 PARAGAU'DA or PARAGAU'- 
 DIS. An ornamental band of gold, 
 or of coloured 
 silk decorated 
 with golden em- 
 broidery, sewn 
 on to the tunic; 
 whence the gar- 
 ment itself so 
 decorated is also 
 designated by 
 the same tenn. 
 It appears to 
 have been a 
 fashion intro- 
 duced under the 
 empire, as a sort 
 of substitute for the more ancient 
 clavus, as the word only occurs 
 amongst the writers of that period ; 
 and was distinguished by the epithets 
 monolor'is, diloris, triloris, pentaloris, 
 according to tlie number of bands, 
 one, two, three, four, or five, attached. 
 (Vopisc. Aurel. 46. Impp. Grat. Va- 
 lent. et Theodos. Cod. 11. 8. 2.) 
 The annexed figure, from an ancient 
 Roman fresco discovered near the 
 church of St. John in Lateran at 
 Rome, is introduced as affording a 
 notion, and probable specimen, of the 
 ornament in question. 
 
 PARAS'TAS, PARAS'TATA, 
 PARASTAT'ICA (vapaaro.^, Trapa- 
 (TraTTjSy irapafTraTitiri). A flat column 
 Qx filasta; used to decorate the angu- 
 lar terminations of a square building, 
 where it has two faces, as in the 
 annexed elevation of the temple of 
 Pandrosus at Athens, in which the 
 parastas is seen behind the last figure 
 
4-/6 
 
 PARAZONIUM. 
 
 PARIES. 
 
 on the extreme left ; or placed against 
 the walls of the cell (cella), with one 
 
 flat face that corresponds with an 
 opposite column which supports the 
 entablature of a colonnade. Vitruv. 
 
 V. I. 
 
 PARAZO'NIUM (irapaiavLou). 
 A short sword, attached to a belt 
 round the waist (cinc- 
 toriuiii), as exhibited 
 by the annexed figure, 
 and worn at the left 
 side by the tribunes 
 and superior officers of 
 the Roman armies, 
 more as a mark of dis- 
 tinction than for actual 
 use (Mart. xiv. 32. 
 August. Dial. Antirj. 
 2. and wood-cuts s. 
 Legatus and Palu- 
 damentum) ; wiiereas 
 the glaive of the com- 
 mon soldier (gladhis) 
 was suspended from a shoulder band 
 [balteus], and hung at the right side 
 (wood-cut s. I.egionarii). 
 
 PAR'IES (rmx"*)- The aw// of a 
 house, or other edifice, as contradis- 
 tinguished from mui-us, the wall of a 
 town. These were made of various 
 materials, and constructed in many 
 different ways ; amongst which the 
 following are distinguished : — 
 
 I I. Paries craticius. A wall made 
 of canes and hurdles, covered with a 
 I coating of clay, something like our 
 i lath and plaster ; used in early times 
 for an external wall, and subsequently 
 for a partition in tire interior of 
 a house. Vitruv. ii. 8. 10. Pallad. 
 i. 9. 2. 
 
 2. Paries formaceus. A kind of 
 walling now termed pise, made of 
 very stifif clay, rammed in between 
 moulds as it is carried up, of very 
 frequent occurrence at the present 
 day in France, and in ancient times 
 amongst the inhabitants of Africa, 
 Spain, and. the southern parts of 
 Italy. Plin. H. N. xxxiv. 48. 
 
 3. Paries lalericius. A wall made 
 of bricks ; "which was constructed in 
 many different jjatterns, as the art of 
 building progressed and declined. 
 When tlie arts were in the greatest 
 perfection, the bricks used were very 
 large and thin, and of considerable 
 size, resembling our tiles (see 
 Later), and were laid in regular 
 even courses throughout. During 
 the intermediate periods the bricks 
 diminished in surface, but increased 
 in thickness ; and the walls were 
 commonly constructed with a mixture 
 
 of different sized bricks laid in alter- 
 nate courses, so as to produce a pleas- 
 ing pattern to the eye, although it 
 was frequently concealed by a coating 
 of stucco laid over it, of which the 
 annexed example, representing the 
 structure employed in the entrance 
 gate to Pompeii, will afford a distinct 
 notion. It shows the admixture of 
 thick and thin bricks, as well as the 
 
PARIES. 
 
 PARMA. 
 
 477 
 
 external cement still remaining on 
 some part of it, which has been di- 
 vided into rustic work to imitate a 
 stone wall. During the decadence 
 the bricks were smaller and thicker, 
 like the largest ones in the example, 
 and frequently of irregular sizes. 
 Cks. B. C. ii. 15. Vitruv. ii. 8. 16. 
 
 4. The different methods adopted 
 in forming walls of stone are ex- 
 plained and illustrated J'. C^MENTI- 
 cius and Structura. 
 
 5. Paries solidus. (Cic. Top. 4. ) A 
 blank wall, without any opening in it, 
 as contradistinguished from 
 
 6. Paries foniicatus. A wall per- 
 forated with arched openings, as in 
 the annexed example, representing 
 part of the Imperial palace on the 
 
 very strongly made upon a frame- 
 work of iron. The annexed example 
 
 Palatine hill. The object of this 
 was to save consumption of material 
 without diminishing solidity by the 
 lightness thus given to the entire 
 structure. Cic. Top. 4. 
 
 7. Paries communis. The common 
 or partition wall between two con- 
 tiguous edifices, which was common 
 to both of them. Cic. Top. I. c. Ov. 
 ■Afe/. iv. 66. 
 
 8. Paries intergericius or inter^e- 
 rivus. (Plin. H. N. xxxv. 49. Fes- 
 tus, J. V.) Same as the preceding. 
 
 9. Paries directus. A wall of par- 
 tition within an edifice, separating 
 one chamber from another. Cic. /. c. 
 
 PARMA (irap/iT,). The shield 
 used by the light-armed troops {ve- 
 lites, Liv. xxxi. 35.) and the cavalry 
 [equites, Liv. ii. 20. ) of the Roman 
 army. It was circular in form 
 (Varro, ap. Non. s. Veles, p. S52.), 
 about three feet in diameter (Liv. 
 xxxviii. 21. Polyb. vi. 22. 19.), and 
 
 is copied from a. bas-relief in terra- 
 cotta ; and corresponds in every 
 particular of form and ornament 
 with the shields of the equestrian 
 gladiators at p. 264. s. Eques, 10. 
 
 2. Parma Threcidica. The Thra- 
 cian shield, or the shield used by 
 gladiators of the 
 class termed 
 Thracians( Thra- 
 ces). This was 
 not round, like 
 the Roman par- 
 ma, but resem- 
 bled the scutum 
 in form, with the 
 only exception 
 of being smaller \fy^ 
 as well as short- 
 er, as exhibited by the annexed ex- 
 ample, which represents a Thracian 
 gladiator from a terra-cotta lamp. 
 Hence it is that Martial styles it 
 pumilionis scutum {yiw . 213.). Plin. 
 H. N. xxxiii. 45. Fabretti, Col. Tr. 
 p. 267. and PELTAST.E. 
 
 3. The small round piece of board 
 placed under the vent hole of a pair 
 
 of bellows, which opens to admit the 
 air, as it is drawn in, but closes 
 against the aperture immediately 
 that the sides of the bellows are 
 pressed together, and thus compels 
 the wind to make an exit through 
 the pipe at the nozzle. Auson. Mo- 
 sell. 269. 
 
47S 
 
 PARMA TUS. 
 
 FASTI NUM. 
 
 PARMA'TUS. Armed with the 
 shield termed farma ; more espe- 
 cially charac- 
 teristic of the 
 Roman caval- 
 ry and light- 
 armed troops. 
 (Liv. iv. 38.) 
 The annexed 
 example, from 
 a bas-relief 
 in terra-cotta, 
 compared with 
 the illustra- 
 tion J. Clipe- 
 
 ATUS, will afford a notion of the dif- 
 ference in comparative size and cha- 
 racter between the Roman parina 
 and the Greek dipeus, and of the dif- 
 ferent appearance presented by the 
 men who bore them respectively. 
 
 PAR'MULA. (Hor. Od. ii. 7. 
 10.) Diminutive of Parma; but 
 there is no evidence that the diminu- 
 tive denotes any distinct variety. 
 
 PARMULA'RIUS. A gladiator, 
 of the class called Thracians { Thra- 
 ces) ; and so designated because he 
 was armed with the Thracian partna, 
 as explained and illustrated j-. Parma, 
 2. Suet. Dom. 40. 
 
 PAR'OCHUS(7rt;poxos). An offi- 
 cer appointed to every station through- 
 out the Roman provinces, who for a 
 certain stipend, fixed by the state, 
 undertook to lodge and entertain am- 
 bassadors, magistrates, and persons 
 travelling on public business. Cic. 
 Att. xiii. 2. Hor. Sat. i. 5. 46. 
 
 PAROP'SIS or PARAP'SIS (xap- 
 oi/'is). A term adopted from the 
 Greeks, and used by them, as well 
 as the Romans, much in the same 
 sense as the word side-dish is with 
 us ; under which the dish itself is 
 sometimes implied, at others the 
 viands contained in it, while at others 
 both the dish and its contents are in- 
 cluded. The paropsis was employed 
 for serving up the smaller and more 
 exquisite portions of a meal, like 
 a French entree ; and was made of 
 earthenware, bronze, or the precious 
 
 metals. Though the Latin pas- 
 sages in which the word occurs do 
 not afford any express indication of 
 the precise form of the vessel, we 
 collect from Alciphron, that it was a 
 deep bowl with a wide top, such as 
 we conceive under the name of cup ; 
 for he designates the one used by 
 thimble-riggers by the name par- 
 opsis, for which the more usual 
 Latin term is Acetabulum. The 
 illustration introduced under that 
 word may consequently be received 
 also as affording a specimen of the 
 j:iaropsis. Charis. i. 82. Juv. iii. 
 142. Mart. xi. 27. Pet. Sat. 34. 2. 
 Ulp. Dig. 32. 220. Alciphron. £pist. 
 iii. 20. 
 
 PAS'CEOLUS {<piai<u\os and 
 (psxaitaXos). A bag or pouch, made 
 of leather, and employed for cany- 
 ing money, clothes, &c. Non. 1. v. 
 p. 151. Plaut. liud. V. 2. 27. Lucil. 
 Sat. xiii. 6. Gerlach. 
 
 PASTIL'LUS {rpoxliTKos). A 
 small round ball of flour or other in- 
 gredients ; but more especially a pill 
 or pastile of medicinal and odoriferous 
 powder, which was chewed to impart 
 sweetness to the breath, or employed 
 generally for the purpose of diffusing 
 an agreeable odour. Plin. H. N. 
 xiii. 43. Hor. Sat. i. 2. 27. 
 
 PASTINA'TIO. The act of pre- 
 paring the soil of a vineyard by 
 digging and trenching for plant- 
 ing young vines with the pastiimm. 
 Columell. iii. 12. 6. Compare iii. 
 13. ; thence the ground so prepared.. 
 Id. xi. 2. 
 
 PASTINA'TOR. A labourer 
 who trenches the soil of a vineyard, 
 and plants the ycung vines with a 
 pastinum. Columell. iii. 13. 12. 
 
 PAS'TINUM. A particular kind 
 oi dibble employed for planting young 
 vines, consisting of a long stick with 
 two prongs at the end, between 
 which the young shoot was held, as 
 in a forceps, and by this means de- 
 pressed into the ground to the depth 
 required. (Columell. iii. 18. I. and 
 6. Isidor. Orig. xix. 15.) An in- 
 
PASTOPHORUS. 
 
 PATELLARII. 
 
 479 
 
 stniment of the same kind, called 
 trivella by the Romans, and cruccia 
 by the Tuscans, is still employed for 
 a similar purpose in Italy. 
 
 2. Ground prepared by digging 
 and trenching for the planting of 
 young vines with the above imple- 
 ment (Pallad. Feb. 9. n.); and the 
 act of doing so (Id. yan. 10. i.). 
 
 PASTOPH'ORUS {T!a.a-Ta<pifos). 
 A member belong- 
 ing to a certain 
 order of the Egyp- 
 tian priesthood 
 called pastophori^ 
 because they car- 
 ried the images 
 of their deities 
 through the public 
 streets in a small 
 case or shrine 
 (irao'TiJy, thalamus. 
 Plin. H. N. viii. 
 71.), stopping at intervals to kneel 
 down, while they displayed the image 
 case before them, for the purpose of 
 eliciting charitable donations from 
 the multitude ; all which particulars 
 are apparent in the annexed illus- 
 tration from an Egyptian statue, re- 
 presenting one of these mendicant 
 priests. Apul. Met. xi. pp. 250. 
 260. 262. 
 
 PASTOR (vo/ieiJs). A general 
 term for any one who attends to the 
 pasturing and feeding of any kind of 
 live stock (Varro, R. R. ii. 10. Hor. 
 Od. iii. 29. 21.); consequently, in- 
 cluding the caprarius, opilio, and 
 htbulcus ; though, in some instances, 
 the word is specially applied to the 
 two former to distinguish them from 
 the latter. Juv. xi. 151. 
 
 2. The same name is also given to 
 a person who tends and feeds poultry. 
 Columell. viii. 2. 7. 
 
 PATAGIA'RIUS. One who 
 makes, or, perhaps, sells, patagia. 
 Plant. Aul. iii. 5. 35. 
 
 PATAGIA'TUS. Decorated 
 with a patagium, as shown by the 
 following illustration. Festus, j. v. 
 Plaut. Ep. ii. 2. 49. 
 
 PATAGI'UM (7rar07= 
 
 broad stripe of 
 purple or gold 
 upon the front of 
 a woman's tunic, 
 similar to the 
 clavus of the other 
 sex, as shown by 
 the annexed ex- 
 ample, from a 
 fresco painting in 
 the sepulchre of 
 the Nasonian family near Rome. 
 Festus, s. V. Non. s. v. p. 540. 
 
 PATEL'LA. Diminutive of Pa- 
 tina ; consequently, resembling that 
 vessel in form, with the exception of 
 being smaller or shallower. It was 
 used in the kitchen as a cooking 
 utensil (Mart. v. 78. Varro, ap. 
 Prise, vi. 681.), and in the dining- 
 room as a dish for the viands brought 
 to table (Mart. xiii. 81. Juv. v. 85.). 
 The ordinary kinds were made of 
 earthenv/are, the more costly of metal 
 and elaborate workmanship ; and also 
 of different relative sizes, conformable 
 to the use for which they were in- 
 tended ; hence we find the word, 
 though itself a diminutive, accompa- 
 nied with epithets descriptive of very 
 different dimensions ; as, exigua, mo- 
 dica^ lata^ grandis. Juv. /. c. Hor. Ep. 
 i. 5. 2. Mart. /. 6. Cic. Verr. ii. 4. 21. 
 
 2. Patella Cuinana. A dish of the 
 nature last described, but made of 
 earthenware, and consequently of a 
 common description. Mart. xiv. 
 114. Compare Juv. vi. 343. 
 
 3. A dish of the form and character 
 above described, in which solid viands 
 were offered as a feast to the gods, as 
 contradistinguished from the patera, 
 which held liquids only. (Festus, 
 s. V. Varro, ap. Non. s. v. p. 544- ) 
 A person would have been regarded 
 as highly irreligious who appropri- 
 ated one of these dishes to the ser- 
 vice of his own dinner table. Cic. 
 Fin. ii. 7. 
 
 PATELLA'RII, sc. Dii. A 
 term of derision applied to the gods 
 by certain wits of irreverent dispo- 
 
48o 
 
 PA TEN A. 
 
 PATINA. 
 
 sitions, suggested by the images of 
 the various deities which were en- 
 chased upon the dishes (patellce) em- 
 ployed for holding the viands pre- 
 sented to them at their feasts. Plaut. 
 Cisl. ii. I. 46. Compare Cic. Verr. 
 iv. 21. 22. Becker, Quasi. Plaut. 
 p. SO. 
 
 PATE'NA (ipaTv-n). A manger 
 for horses, made of marble, stone, or 
 wood, and divided into a number of 
 separate compartments or cribs (lo- 
 cull), like the annexed example, re- 
 
 presenting the interior of an ancient 
 stable in the bay of Centorbi in 
 Sicily, which is divided into square 
 receiving troughs, precisely as di- 
 rected by Vegetius ( Vet. ii. 28. 3. ). 
 
 2. See Patina. 
 
 PAT'ERA (cj).aA7)). A shallow 
 circular vessel, like our saucer, em- 
 ployed for containing liquids, not 
 solids, that is, as a drinking, not an 
 
 eating utensil (Becker, Quasi. Plaut. 
 p. 50. ) ; but more especially used to 
 receive the wine with which a liba- 
 tion was made, by pouring it from 
 the patera over the head of the vic- 
 tim, or on to the altar (wood-cut s. 
 Spondaules). The common quali- 
 ties were made of earthenware, the 
 more costly of bronze, silver, and 
 also gold, highly and elaborately or- 
 namented ; sometimes with a handle, 
 but more usually plain. The illus- 
 
 tration affords a specimen of both 
 kinds, from originals in bronze dis- 
 covered at Pompeii ; and represented 
 in front and profile, in order to show 
 the circumference and depth of the 
 vessel. Varro, L. L. v. 122. Macrob. 
 Sat. V. 2t. Virg. ^S«. i. 739. Ov. 
 Met. ix. 160. 
 
 PATIBULA'TUS. Fastened to 
 ihepatibuhim as a punishment. Plaut. 
 Mil. ii. 4. 7. Apul. Met. iv. p. 70. 
 where patibulus is used in the same 
 sense. 
 
 PATIB'ULUM. An instrument 
 of punishment made in the shape 
 of a fork, to be placed upon the 
 neck of slaves and criminals, with the 
 two prongs projecting in front, to 
 which their hands were tied up, and 
 in that condition flogged through the 
 city. (Plaut. Mil. ii. 4. 7.) The il- 
 lustration s. Furca, 5. will afford a 
 clear notion of the contrivance in 
 question, although it is there used only 
 as a machine for carrying burdens. 
 
 2. A cross or gallmus ; probably in 
 the shape of the letter X, forming a 
 double ftirea, like that on which the 
 crucifixion of St. Peter is commonly 
 represented by Italian artists. Sallust, 
 Fragm. ap. Non. s. v. p. 366. Senec. 
 Cons, ad Marc. 20. Apul. Met. vi. 
 pp. 130, 131. 
 
 3. A fastening for a door, probably 
 made with two prongs to fit into a 
 hasp. Titinn. ap. Non. /. c. 
 
 4. A wooden peg, with two prongs 
 for fastening down the layers of a 
 vine. Plin. H. N. xvii. 35. § 27. 
 
 PAT'INA (At/tacT)). A bowl or 
 basiti, somewhat shallower than the 
 olla, but deeper than the patera, as 
 will be understood by comparing the 
 examples introduced under those two 
 words with the annexed specimen, 
 from an original discovered in a 
 tomb at Pjestum. 
 It was generally 
 made of earthen- 
 ware, but some- 
 times, though rarely, of metal ; fre- 
 quently had a lid (opercuhwi) to cover 
 it ; and was used for a great many 
 
PAUSARIUS. 
 
 PA VIMENTUU. 
 
 481 
 
 purposes, more especially in culinary 
 and pharmaceutical operations, as 
 well as for bringing to table ragouts, 
 stews, and such eatables as were 
 served with gravy, for which the 
 form described would be particularly 
 appropriate. Plaut. Pseud, iii. 2. 51. 
 Plin. H. N. xxiii. 33. Phjedr. xxvi. 
 3. Hor. Sat. ii. 8. 43. 
 
 PAUSA'RIUS. (Senec. Ep. 56.) 
 The officer who gave out the chaunt 
 (celeusma), and beat the time, by 
 which the rowers kept their stroke; 
 also styled HoRTATOR, where an 
 illustration is given. 
 
 PAVI'CULA. A rammer for 
 beating down, and consolidating the 
 flooring of a room, or other area. 
 Cato, R. R. 91. Columell. i. 6. 2. 
 Id. ii. 20. I. Compare FiSTUCA. 
 
 PAVIMENTA'TUS. Laid with 
 an artificial flooring or pavement. 
 Cic. Dom. 44. Id. Q. Fr. iii. 1. i. 
 
 PAVIMEN'TUM (^Satpos, 5c£,rE- 
 iov). Strictly, a flooring composed 
 of small pieces of brick, tile, stone, 
 and shells set in a bed of cement, and 
 consolidated by beating down with a 
 rammer {pavieiiia)^ which gave rise 
 to the name (Plin. H. N. xxxvi. 61. 
 Cato, R. R. xviii. 7.) ; though it was 
 thence transferred, in a more general 
 sense, to any kind of artificial floor- 
 ing, even of the most choice and ela- 
 borate workmanship, like those de- 
 scribed in the succeeding paragraphs 
 (Hor. Od. ii. 14. 27. Suet. Aug. 72.), 
 or of wood (Vitruv. vii. I. 2.). 
 
 2. Paviinentum sectile. A flooring 
 composed of pieces of different co- 
 loured marbles, cut {secta) into sets 
 of regular form and size, so that, 
 when joined together, the whole con- 
 stituted an ornamental design or pat- 
 tern, as exhibited by the annexed 
 specimen, representing a portion of 
 the ancient pavement still remaining 
 in the church of S. Croce in Geru- 
 salemme at Rome ; the objects at the 
 top show the different forms of the 
 pieces with which it is composed ; 
 the triangular ones, A and B, consist 
 of serpentine and palombino respec- 
 
 tively ; the hexagonal, c, of pavonaz- 
 zetto ; and the square, D, of red 
 
 porphyry. Vitruv, 
 Jul. 46. 
 
 3. Pavimentum tessellatum, or tesse- 
 ris structum. A flooring belonging 
 to the class of sectilia, and also of an 
 ornamental character, composed of 
 coloured marbles, but of which the 
 component parts were cut into regular 
 dies, without the admixture of other 
 forms, as in the annexed example, 
 
 {^;|4^ji|:^^ 
 
 & J J ■■ '1 1 1 1 1 1 1 1 1 
 
 )Ml ^ _ A u ii i^ ' i!..; ^-^ % J Z- 
 
 ttiti ^L-Llijii!L!lRiESaS!EjS 
 
 
 Ja i 
 
 as 1 I-ii5 iii!? 
 
 pf' ^a ^ ^ i s 'i j 
 
 
 B« L g ; : i ~t ^t 
 
 W, J- ^.Vi-A IHiii 
 
 ||;r__. 'Vt^- :::: 
 
 showing part of a pavement in the 
 Thermae of Caracalla at Rome. (Vi- 
 truv. /. c. Suet. /. c.) Square dies 
 [tessellcc, tessera") were likewise em- 
 ployed in making other kinds of 
 mosaic pavements, as in the followin^j 
 specimen ; but in that case they were 
 of smaller dimensions, and less precise 
 in their angles. 
 
 4. Pavimentum vermieulaticm. A 
 mosaic flooring or pavement, repre- 
 senting natural objects, both animate 
 and inanimate, in their real forms 
 and colours, as in a picture. It was 
 composed with small pieces of diffe- 
 rent coloured marbles, inlaid in a bed 
 of very strong cement, the colours 
 and arrangement of the pieces being 
 
482 
 
 PA VIMENTUM. 
 
 PAVONACEUM. 
 
 selected and disposed in such a man- 
 ner as to imitate the object designed 
 with a considerable degree of pictorial 
 effect. The dies, however, were not 
 laid in a regular succession of parallel 
 lines, nor all exactly square, as in 
 the last example (the tessellatum), but 
 they followed the sweep and undula- 
 tion in the contours and colours of 
 the object represented, which, when 
 viewed at a little distance, produces a 
 close resemblance to the wreathing 
 and twisting of a cluster of worms 
 (vermes), and thus suggested the 
 
 name. The illustration, which is 
 copied from the fragment of an an- 
 cient vermiculated pavement, will 
 afford a tolerable notion of this ap- 
 pearance, though it is not so forcibly 
 expressed as in the original, in con- 
 sequence of the absence of colour, 
 and the diminutive scale of the 
 drawing. Plin. H. N. xxxv. i. Lu- 
 cil. ap. Cic. Or. iii. 43. 
 
 5. Paviinentum sr.alptiiratum. An 
 ornamental flooring or pavement on 
 which the design is produced by en- 
 graving (scalptura), and, perhaps, 
 inlaying ; but, as the name implies, 
 by a different process, or in a diffe- 
 rent manner, from either of the kinds 
 already described. (Plin. H. N'. 
 xxxvi. 61.) The fragment of the 
 marble floor, now preserved in the 
 Capitol at Rome, which originally 
 formed the pavement to the temple 
 of Romulus and Remus, and had a 
 complete map of the city engraved 
 upon it (a specimen of which is intro- 
 duced at p. 344. s. Ichnographia), 
 affords an undoubted instance of the 
 pavimentum scalpturatum in its sim- 
 
 plest and least ornamental style : 
 though we can readily conceive that 
 the Romans caiTied this style of de- 
 corative art to much greater perfec- 
 tion, and conducted it upon a princi- 
 ple similar to that followed in the 
 Duomo of Siena, where the effect of 
 a finished cartoon is produced on the 
 pavement, by inserting pieces of grey 
 marble for the half-tints into white, 
 then hatching across both with the 
 chisel, and filling in the incisions 
 with black mastic for the shade, so 
 that the design approaches to the per- 
 
 fection of a finished chalk drawing. 
 This effect will be readily conceived 
 from the annexed specimen, which 
 presents a facsimile, though on a very 
 reduced scale, of one of the groups 
 designed by the artist Beccafiume. 
 
 6. PavimenUtfn tesiaceiun. A 
 
 flooring made of broken pieces of 
 pottery {testce). Pallad. i. 19. i. 
 lb. 40. 2. Same as No. i. 
 
 PAVONA'CEUM, sc. opus or tec 
 turn. A method of laying tiles of 
 brick or marble, similar to what is 
 seen upon the roofs of old houses in 
 England, Holland, and Germany, in 
 which the tiles are rounded at one 
 end, so that in overlapping each 
 other they present an appearance 
 
 ^^^^^^^ 
 
 like the feathers of a peacock's tail, 
 as exhibited by the annexed exam- 
 
PAXILLUS. 
 
 PECTORALS. 
 
 483 
 
 p!e. from a marble fragment exca- 
 vated in the Forum of Trajan. Plin. 
 H. N. xxxvi. 44. 
 
 PAXIL'LUS (Trairo-oAor). Any 
 small sharp pointed piece of wood ; 
 as a peg for hanging things upon 
 (Varro, ap. Non. s. v. p 153.); for 
 supporting a shelf (Columell. viii. 
 8. 3. ) ; u dibble for planting (Id. iv. 
 16. 3.). 
 
 PEC'TEN (ktei's). a comb for 
 the hair, made of box- wood (Mart. 
 xiv. 25. Ov. Met. iv. 311.), or ivory 
 (Claud. Nupt. Honor, et Mar. 102.). 
 The illustration represents a small- 
 
 '* 
 
 if if"'' 
 
 .■:. r'.|n-.1 
 
 ; ■■-;!!? >\ 
 
 fS^fr.:- 
 
 :- - ' - 
 
 "■""'- ' < ' - .Z'-^' 
 
 ^ 
 
 
 Li....LuLLlJluLL. 
 
 , ,, 1 Y 
 
 toothed comb (denso dente. TibuU. i. 
 9. 68.), from an original of ancient 
 workmanship, made of box-wood, 
 and having a bar of ivory inlaid with 
 a pattern in gold, placed across the 
 back, between the two rows of teeth, 
 which are cut extremely fine and 
 even. The large-toothed comb {rarus 
 pecten) was likewise employed in 
 hair-cutting to place under the scis- 
 sors, in order to prevent them from 
 clipping too close. Plaut. Capt. ii. 
 2. 18. 
 
 2. (KTe(s). An instrument with 
 teeth like a comb, employed by the 
 ancient weavers in the horizontal loom 
 for the same purpose as the " reed," 
 "lay," or " batten" of our own times; 
 viz. to run the threads of the web close 
 together, by inserting its teeth between 
 the threads of the warp, and pressing 
 
 the comb up or dcTATi, according to 
 the direction in which the web was 
 
 intended to be driven. (Ov. Met. 
 vi. 58. Virg. j^n. vii. 14.) The 
 example represents an Egyptian im- 
 plement of this description, from an 
 original found in a tomb at Thebes, 
 and now preserved in the British 
 Museum. 
 
 3. An iron-toothed brush, set with 
 a number of crooked pins {pectinis 
 unci. Claud. inEutrop. ii. 382.), em- 
 ployed for carding wool or flax. 
 Plin. H. N. xi. 27. 
 
 4. A haymaker's rake, which had 
 the teeth set wide apart ; rarus pecten. 
 Ov. Rem. Am. 192. 
 
 5. An iron instrument, with teeth 
 like a comb, employed at harvest in 
 some parts of ancient Italy and 
 Gaul, instead of the reaping hook 
 (fiilx], to nick off the ears of standing 
 com, as well as other grain, close 
 under the neck, without cutting the 
 stalk. Columell. ii. 20. 3. Plin. 
 H. N. xviii. 72. Compare Falx 
 Denticulata and Merga. 
 
 6. A contrivance employed for 
 striking the chords of a stringed in- 
 strument. (Virg. ALn. vi. 647. Juv. 
 vi. 382.) It was either the same as 
 the Plectrum (which see) ; or, as 
 the other senses of the word seem to 
 indicate, a more complicated imple- 
 ment, with several teeth, instead of a 
 single stick ; but we know of no 
 authorities, either written or demon- 
 strative, to establish that conjecture. 
 
 7. A particular figure in a dance, 
 the nature of which is urdtnown. 
 Stat. Ach. ii. 159. 
 
 PECTORA'LE {v/jneapaKioi', Kap- 
 SiorfiiAa^, yiaXov). Strictly, the front 
 plate of a cuirass (represented by the 
 left-hand figure in the illustration), 
 which covered the chest and upper 
 part of the abdomen, being fastened 
 by straps over the shoulders, and by 
 buckles or hinges down the sides to 
 another plate, which protected the 
 back, and is represented by the 
 right-hand figure in the illustration ; 
 though the word is also used for the 
 entire cuirass. (Varro, L. L. v. 
 116. Plin. H. a: xxxiv. 18. Polyb. 
 
484 
 
 PECUARIUS. 
 
 PEDUM. 
 
 vi. 23.) The Greeks applied the 
 term ■yvoKov to each of these plates, 
 
 C^ 
 
 
 Jl 
 
 the back one as well as the front ; but 
 the Romans do not appear to have 
 distinguished the former by any 
 special name. 
 
 PECUA'RIUS. A Roman gra- 
 zier upon a very extensive scale, 
 who farmed the public pastures, upon 
 which he raised and grazed large 
 herds of cattle. Cic. Verr. ii. 6. 
 Liv. X. 23. Compare Varro, R. R. 
 iii. I. 8. 
 
 PED'ICA (tts'Stj). a general 
 term for any snare or gin by which 
 birds and wild animals are caught by 
 the leg (Virg. Georg. i. 307. Liv. 
 xxi. 36.); and sometimes applied 
 to a letter for men (Plaut. Fan. 
 iii. I. II.). 
 
 2. Pedica dentata (TroSaypa, ttoSo- 
 (sTpa^Ti). A particular kind of trap, 
 employed by the ancient huntsmen 
 for taking wild deer (Grat. Cyneg. 
 92, ), an account of which is given by 
 Xenophon [Cyneg. ix. 12 — 20. Cy- 
 rop. i. 6. 28.), and Pollux (v. 32 — 
 34.). It consisted of a circular 
 wooden frame, set round with teeth 
 of wood and iron, within which a slip 
 noose was fitted, with a heavy log of 
 wood attached to its opposite extre- 
 mity. The trap was set in a hole 
 dug for the purpose, and covered 
 over with earth, and the log con- 
 cealed in another one at a little dis- 
 tance off. When the stag trod on 
 the trap, the spikes pricked his foot, 
 which induced him to withdraw his 
 leg with a jerk, and thus upset the 
 trap. That action slipped the noose 
 on to his foot, and consequently fixed 
 the clog to his leg, which by trailing 
 
 along the ground, displacing stones, 
 and marking the earth along the 
 course taken in his flight, put the 
 huntsman upon his track, whilst it 
 also materially checked and ham- 
 pered his speed ; for if it got fixed 
 on a front leg, it would fly upwards 
 with every bound, and strike against 
 his breast, neck, or face ; if on a hind 
 leg, it would keep knocking against 
 his thighs or belly; and sometimes, 
 by getting wedged amongst stones 
 or stumps, would bring him up to a 
 complete stand-still. A trap very 
 closely resembling this description is 
 used for a similar purpose by the 
 modem Arabs (Wilkinson, Manners 
 and Customs of Ancient Egyptians, 
 vol. iii. p. 6,), which is supposed to 
 be an old Egyptian invention ; so that 
 we may conclude it to have been 
 common to several nations of anti- 
 quity. 
 
 PEDIS'EQUI. Slaves of both 
 sexes, whose duty it was to attend 
 upon their masters and mistresses 
 whenever they went abroad. They 
 formed a distinct class, and had pe- 
 culiar services of their own to perform, 
 different, for instance, from the ante- 
 ambulo7tes and nomenclatores^ who 
 were not pedisequi, though they like- 
 wise followed their masters abroad. 
 Nepos. Att. 13. Plaut. As. i. 3. 32. 
 PEDUM (Kopii/Tt, Kay(jiBih6v). A 
 shepherd^s crook, for catching sheep 
 
 t 
 
 and goats by the leg ; always repre- 
 sented, in works of art, as a simple 
 stick bent into a curve at one end, like 
 the annexed example, from a Pom- 
 peian painting, where it is carried by 
 Paris, the Phrygian shepherd ; and in 
 this form it is ascribed by poets and 
 artists to the pastoral deities. Pan, the 
 Fauns, and the Satyrs, and to the 
 Muse who presided over pastoral or 
 comic poetry, Thalia. (Festus, s. v. 
 Virg. Ed. V. 88. Serv. ad I.) An 
 
PEGMA. 
 
 PELLITUS. 
 
 485 
 
 implement of the same description, 
 but rather shorter and stouter, was 
 also employed by the ancient sports- 
 men and rustics as a throw-stick for 
 casting at hares (Theocr. Id. iv. 49. 
 vii. 129.), from which practice it re- 
 ceived the last of the two Greek 
 names bracketed above ; and conse- 
 quently in works of art it is appro- 
 priately given in that form to the 
 Centaurs, who are often represented 
 with a dead hare in one hand and a 
 short pedum in the other, to denote 
 the fondness which that race was 
 supposed to cherish for the sport of 
 hunting. 
 
 PEGMA (tt^y^o). Literally, any- 
 thing made of boards joined together ; 
 whence, in a special sense, a machine 
 Introduced upon the stage, in the 
 amphitheatre, or upon other occa- 
 sions where pageants were exhibited, 
 for the purpose of representing any 
 sudden or miraculous change of 
 scenic effect. The apparatus was 
 made of wood, and so constructed, by 
 means of springs and weights in the 
 internal machinery, that it would 
 open and shut, expand or contract, 
 increase or diminish in height, or 
 change of itself into a form altogether 
 different from the original one ; like 
 the contrivances employed at our 
 theatres for producing the tricks and 
 changes in a pantomime, of which 
 \h^ pegina was the prototype. Senec. 
 Ep. 88. Claud. Mall. Theod. 325. 
 Pheedr. v. 7. 7. Suet. Claud. 34. 
 
 2. In a private house, the term 
 pegma was given generally to several 
 pieces of furniture, as, the ease in an 
 atrium in which the ancestral por- 
 traits (imagines majorum) were de- 
 posited, a bookcase, cupljoard, &c.,, 
 whether fixtures or not. Auson. 
 Epigr. 26. Cic. Att. iv. 8. Ulp. Dig. 
 
 33- 7- 12- 
 
 PEGMA'RES. Gladiators intro- 
 duced into the amphitheatre upon a 
 pegma, which was then made to 
 undergo some sudden change, such 
 as turning into a den filled with wild 
 beasts, amongst which they would be 
 
 C 
 
 precipitated. (Suet. Cal. 26.) But 
 as the word only occurs in this pas- 
 sage, and the reading is regarded as 
 doubtful, the explanation of it can 
 only be received as a conjectural 
 probability. 
 
 PELECI'NON. One of the many 
 kinds of sun-dials constructed by the 
 ancients, supposed to have received 
 the name from 
 bearing a resem- 
 blance to the 
 form of a "dove- 
 tail" in carpentry, 
 and thus to be 
 derived from the 
 Greek word ire- 
 XeKivos, which has 
 that signification ; 
 a conjecture ren- 
 dered highly pro- 
 bable by the annexed example, pub- 
 lished by Lambeccio (Append, ad Lib. 
 IV. Comme7it. p. 282. ); the top of which 
 is formed exactly like a dove-tail. 
 
 PELLEX (iraWaic-li). A kept- 
 mistress, who lived in a 'state of im- 
 moral intercourse with a married 
 man, or with one who had contracted 
 the sort of alliance termed concitbi- 
 natus with another female. Dig. 5*-*- 
 16. 144. Becker, Callus. 
 
 PELLICULA'TUS. Covered 
 
 with skin or leather, especially with 
 reference to a 
 bottle or a jar in 
 which fruits, pre- 
 serves, and other 
 articles requiring 
 the air to be ex- 
 cluded were kept ; 
 as in the annexed 
 example, from a 
 Pompeian paint- 
 ing, in which the 
 edges of the lea- 
 ther cap are seen protruding from 
 underneath the lid, which is tied 
 down by cords passing through the 
 handles. ColumelL xii. 46. 5- •^'^• 
 39. 2. and 46. I. 
 
 PELLI'TUS (o-io-upif^opos). Clad in 
 fur orskins; a common style of clothing 
 
486 
 
 PELLUVIA. 
 
 PELTASTA. 
 
 amongst the northern nations, the 
 Greeks of the heroic ages, and Ro- 
 mans of primitive times, 
 and which continued 
 in use at a subsequent 
 period for the peasan- 
 try, and others sub- 
 iected to the exposure 
 of a country Ufe, sucli 
 as hunters, fowlers, 
 &c. (Liv. xxiii. 40. 
 Ov. Pont. iv. 8. 83. 
 Prop. iv. I. II.) Cloth- 
 ing of this nature is 
 frequently met with on 
 works of art in the form of an ex- 
 oinis ; but the annexed figure, repre- 
 senting a fowler from a statue at 
 Naples, wears a tunic, with an amic- 
 tus over it, both made of fur. 
 
 PELLU'VIA or -UM {-Kolavm- 
 TTip). A foot-pan^ or basin for 
 washing the feet in, as opposed to 
 malluvmm, a basin for washing the 
 hands. (Festus, s. v.) The illus- 
 tration, from a Pompeian painting, 
 
 of the female figures in the following 
 page ; but more commonly truncated 
 
 represents Cupid preparing a foot- 
 bath for Adonis, who, in the original 
 composition, is sitting in front of the 
 vessel ; and a bas-relief in Winkel- 
 mann (Mon. Ined. No. 161.) exhibits 
 the old nurse washing the feet of 
 Ulysses in a vessel of similar form 
 and character. 
 
 PELTA (ire'ATT?). A small and 
 light shield made of the same mate- 
 rials as the cetra (Liv. xxviii. 5.) ; 
 viz. wood or wicker-work covered 
 with leather, but without any metallic 
 rim. In shape it was sometimes el- 
 liptic, like the example borne by one 
 
 at the top, and indented by one or 
 two semicircular incavations, like the 
 annexed specimens, from ancient 
 monuments, whence it is character- 
 ized by the epithet hmata (Virg. 
 Alh. I. 490. Compare Varro, L. L. 
 vii. 43.). In this form it is more 
 especially characteristic of the Ama- 
 zons and Asiatic races (Quint. 
 Smyrn. i. 147 — 149. ) ; for the Thra- 
 cian shield, to which the name of 
 pelta was also given (Herod, vii. 75.), 
 because made of the same light 
 
 I materials, possessed a square and im- 
 
 1 bricated figure, like the Roman 
 sczitnm^ but upon a smaller scale. 
 See Parma, 2. and the right-hand 
 figure in the next wood-cut. 
 
 i PELTAS'TA (TreArafrriir). In a 
 general sense, one who wears the light 
 shield called pelta; but the name 
 was also specially given to a particu- 
 lar class of the Greek soldiery who 
 were provided with this defence 
 (Liv. xxviii. 5. xxxi. 36.), composed 
 originally of Thracian mercenaries, • 
 but subsequently adopted into the 
 regular army by Iphicrates the Athe- 
 nian. (Xen. Hell. iv. 4. 16. v. 12. 
 seq. ) In addition to the pelta, they 
 carried a knife or dirk, but had no 
 body armour (Herod, vii. 75. ), and 
 thus occupied an intermediate grade 
 between the heavy-armed troops 
 (^wATTat) and those who were alto- 
 gether unprovided with protective 
 arms (>|/iAoi). (Polyb. v. 22. /i5. .23. 
 lb. 25.) The left-hand figure of 
 Priam in the illustration, from a 
 marble bas-relief, exhibits an Asiatic 
 peltasta, whose costume corresponds 
 very closely with the descrip- 
 tion of Herodotus (/. c. ) ; and the 
 right-hand one, from a terra-cotta 
 lamp, represents a gladiator of the 
 class called Thracians {Thraces), 
 
PELT AT A. 
 
 PEN A TES. 
 
 487 
 
 who were equipped in the same style 
 as the soldiers of that country ; and, 
 
 consequently, may be received also 
 as an exemplification of the accoutre- 
 ments and general appearance pre- 
 sented by the military belonging to 
 the corps in question. 
 
 PELTA'TA. In a general sense, 
 any female who bears the small light 
 shield called pelta ; but more espe- 
 cially used to designate a female 
 warrior of Amazonian race, to whom 
 it is universally attributed by poets 
 and artists as the national arm of de- 
 fence. Ov. Her. xxi. 117. Am. ii. 
 14. 2. Mart. ix. 102. Compare Stat. 
 T/ieb. xii. 761., where pcltifera is 
 used in the same sense. The illus- 
 tration represents two Amazons, 
 
 from a marble bas-relief ; the one on 
 the left hand, with a lunated pelta of 
 the most usual form, the other of a 
 cylindrical figure, which is of much 
 rarer occurrence. 
 
 PELVIS (irc'An). A basin, in the 
 same extensive meaning as our own 
 
 term ; meaning thereby a large ves- 
 sel of circular form and open circum- 
 ference (hence /a^«/iz, Juv. iii. 277.), 
 intended to hold water for washing 
 for all general purposes, whether 
 persons or things ; thus, as a generic 
 term, including the special varieties, 
 although they might be designated 
 by an appropriate name of their 
 own ; as the hand-basin {malluvium, 
 where see the illustration), the foot- 
 basin {pelluvmni, where an example is 
 also given), and various others enume- 
 rated in the Classed Index. Non. 
 Marc. s. v. p. 54.3. Varro, Z. L. 
 v. 119. Pet. Sat. 70. 8. Juv. vi. 441. 
 PENA'TES. Household gods, 
 who were believed to be the creators 
 and dispensers of all the well-being 
 and gifts of fortune enjoyed by a 
 family, as well as an entire commu- 
 nity, which it was the object of the 
 guardian spirits (lares) to protect 
 and preserve. It is not clear whether 
 all, or which of the gods, were ve- 
 nerated as penates ; for many are 
 mentioned of both sexes, Jupiter, 
 Juno, Minerva, Vesta, Neptune, 
 Apollo, &c. ; but every family wor- 
 shipped one or more of these, whose 
 images were kept in the inner part of 
 the house, the tablinum, situated be- 
 yond the atrium. (Cic. N. D. ii. 
 
 27. Macrob. Sat. iii. 4. Varro, ap. 
 Amob. iii. 123. Serv. ad. Ain. ii. 
 296. and 325.) They are represented 
 in various ways on coins and medals ; 
 but in the annexed illustration, from 
 the Vatican Virgil, which has the 
 
488 
 
 PENICILL UM. 
 
 PENNA. 
 
 name inscribed over them, they ap- 
 pear as old men with their heads 
 veiled, like ? priest when officiating 
 at the sacrifice. 
 
 PENICIL'].UMor-US (probably 
 \>a^Uov. Clearch. ap. Athen. xv. 35.). 
 K painter^ s brush or 
 pencil for laying on 
 the colour (Cic. Or. 
 22. Quint, ii. 21. 
 24. ) ; some of which 
 were made of hair 
 (Plin. H. N. xxviii. 
 71.), and others of 
 the long pointed fi- 
 bres of a sponge 
 (Plin. H. N. ix. 69.). The illustra- 
 tion represents part of a female figure 
 in a Roman bas-relief, presenting a 
 paint-brush to M. Varro, in allusion 
 to one of his works, which he illus- 
 trated with the portraits of celebrated 
 men. The true meaning of the 
 Greek word bracketed as synony- 
 mous admits of doubt, and has re- 
 ceived various interpretations ; but, 
 as it is applied to Parrhasius in a 
 paragi'aph treating of the effects of 
 colour, which even in some of the 
 encaustic processes was laid on in a 
 liquid state with a brush (see En- 
 Caustica), it is highly probable that 
 the right meaning is alleged. 
 
 PENICULAMEN'TUM. The 
 end or pointed extremity of a loose 
 garment, such as the chlamys or pal- 
 iium, which hangs down like the tuft 
 end of a tail. Ennius. Lucil. Csecil, 
 ap. Non. s. v. p. 149. 
 
 PENIC'ULUS. A paint-brush. 
 (Plin. H. N. XXXV. 36. § II.) Same 
 as Penicillum, which some editions 
 have in the passage cited. 
 
 2. A brush for dusting, made out 
 of the tuft of a cow's tail. Plant. 
 Men. i. I. I. lb. ii. 3. 45. 
 
 PENNA. A ?!«'//, or large feather 
 growing from the wing or tail, as 
 contradistinct from plunia, the small 
 feather composing the general plu- 
 mage of the body (Columell. viii. 2. 
 10. ) ; employed for various purposes, 
 the whole feather for sweeping and 
 
 dusting out confined or intricate re- 
 cesses (Pallad. Nov. viii. 1.); the 
 quill part for making tooth-picks 
 (Mart. xiv. 22.) ; the feather end for 
 making a wing {ala) to the arrow 
 (Ov. Afet. vi. 258.), which kept its 
 head straight, and directed its course 
 through the air. Sagitta. 
 
 2. A pen for writing (Isidor. 
 Orig. xiv. 3.), made of a quill, as 
 shown by the annexed example, 
 from the Columns of Trajan and 
 Antoninus, on both of which it ap- 
 pears in the hands of a female figure, 
 personified as Victory, who is occupied 
 in recording the military successes of 
 those emperors. The use of the 
 quill, as an implement for writing 
 upon parchment or paper, is, 
 however, of a comparatively 
 late period, the reed or cane 
 {arundo, calamus) being solely 
 employed for that purpose in 
 early times. Beckman assigns 
 the fifth century as the period 
 of its introduction [History of 
 Inventions, vol. i. p. 408. London, 
 1846) ; but he was only cognizant of 
 one instance where it is represented 
 on works of art — the marble of the 
 goddess Egeria (Gronov. Thesaur. 
 Antiq. Gr. 2. n. 28), in which he 
 suggests the probability of the pen 
 having been added by a subsequent 
 hand. Admitting that to be an es- 
 tablished fact, instead of a suppo- 
 sition, the two instances quoted 
 above will still remain to be disposed 
 of; and as the object in question ap- 
 pears on both of them about midway 
 up the columns, that is, at an eleva- 
 tion of nearly sixty-four feet above 
 the ground, it would be mere folly to 
 suppose that a scaffolding of that 
 height was ever erected for the 
 useless purpose of making any such 
 addition. It is, therefore, obvious 
 that quill pens were made as early at 
 least as the commencement of the 
 second century, when the Column of 
 Trajan was executed, though they 
 may not have come into general or 
 common use until a much later period. 
 
PENNIPES. 
 
 PEPL UM. 
 
 489 
 
 PEN'NIPES. Having feathers 
 or wings attached to the feet ; an 
 epithet given to Mercury and Per- 
 seus. (Catull. Ixv. 24.) Same as 
 Alipes, which see. 
 
 PEN'SILIS. See Horreum and 
 
 HORTUS, 3. 
 
 PEN' SUM. That which is 
 weighed out as a task ; more especi- 
 ally applied to the labour of females, 
 because a certain quantity of wool 
 was weighed out daily to each of 
 the female slaves in an ancient house- 
 hold, which she was expected to 
 spin into thread for her day's work. 
 Justin, i. 3. Plaut. Virg. Ov. and 
 Lanipendia. 
 
 PENTASPAS'TOS (n^wiaTtaj!- 
 Tov\ A pulley case, containing a 
 set of five puUies (orbkzili) for raising 
 weights, like the example s. Orbi- 
 CULUS, only more powerful from its 
 increased action. Vitruv. x. 2. 3. 
 
 PENTATH'LUM (TrE^xaeAoi/). 
 A word merely translated from the 
 Greek, for which the genuine Latin 
 expression is Quinquertium. 
 
 PENTELO'RIS, sc. vestis. A 
 garment ornamented with five bands 
 of gold embroidery or purple, as ex- 
 plained under the word Paragauda. 
 Aurel. Vopisc. ijb. 
 
 PENTE'RIS (Tr6</TT)pr,s). A word 
 merely translated from the Greek, 
 for which the genuine Latin term is 
 QUINQUIREMIS. 
 
 PE'NULA. See P^nula. 
 
 PEP'LUM and PEP'LUS {-^iirKoi/ 
 and ttcVAos). A Greek word trans- 
 lated into Latin, designating a parti- 
 cular article of the female attire, 
 which the Romans expressed by the 
 corresponding term Palla ; the 
 Greek word being derived, according 
 to Riemer, from Tre'AAa, and akin to 
 IttwA u and i-niirKoav ; from which the 
 Latin pellis, palla, and pallium are 
 likewise obtained. The ordinary 
 interpretation given to the word, "a 
 shawl," rests upon no substantial 
 authority, if it be understood in our 
 sense of the word ; at the same time 
 that it affords but a loose and incor- 
 
 rect notion of the dress itself, and 
 the method of adjusting it ; which is 
 fully and circumstantially detailed 
 under its genuine Latin name Palla ; 
 to which, and the illustrations accom- 
 panying it, the reader is referred. 
 
 As the above explanation is at 
 variance with the notions ordinarily 
 received, it appears incumbent to 
 state in a concise manner some of 
 the principal reasons for its adoption; 
 and as the article in question be- 
 longed properly to the Greek attire, 
 its real character must be sought in 
 the writings and usages of that coun- 
 try. I. Pollux (vii. 49, 50.) de- 
 scribes the peplum as a dress exclu- 
 sively for females, which served the 
 double purpose of a tunica and pal- 
 lium (like the Latin tunicopallium — 
 67rtj3A.7j>ta Kal xirij/, and eadTifxa 6' earl 
 5nr\ovi/ TT]v ^peiav, ojs evSovvat re Kal 
 iiriPd\\e(T6ai). 2. The Scholiast on 
 Homer (//. v. 734.) defines it to be a 
 tunic, which was not put on over the 
 head, like the common one (Indu- 
 TUS), but was adjusted and fastened 
 on the person by means of brooches 
 [yvyatKiiov eySufjia, tout' ((TtI x^rct}ya, 
 hf ovK iveSvuifTO aW' it/ewepovwvTo). 
 3. Eustathius (ail Od. a. p. 1847.) 
 describes \he peplum as a large wrap- 
 per which entirely co- 
 vered the left shoul- 
 der, and had one of 
 its surfaces passed be- 
 hind the person, and 
 the other across the 
 front, until they met 
 on the right side, 
 where they were 
 joined together in 
 such a manner as to 
 leave the arm and 
 shoulder exposed (lie- 
 yav Tr^ptB6\aioVj (jk4t70v Thf apiffrcpop 
 Si/j.oy,Kai efLTTpotrOef Kal uiriaQevavvayov 
 Tas 8i5o TTTepvyas ei's rrji/Se^iavTrXevpav, 
 yvfiv^v io)!/ T^v 5e|iai/ x^'^P^ '^'^' '^^^ 
 S>ijLov). The annexed figure, from a 
 statue found at Herculaneum, and 
 composing one of the same set as the 
 first two inserted in the article 
 
490 
 
 PEPL UM. 
 
 Palla, p. 465., elucidates the words 
 of Eustathius in a striking manner, 
 showing the character of the drapery 
 and method of putting it on ; with 
 the exception, that his account seems 
 to place the second brooch under 
 the arm, instead of upon tlie shoulder, 
 so as to form an exoviis, of which an 
 example is afforded in Hope's Cos- 
 tumes, vol. ii. p. 1 80. , whence we may 
 infer that both these fashions were 
 practised ; but that in no wise alters 
 the essential character of the dress. 
 4. Panthea is described by Xenophon 
 (Cyr. V. I. 6.) as rending h^r pephitn 
 during an access of grief — Trepiwarep- 
 l}7j^aro rbv ^voiQeu 7r4ir\ov ; which does 
 not mean simply, that she *' tore and 
 rent her outer garment," as the trans- 
 lators render it ; but that she tore 
 the upper i)art (ri ivuBev) of her 
 peplum : viz. that which is turned over 
 at the top, and covers the breast and 
 back, rending it round (Ttpl) and 
 down [Kara.) — an action and expres- 
 sion perfectly intelligible when ap- 
 plied to a garment of the nature ex- 
 hibited in the illustration, but not so 
 reconcileable with the idea of a 
 shawl over the head. During this 
 act her face, neck, and hands were 
 exposed to the gaze of the bystanders 
 (Xen. I. c.) ; from which, the com- 
 mentators infer that the pephim 
 covered the head and hands ; but 
 that is a mistaken notion ; for the 
 Greek and Roman women, as well 
 as Asiatics, wore a separate shawl or 
 veil (aniiftiis) over the pephwi {see 
 the illustration s. Palla, 3. p. 467. ) ; 
 and it is this wliich got displaced, 
 as it naturally would, from the head 
 and face, by the violent action of 
 tearing the body-dress (peplum) in 
 the manner described. 5. The pep- 
 lum is mentioned both by Greek and 
 Latin authors as a long dress reach- 
 ing to the feet, and trailing on the 
 ground (Tpc(Ja5aseAHr6c^(:r6'7^^ol;s, Hom. 
 //. vi. 443. peplum fiitens. Claud. 
 Nupt. Honor. 122. Mand. v. 387.), 
 which character it is difficult to con- 
 nect with the appearance of a shawl. 
 
 I 6. The same term is applied by the 
 Greeks to the long close-fitting robe 
 with sleeves to the wrist, and skirts 
 to the feet, which was worn by the 
 Persians (yEsch. Pers. 474. 1060. ), as 
 the Romans gave the name oi palla to 
 a robe of the same description, which 
 was worn by musicians on the stage. 
 See the illustrations to Septuchus 
 and Palla Citharoedica. 7. 
 The pephim was fastened by a brooch 
 on the shoulder, which, wJien un- 
 clasped, left the shoulder and side 
 naked (Soph. Trachitt. 926 — 928. 
 Sidon. Apoll. Carm. iii. 206.) ; but a 
 shawl, which is only worn over 
 some other dress, would not denude 
 the person even when removed alto- 
 gether from the body. 8. A gar- 
 ment of tlie nature described under 
 the term Palla answers all these 
 conditions, and satisfactorily explains 
 why it is sometimes mentioned as 
 a tunic, and sometimes as an amic- 
 tiis (Mart. Capell. 6. amicta peplo) ; 
 why it occurs in the sense of a 
 carpet, curtain, veil for covering 
 anything; how the notion of its 
 being only a shawl has obtained ; 
 and how, when carried in the Athe- 
 naic procession, it was said to be like 
 the sail of a ship ; because, ^^■hen 
 loosed from its clasps, and unfolded, 
 it was in reality nothing more than a 
 large rectangular piece of drapeiy, 
 which acquired the characteristic 
 appearance of a legitimate garment 
 from the manner in which it was 
 folded and adjusted on the person. 
 
 2. The peplum of Athena was a 
 large and splendidly embroidered 
 piece of drapery, that was carried in 
 public procession at the Panathenaic 
 festival, opened out to its full dimen- 
 sions, and borne between two poles, 
 like the sail of a ship, in the same 
 manner as emblazoned flags and 
 banners are now carried by two men 
 in the solemn processions of the Ro- 
 man Catholic Church (Plato, Eu- 
 ihyphr. 6. C. Virg. Cir. 21.); but 
 when placed on the statue of the god- 
 dess, it was folded and adjusted in the 
 
PER A. 
 
 PERGULA. 
 
 491 
 
 same manner as the Palla. This 
 will be readily admitted from the an- 
 nexed figure of Mi- 
 nerva on a fictile 
 vase ; although the 
 brooches on the 
 shoulders are con- 
 cealed by the amic- 
 tus outside, and the 
 pephim is compress- 
 ed by a girdle, ren- 
 dered necessary by 
 the great depth 
 of the upper part 
 turned down (rbc 
 Sfw^ei/ TreVAoj'), thus 
 indicating the am- 
 plitude and consequent splendour of 
 the drapery out of which the dress 
 was formed. Many other statues 
 exhibit Minerva in a similar cos- 
 tume ; and amongst these, one of the 
 Museo Chiaramonti (tav. 14.), which 
 has no outer drapery, shows the 
 brooches on both shoulders, and the 
 whole arrangement of the peplum ex- 
 actly similar to the first two figures 
 introduced under the article Palla ; 
 the only difference being that the fall 
 over is as deep as in the annexed 
 figure, and a narrow agis crosses 
 obliquely from the right shoulder, 
 in the form of a balteus, to keep the 
 dress adjusted, instead of a girdle 
 round the waist. 
 
 PE'RA (ir<)/)a). K scrip or tvallet, 
 made of leather and slung by " strap 
 over the shoulder ; 
 used by travellers, rus- 
 tics, mendicants, and 
 the cynic philosophers 
 in imitation of them, 
 to carry provisions 
 and other necessaries. 
 (Phsedr. iv. 9. Senec. 
 Ep. gi. Mart. iv. 53.) 
 The illustration repre- 
 sents a peasant with 
 his staff and scrip 
 (bacido et pera) from a 
 marble at Ince-Blundell. 
 
 PERFORA'CULUM 
 strument employed by carpenters, 
 
 carvers in wood, and artizans of a 
 similar class ; usually translated a 
 gimlet or auger ; but it is clearly dis- 
 tinguished from the terebra in the 
 following passage, where its connex- 
 ion with the word dolatus would seem 
 to indicate some implement more in 
 the nature of a gouge — perforaculis 
 dolatiwi, terebraritvt veriigine excava- 
 tum. Arnob. vi. 200. 
 
 PER'GULA. Literally, and in a 
 general sense, any kind of building 
 added on to the side of a house or 
 other edifice, beyond the original 
 ground- plan, as an outhouse or lean-to, 
 like the outbuilding in front of the 
 annexed landscape, representing a 
 country-house or farm, in one of the 
 
 
 Pompeian paintings. (Plaut. Pseud. 
 
 I. 2. 84. Pet. Sat. 74.) Whence the 
 following more special senses : — 
 
 2. A stall or balcony constructed 
 over the colonnades of a forum, and 
 abutting from the buildings adjacent ; 
 chiefly intended for the occupation of 
 bankers and money changers. Plin, 
 
 II. N. xxi. 6. and compare M^eni- 
 ANUM. 
 
 3. A painter's exhibition-room ; a 
 large outbuilding in which the artists 
 of antiquity were accustomed to ex- 
 pose their works to public view, 
 when finished. Lucil. ap. Lactant. L 
 22. Plin. H. N. XXXV. 36. § 12. 
 Cod. Theodos. 13. 4. 4. 
 
 4. A lecture room in which any of 
 the arts or sciences were taught 
 
492 
 
 PERIPETASMA. 
 
 PERISTYLWM. 
 
 m- 
 
 Suet. Gramm. i8. Juv. 
 Vopisc. Saturn. lo. 
 
 5. An observatory at the top of a 
 house for taking astronomical obser- 
 vations. Suet. Attg. 94. 
 
 6. In vineyards and gardens a 
 long covered walk, over which the 
 vines were trained to a framework of 
 
 upon figures with bare feet and legs, 
 dancing girls and such characters, or 
 the goddesses and heroines draped in 
 the poetical or heroic style, like the 
 annexed example representing Ari- 
 adne ; consequently, in the passage of 
 Petronius (/. c. ), where they are worn 
 by the wife of Trimalchio, and seen 
 
 wood or trellis, as in the annexed ex- 
 ample from a painting of the Naso- 
 nian sepulchre. (Li v. xiv. 3. Colu- 
 mell. iv. 21. 2. Id. xi. 2. 32.) The 
 modern Italians retain the word 
 pergola in the same sense. 
 
 PERIPETAS'MA (TrepiTreVtio-fin). 
 A general term, strictly Greek, for 
 anything which is spread out, as a 
 covering, curtain, tapestry hanging, 
 &c. Cic. Verr. ii. 4. 12. See Au- 
 LAEA, PERISTROMA, TaPES. 
 
 PERIP'TEROS (TTfpiVTepos). A 
 term employed 
 by architects 
 to designate a 
 temple or other 
 edifice which 
 is surrounded 
 on the outside by a colonnade con- 
 sisting of a single row of columns all 
 round. (Vitruv. iii. 2.) The temple 
 of Theseus at Athens affords an ex- 
 isting specimen of the style. 
 
 PERIS'CELIS (Trepiir/ieAi's). An 
 anklet, made of choice materials and 
 workmanship, worn more particularly 
 by the Greek women and courtezans 
 I'ound the ankle in the same manner 
 as a bracelet is round the wrist. 
 (Hor. Ep. i. 17. 56. Pet. Sat. 67. 
 4 and 5. ) In the numerous instances 
 where ornaments of this description 
 are represented in the Pompeian 
 paintings, they are always introduced 
 
 peeping from under her tunic above 
 the tops of her shoes, it is expressly 
 intended to ridicule the ostentation, 
 vidgarity, and absurdity of the 
 wealthy parvenu and his silly help- 
 mate, who loads her person with 
 finery, without regarding its fitness, 
 or perceiving the ridiculous figure 
 she makes of herself. 
 
 PERISTRO'MA [TrepiaTpoi/xa). 
 In general anything which serves as 
 a covering, like the curtains, carpets, 
 and hangings of a room ; but more 
 
 especially a large and loose coverlet 
 customarily spread over a bed or a 
 dining couch so as to hang down 
 round the sides, in the manner shown 
 by the annexed illustration from the 
 Vatican Virgil. Cic. F/iil. ii. 27. 
 
 P E R I S T Y L'l U M (vepiaTiALov). 
 A peristyle; that is, a colonnade 
 round a courtyard, or in the interior 
 of a building, which has the columns 
 on the inside and the waU without, 
 
PERISTYLUM. 
 
 PERSONA. 
 
 493 
 
 as in the example below ; whereas 
 Lhe y&rm. peripteros is used to express 
 a structure designed upon a plan 
 precisely the reverse of this ; viz. 
 a colonnade on the exterior of a 
 building, which has the columns on 
 its outside, and the wall within. 
 Suet. Aug. 82. Plin. Ep. x. 23. 2. 
 Schneider. Vitruv. iii. 3. 9. 
 
 2. The peristyle of a Roman house, 
 which formed the second or inner 
 division of the general ground-plan, 
 corresponding in locality with the 
 Gynaconitis of a Greek domicile; and 
 was regarded as the internal or pri- 
 vate portion of the edifice, containing 
 the domestic apartments in the ordi- 
 nary occupation of the proprietor and 
 his family, to which none but their 
 immediate friends and acquaintances 
 
 had access. It consisted of an open 
 space, surrounded internally with a 
 colonnade, like the Atrium, but 
 covering a larger area, open to the 
 sky, and sometimes laid out as a gar- 
 den, with a fountain and inipluvittm 
 in the centre ; the apartments occu- 
 pied by the family being distributed 
 round its sides, and opening upon 
 the colonnade in question. It was 
 separated from the Atrium by the 
 iablinwn awA fauces, both passages of 
 communication between the two divi- 
 sions. (Vitruv. vi. 3. 7.) The illus- 
 tration represents an elevation of 
 half the peristyle of a house at 
 Pompeii, restored by Mazois ; and 
 its relative situation with respect to 
 the rest of the house will be under- 
 stood by referring to the ground-plan 
 at p. 248. col. 2. on which it is 
 marked ff. 
 
 PERIS'TYLUM (TTEpfo-TuAoi/). 
 Cic. Dom. 44. Varro, R. R. iii. 5. 8. 
 Same as the preceding. 
 
 PERO (aphvKri). A boot reaching 
 up to the calf of the leg, laced in 
 front and made of raw 
 hide, or untanned 
 leather, with the fur 
 on. (Virg. ^n. vii. 
 690. Juv. xiv. 186. Isi- 
 dor. Orig. xix. 34.) 
 The example is from a 
 Pompeian painting. 
 
 PERONATUS. Wearing the 
 boots last described {perones, Pers. v. 
 102. ) ; the characteristic chaussure of 
 agriculturallabourers, i^loughmen, and 
 
 shepherds, of which last a specimen 
 is inserted from the Vatican Virgil. 
 
 PERPENDI'CULUM (/(cieETos). 
 A phimh-line or line and plummet, em - 
 ployed by bricklayers, masons, &c., 
 for the purpose of proving 
 if their work be true to the 
 perpendicular. (Vitruv. vii. 
 3. 5. Cic. ap. Non. s. v. p. 
 162. Plin. v^. N. xxxv. 49.) 
 The illustration represents 
 an original found with several 
 others in a stone mason's 
 shop at Pompeii ; and nume- 
 rous examples have been dis- 
 covered in various excavations, all 
 bearing a considerable resemblance 
 to one another, and differing in no 
 respect from those now in use, with 
 the exception that thev are made of 
 bronze instead of lead, and exhibit 
 taste in their design, which the an- 
 cients constantly studied even in the 
 commonest articles of daily use. 
 
 PERSO'NA {-nfiaaTrov or -iiov). 
 
 1. 
 
494 
 
 PERSONA . 
 
 A mask, always worn upon the stage 
 in the theatres of ancient Greece and 
 Italy, by the actors of all classes, 
 tragic, comic, or pantomimic. The 
 part which covered the face was 
 made of wood (Prudent. Adv. Symm. 
 ii. 646. Compare Virg. Georg. ii. 387. ), 
 and to this a wig of suitable charac- 
 ter was added, so that the entire 
 head of the actor, as well as his face, 
 was completely covered (Aul. Gell. 
 V. 7-)> ^'""i travestied. Moreover, 
 every age and condition of life, from 
 youth to decrepitude, or from the 
 hero to the slave, was represented by 
 an appropriate mask, the character- 
 istics of which were sufficiently fami- 
 liar for the quality and condition 
 of the personage represented to be 
 immediately recognized by the spec- 
 tators upon his appearance on the 
 stage ; and the wig belonging to each 
 particular mask had a settled style of 
 coiffure, as well known as the fea- 
 tures it accompanied. Those which 
 were intended to personify historical 
 personages, heroes, demi-gods, &c. 
 were designed in imitation of some 
 authentic type, handed down through 
 ages by poet^, painters, and sculp- 
 tors ; and, consequently, were often- 
 times beautiful representations of 
 ideal forms ; the others, employed 
 in general tragedy and comedy, were 
 very numerous, and varied in their 
 details, as explained in the two fol- 
 lowing paragraphs. 
 
 2. Persona trag'ua. The tragic 
 mask (Phtedr. i. 7. ), of which there 
 were at least twenty-five different 
 kinds, six for old men, seven for 
 young men, nine for females, and 
 three for slaves ; distinguished by a 
 particular conformation of features, 
 colour of the complexion, and ar- 
 rangement as well as colour of the 
 hair and beard. The next illustration 
 shows three of these varieties, from 
 Pompeian paintings, two for old men, 
 and one for a young character ; that 
 on the right, with the grand siiper- 
 ficies, for stately tragedy ; the one on 
 the left, with the hair also disposed 
 
 in a superficies, but with more 
 sobriety, and a more natural appear- 
 
 ance, for middle tragedy ; and the 
 youthful one in the centre, which has 
 the hair di.sposed in a similar fashion, 
 but with still less of exaggeiation, be- 
 longing to the same class ; all exactly 
 as described by Pollux, iv. 133. seq. 
 3. Persona comica. The comic 
 mask, of which no less than forty- 
 three different types are enumerated, 
 distinguished, in the same manner as 
 the last-mentioned, by their features, 
 complexion, and wigs ; viz. nine for 
 
 old men, ten Jor young men, seven 
 for male slaves, three for old women, 
 and fourteen for young women. The 
 annexed illustration affords an ex- 
 ample of two kinds, from the paint- 
 ings of Pompeii ; the right one of an 
 old man, the other of a young woman, 
 with her head in the initra intended 
 for a courtezan [meretrix], as de- 
 scribed by Pollux (/. c.). Other 
 specimens of comic masks are intro- 
 duced, s. Personatus, Lorartus, 
 
 MiMUS. 
 
 4. Persona muia. Another kind 
 of mask was that worn by the dumb 
 actor, persona . -^ 
 
 muta, enumerated 
 in the dramatis 
 persona; to some 
 of the comedies 
 of Plautus and 
 Terence, who 
 comes upon the 
 i stage as an attendant upon others, 
 
PERSONA TUS. 
 
 but never speaks himself ; corre- 
 sponding with the " walking gentle- 
 man" of the modern drama. It is 
 represented by the annexed woodcut 
 from a Pompeian painting, in which 
 the closed mouth and compressed 
 lips indicate the silent character of 
 the actor who wore it. 
 
 5. A mask of terra-cotta marble, 
 or other material, designed to imitate 
 the human face, 
 heads of animals, 
 or similar devices, 
 generally of gro- 
 tesque forms, em- 
 ployed as an ante- 
 fix in buildings 
 (see woodcuts s. 
 Antefixa) ; as 
 an ornamental es- 
 capement for the water of a fountain ; 
 or as a gargoil for discharging the 
 rain-water from a roof, of which the 
 annexed illustration affords a speci- 
 men, from an original of terra-cotta. 
 Lucret. iv. 297. Plin. H. N. xxxv. 
 43. Ulp, Dig. 19. I. 17. 
 
 PERSONA'TUS. Masked, or 
 wearing u mask {ftTsona) ; more 
 especially with reference to an actor 
 on the stage (Cic. Oral. iii. 59. Hor. 
 Sat. i. 4. 55. ) ; for in the ancient 
 theatres of Greece and Italy the 
 performers always appeared in masks, 
 designed to suit the particular cha- 
 racters which each had to play ; of 
 which an example is afforded by the 
 
 PES. 
 
 495 
 
 annexed illustration, representing 
 
 one of the figures on a marble bas- 
 relief, on which a scene from some 
 comedy is delineated. 
 
 PER'TICA. Any long thin rod 
 or pole, for threshing com (Plin. 
 H. N. xviii. 12.) \ nut trees (Ov. 
 Nux, 67.); olives (Plin. H.N. .xv. 
 3. ) ; as a measuring rod, or perch 
 (Prop. iv. I. 130.), also termed /irr- 
 tica militaris (Serv. ad Virg. Eel. ix. ; 
 7. ), because the lands apportioned I 
 amongst the military were measured 
 off into allotments by this instrument. 
 Thence it is often expressed on ; 
 medals and engraved gems by the 
 side of a plough. See Gorlaeus, Dae- \ 
 tyliothec. ii. Nos. 608. 610. i 
 
 PES (iroiis). A foot of men and 
 animals, upon which the body is sup- 
 ported ; thence transferred to inani- 
 mate things, as the foot of a table, 
 chair, stool, couch, &c. , which were 
 sometimes made to imitate the feet of 
 animals, or other ornamental termi- \ 
 nations similar to what are still in 
 use, as .shown by numerous examples 
 inti'oduced in the course of these 
 pages. Sen. Ben. ii. 34. Ov. Met. 
 viii. 661. Plin. H. N. x.xxiv. 4. 
 
 2. A foot measure, which was 
 divided into twelve inches (uncia), 
 and subdivided into sixteen digits 
 (digiti, Vitruv. iii. i. Columell. v. i. 
 4. Front. Aq. 24.). The precise 
 length of the old Roman foot has not 
 been distinctly ascertained, for though 
 several foot rules of bronze have 
 been found in excavations, they all 
 vary slightly in their respective di- 
 mensions. One of these, from an 
 original found at Pompeii, is repre- 
 sented J-. Regula I., for the limited 
 width of these pages will not admit 
 of its being inserted on a scale suffi- 
 cient to show the real length. Seve- 
 ral examples, however, of the actual 
 size are engraved in the Museo 
 Borbonico vi. 15. and Ficoroni, La- 
 bico Antico, p. 93. 
 
 3. Pes veli. A rope attached to 
 the clew or lower corner of a square 
 sail, for the purpose of setting it to 
 the wind, called the sJieet in the nau- 
 
496 
 
 PES. 
 
 P ETAS US. 
 
 tical language of our country. (Isi- 
 dor. Orig. xix. 3. 4. ) Each sail was 
 furnished witli two sheets, as shown 
 by the annexed example, from a coin 
 
 of Lepidus, one on the larboard, the 
 other on the starboard clew (Catull. 
 iv. 19.); whence the following ex- 
 pressions will be readily understood : 
 isquo pede, or pedihus ccqius (Ov. 
 Fcut. iii. 565. Cic. Att. xvi. 6.), to 
 sail before the wind, because then the 
 sail was set straiglit across the ves- 
 sel, and consequently both sheets 
 were braced to the same length ; 
 ohliqiiare l(Zvo pede cornuci (Lucan. v. 
 428. ), to sail on a wind, or by the 
 wind, because in such case the yard 
 and sail were braced up, or slanted 
 across the vessel, to catch the slant of 
 the wind ; profcrre pedem (Plin, H. N. 
 ii. 48.) has the same meaning, because 
 one of the sheets was brought and 
 \>xac<t&fonoard, as in the illustration, 
 to give the necessary obliquity to the 
 sail already mentioned ; facere pe- 
 dem (Virg. ^n. v. 828.), to slack 
 out the sheets in order that the sail 
 may expand to the wind, also imply- 
 ing that the wind comes from a 
 favourable quarter. 
 
 4. Pes vinaceomni. The mass of 
 grape skins and stalks remaining 
 after the first juice, which made the 
 finest wine, had been squeezed out 
 by the press-beam (p-ehini), and 
 from which the wine termed circuni- 
 cidaneuni, and other inferior qualities, 
 were subsequently extracted by the 
 repeated action of the beam. Colu- 
 mell. xii. 43. 10. lb. ig. 3. Com- 
 pare the wood-cut j. Torcular. 
 
 PES'SULUS {KAuBpoy, /j.a.nSa\os, 
 icaroxivs). A bolt for fastening a 
 door (Ter. Eun. iii. 5. 55. Id. Heaut. 
 "• 3- 37- )> of which the annexed 
 
 illustration affords a specimen, from 
 a bronze original found at Pompeii. 
 The doors of the ancients being 
 generally bivalve had two, and some- 
 times four bolts affixed to them, one 
 at the top, and the other at the Ijottom 
 of each leaf, which shot into sockets 
 incavated in the lintel and sill of the 
 doorway, still to be seen in many 
 houses of Pompeii, whence ihe bolts 
 are mostly mentioned in the plural 
 when the closing and bolting of doors 
 is spoken of (Plant. Aid. i. 3. 26, 
 occlude fores ambobits pessulis, Apul. 
 Met. iii. p. 56. pessulis injcctis. Id. 
 iv. p. 76. Id. i. p. 8. ) ; and some- 
 times they could not be drawn back 
 without a key, for which purpose 
 the three-toothedkey [clavis Laconica, 
 p. 174.) was probably used (Apul. 
 Met. i. p. II. sttbdita clavi pesszilos 
 rediico : though in this and other 
 similar passages the pessiili may only 
 mean the bolts of a lock, as we also 
 apply our term with the same general 
 acceptation, 
 
 PETASA'TUS. (Cic. Fam. xv. 
 17. Suet. Aug. 82.) Wearing the 
 petasus, as described and illustrated 
 under the following word. 
 
 PET'ASUS (jTcVairos). A common 
 felt hat, with a low crown and broad 
 brim, adopted by the Romans from 
 Greece, and worn in both countries 
 as a protection against the sun and 
 weather. (Plant. Pseud, ii. 4. 45. 
 Amph. i. I. igo. Compare Suet. Aug. 
 82.) Hats of this kind were natu- 
 rally made in many different shapes, 
 according to individual caprice or 
 fashion ; but the most usual form ap- 
 proximated closely to that now worn 
 by our country people and railroad 
 labourers, with the exception of being 
 fastened by strings, which either 
 passed under the chin or round the 
 
PETAURISTA. 
 
 PHALANGA. 
 
 497 
 
 back part of the head. Both of these 
 manners are exhibited in the illustra- 
 tions, the one from a Pompeian 
 
 painting, the other from a Greek 
 bas-relief. Most of the horsemen in 
 the Panathenaic procession, from the 
 Parthenon, preserved in the British 
 Museum, wear the petasus ; and one 
 of the conventional signs, adopted by 
 the Greek artists, to indicate that the 
 person represented was on a journey, 
 consisted in depicting him with a 
 petasus slung at the back of his neck, 
 as seen on the figure at p. 147. 
 
 PETAURIS'TA (irernupiu-Ti^s). 
 One who performed feats of agility 
 upon the machine termed pdaurum 
 (Festus s. V. Varro ap. Non. j. v. p. 
 56. Pet. Sat. 53. II.); but as the 
 real nature of that object has not 
 been ascertained, it is impossible to 
 identify the character of those who 
 exhibited themselves upon it. 
 
 PETAU'RUM {-irhavpov). A 
 Greek word, signifying in that lan- 
 guage a perch for fowls to roost on ; 
 whence it was adopted, amongst the 
 Romans more particularly, as the 
 name for a contrivance or machine 
 employed in the exhibition of certain 
 feats of strength and agility, or in 
 a game of mere amusement, like that 
 of swinging. Its precise character, 
 however, still remains involved in 
 uncertainty, every attempt at a defi- 
 nite explanation failing to reconcile 
 itself with the different passages in 
 which the word occurs, though each 
 appears to be supported by some one 
 or more of them. Amongst these 
 the following are the most plausible 
 conjectures hazarded. I. A gene- 
 ral term for all the apparatus used by 
 rope-dancers, tumblers, and similar 
 characters ; including the poles, ropes, 
 hoops, &c., required for the different 
 
 displays exhibited by them. 2. A 
 long plank poised upon an upright at 
 its centre of gravity, and working 
 like our " see-saw," with one man at 
 each extremity, and a third who 
 stood upon the centre, and bounded 
 over the heads of the others on to tire 
 ground and back again, something 
 like the exhibition displayed upon 
 the gem introduced s. MoNOBOLON. 
 3. A wheel suspended in the air, and 
 worked round and round by the 
 weight of two men standing upon it, 
 one above and the other below, who 
 also exhibited other feats of dex- 
 terity whilst they thus kept it in 
 motion. 4. A wheel, placed hori- 
 zontally, like a potter's wheel, upon 
 which the tumbler performed his 
 evolutions, whilst the wheel itself 
 was in a state of rapid rotation. The 
 passages relied on for each of these 
 interpretations are the following : — 
 Lucil. ap. Fest. J. -v., or p. 87. 40. ed. 
 Gerlach. Manil. Astron. v. 434. Juv. 
 xiv. 265. Pet. Fragm. 13. Mart. ii. 
 86. xi. 21. 
 
 PETO'RITUM or PETOR'RI- 
 TUM. A four-wheeled open car- 
 riage, amongst the Romans used 
 chiefly for the transport of servants 
 and attendants, but of which no re- 
 presentation is known to exist. It 
 was, however, of foreign origin, pro- 
 bably introduced from Gaul, and de- 
 rived from the Celtic words petoar, 
 four, and rit, a wheel. Hor. Ep. 
 ii. I. 192. Id. Sat. i. 6. 104. Festus 
 s. V. Aul. Gell. XV. 30. 
 
 PHyECASIA'TUS. Wearing 
 shoes of the kind called phscasia; 
 especially characteristic of the Greeks. 
 Senec. Ep. 113. 
 
 PH^CAS'IUM (</>ai/ccio-io^). A 
 white shoe, proper to the Athenian 
 gymnasiarchs and priesthood of 
 Greece and Alexandria ; though also 
 adopted by other classes of both 
 sexes. Senec. Ben. vii. 21. Anthol. 
 vi. 254. Pet. Sat. 67. 4. 
 
 PHALAN'GA or PALAN'GA 
 (<()a\a7|). A strong round pole em- 
 ployed by porters to assist them in 
 2 I 
 
498 
 
 PHALANGA. 
 
 PHALERyE. 
 
 carrying heavy weights, the ends 
 being rested on their shoulders and 
 the load suspended from it between 
 
 than two feet long, not including the 
 ring at the end ; and the manner in 
 which it and the shield are carried in 
 
 them at the centre of gravity, as in 
 the annexed example, which repre- 
 sents two of the soldiers on Trajan's 
 column making use of the contrivance 
 in question. Vitruv. x. 3. 7, 8, and 9. 
 
 2. A wooden cylinder or roller in- 
 tended for placing under objects of 
 great weight to assist in moving 
 them, as, for instance, under the bot- 
 tom of a vessel, whilst being hauled 
 on shore, or launched from the beach. 
 Non. s. V. p. 163. Varro, ap. Non. 
 /. c. Ca:s. B. C. ii. 10. 
 
 3. Pieces of valuable wood, such 
 as ebony for instance, cut into trun- 
 cheons or cylinders, as objects of 
 merchandise. Plin. H. N. xii. 8. 
 
 4- A truncheon employed as a 
 weapon in warfare, the origin of 
 which is attributed to the Africans 
 during their contests "with the Egyp- 
 tians (Plin. H. N. vii. 57.). These 
 were probably cut out of some strong 
 and heavy kind of wood ; but an 
 instrument of iron, corresponding 
 with the form and name of the wea- 
 pon, has been discovered, amongst 
 many other objects of an unique 
 character, in a tomb at Pzestum, 
 together with a painting on the walls 
 of th.e sepulchre, which represents a 
 Greek warrior on horseback, carry- 
 ing the truncheon and a shield sus- 
 pended from his spear, as shown by 
 the annexed illustration. The imple- 
 ment Itself, which is engraved at the 
 bottom of the woodcut, is rather more 
 
 the picture above, renders it probable 
 that they were represented as a 
 trophy, which the owner of the tomb 
 had really taken from some enemy in 
 battle. The object and the painting 
 identify the instrument with its name, 
 which hitherto had not been accom- 
 plished. 
 
 PHALANGA'RII or PALAN- 
 GA'RII. Porters who carried things 
 of bulk or great weight with the 
 assistance of a strong jDole (phalanga). 
 Four, sir, and even eight men by 
 this means combined their strength 
 for the transport of a single object, 
 as shown by the annexed example, 
 from a terra-cotta lamp, representing 
 eight porters bearing a cask of wine, 
 suspended in the manner described. 
 
 Vitruv. X. 3. 7. Inscript. ap. Fa- 
 bretti, p. 10. 
 
 2. Soldiers formed into a phalanx. 
 Lamprid. Alex. Sev. 50. 
 
 PHALANGITIS ((^0X077.^7)5). 
 A soldier armed and equipped in the 
 same manner as those of the Macedo- 
 nian phalanx. Liv. xxxvii. 40. xlii. 51. 
 
 PHAL'ER.E (ra tpiKapa). Bosses 
 
PHALERATUS. 
 
 PHARETRA TUS. 
 
 499 
 
 of gold, silver, or other metals, cast 
 or chased with some appropriate de- 
 vice in relief; such, for instance, as 
 the head of a god, image of a king 
 or emperor, or other allusive design, 
 
 and frequently having additional 
 pendants, in the form of drops and 
 crescents attached to them ; which 
 were worn as ornaments upon the 
 breast by persons of distinction, by 
 soldiers as a military decoration, pre- 
 sented by the commander for bril- 
 liant services, and as an ornamental 
 trapping for horses. (Liv. ix. 46. Sil. 
 Ital. XV. 255. Virg. ^?2. ix. 359. Id. 
 V. 310. Claud, iv. Cons. Honor. 549,) 
 The illustration represents a collar 
 formed of phalerre, with pendants at- 
 tached to each alternate boss, from an 
 original preserved in the Museum of 
 Antiquities at Vienna, and the manner 
 of wearing them is explained and illus- 
 trated by the two following examples. 
 PHALERA'TUS. Wearing 
 bosses {phalera) of the precious me- 
 tals, as a decoration to the person; 
 a practice originally characteristic of 
 foreign nations (Suet. Nero, 30.), 
 but adopted from Etruria by the Ro- 
 mans (Florus, i. S, 6.), amongst whom 
 they were chiefly employed as a mili- 
 tary decoration for distinguished ser- 
 vices, and worn in front of the chest 
 (phaleris hie pectora 
 fidget. Sil. Ital. xv. 
 255.), attached to a 
 broad belt, fastened 
 over the bust, as ex- 
 emplified by the an- 
 nexed figure, repre- 
 senting the portrait 
 of a centurion in his 
 military accoutre- 
 ments, from a carving 
 on his tomb ; seven 
 phalercE are exhibited on his person, 
 three down the front of the breast, 
 
 and two, the halves only of which 
 appear in the drawing, on each side. 
 
 2. When applied to horses (Liv. 
 XXX. 17. Suet. Cal. 19. Claud. 17.), it 
 designates an or- 
 nament of simi- 
 lar description, 
 sometimes af- 
 fixed to thehead- 
 stall, or to a 
 throat collar, as 
 in the example 
 from a fictile 
 vase, or to a martingale over the 
 chest, as in the woodcuts at p. 264. ; 
 where they hung as pendants (Plin. 
 H.N. xxxvii. 74. Compare Claud, iv. 
 Cons. Honor. 549.), shaking and shin- 
 ing with every motion of the animal. 
 
 PHAR'ETRA (c^aperpa). A 
 quiver, or case for arrows only, in 
 contradistinction to eorytus, a bow 
 case, but which sometimes held the 
 arrows as well as the bow. See the 
 three following illustrations. 
 
 2. A particular kind of sun-dial, 
 which from its designation is sup- 
 posed to have borne some resem- 
 blance to a quiver ; but in the absence 
 of any known example representing 
 such a figure, the interpretation can 
 only be regarded in the light of a 
 conjecture. Vitruv. ix. 8. 
 
 PHARETRA'TUS. Carrying a 
 quiver (Virg. Hor. Ovid. &c. ), 
 which was practised amongst the 
 ancients in three different ways: — i. 
 by suspending it horizontally between 
 
 the shoulders and at the back, as 
 shown by the right-hand figure of 
 
Soo 
 
 PHARETRIGER. 
 
 PHONASCUS. 
 
 the first woodcut, so that the ar- 
 row was drawn out over the right 
 shoulder. 2. By suspending it low 
 down the back so that the mouth 
 came on a level with the left hip, as 
 in the left-hand example, when the 
 arrow was extracted by passing the 
 hand across the belly. Both these 
 figures personify the goddess of the 
 chase, the first from a medal, the 
 other from a terra-cotta lamp. 3. Or 
 lastly, by sling- 
 ing the quiver 
 across the back, 
 with its mouth 
 towards the 
 right elbow, so 
 that the arrows 
 were taken out 
 by passing the 
 right hand be- 
 hind the back, 
 in the manner 
 exhibited by the anne,xed example, 
 from a Greek marble, representing a 
 Phrygian archer. The three figures 
 will also explain many passages, 
 more especially in the Greek poets, 
 where the epithets used distinctly 
 imply one or other of the different 
 arrangements exhibited above. 
 
 PHARET'RIGER. Sil. Ital. xiv. 
 286. Same as Pharetratus. 
 
 PHARMACOPO'LA. (cpapix^Ko- 
 TT(aXT]s). One who makes and vends 
 quack medicines (Hor. Sai. i. 2. I.); 
 not a legitimate dealer or practitioner, 
 but one of the class of mountebanks, 
 still common in Italy and other 
 countries, who frequent the public 
 market places (Cic. Clucnt. 14. cir- 
 citviforaneiis), where they hold forth 
 the virtues of their nostrums in a 
 loud and fluent discourse (Cato ap. 
 Gell. i. 5. 3. ) to the ignorant multi- 
 tude. 
 
 PHAR'OS and P H A R' U S 
 ((pdpos). A light-house, so termed 
 after the celebrated tower built by 
 order of Ptolemy Philadelphus, on 
 the island of Pharos, at the entrance 
 to the port of Alexandria, which 
 became a general model for most 
 
 others (Plin. H. N. xxxvi. 18. Solin. 
 32. Suet. Til). 74. Stat. Sylv. iii. 5. 
 100.) The illustration represents a 
 light-house on a medal of the Em- 
 peror Commodus, 
 composed of a 
 circular tower ; 
 others are met 
 with of a square 
 form ; and the 
 Roman light- 
 house at Dover 
 Castle, of which 
 considerable re- 
 mains are still vi- 
 sible, is of an octa- ,-, 
 gonal figure ; but 
 they all present the same general 
 features of a tall tower in several 
 stories, diminishing upwards, with 
 windows turned towards the sea, at 
 which torches were kept burning for 
 beacons during the night. 
 
 PHASE'LUS. See Faselus. 
 
 PHIAL'A {<pii\n). Only a Greek 
 word Latinized, for which the genuine 
 Latin term is Patera, where an ex- 
 planation and illustration are given. 
 
 PHIL'YRA orPHIL'URA 
 ((piXvpa). A thin strip cut from the 
 inner coat of the papyrus, in order to 
 make a sheet of writing paper. This 
 was effected by glueing together a 
 number of these strips, sufficient for 
 the size of the sheet required, and 
 then consolidating it by a number of 
 similar layers fastened cross-ways at 
 the back, which gave the requisite 
 texture to 'the whole, and prevented 
 the sheet from splitting in the di- 
 rection of the fibres. Plin. I/. N. 
 xiii. 23. 
 
 PHFMUS {<piixos), Hor. Sat. ii. 7. 
 1 7- The Greek name for a dice-box 
 Latinized, for which the genuine 
 Latin term is Fritillus, under which 
 the word is explained and illustrated. 
 
 PHLEBOT'OMUS (^\€0ot6ixos). 
 A lancet or fleam for blood-letting. 
 Veg. Vet. i. 19. 
 
 PHONAS'CUS {<l>oiva<rK6i). One 
 who teaches the art of regulating the 
 voice ; as a singing-master (Varro ap. 
 
PHR YGIO. 
 
 PICTURA. 
 
 S°i 
 
 Non. s. Suscitabulum. Suet. Nero, 
 25. ) ; or as a master of elocution. 
 (Suet. Aug. 84. Quint, ii. 8. 15. xi. 
 
 3- 19- ) 
 
 2. In later times the leader of a 
 chorus or band of singers (Sidon. Ef. 
 iv. II.), for which the proper word is 
 Precentor. 
 
 PHRYG'IO. An embroiderer, for 
 which art the Phrygians were much 
 renowned. Plant. Aul. iii. 5. 34. 
 Met'., ii. 3. 77. Serv. ad Virg. Ain. 
 iii. 484. 
 
 PHRYGIO'NIUS. Etnbroidered. 
 Plin. H. N. viii. 74. 
 
 PHYL'ACA (4,v\aK-l)). Plaut. 
 Capt. iii. 5. 93. A prison or place 
 of custody ; it is only a Greek word 
 Latinized. See Carcer and Er- 
 
 GASTULUM. 
 
 PICTOR {7pa(/)ei/j). Kpainter or 
 artist who exercises any branch of tlie 
 pictorial art. (Cic. Acad. iv. 7. Hor. 
 A. P. 9. ) The illustration represents 
 a portrait painter taking the likeness 
 of a person who is sitting before him, 
 from a design on the walls of a house 
 at Pompeii, which, though a palpable 
 caricature, affords a very good idea 
 of the interior of a Roman artist's 
 studio. He sits upon a low stool in 
 
 front of his easel, with a tray of 
 colours beside him, and a pot of 
 water to cleanse the only brush he 
 uses ; both which circumstances indi- 
 cate an artist in water-colours, or in 
 that style of encaustic painting in 
 which the colours were laid on with 
 a liquid brush (see Encaustica). 
 Fronting him is the sitter, and behind, 
 at the further end of the room, a 
 pupil drawing on his board ; while 
 two assistants are engaged on the 
 right in preparing the colours, pro- 
 bably mixed with wax, in a shallow 
 
 pan placed over some hot coals, a 
 further indication of the encaustic 
 process. I'he heated coals, obsei-vable 
 in the original, are lost in our en- 
 graving, from the inadvertence of the 
 draughtsman, or in consequence of 
 the very reduced scale upon which 
 the drawing is executed. It will be 
 remarked that the artist does not use 
 a palette, which would not be re- 
 quired for either of the styles men- 
 tioned ; but other examples amongst 
 the Pompeian paintings exhibit a 
 palette in the left hand (Mus. Borb. 
 vi. 3.), of similar form to those used 
 at the present day. Nevertheless, it 
 is extremely probable that this article 
 was not much employed by the 
 ancient painters, as no name for it is 
 known to exist either in the Greek or 
 Latin language. 
 
 PICTU'RA (7pa07J). A drawing 
 or painting with lines or colours ; 
 thence the object itself so drawn or 
 painted, a picture ; of which the fol- 
 lowing kinds are enumerated. 
 
 I. Pictura in tabula. (Cic. Verr. 
 ii. 4. I. Quint, vi. i. 32.) A paint- 
 ing on wood or panel, mostly on a 
 slab of larch, and frequently fitted 
 with two folding doors to shut in 
 the picture and 
 
 ii 
 
 preserve it from 
 dust and dirt, 
 as shown by the 
 annexed exam- 
 ple, from a de- 
 sign at Pompeii, 
 representing a 
 pictureon panel 
 hung over a doorway, and also illus- 
 trating the manner in which such 
 works were suspended. 
 
 2. Pictura in lintco, or, in sipario. 
 (Plin. H. N. 
 XXXV. 33. 
 
 Quint. I. c.) A 
 painting on can- 
 vas, a mate- 
 rial probably 
 brought into use 
 at a much later 
 date than wood ; but clearly represented 
 
502 
 
 PICTURATUS. 
 
 PI LA. 
 
 by the annexed example, from a 
 design at Pompeii, whicii also shows 
 the frame upon which it was stretched 
 very similar to those now employed 
 for embroidery and worsted working. 
 
 3. Pictura inusta. (Plin. H. N. 
 XXXV. 39, 7(5. 31.) A painting in 
 coloured wax, burnt in by the action 
 of heat, descriptive of one of the pro- 
 cesses employed in encaustic painting. 
 See Encaustica. 
 
 4. Pittura udo teciorio. Vitruv. 
 vii. 3. 6. A fresco-painting ; that is 
 executed upon a wall coated with 
 very fine cement, made of marble 
 dust and chalk, and painted while 
 the cement is still wet. 
 
 5. Pictura textilis. (Cic. Verr. ii. 
 4. I. Lucret ii. 35.) A picture 
 worked in embroidery ; a very early 
 invention, for which the natives of 
 Phrygia were celebrated ; hence acu 
 pictus means embroidered. 
 
 PICTURA'TUS. Painted in 
 colours ; and, when applied to dra- 
 pery, etiibroidered. Virg. Ai.n. iii. 483. 
 
 PI'LA, with the first syllable long 
 (Z757)). Properly a deep mortar 
 (aha, Ov. Ibis, 573.), in which 
 things were brayed and pounded 
 into an impalpable substance (Plin. 
 //. N. xviii. 29. 
 § 2. ), by beating 
 down with a pestle 
 of great size and 
 weight (see Pilum 
 I.) ; whence the 
 Greek terms VySis 
 and (75io'jua also 
 designate a dance, accompanied with 
 much stamping of the feet. The an- 
 nexed example is from an original 
 discovered at Pompeii ; and is thus 
 distinguished from mortarium, a mor- 
 tar of smaller dimensions, in which 
 ingredients were kneaded and mixed 
 together ; but the distinction is not 
 always observed with accuracy. 
 
 2. (-widiris). A pillar, or pier of 
 an oval-shaped form, such as was em- 
 ployed under water for supporting 
 the superstructure of a bridge (Liv. 
 xl. 51. Suet. Claud, 20. Senec. Q. N. 
 
 vi. 30.) ; as a monument to receive 
 an inscription (Nep. ^/i-. 4.); in 
 front of a bookseller's shop, on which 
 the catalogues were exposed to view 
 (Hor. Sat. i. 4. 71.); or other pur- 
 poses of a congenial nature. 
 
 3. (eV5o/i7)(r(s). A pier or break- 
 waterlVirg. yEii. ix. 711.), which is 
 always rounded at the end, and in its 
 entire mass from the base to the top 
 at low water presents a figure of 
 nearly similar form to the other 
 objects expressly characterized by 
 the same term. 
 
 PILA, with the first syllable short 
 {(TcpaTpa). A ball for playing the 
 game of ball ; as a general term in- 
 cluding the four distinct kinds used 
 by the ancients ; viz. Follis, IParpas- 
 tum, Paganica, and Trigon, each of 
 which is described under its own 
 specific name. 
 
 2. Pilapicta. (Ov. Met. x. 262.) 
 A playing-ball, of which the outside 
 leather was painted of different co- 
 lours, and ornamented with tasty 
 devices ; frequently represented on 
 the fictile vases, as an accessory in 
 scenes illustrative of life in the Gym- 
 nasium, or of female amusements, 
 from one of Avhich the annexed spe- 
 cimen is copied, where it is 
 exhibited amongst various 
 other trinkets, working and 
 playthings, suspended from 
 the tomb of a young Greek lady. It 
 would appear that green was a fa- 
 vourite colour for this purpose {pra- 
 siiia pila. Pet. Sat. 27. 2.) ; whence 
 the same is designated by the term 
 vitrea, in an inscription [ap. Grut. 
 tom. i. p. 2. 1537), that is, of a glassy 
 or greenish hue, like the colour of 
 water ; as vitrea unda (Virg. yEn. 
 vii. 759.), vitrea sedilia (Id. Georg. 
 iv. 350.). 
 
 3. Pilavitrea. (Senec. Q.N.K.d.) 
 A glass globe filled with water for the 
 purpose of being placed between a 
 person and the object he is contem- 
 plating, in order to magnify the object 
 and render it clearer to the view ; a 
 custom still adopted in wood engrav- 
 
PI LA. 
 
 PILARIUS. 
 
 503 
 
 ing and other occupations, requiring 
 a strong and clear light which will 
 not prejudice the sight. It would 
 also appear from the above passage 
 of Seneca that this contrivance was 
 sometimes employed by the ancients 
 to assist an imperfect or failing sight, 
 in the place of our spectacles ; for these 
 useful articles were not discovered 
 before the commencement of the 14th 
 century, being invented by a Floren- 
 tine named Salvino degli Amati, who 
 died in 1317, as testified by the epi- 
 taph inscribed upon his tomb (Manni, 
 Dissert, degli Occhiali, p. 65. ). It 
 must, however, be remembered that 
 the ancients, who employed a nume- 
 rous class of well-educated slaves in 
 the character of readers, secretaries, 
 and amanuenses, did not stand so 
 much in need of an artificial assist- 
 ance for the eye-sight as we do. 
 Another meaning of the expression 
 pila vitrea is explained in the pre- 
 ceding paragraph. 
 
 4. PUa Mattiaca. (Mart. xiv. 27.) 
 A ball of German pommade, em- 
 ployed by the ladies of Rome and 
 young men of fashion, to tinge the 
 hair of a light or fair colour. It was 
 composed of goats' tallow and beech- 
 wood ashes made up into a ball, 
 which received its distinguishing epi- 
 thet from the town of Mattium (Mar- 
 ptirg) from whence it was imported. 
 
 5. A balloting-ball ; employed as a 
 means for selecting what judge should 
 try a cause, and prevent the packing 
 of the bench against the interest of 
 either party. For this purpose a 
 certain number of balls, with the 
 names of different judges inscribed 
 on them, were put into a box, and 
 thence drawn out by lot, in the same 
 spirit as we strike a jury, each party 
 having the right to challenge and 
 reject any obnoxious or presumedly 
 partial judge. Prop. iv. 11. 20., and 
 Ascon. Argiunent. Milan. 
 
 6. An effigy or Guy, clumsily made 
 out of old pieces of cloth stuffed with 
 hay, employed to try the temper of 
 some animals, buUs and buffaloes, 
 
 when baited ; or to infuriate them if 
 they appeared tame and impassive ; 
 a practice still continued at Mola, on 
 the bay of Gaeta, upon a certain 
 festival, at which it is customary 
 for buffaloes to be baited in the main 
 street. Mart. Sped. 19. Ascon. ad 
 Cic. Fragni. pro C. Cornel. 
 
 PILA'NI. Tlie original name by 
 which the soldiers composing the 
 third line or division of the old Ro- 
 man legion were distinguished, be- 
 cause they alone at that time were 
 armed. with the heavy javelin or 
 pilum, the other two using the spear 
 or hasta. But when thspihim was 
 adopted for all the three divisions, 
 the title of Triarii was substituted for 
 that of Pilani, with which it becomes 
 thenceforth synonymous (Varro, L.L. 
 V. 89. Paulus ex Fest. s. v. Ov. Fast. 
 iii. 129.). Subsequently, however, to 
 this period, and towards the close of 
 the republic, when the custom ob- 
 tained of drawing up an army by 
 lines in cohorts, the distinctive 
 character, as well as the name of 
 Pilani or Triarii was abandoned, be- 
 cause it no longer represented any 
 real distinction. 
 
 PILA'RIUS. One who exhibits 
 feats of dexterity with a number of 
 balls, similar to the Indian juggler 
 (Quint. A. 7. II. Inscript. ap. Fabrett. 
 p. 250. n. 2.), by throwing them up 
 with both hands, catching them on, 
 and making them rebound from, the 
 
 innerjoint of the elbow, leg, forehead, 
 
S°4 
 
 PI LEA TUS. 
 
 PILEOL US. 
 
 and instep, so that they kept playing 
 in a continuous circle round his per- 
 son without falling to the ground, as 
 minutely described by Manilius {As- 
 tron. 169 — 171.). and as exhibited by 
 the annexed figure from a Diptych in 
 the Museum at Verona. The player 
 is performing with seven balls, in a 
 handsome building (the scena pilario- 
 ricm of Quint. /. .:. ), whilst a number 
 of boys and other persons stand round, 
 and look on. Two figures in pre- 
 cisely the same attitude, and with the 
 same number of balls each, are sculp- 
 tured on a sepulchral marble in the 
 collection at Mantua. Labus. Antich. 
 di Mantova. tom. ii. 
 
 PILEA'TUS (TTiAocfiJpos). Bon- 
 netted; that is, wearing a felt-cap 
 termed/Zfe/j-, the 
 ordinary head- 
 covering of sail- 
 ors, fishermen, 
 and artisans, as 
 well as of the 
 twin brothers, 
 Castor and Pol- 
 lux, who are 
 thence styled 
 fratres pileatl 
 (CatuU. 37. 2. ) ; amongst the Greeks 
 and Romans usually worn without 
 strings, and put on in such a manner 
 as to leave the ends of the hair just 
 visible all round its edges, as ex- 
 hibited by the annexed example, re- 
 presenting Ulysses on an engraved 
 gem. Liv. xxiv. 16., and Pileus. 
 
 2. Pileata Roma, — pileata plehs, — 
 pileata turba. Expressions employed 
 to indicate the period of the Saturna- 
 lian festival, or carnival of ancient 
 Rome ; because at that fete all the 
 people wore caps as a token of the 
 general liberty permitted during those 
 days of revelry and rejoicing, and in 
 allusion to the custom of presenting a 
 tiletts to the slave who had regained 
 his liberty. Mart. xi. 5. Suet. Nero, 
 57. .Sen. Ep. 19. 
 
 3. Pileati semi. (Aul. Gell. vii. 
 4.) Slaves whose heads were covered 
 with 3. pileus, when put up for sale. 
 
 as a token that their owners could 
 not warrant them. 
 
 PILEN'TUM. A state carriage 
 used by the Roman matrons and 
 ladies of distinction on gala days and 
 festivals, instead of the Carpentnni, 
 which they employed on ordinary 
 occasions. (Liv. v.25. Y'lrg.Ain. viii. 
 666. Festus J-. I-. ) We have not suffi- 
 cient data for deciding the precise 
 character of this conveyance, further 
 than what is collected generally and 
 by implication from the terms in 
 which it is spoken of; whence it 
 appears to have been raised to a 
 stately height, of easy motion, with a 
 cover over head, but open all round, 
 and, sometimes, if Isidorus ( Orig. xx. 
 12.) be correct, furnished with four 
 
 wheels, 'i'he figure in the illustration, 
 from a medal of the Empress Faus- 
 tina, agrees with many of these par- 
 ticulars ; and although it cannot be 
 pronounced authoritatively as an ac- 
 curate representation of the carriage 
 in question, may serve to convey a 
 notion of what it was like, and how 
 it differed from the ordinary carpen- 
 tiwi. The circumstance of being 
 drawn by lions instead of horses or 
 mules, may be a piece of mere ar- 
 tistic exaggeration ; but under the 
 extravagant habits of the empire, we 
 meet with various instances of wild 
 animals being tamed and yoked for 
 draught. 
 
 PI'LEOLUS (iT,\ihov). Dimi- 
 nutive oi pileus : a small and shallow 
 skidl-cap^ made of felted wool, which 
 just covered the top part of the head, 
 leaving the hair over the forehead 
 and at the nape of the neck entirely 
 
PI LRUS. 
 
 PIL UM. 
 
 505 
 
 free (Hieron. Ep. 85. n. 6. Com. 
 pare Id. Ep. 64. n. 13.). It was 
 worn by the Romans 
 as a protection for the 
 head even indoors 
 {Hor.£/. i. 13. 15.); 
 thus resembling in its 
 use, as it did in fonn, 
 the little cap (French, 
 calotte ; Italian, ber- 
 rettino)^ which a car- 
 dinal and some of the 
 Catholic priests put on to cover their 
 tonsures when they take off their 
 hats, and wliich is exactly similar 
 to the example in the annexed illus- 
 tration, from an engraved gem, be- 
 lieved to contain the portrait of Alex- 
 ander the Great. 
 
 PI'LEUS or PI'LEUM (irlAos, iri- 
 'KaT6v). A cap, properly speaking, 
 oifelt, and worn by men as contra- 
 distinct from those which were worn 
 by women (Plaut. Aniph. i. i. 300. 
 Mart. xiv. 132. Serv. ad Virg. ALn. 
 ix. 616). They naturally varied in 
 form amongst different nations of an- 
 tiquity, but still preserving the same 
 general characteristics of a round cap 
 without any brim, and fitting close or 
 nearly so to the head, as exemplified 
 by the specimens annexed, which re- 
 present three of the most usual forms 
 
 occurring in works of art. The first 
 on the left shows the Phrygian 
 bonnet from a statue of Paris. The 
 centre one the Greek cap, mostly 
 egg-shaped, as here, from a bust of 
 Ulysses ; and the last, the Roman 
 cap of liberty, from a coin of Brutus. 
 
 PIU'CREPUS (Sen. Ef. 56). 
 The correct meanhig of this word is 
 doubtful ; but it is supposed to desig- 
 nate one who played a game at ball 
 of the same nature as our tennis. 
 
 PI'LULA. Diminutive of PiLA. 
 Any small globe or ball ; especially 
 
 a pill in medicine. Plin. H. N. 
 xxviii. 37- 
 
 PILUM {Kiiravov). A large and 
 powerful instrument for bruising and 
 braying things in a deep mortar 
 {pila) (Cato, R. R. x. 5. Plin. H. N. 
 xviii. 23). It was held in both 
 hands, and the action employed when 
 using it was that of pounding by 
 repeated blows, as shown by the 
 annexed example from an Egyptian 
 painting, whence the operation is 
 described by connecting it with such 
 words as tundere (Pallad. i. 41. 2.), 
 contundere {lb. 3.) ; whereas theordi. 
 
 nary pestle (pislillum) was used with 
 one hand, and stirred round the mor- 
 tar (mortarimii), with an action 
 adapted for kneading and mixing, 
 rather than pounding ; but the dis- 
 tinction between these two words is 
 not always preserved. 
 
 2. (v(T(t6s). The pilum, or national 
 arm of the Roman infantry. It was 
 a very formidable weapon, used 
 chiefly as a missile, but also serving 
 as a pike to thrust with when occasion 
 required, though shorter, stronger, 
 and larger in the head than the hasta 
 or spear. It seems to have varied 
 somewhat in length at different 
 periods, the average being near about 
 six feet three inches from point to 
 butt. The shaft, which was made of 
 wood, was square at the top, and of 
 exactly the same length as the head, 
 
5o6 
 
 PILVM. 
 
 which was formed of iron ; and this, 
 when riveted on to the shaft, covered 
 one half of its length, leaving about 
 nine inches of solid metal projecting 
 as a head-piece beyond (Li v. ix. 19. 
 Flor. ii. 7. 9. Veg. Mil. ii. 15. Sil. 
 ItaL xiii. 308. Polyb. vi. 23. Id. 
 i. 40). It appears a remarkable cir- 
 cumstance that we should have no 
 authentic specimen remaining of this 
 national weapon, either as the product 
 of excavations, or in artistic repre- 
 sentations, by which its exact form 
 and character might be ascertained 
 from demonstrative evidence. But 
 as the head was made of iron, a ma- 
 terial which suffers greatly from cor- 
 rosion underground, when found, it is 
 always so much eaten away and dis- 
 figured by rust as to have lost all 
 distinctive character ; and the figures 
 on the columns, triumphal arches, and 
 other sculptures illustrative of mili- 
 taiy scenes, are for the most part 
 intended for officers, not soldiers of 
 the rank and file, consequently who 
 would not use the pilum ; or, if the 
 common soldiers are brought into a 
 ! prominent position, they are engaged 
 
 as fatigue parties, felling timber, col- 
 lecting forage, transporting pro- 
 visions, making stockades, raising 
 field works, and such other duties as 
 would preclude the artist, even if he 
 i wished it, from introducing offensive 
 1 weapons into the scene. Moreover, 
 the unartistic effect which would be 
 produced by a forest of straight lines, 
 the difficulty also attending the exe- 
 cution of such objects in sculpture, 
 and the fragile nature of the object 
 itself when carved in relief, induced 
 the ancient sculptors, as a general 
 rule of their art, to omit accessories 
 of this kind in their works, and to 
 content themselves with making the 
 action represented obvious and un- 
 mistakeable by the mere truthfulness 
 of attitude and gesture. These reasons 
 and motives will account for the want 
 of an illustration, the absence of 
 which might otherwise appear an un- 
 reasonable omission. But it may be 
 
 Pi:fNA. 
 
 suggested that the implement held by 
 the figure in the last woodcut will 
 also afford a probable proximate idea 
 of the pilum of a Roman soldier ; the 
 description of which above given, and 
 collected from various written au- 
 thorities, corresponds in a remarkable 
 manner, both as respects the square- 
 ness of the upper part, and relative 
 proportions between the head and 
 shaft, with the instrument there 
 figured, which resemblance will thus 
 explain why both objects were desig- 
 nated by the same name. 
 
 PINACOTHE'CA (irivanoeiK-r]). 
 A picture gallery; an apartment 
 usually comprised in the houses of 
 the wealthy Greeks, and of the Ro- 
 mans, after they had acquired from 
 them a taste for the arts. Vitruv. i. 
 2. 7. Id. vi. 3. 8, Plin. H. N. 
 xxxv. 2. 
 
 PINCER'NA (oXvoxioi). A cup- 
 hearer ; a slave whose duty it was to 
 mix the wine, fill the cups, and hand 
 them round to the guests at table. 
 They were in general young persons 
 selected for the comeliness of their ap- 
 pearance, who wore their hair flowing 
 on their shoulders, and 
 a short tunic ; and had 
 particular attentionbe- 
 stowed upon the clean- 
 liness of their persons 
 and attire (Ascon. in 
 Verr. ii. I. 26. Lam- 
 prid. Alex. Sev. 41). 
 AH these particulars 
 are exhibited in the 
 annexed figure, from 
 the Vatican Virgil ; 
 the long trousers and 
 mantle indicate a youth of foreign, 
 and probably Phrygian, extraction. 
 
 PINNA (TTTfpcf,'). The blade of 
 a rudder [gubernaculum] : which 
 among the ancients was little more 
 than a large oar having a broad blade 
 at the extremity, with two drooping 
 points, like the feather ends of birds' 
 wings, from which it received the 
 name, as in the annexed example, 
 from a bas-relief found at Pozzuoli. 
 
PINNA. 
 
 PISCINA. 
 
 507 
 
 If the blade was rounded at the bot- 
 tom like a common oar, as was 
 
 frequently the case, it still retained 
 the same name ; but the resemblance 
 was drawn from a single feather, 
 which has the quill in the centre, and, 
 as it were, a blade with an edge on 
 each side of it, like a double axe. 
 Non. s. Bipennis, p. 79. 
 
 2. A turret, or notched battlement, 
 along the top of a wall, fortress, 
 tower, &c. (Varro, Z. Z. v. 142. 
 Claud. Quadrig. ap. Gell. ix. 1. 
 
 Virg, ^n. vii. 159). Some gram- 
 marians deduce this meaning of the 
 word from a fancied resemblance to 
 the feathers or wings worn by the 
 Samnite soldiers and gladiators at the 
 sides of their helmets (see the illus- 
 tration s. Samnites) ; others from 
 the turret being acuminated or 
 bevelled upwards into an edge, like 
 a feather, in the manner shown by the 
 annexed illustration, which represents 
 two turrets on the city walls of Pom- 
 peii, viewed from the inside of the 
 ramparts. It will also be observed 
 that they are ingeniously contrived 
 with a shoulder, or returning angle. 
 
 which protected the defenders from 
 missiles coming with a slant against 
 their left sides. 
 
 3. A paddle ot float board attached 
 to the outside of a water wheel [rota 
 aquaria), upon which the current 
 acts to produce rotation. Vitruv. x. 
 5. I. 
 
 4. A register or stop in a water 
 organ. Vitruv. x. 8. 4. 
 
 PINNIR'APUS. Any gladiator 
 matched with a Samnite or Thracian, 
 each of whom wore feathers {pijtnce) 
 in their helmets (as shown by the il- 
 lustrations to those words) which it 
 was an object of their opponents to 
 snatch away, whence the name arose. 
 Juv. iii. 158. Schol. Vet. ad I. 
 
 PINS OR. An early form for 
 PiSTOR. Varro. de Vit. P. li. ap. 
 Non. p. 152. 
 
 PISCATOR (aAi€rf!)- A fisher- 
 man, understood, like our own term, 
 in the same general sense of one who 
 takes fish in salt or fresh water, with 
 the net or line ; and also a fish-man 
 who sells through the town the fish 
 he has taken himself. Plaut. Capt. 
 iv. 2. 34. Terent. Fitn. ii. 2. 26. 
 Inscript. ap. Fabretti, p. 731. n. 450. 
 piscatores propoliT. 
 
 PISCI'NA (Ixevarpo'pi'LOv). A 
 stew or stoei pond for fish, an usual 
 appendage to the villa residences of 
 the wealthy Romans. Aul. Gell. ii. 
 20. 2. Cic. Att. ii. I. Varro, R. R. 
 iii. 17. Columell. viii. 17. 
 
 2. A large sioimming bath in the 
 open air (Plin. Ep. v. 6. 25.), either 
 of tepid water warmed by the heat of 
 the sun, or from a naturally warm 
 spring (Id. ii. 17. 11. Suet. Nero, 
 31.) ; but sometimes reduced in tem- 
 perature by the admixture of snow 
 (Id. Nero, 27.). It differs from the 
 baptistcrium, in not being under cover 
 and generally colder. 
 
 3. Piscina liinaria. A clearing 
 tank, constructed at the commence- 
 ment or termination of an aqueduct, 
 for the purpose of allowing the water 
 to purify itself by depositing its sedi- 
 ment before it was transmitted 
 
5o8 
 
 PISCINA. 
 
 PISTRINA. 
 
 through the city (Frontin. Aq. 15. 
 19. )• Many remains of such works 
 have been discovered in different 
 parts of Italy, some of which are 
 constructed upon a scale of very great 
 extent and magnificence ; but the 
 annexed illustration, representing the 
 
 plan of one wliich formerly existed 
 under the Pincian hill [collis hortu- 
 lorum), and served to purify the aqua 
 Virgo, though small and inconsider- 
 able as compared with many others, 
 will explain the general nature of these 
 structures, and the manner in which 
 they operated. A A represents the 
 duct or water course of the aqueduct, 
 which discharges its waters into the 
 chamber B, where the onward course 
 of the stream is arrested, and ceases 
 to flow, c is an aperture in the floor 
 of the chamber, through which the 
 water descends into another vault, D, 
 below the level of the duct, at the 
 bottom of which the sediment con- 
 tained in the water deposits itself 
 E, another aperture through which the 
 water passes on to a second vault, F, 
 also below the level of the duct, and 
 in which it continues to throw down 
 any remaining deposits. From this 
 it rises through the aperture G, into 
 an upper chamber, H, and again re- 
 stores itself in a purified state to the 
 duct 1 1 which it had left on the op- 
 posite side. The door-way, K, at the 
 bottom of the lower chamber on the 
 right hand, is a s\\\\ct-ga.le{catarada) 
 through which the mud and other 
 impurities were discharged into the 
 sewers. 
 4. A tank, or basin of water, in the 
 
 atrium or peristyliura of private 
 houses (Pet. Sat. 62. 7. ) ; more usually 
 termed Impluvium, which see. 
 
 5. Any large wooden vat for hold- 
 ing water. Plin. H. N. xxxiv. 32. 
 
 PISTILLUM or PISTILLUS 
 (vTrepoi'). Our pestle; an instrument 
 withabluffhead{ Hieron. Ep. 6g. 
 n. 4. ) used with a mortar {niorta- 
 rium, Plaut. Aul. i. 3. 17.), for 
 kneading, mixing, and stirring 
 things round (Virg. Moret.m. 102. 
 and the Greek proverb vir^pov 
 vipMToipT]) ; whereas the piliim 
 was a larger implement, used with 
 an action of pounding and braying in 
 a deep vessel termed pila. The ex- 
 ample represents an original pestle 
 found amongst some ruins of Roman 
 building, excavated when making 
 the approaches to London Bridge, 
 and resembling in every respect 
 those now in use ; but an epigram 
 (ap. Sympos. 85.) implies that the 
 Romans also made pestles with a 
 double head, one at each end, like 
 our dumb bells ; and the two words 
 pistiHum and pihwi, as well as the 
 Greek names which correspond with 
 them, are frequently interchanged 
 with each other without regard to 
 the accurate notion they contained. 
 
 PISTOR. Literally one who 
 pounds and brays things in a mor- 
 tar ; thence, more specially, a miller, 
 because in very early times, before 
 the invention of mills for grinding, 
 the corn was brayed into flour with a 
 very heavy pestle, in the manner 
 represented by the figure s. PiLUM I. ; 
 and subsequently the same word also 
 signified a baker (Greek apToiroitis), 
 because those tradesmen always 
 ground the flour with which they 
 made their bread. Varro ap. Non. s. 
 Pinsere, p. 152. Plin. H. N. xviii. 
 28. Varro, ap. Gell. xv. 19. 
 
 2, Pistor diUciarius. A confec- 
 tioner. Mart. xiv. 222. 
 
 PISTRIL'LA. Diminutive of 
 PiSTRiNA. Terent. Adelph. Iv. 2. 45. 
 
 PISTRI'NA. (Plin. H. N. xviii. 
 20.) Same as PiSTRiNUM. 
 
PISTRINUM. 
 
 PLAGULA. 
 
 509 
 
 PISTRI'NUM (^v-Kiiv). Origi- 
 nally signified the place where com 
 was brayed into flour by means of a 
 large pestle and deep mortar, in the 
 manner shown by the figure s. Pilum 
 I. ; but after the invention of mills 
 for grinding (MoLA), the same term 
 was retained to designate the mill- 
 house (Terent. Phorvi. ii. i. 19. Cic. 
 Or. i. II.), where the mills were 
 driven by slaves, cattle, or water 
 (Pallad. i. 42.); and which, in con- 
 sequence of the laborious exertion 
 required for grinding by hand, as 
 well as the continuousness of the toil, 
 for they were frequently kept going 
 by night as well as day (Apul. Mel. 
 ix. p. 183. ) was commonly used as a 
 place of punishment for offending 
 slaves, where they were made to 
 undergo a period of imprisonment 
 with hard labour. Plaut. passim. 
 
 PIS'TRIS or PRIS'TIS, and 
 PIS'TRIX or PRISTIX (tt.Vtpu 
 and TpiffTis). A sea-monster (Florus, 
 iii. 5. 16. Plin. H. N. ix. 2.); but 
 always represented by the ancient 
 artists with the same characteristic 
 features as are exhibited in the an- 
 
 nexed illustration from a painting at 
 Pompeii, viz. the head of a dragon, 
 the neck and breast of a beast, with 
 fins in the place of front legs, and 
 the tail and body of a fish ( Virg. JEn. 
 iii. 427.); a form generally adopted 
 by the early Christian artists to re- 
 present the whale which swallowed 
 Jonah. 
 
 2. The name given to a particular 
 class of ships of war (Liv. xxxv. 26. 
 Polyb. xvii. I. I.), doubtless from a 
 certain resemblance in general form 
 to the above figure ; perhaps from 
 the bow rising very high out of the I 
 
 water, like the head and neck there 
 portrayed. In Virgil (yEti. v. 116.) 
 pislris is the adopted name of a 
 vessel, after the image of this mon- 
 ster borne on its bows as a figure-head 
 (insi^ne). See the woodcut at p. 325. 
 
 PITTAC'IUM (iriTTiK.iov). A 
 slip or bit of paper, parchment, o ■ 
 leather for writing on ; especially as 
 a laiel for a wine bottle, on which 
 the date of the vintage, quality of the 
 wine, and time of bottling, was in- 
 scribed. Pet. Sal. 34. 6. /i. 56. 7. 
 
 2. A piece of linen spread with 
 ointment to form a plaster. Laber. 
 ap. Gell. xvi. 7. Celsus, iii. 10. 
 
 PLACENTA (ttXckoCs). A thin 
 flat cake made of wheat flour, mixed 
 with cheese and honey, but of con- 
 siderable size, so that it would cut 
 up into a number of separate pieces, 
 for each of the guests present. Cato. 
 J?. R. 76. Hor. Ep. i. 10. II. Com- 
 pare Sal. ii. 8. 24. 
 
 PLAGA (sViiSioc). A hunting net, 
 intended to be drawn across a road, 
 opening, or ride in the cover, in 
 order to prevent the game from 
 getting out uf bounds. (Grat. Cyneg. 
 300. Hor. Epod. 2. 23. Lucret. v. 
 1250. Compare Serv. arfVirg. ALn. 
 iv. 131.) Though the exact nature 
 and character of this net is open to 
 dispute, yet it would appear from a 
 general comparison of the passages 
 in which mention of it occurs, that it 
 was similar in form and use to the 
 Rete ; with the exception of being 
 smaller, and employed as a subsidiary 
 to the larger one, across narrow and 
 confined passes, which would other- 
 wise give an inlet into the open 
 country. 
 
 2. Same as Plagula. Afranius 
 and Varro, ap. Non. s. v. pp. 378. 537. 
 
 PLAG'ULA. Diminutive of 
 Plaga, but applied with the following 
 special senses : — 
 
 I. A curtain or a rideau, suspended 
 like a net round the couches of a 
 triclinium to keep off the dust or cur- 
 rents of air from the guests reclining 
 at table, as in the annexed example 
 
510 
 
 PLAGUNCVLA. 
 
 PLAUSTRUM. 
 
 from a bas-relief in the British Mu 
 
 
 
 seum. Liv. xxxix. 6. 
 
 2. A curtain which could be clra\Yn 
 or withdrawn round the sides of a 
 palanquin {lectica), so as to seclude the 
 inmate when desired, or convert the 
 whole into an open carriage. Suet. 
 Tit. lo. and illustration s. Lectica. 
 
 3. A breadth of cloth, two or more 
 of which, when sewed together, make 
 up a dress. Varro, L. L. ix. 79. 
 
 4. A strip or file of paper, several 
 of which, when glued together, make 
 up a sheet. Plin. H. N. xiii. 23. 
 
 PLAGUN'CULA (T!\o.yyiiv). A 
 wax doll. C\c. Att. vi. Emesti, Clavis, 
 s. V. Callim. Bern. 92. PlIPA. 
 
 PLA'NIPES. An actor who 
 played a part in a spe- 
 cies of low farce, termed a 
 mime (mwius), and who 
 received that designation 
 because he came upon 
 the stage with naked feet, 
 without either the cothur- 
 nus or socc2ts, pla7iis pedi- 
 bus, i.e. iwji arte exaltatis. 
 (Diomed. iii. 487. Aul. 
 Gell. i. II. 7. Macrob. 
 Sat. ii. I.) The illustra- 
 tion is from an engraved 
 gem. 
 
 PLAS'TES (7rX<{(rTi]s). 
 models works of art in clay or wax. 
 Veil. i. 17. 4 Plin. H. N. xxxv. 45. 
 
 PLASTICA'TOR. (Firm. Matth. 
 viii. i5. ) Same as preceding. 
 
 PLATE'A and PLAT'EA (-nXa.- 
 T€7a, sc. b^i%). A broad or principal 
 street in a town, as contradistinguished 
 
 One who 
 
 from a bye-lane or back-street (angi- 
 portus) in the same. Ter. Andr. iv. 
 5- I. Hor. Ep. ii. 2. 71. Cses. B. C. 
 i. 27. Hirt. B. Alex. 2. 
 
 PLAUSTRA'RIUS (a/ta|oir7JV(!s). 
 A wagon maker or cartdiright. Lam- 
 prid. Alex. Scv. 24. 
 
 2. (a/ia|€us. ) Kwagoner. Ulp-ZP/f. 
 9. 2. 27. and woodcut, s. Plaustrum 
 iMajus. 
 
 PLAUS'TRUM (aVdJa). A 
 wagon on two wheels usually draivn 
 by oxen, and particularly employed 
 in country occupations for the con- 
 veyance of heavy loads and produce 
 of every description. (Plaut. Aul. 
 iii. 5. 31.) Though we make use of 
 the term wagon as the nearest cor- 
 responding expression for the Roman 
 plaustrum, that by no means suggests 
 a true notion of the actual object, 
 which in reality consisted of nothing 
 more than a strong platform of boards 
 placed upon a pairof wheels, that were 
 not radiated with spokes (radii), but 
 formed out of a flat drum or tam- 
 bour of solid wood (tympanum), fixed 
 permanently to the axle, so that the 
 whole, both wheels and axle, revolved 
 together ; and this explains why the 
 plaustrum is usually spoken of as a 
 
 noisy and creaking cart (stridens, 
 Virg. Georg. iii. 536. Ov. Trist. iii. 
 10. 59.). The load itself was merely 
 fastened upon this platform, when of 
 a nature to be so disposed ; or was 
 included in a large basket (scirpea in 
 plaustro. Ov. Fast. vi. 680.), as in 
 the present example from a Roman 
 bas-relief, when composed of many 
 small articles which could not other- 
 wise be held together ; or, in other 
 cases, a moveable rail was affixed to 
 the sides, which kept the load toge- 
 
PLECIRVM. 
 
 PLOSTELLUM. 
 
 511 
 
 ther, without concealing it ; or, as 
 Varro expresses it, left it open on all 
 
 sides [ex omni parte palam, Varro, 
 L. L. V. 140. ), as in the annexed speci- 
 men, also from a bas-relief. 
 
 2. Plaustrum majus. (Cato, R. R. 
 X. 2. Varro, R. R. i. 22. 3.) A 
 wagon of the same description, and 
 employed for similar purposes as the 
 
 last named, but of larger dimensions, 
 and placed upon four wheels instead 
 of two, as exhibited by the annexed 
 example, from a sepulchral bas-relief 
 discovered at Langres in France. 
 
 PLECTRUM (TT^ij/tTpoy). Properly 
 a Greek word, which, in its primitive 
 sense, means a thing that is used to 
 strike with (from vXitaaa, to strike) ; 
 whence in both j, 
 languages it is \ 
 specially used ! 
 to designate 
 a short stick 
 or quill with 
 which the chords of 
 a stringed instru- 
 ment were struck, 
 by inserting the end 
 between the strings, 
 or running it over 
 them,whenrequired. 
 (Cic.^ D. ii. 59.) 
 The instrument itself is shown on 
 the left side of the illustration, from 
 a Pompeian painting ; and the man- 
 
 \ 
 
 ner of using it, by the female figure, 
 from an ancient Roman fresco pre- 
 served in the Vatican, who twangs 
 the strings of a lyre with the fingers 
 of her left hand, and strikes them 
 with a.plectirum held in her right. 
 
 2. Poetically applied to the handle 
 (ansa), or to the tiller (clavus) of a 
 rudder. Sil. Ital. xiv. 402. lb. 548, 
 See GUBERNACULUM. 
 
 PLIN'THIS (nKiveis). Diminu 
 tive of Plinthus. Vitruv. iii. 3. 2, 
 
 PLIN'THIUM {TTXiveiov). A 
 sun-dial described upon a flat slab, 
 laid horizontally, like a plinth. Vi 
 truv. ix. 8. 
 
 PLIN'THUS (TrX^eoj). The or- 
 dinary Greek name for a brick or a 
 tile ; whence 
 the word was 
 adopted by 
 the Roman 
 
 architects to t ^ i 
 
 designate the ' ' 
 
 lowest member in the base of a 
 column, OMi plinth, which is a square 
 slab, like a thick tile, placed under 
 the lowest torus, and supposed to 
 have originated from the necessity of 
 placing a large flat surface under the 
 column to prevent it from rotting, 
 when formed of wood, or from pene- 
 trating too far into the ground, if of 
 stone. Vitruv. iv. 7. 3. 
 
 PLOSTEL'LUM (a^ajij). Dimi- 
 nutive of Plaustrxjm ; consequently 
 
 applicable to any cart of the con- 
 struction explained under that word, 
 but of less than the usual size, hke 
 the annexed example, from an en- 
 graved gem, which is fitted for the 
 draught of goats instead of oxen 
 Agostin. CD. vii. 21. Hor. Sat. 
 
512 
 
 PLOXEMUM. 
 
 ii. 3. 247., in which passage the 
 diminutive is applied to a toy with 
 mice harnessed to it. 
 
 2. Plostelliim punicum. K threshing 
 machine, or sort of sledge cart in- 
 vented by the Carthaginians, and from 
 them adopted into Italy and other 
 countries. It consisted of a wooden 
 frame, like a sledge, into which a 
 certain number of rollers, set round 
 with projecting teeth, were fitted ; 
 these threshed out the corn as they 
 turned round when drawn pver the 
 floor by the cattle attached to the 
 
 machine, which was further weighted 
 by the driver, who sat in a sort of 
 frame or chair placed on it. (Varro, 
 R. R. i. 51. 2. ) The preceding ac- 
 count from Varro describes so ex- 
 actly a contrivance still used in 
 Egypt for the same purpose, called 
 the "Noreg," and represented in 
 the annexed illustration, as to leave 
 no doubt respecting the identity of 
 the original one. 
 
 PLOX'EMUM, PLOX'EMUS, 
 PLOX'IMUS, or PLOX'ENUS. 
 The body part of a two-wheeled 
 carriage or gig [cisium), which was 
 made or covered with leather. (Ca- 
 
 PLUMARIUS. 
 
 a provincial one, which Catullus 
 learnt amongst the districts bordering 
 on the river Po ; an opinion in some 
 measure corroborated by the annexed 
 engraving, from an ancient sepulchral 
 marble now preserved in the Museum 
 at Verona, which closely resembles a 
 very peculiar description of one-horse 
 carriage, still commonly used in the 
 same parts of Italy, where it goes by 
 the name of a " Fadovanino." 
 
 PLUM^. The scales in a cors- 
 let or cuirass, when formed in imi- 
 
 tull. 97. 6. Festus J. t^.). According 
 to Quintilian (i. 5. 8.), the term was 
 
 tation of a bird's feathers, as in the 
 annexed illustration, from a bas-relief 
 which originally decorated the arch 
 of Trajan, from whence it was re- 
 moved by Constantine to the one 
 which bears his name. Virg. ALn. 
 xi. 771. Sallust. Fragm. ap. Serv. 
 ad I. 
 
 \!.. Ornaments, either embroidered, 
 or sewed on, or woven into the fabric 
 of a piece of cloth, serving as a 
 coverlet to a pillow, cushion, or other 
 object, in order to produce a rich and 
 fanciful pattern. (Mart. xiv. 146. 
 Prop. iii. 7. 50.) It has not been 
 satisfactorily ascertained what these 
 plumce were, whether ornaments of 
 gold, or tapestry patterns, or real 
 feathers of different colours sewed on 
 the fabric in the same manner as now 
 practised in India and China. Pro- 
 fessor Becker inclines to the latter 
 interpretation, Gallus. p. 9. n. 15. 
 Lond. 1844. 
 
 PLUMA'RIUS. One who fol- 
 lowed the art of making pluma, as 
 
PL UMA TVS. 
 
 PLUTEUS. 
 
 513 
 
 explained in the preceding paragraph 
 (Vitruv. vi. 4. Varro. ap. Non. s. v. 
 p. 162. ) ; but as the real nature of those 
 ornaments is yet undecided, it is im- 
 possible to declare in what precisely 
 his art consisted. 
 
 PLUMA'TUS. I. Covered with 
 scales in the form of birds' feathers 
 (Justin, xli. 2.), as shown by the pre- 
 ceding illustration. 
 
 2. Decorated with the ornaments 
 termed //«OTi?. Lucan. x. 125. Pet. 
 Sat. 55. 5. See Plum^, 2. 
 
 PLUMBUM (fiiXu^Us). Lead; 
 whence used as a special name for 
 various articles made of that metal : — 
 as 
 
 1. A leaden water-pipe. Hor. .£/. 
 i. 10. 20. Stat. Suv. i. 3. 67. See 
 Fistula, i. 
 
 2. A leaden plummet, employed as 
 a bullet to be cast fron^ a sling. Ov. 
 Met. ii. 727. See Glans. 
 
 3. A whip with lumps of metal 
 knotted into the thongs, employed for 
 punishing slaves. Prudent, ■n-epi ixr^<^. 
 X. 116. Compare Cod. Theodos. 9. 
 35. 2 ; and see the illustration J-. Fla- 
 GRUM, I. 
 
 4. A leaden plummet for drawing 
 lines (CatuU. 22. 8.); corresponding 
 in use with our own, but differing in 
 form and character : for amongst the 
 ancients these articles were made out 
 of a small round plate, instead of a 
 long pipe; a much more convenient 
 form, requiring no cutting, less apt to 
 get bent, or to scratch the parchment. 
 Salmas. ad Solin. p. 644. Beckman. 
 History of Inventions, vol. ii. p. 3S9. 
 Lond. 1846. 
 
 PLUT'EUS and PLUT'EUM. 
 In a general sense anything made of 
 boards, hurdles, &c., joined together 
 in order to form a cover or give sup- 
 port; whence the following specific 
 meanings are deduced : — 
 
 I. (flii!/jd«rio>'). A breastwork of 
 boarding which served to screen the 
 assailants of fortified places from the 
 missiles and attacks of the enemy, 
 whilst making their approaches, pre- 
 paratory to an assault. For this 
 
 purpose they were advanced in front 
 of the storming parties, placed upon 
 the military engines and moveable 
 towers, or planted round the spot 
 where earthworks were being thro\vn 
 up. Cass. B. G. vii. 41. Id. B. C. 
 i, 25. ii. IS' Liv. X. 38. Ammian. 
 xxi. 12. 
 
 2. A moveable tower with a roof 
 overhead, made of boards or hurdles 
 covered with rawhides, or hair cloth, 
 and fixed upon wheels, under the 
 shelter of which a besieging party 
 could advance close up to the walls 
 of a beleaguered fortress, and clear it 
 of its defenders before commencing 
 the escalade. Veget. Mil. iv. 15. Vi- 
 truv. x. 15. 
 
 3. The back board of a bed, oppo- 
 site to the sfotida, or side at which 
 
 the parties got in, which is plainly 
 exhibited in the annexed example 
 from a Roman bas-relief. Mart. iii. 
 91. 10. 
 
 4. Tlie raised end of a tricliniary 
 couch, in the form of a French sofa, 
 which was placed towards the table, 
 for the upper part of the occupant to 
 
 rest against, whilst his legs and feet 
 were stretched out to its opposite ex- 
 tremity, as plainly shown by the 
 annexed illustration, from a Roman 
 bas-relief. Suet. Cal. 26. 
 
 5. A dwarf wall closing up the 
 lower portions of an intercolumniation 
 (Vitruv. iv. 4. i.), or placed as a 
 parapet upon the upper stories of an 
 edifice (Vitruv. v. I. 5.), to preclude 
 2 K 
 
514 
 
 PNIGEUS. 
 
 the danger of falling over, as seen 
 in the annexed engraving from the 
 
 Vatican Virgil, representing Dido 
 watching the departure of ^neas 
 from the upper story of her palace. 
 
 6. A shelf, affixed to the walls of a 
 room, upon which articles of common 
 use were deposited for convenience, 
 or objects of _JXS\ _^flf] n 
 luxury display- "^isSSpSI^ZE^^ 
 ed for oma- » 3 
 fhent (Juv. ii. 7. Pers. i. 106. Ulp. 
 Dig-. 29. I. 17.). The example, from 
 a painting of Herculaneum, represents 
 a shelf fastened to the wall in a shoe- 
 maker's shop, upon which a number 
 of lasts are deposited- 
 
 7. A board upon which a corpse is 
 laid out. Mart. viii. 44. 13. 
 
 PNI'GEUS (TTVLyevs). A damper 
 made in the shape of an inverted 
 funnel, and intended to stop or sup- 
 press the rising air in a water organ. 
 Vitruv. X. 8. 2. 
 
 POCILLA'TOR (oiVoxtfos). A 
 young slave who filled the wine cups 
 {pocilld), and handed them to the 
 guests. Apul. Met. x. p. 223. Same 
 as PiNCERNA ; which see. 
 
 POCI'LLUM. Diminutive of Po- 
 CULUM. Liv. x. 42. Suet. Vesp. 2. 
 
 PO'CULUiM [TTOT-fip, noT-npiov). A 
 general term for any description of 
 vessel employed as a drinking-cup, 
 and thus including all the special 
 ones which are enumerated in the list 
 of the Classed Index. Virg. Ov. Ti- 
 bull. Hor. &c. 
 
 PODE'RES or PODE'RIS 
 {TToSrjpris). Literally reaching down to 
 
 PODIUM. 
 
 the feet ; a Greek word, applied ad- 
 jectively in that language to any gar- 
 ment of the dimensions stated, for 
 which the genuine Latin expression 
 is Talaris ; but the writers of the 
 Christian period made use of the 
 term in a substantive sense to desig- 
 nate a long linen robe, fitting close to 
 the body and reaching to the feet, 
 which was worn by the Jewish 
 priests. Isidor. Orig. xix. 21. 2. Ter- 
 tuU. adv. Jud. 11. 
 
 PODTUM. A low basement, pro- 
 jecting like a step from the wall of a 
 room or building, and intended to 
 form a raised platform for the con- 
 venience of depositing other articles 
 upon ; as, for instance, a row of bee- 
 hives (Pallad. i. 38. 2. ) ; a number of 
 wine casks in a cellar (Id. i. 18. 2.) ; 
 
 or any object whether of ornament or 
 use, such as shown by the annexed 
 illustration, representing the interior 
 of a tomb at Pompeii, on which three 
 cinerary urns are situated. 
 
 2. In an amphitheatre or a circus, 
 a basement raised about eighteen feet 
 above the level of the arena, which it 
 circumscribed, intended for the occu- 
 pation of the emperor, the curule 
 magistrates, and the Vestal virgins, 
 who sat there upon their ivory stools 
 [sellce curules]. Suet. A'l^rti, 12. Juv. 
 ii. 147. See the section of the amphi- 
 theatre at Pola, p. 29. , on which the 
 podium is marked A. 
 
 3. A socle or zocle in architecture ; 
 i. e. a projecting basement on the 
 outside of a building, serving to raise 
 pedestals, or to support vases or other 
 
POLLINCTOR. 
 
 PONS. 
 
 SIS 
 
 ornaments, being itself plain, with- 
 out either cornice or base. Vitruv. 
 iii. 4. 5. 
 
 POLLINCTOR. One of the 
 undertaker's men, whose business it 
 was to wash and annoint a corpse, and 
 prepare it for burial, or for the 
 funeral pile. He was a slave of the 
 Libitinarins. Varro and Plaut. ap. 
 Non. s. V. p. 157. Mart. x. 97. Ulp. 
 Dig. 14. 3. 5. 
 
 POLLU'BRUM and POLU'- 
 BRUM. An old name for the basin 
 employed in ablution of the hands 
 and feet before and after meals. It 
 was held by a slave in his left hand 
 underneath the feet or hands extended 
 over it, to catch the water poured 
 dovvn upon them from a jug in the 
 right. At a subsequent period a 
 vessel termed irulleuni was invented 
 for the same object. Non. s. v. p. 544. 
 Liv. Andron. and Fabius Pictor, /. c. 
 
 POLYAN'DRION {■noKv6.vif,Mv). 
 A place in which many people are 
 buried together in common, or in o. 
 heap, as distinguished from any 
 separate or private sepulchre. ^1. 
 V. H. xii. 21. Amob. 6. p. 194. 
 Inscript. ap. Pitisc. s. v. 
 
 POLYMI'TUS (mXvMiTos). Lite- 
 rally woven by the assistance of many 
 leashes (|Ui'tos, licia) ; thence by im- 
 plication figured with various pat- 
 terns, like our damask, for the 
 manufacture of which a great number 
 of leashes are requisite, in order that 
 the threads of the warp may be 
 opened in many different ways ; for 
 it is by this means that all varieties 
 in the pattern of stuiTs are made. 
 Plin. H. N. viii. 74. Mart. xiv. 150. 
 
 POLYMYX'OS {T!oKit^M\o%). See 
 
 LUCERNA, 3. 
 
 POLYP'TYCHA {jro\u7rTuxa). A 
 set of tablets consisting of many 
 leaves. Veg. Mil. ii. I9- Cassio- 
 dor. Var. Ep. v. 14. See Cera, 2. 
 
 POLYSPA'STON (ToArio-Trao-Tov). 
 A contrivance for raising weights by 
 the assistance of many pulleys [orbicuU] 
 set in a case {trochlea). Vitruv. x. 2. 
 
 PON'DUS (oTainis). K weight, 
 
 for weighing objects in a pair of scales 
 (Liv. V. 48. Ulp. Dig. 19. I. 32). 
 The illustration re- 
 presents an original 
 found at Hercula- 
 neum, similar to the 
 larger weights in use 
 amongst ourselves ; • 
 but sets of smaller 
 ones, made to stand upon a counter, 
 and divided into fractional parts 
 which fit into one another, like those 
 commonly employed in our retail 
 shops, have also been found in the 
 same city. 
 
 2. A weight fastened to the ex- 
 tremities of the warp threads [sta- 
 mina) in an upright loom (Senec. Ep. 
 90.), for the purpose of keeping them 
 steady, and imparting a sufficient de- 
 
 gree of tension to the warp, while the 
 woof [subtemen) was driven home and 
 compressed by the comb {pecten) or 
 batten {spatha). The ancient method 
 of fixing these weights is shown by 
 the illustration representing a loom of 
 very primitive construction, still em- 
 ployed in Iceland (Schneider, Index 
 R. R. Script, o. Tela), in which they 
 are composed of large stones tied by 
 a number of threads collected into 
 separate parcels. In modem wea- 
 ving, weights are placed upon the 
 yam beam for a similar purpose. 
 
 PONS {yiipvpa). A bridge. Vi- 
 truvius has not left any account re- 
 specting the construction of bridges ; 
 but the numerous examples still re- 
 maining testify the great skill of the 
 
5i6 
 
 PONS. 
 
 Roman engineers and builders in 
 this branch of art. The following 
 account is consequently derived from 
 observation of existing examples, and 
 not from written authorities. The 
 causeway (via, agger) is uniformly 
 laid down, like the roads, with large 
 masses of polygonal stones, flanked 
 on each side with a raised trottoir 
 (crepido) or pavement for foot-pas- 
 sengers, and enclosed on each side by 
 a low parapet wall {phiteus), but not 
 formed of open balustrades, as is 
 the more common practice at the pre- 
 sent day. A gateway {porta), which 
 might be closed by a bar or port- 
 cullis (cataracta), is frequently erected 
 at one end of the bridge (see the 
 woodcut J-. Cataracta, 2.), or an 
 ornamental archway (fornix), which 
 might also be converted to the same 
 use, is sometimes situated in the 
 
 ■^^D 
 
 centre, or at each end, as m the an- 
 nexed example, representing the 
 bridge at St. Chamas in its present 
 state. The line of some bridges is 
 nearly horizontal, of others which 
 span a torrent stream, very much 
 hog-backed, with an extremely sharp 
 ascent and declivity. The arches are 
 in all cases nearly semicircular, and 
 sometimes of great span. A single 
 remainmg one at Narni is 150 feet 
 wide, springing from a pier at the 
 height of 100 feet from the river be- 
 low. The bridge built by Augustus 
 at Rimini, which Palladio regarded 
 as the finest model he had seen, con- 
 tains seven arches, and is horizontal 
 in the centre, but has a slight diver- 
 gence on each of its ends. 
 
 2. (y4(l>vpa). The original Greek 
 bridge, as the name imports, was 
 nothing more than a dam or mound 
 of earth, forming a raised causeway, 
 such as we use in localities subject to 
 inundations ; the smallness of the 
 rivers or streams in that country 
 rendering them for the most part 
 fordable, or easily crossed by a few 
 planks. Hence the art of bridge- 
 building, like that of road-making 
 and drainage, owes its perfection to 
 the Romans, who were the first people 
 to make an extensive use of the arch, 
 and consequently those which are 
 enumerated as regular bridges of 
 any length in Greece (Plin. If. N. 
 iv. I. lb. 21.) may be fairly believed 
 to have been executed after the Ro- 
 man conquest. 
 
 3. Pons sublicius. A timber bridge, 
 
 upon piles of wood ; frequently con- 
 structed for a temporary purpose, 
 such as the passage of an army across 
 a stream. Numerous specimens are 
 in consequence exhibited on the 
 columns of Trajan and Antoninus, 
 from which latter the annexed illus- 
 tration is taken. The famous sub- 
 lician bridge at Rome, when rebuilt 
 after its destruction in the war with 
 Porsena, was constructed without 
 nails, in order that the timbers might 
 be taken to pieces, and replaced again 
 whenever occasion required that the 
 communication should be interrupted 
 or re-opened. Liv. i. 33. Plin. H. N. 
 xxxvi. 23. 
 
 4. Pons suffragiorum. A tempo- 
 rary bridge of planks erected during 
 the Roman comitia, over which the 
 voters passed one by one as they 
 came out from the septum, to cast 
 their votes (iabella:) into the box 
 (cista) (Cic. Att. i. 14. Ov. Fast. v. 
 634.). The object was to prevent 
 fraud, tumult, and intimidation, and 
 
PONS. 
 
 PONTO. 
 
 517 
 
 to secure, as far as possible, freedom 
 of action to 
 the voter, who 
 received his 
 ball from an 
 officer station- 
 ed at one end 
 of the bridge, 
 over which he 
 
 
 
 then crossed to the opposite extre- 
 mity, where the balloting box was 
 placed, and having deposited his vote, 
 passed out. These particulars are all 
 expressed in the illustration, from a 
 consular coin, which shows part of the 
 railing enclosing the septum, one voter 
 receiving a ballot, and another in 
 the act of depositing one in the box. 
 
 5. [itri^ddpa, airo^dSpa). A bridge 
 formed by a broad plank laid from 
 the shore to a vessel, over which the 
 crew and passengers embarked or 
 disembarked (Virg. yEn. x. 288.). 
 The illustration represents a bridge 
 
 of this description, from a painting in 
 the Nasonian sepulchre near Rome, 
 by means of which a horseman is es- 
 caping from the pursuit of a tiger, 
 which other persons in the original 
 composition are hunting. 
 
 6. The deck of a vessel upon 
 
 which towers and military engines 
 were erected, as in the annexed ex- 
 
 ample from a marble bas-relief Tac. 
 Ann. ii. 6. 
 
 7. A drawbridge, let down from 
 the upper story of a moveable tower, 
 or any other elevated object, during 
 sieges, over which the attacking party 
 could pass on to the ramparts without 
 the aid of scaling ladders. Tac. Ann. 
 iv. 51. Suet. Aug. 20. Veg. Mi/. 
 iv. 21. 
 
 8. A viaduct over a ravine, or be- 
 tween any two points of eminence, 
 such as that which Caligula built to 
 make a direct communication between 
 the Palatine and Capitoline hills. 
 Suet. Cat. 22. Xen. Anab. vi. 5. 22. 
 
 PONTIC'ULUS. Diminutive of 
 Pons. Cic. Tusc. v. 10. 
 
 P O N T ' I F E X (7e<>)ypoiroi(is). A 
 pontiff; that is, a member of the 
 principal order of Roman priests, to 
 M'hom the superintendence of the 
 state religion and its ceremonies was 
 entrusted. The head of the order 
 was styled "chief pontiff" (Po7itifex 
 Maximus, tepo(pdvTiis). On coins and 
 marbles the pontiffs are distinguished 
 by the following implements of wor- 
 ship, placed as symbols by their 
 sides : — the simpulum, securis, apex, 
 and an aspersoir, or whisk for 
 sprinkling the lustral water, desig- 
 nated aspergillum by modem writers ; 
 but the real Latin name of which has 
 not come down to us. The chief 
 pontiff is in most instances accom- 
 panied with the adjunct oiasimpuhmi 
 only ; though sometimes a securis or 
 a secespita is added. 
 
 PONTO. A large flat-bottomed 
 craft, more especially employed by 
 the Gauls (Caes. B. C. iii. 29.), and 
 intended for the transport of passen- 
 
 gers, soldiers, or cattle, across rivers 
 (Paul. Dig. 8. 3. 38. Isidor. Orig. 
 xix. I. 24.). The example is from 
 a painting in the Nasonian sepulchre ; 
 arid the illustration on the opposite 
 
5i8 
 
 POP A. 
 
 PORTA. 
 
 column exhibits a man on horseback 
 entering a vessel of the nature de- 
 scribed. 
 
 2. A pontoon, formed by a flooring 
 of planks laid between two boats with 
 sharp heads (lintres), so as to form 
 a floating bridge for transport across 
 a river. It was attached by a running 
 rope, sliding on a transverse one, 
 stretched over-head athwart the 
 stream, and thus driven over by the 
 simple action of the current, as still 
 seen on the Po, Tiber, and other 
 large rivers. Auson: Idyll, xii. 20. 
 
 POPA (euTTjs). The minister who 
 conducted a victim to the altar, and 
 knocked it down with 
 a mallet, or with the 
 bluff side of an axe, 
 as contradistinguished 
 from \hecullrarhts, who 
 despatched it with the 
 sacrificial knife. He 
 wore a short apron or 
 kilt from the waist to 
 the knees (whence 
 styled succhictus. Suet. 
 Cal. 32. Prop. iv. 3. 
 62.); the upper part 
 of his person being 
 naked, as in tire annexed example 
 from a Roman bas-relief. The man- 
 ner of giving the blow is shown by 
 the illustration s. Victimarii. 
 
 POP'ANUM [Triiravov). A flat 
 round cake used at sacrifices. Juv. 
 vi. 541. Aristoph. T/zi-jOT. 285. Suidas. 
 
 POPI'NA (h'^ioTruKiTiav). An eat- 
 ing-house, cook's-shop, or tavern, in 
 which ready-dressed victuals were 
 sold, as contradistinguished from cau- 
 pona, which was more particularly 
 established for the sale of liquors, 
 though the master of a popina also 
 drew wine for his customers. (Plaut. 
 Poin. iv. 2. T3. Cic. Phil. ii. 28. Mart, 
 i. 42.) It was customary to display 
 some dainties and choice viands in the 
 windows of these eating-houses, de- 
 posited inglassbottles filled with water, 
 in order to magnify their size and en- 
 tice customers. Macrob. Sat. vii. 14. 
 
 POPINA'RIUS. The owner or 
 
 keeper of an eating-house {popina). 
 Laraprid. Alex. Sev. 49. 
 
 POPINA'TOR. Same as pre- 
 ceding. Macrob. Sat. vii. 14. 
 
 POPI'NO. Literally, one who 
 frequents taverns and eating-houses 
 [popince] ; thence, by implication, a 
 glutton, debauchee, or person of dis- 
 orderly habits, because such places 
 were chiefly resorted to by people of 
 low rank, or of idle and dissolute 
 character. Hor. Sat. ii. 7. 39. Suet. 
 Gravim. 15. 
 
 PORCA. The ridge between two 
 furrows in ploughed land. Varro, 
 L. L. V. 39. Id. R. R. i. 29. 2. 
 
 PORCA'RIUS [axi^^ri^'i]. A 
 swineherd. Firm. Matth. iii. 6. 6. 
 
 PORCINA'RIUS. hporkbittcher. 
 Plaut. Capt. iv, 3. 5. 
 
 P O R C U L A'T O R. One who 
 breeds and fattens pigs. Varro, R. R. 
 ii. 4. I. Columell. vii. 9. 12. 
 
 PORCULE'TUM. A piece of 
 land divided into ridges and furrows 
 by the plough. Plin. f-I. N. xvii. 
 
 35- § 9- 
 
 POR'CULUS. (Cato, R. R. xix. 
 2.) A particular part or member 
 belonging to a wine and oil press 
 [torcular], the exact nature of which 
 cannot be ascertained from the single 
 passage of Varro in which it is men- 
 tioned. 
 
 PORTA (tt^At)). The^"^«feofany 
 large enclosure or set of buildings, as 
 opposed tojanua and ostium, the door 
 of a house ; and especially the gate of 
 a fortified place, of a citadel, or of a 
 city. The annexed engraving, re- 
 presenting the ground-plan of the 
 principal entrance to Pompeii from 
 Herculaneum, will explain the usual 
 system adopted by the ancients for 
 structures of this nature. It consists 
 of a central archway over the main 
 road (a) for carriages, and two lateral 
 ones (b b) for foot passengers, each of 
 which was closed by a smaller gate. 
 Under the arch which faced the open 
 country (at the bottom of our en- 
 graving), there was no gate, but in- 
 stead of it a portcullis [cataracta]. 
 
PORTA, 
 
 FOR TIC US. 
 
 519 
 
 the grooves for wliich are visible in 
 the walls at the points marked CC on 
 
 the plan. The gates were situated at 
 the opposite extremity of the pile, 
 nearest the town, as testified by the 
 sockets in the pavement (DD), in 
 which the pivots (cardiius) of each 
 valve turned. Both the lateral en- 
 trances were vaulted over head, 
 throughout their whole length ; but 
 the central roadway was only covered 
 at its two extremities, thus leaving an 
 open space or barbican (a) bet\veen 
 the portcullis and gate open to the 
 sky, through which the defenders of 
 the position could pour their missiles 
 from the upper stories of the interior 
 upon their assailants, if they should 
 succeed in forcing an entrance beyond 
 the portcullis and into the barbican. 
 The entire front was further covered 
 with an attic, adapted for purposes of 
 defence, or containing chambers for 
 the administration of justice and the 
 business of civil government, as in 
 the magnificent entrance gate to the 
 city of Verona, represented by the fol- 
 lowing woodcut, which is constructed 
 with two carriage-ways, one for en- 
 tering the city, the other for going 
 out, but is not provided with separate 
 gangways for foot-passengers. Other 
 examples, still in existence, have only 
 a single thoroughfare serving both 
 for horses, carriages, and pedestrians, 
 flanked with lateral towers (Cses. 
 B. C. viii. 9. Virg. jEit. ^•i. 552 — 
 
 554), as is the case with all the old 
 gateways now remaining in the walls 
 
 of Rome, of which an example is 
 given in the illustration s. Fenestra, 
 3. , though the entrance itself is now 
 blocked up by a modem lean-to. 
 
 2. Porta pompcE. The gate through 
 which the Circensian procession en- 
 tered the Circus. (Anson. Ep. xviii. 
 12. ) It was situated in the centre of 
 the straight end of the building, with 
 the stalls for the horses arranged on 
 each side of it. See the ground-plan 
 at p. 165., on which it is marked H, 
 and the illustration s. Oppidum, 
 where it is shovra in elevation. 
 
 POR'TICUS (o-Tori). K portico ox 
 colonnade, comprising a long narrow 
 walk covered by a roof supported 
 upon columns, which thus afforded 
 the advantage of a free circulation of 
 air, and, at the same time, protection 
 against the heat of the sun and 
 humidity of the atmosphere. Struc- 
 tures of this kind originated with the 
 Greeks, but were extensively adopted 
 by the Romans, being constructed 
 with great magnificence by the natives 
 of both those countries, and employed 
 either as adjuncts to their villas and 
 palatial residences, or as public build- 
 ings for the convenience and resort 
 of the population, in which case they 
 became places of general rendezvous, 
 furnished with seats and decorated with 
 obj ects of art to increase their splendour 
 and attractions. (Cic. Att. iv. 16. Id. 
 
520 
 
 POSTICUS. 
 
 PORTULA. 
 
 Dom. 44. Suet. Aug. 29. Id. Cal. 
 37.). The illustration, from the 
 
 CVS ocTAVFat ^T He •; 
 AEOIS tovis 
 
 sb ft,. 5 
 
 Mbn anno nam B 
 
 S IVNONI S 
 
 ^ 
 
 
 ■ fs6i5>^ifcViiR7:-.,' y- • " • • 
 
 marble map of Rome, represents the 
 ground-plan of a portion of the mag- 
 nificent portico of Octavia, built by 
 Augustus, with the temples of Jupiter 
 and Juno within its precincts. The 
 principal entrance, marked by the 
 double row of six columns (on the 
 right hand of the engraving), which 
 support a pediment of marble like the 
 pronaos of a temple, is still in exist- 
 ence, but much embarrassed by sub- 
 sequent repairs and modern buildings. 
 Colonnades of the same character 
 were also frequently annexed to the 
 side of a cloister (crypto.) ; so that the 
 concourse frequenting them could re- 
 tire to a more sheltered spot, when- 
 ever the excess of heat or cold induced 
 them ; of this, an example is ex- 
 hibited under the word Crypta. 
 
 2. A covered gallery in an amphi- 
 theatre (Calpurn. Ed. vii. 47.) for 
 the occupation of the poorest classes ; 
 situated at the very top of the edifice, 
 and furnished with a row of columns 
 in front to support its roof, as shown 
 by the woodcut at p. 29., which ex- 
 hibits a restoration of the upper gal- 
 lery to the amphitheatre at Pola, 
 fi-om the traces it has left, and those 
 of the Coliseum at Rome. 
 
 3. A long wooden shed or gallery 
 covered by a roof, but entirely or 
 partially open at the sides, constructed 
 over an agger (Cass. B. C. ii. 2.), as 
 in the annexed example from the 
 
 column of Trajan, to protect the men 
 employed upon it ; or in general to 
 
 shelter anything placed under it, such 
 as a row of bee-hives, &c., from the 
 cold and rain. Columell. ix. 7- 4* 
 
 PORTI'SCULUS. A truncheon 
 or hammer., with which the officer 
 (pausarius) who gave out the chaunt 
 (celeusvia) to the rowers on board 
 
 ship, beat the time to keep them in 
 stroke (Ennius and Laber. ap. Non. 
 s. V. p. 151. Cato ap. Test. s. v. 
 Plaut. As. iii. i. 14.). In the illus- 
 tration, from the Vatican Virgil, it is 
 seen in the right hand of the figure 
 sitting in the stern of the vessel. 
 
 POR'TITOR {iKKijXfvm-Ti]^). A 
 custom-house officer ; employed by the 
 publicani, who leased the portorium, 
 or duties levied upon exports, im- 
 ports, and transit dues, to examine 
 the goods of merchants and travellers. 
 As the duty was an annoying one, 
 and often exercised with harshness 
 and incivility, these officers were ex- 
 tremely unpopular. Cic. Off. i. 42. 
 Non. s. V. p. 24. 
 
 POR'TULA(7ru\fs,^n/07ri;\7)). Di- 
 minutive of Porta ; and especially a 
 vjicket gate opening in a valve of the 
 larger one, in order to admit passengers 
 after the gates had been shut at night. 
 Liv. XXV. 9. Compare Polyb. viii. 2. 
 
PORT us. 
 
 521 
 
 PORTU S. A port or harbour for 
 the shelter and reception of shipping ; 
 as a place of refuge against stress of 
 weather or an enemy's fleet, as well 
 as a dock for the lading and unlading 
 of merchandize. The term hkewise 
 includes a natural haven, as well as 
 an artificial basin, formed and forti- 
 fied by human ingenuity and labour. 
 The first of these needs no explana- 
 tion ; but the latter is of sufficient 
 importance to demand some account 
 of its general plan and manner of 
 construction, as works of this kind 
 occupy a prominent place amongst 
 those labours of the ancients which 
 were dedicated to public utility. 
 
 Both the Greeks and Romans ap- 
 pear to have laid out their ports upon 
 the same general plan, vrith scarcely 
 any difference in the details, as testi- 
 fied by numerous remains still to be 
 seen in both countries. They con- 
 sist of an outer basin (Xtixiiv of the 
 Greeks) with one or more inner ones 
 (Greek opfj-os), connected by a water- 
 way ; and are mostly situated near 
 the mouth of a river, or in a creek of 
 the sea. The entrance to the har- 
 bour is protected by a breakwater in 
 advance of the mole, upon which 
 stood a light-house and towers of for- 
 tification, and chains or booms were 
 upon emergency drawn across this 
 entrance to prevent the ingress of a 
 hostile fleet. The mole was con- 
 structed upon arches in order to 
 counteract the natural tendency of 
 artificial ports to fill themselves up 
 by a deposit of sand or shingle, a suf- 
 ficient calm being procured inside by 
 means of flood-gates hanging from 
 the piers. Moles so formed may be 
 seen at Eleusis ; are represented on 
 Roman medals, in Pompeian paintings, 
 and the Vatican Virgil. Within the 
 harbour was a broad way or quay 
 supported by a wall of masonry, and 
 backed by magazines for warehousing 
 goods, a market place, the harbour- 
 master's residence, and a temple, 
 mostly dedicated to Venus, in allusion 
 to the element from which that god- 
 
 dess is fabled to have sprung. Flights 
 of stairs conducted from the quay to 
 the water's edge ; and columns were 
 placed as mooring posts at regular 
 intervals all round the port ; or, in- 
 stead of them, large rings (ansae) 
 were affixed to the wall of the quay, 
 each of which was regularly number- 
 ed, so that every vessel, as it entered, 
 was compelled to take up its proper 
 station. The whole of the buildings 
 were furthermore enclosed by an 
 outer wall and fortifications, admitting 
 ingress from the land side through a 
 gate strongly defended, like the en- 
 trance to a fortress. This description 
 will be readily understood by an in- 
 spection of the following illustration, 
 %vhich exhibits a ground plan of the 
 port of Ostia, at the mouth of the 
 Tiber, from a minute sur\'ey taken 
 by the Venetian architect Labacco in 
 the 1 6th centuiy, when the remains 
 were not so much dilapidated as they 
 now are, nor the site itself so com- 
 pletely filled up with mud and de- 
 posits, which now conceal such 
 vestiges as were then apparent. The 
 outer and larger harbour was con- 
 structed by the Emperor Claudius ; 
 the inner and smaller basin by 
 Trajan. A. The entrance gate from 
 the land side, flanked by fortified 
 towers. B. A temple. C. An aque- 
 duct which supplied the port with 
 fresh water. D. The residence of 
 the harbour-master, in a situation 
 which commands a view of both 
 ports. E F. Two bridges over a 
 canal which communicates both with 
 the Tiber and the sea, through the 
 branch river on the top of the plan. 
 It is likewise believed that the water- 
 way under one, or perhaps both, of 
 these bridges was closed by a flood- 
 gate. G. A large open square sur- 
 rounded by magazines, and probably 
 serving as a forum or market, and 
 place of rendezvous for the mer- 
 chants, and captains of vessels, &c. 
 H. A small dock, also surroimded by 
 storehouses, which from the narrow- 
 ness of its entrance, and its position 
 
522 
 
 POSCA. 
 
 POSTIS. 
 
 upon the canal leading into the 
 branch river, appears to have been 
 intended for the coasters and smaller 
 trading vessels of the country, i. A 
 breakwater against the entrance to 
 the inner harbour. K. The break- 
 water which protected the mouth of 
 the Claudian port. Vestiges of the 
 
 custom houses and magazines all 
 round the quay of the inner port and 
 on the side adjacent to the branch 
 river are indicated upon the plan. 
 Round the port of Claudius only a 
 few could be traced, which are 
 marked L. ; but they were doubtless 
 much more extensive in the original 
 
 design. The dotted line on the right 
 side of the engraving shows the point 
 to which the sea extended when the 
 survey was taken. 
 
 POSCA {o^vicpaTov). An ordinary 
 drink amongst the lower classes of 
 the Roman people, slaves, and soldiers 
 on service ; consisting of water and 
 sour wine or vinegar, with eggs beat 
 up in it. Plant. Mi/, iii. 2. 23. Suet. 
 Fit 12. Spart. Hadr. 10. 
 
 POSTILE'NA (Onovpis). A mt/>- 
 p£j% or breecliing for riding and pack 
 horses ; made of leather, or of 
 wood bent into a semi-circular form 
 (Plaut. Cas. i. i. 36.), so as to 
 embrace the hind quarters of the 
 animal, round which it passed from 
 the back 
 part of the 
 saddle pad, 
 which it 
 thus pre- 
 vented from 
 sliding for- 
 wards, as 
 the antilena 
 or breast 
 strap did from shifting backwards. 
 
 The illustration is copied from the 
 arch of Septimius Severus. 
 
 POSTIS (TrapatrTas, o-Ta^^^Jy). The 
 jamb of a door case ; i. e. an upright 
 pillar, or a post, one of which is 
 placed on each side of a door-way, 
 resting upon the sill and supporting 
 the lintel overhead, as shown by the 
 annexed cut representing a stone door- 
 case, now remaining in one of the 
 
 streets of Pompeii. Cic. Att. iii. 15. 
 
POSTOMIS. 
 
 PRyECJNCTIO. 
 
 523 
 
 Ov. Am. ii. I. 27. Val. Max. ix. 12. 
 6. Vitruv. iv. 6. 
 
 2. The poets apply the word in a 
 more indefinite sense ; sometimes 
 using it for the door itself (/oris), or 
 one of its valves, or for the style 
 (scapus cardinalis) forming the pivot 
 (cardo) on which the leaf revolved. 
 
 POST'OMIS. An instrument 
 employed for the same purpose as the 
 twitch is by our grooms and farriers, 
 to hold a horse by the nose, in order 
 to keep him perfectly still and tract- 
 able, whilst being handled, or dressed, 
 or submitted to any nice operation 
 (Non. J. V. p. 22). It was made with 
 two branches ending in semicircular 
 prongs, like a pair of pincers, the 
 ends of which, being inserted in the 
 nostrils, were pressed together by a 
 
 cord fastened round the opposite ex- 
 tremity of the instrument. A con- 
 trivance of the same kind is used at 
 the present day in some parts of 
 England for leading bulls about, the 
 pincers being found to tame their 
 courage most completely ; and in 
 Tuscany, for draught oxen, in the 
 manner exhibited by the annexed 
 illustration. The figure on the left 
 hand represents an ancient postomis, 
 from a bas-relief discovered in the 
 south of France, on which two vete- 
 rinaries are exhibited in the acts of 
 bleeding and clipping horses ; the 
 one on the right the modem instru- 
 ment now used in Italy ; and the 
 centre part shows the manner in 
 which it is fastened on the beast, one 
 of the round ends being fixed in each 
 nostril, and the handle turned up 
 
 against the forehead, where it is kept 
 in place by means of a rope fastened 
 round the horns, and running through 
 a ring at the top, which makes the 
 pincers nip whenever it is pulled. 
 The illustration will also explain an 
 allusion of Lucilius {ap. Non. /. c), 
 who characterizes a tippler by saying 
 that the wine cup was always at his 
 nose, which he therefore likens to a 
 postomis. 
 
 POSTSCE'NIUM. That part of 
 a Roman theatre which lies behind 
 the scenes {scena), to which the actors 
 withdrew from the stage to make any 
 change in their costume, or perform 
 such actions as required to be con- 
 cealed from the spectators. Lucret. 
 iv. 1 1 79. See the ground-plan s. 
 Theatrum Romanum, on which it 
 is marked E E. 
 
 PQSTSIGNA'NI. The soldiers 
 drawn up in the second and third 
 lines of a battle array ; that is, behind 
 the front ranks in which the standards 
 (signa) were placed. Frontin. Strut. 
 ii. 3. 17. Ammian. xxiv. 6. 
 
 POSTULATIC'II. Gladiators 
 exhibited over and above the regular 
 numbers advertised for the show, in 
 order to gratify the demands (postu- 
 lata) of the people. Senec. Ep. vii. 
 
 PR^CEN'TOR. The leader of 
 a choral band. Apul. de Mund. p. 
 
 749- 
 
 PR^'CIA. A crier who preceded 
 the Flainines on holy days, and or- 
 dered the people to cease from work 
 whilst a procession passed, lest the 
 sacred rites should be profaned by 
 the priest setting eyes upon a person 
 engaged in manual labour, which was 
 regarded in the light of a pollution. 
 Festus, J. V. Serv. ad Virg. Georg, i. 
 268. 
 
 PR^CINC'TIO {%iai^ii.o.\ A 
 wide landing place, or lobby, in the 
 interior of a theatre and amphitheatre, 
 running all round the circle of the 
 ca-uea at the top of each mcenianum, or 
 tier of seats (Vitruv. v. 3. 4. Com- 
 pare ii. 8. .11.). The general design 
 of these lobbies will be understood 
 
524 
 
 PR^CLAVIUM. 
 
 PRMFECTI. 
 
 by referring to the plan of tlie theatre 
 at Herculaneum introduced s. Thea- 
 TRUM RoMANUM, a portion of which 
 is shown in elevation by the wood- 
 
 cut annexed, which contains the cor- 
 responding parts of three pracinc- 
 tiones. Their use was to enable the 
 spectator when he entered the theatre 
 to reach his own seat without incom- 
 moding those who had arrived before 
 him. If, for instance, he entered by 
 the furthest of the small doors (vomi- 
 toria) in the illustration, whilst the 
 number of his seat happened to be in 
 the compartment (cavea) nearest to 
 the reader, he walked round the pm- 
 cinctio until he reached the nearer 
 flight of stairs [scalm], which he de- 
 scended until he came to the row of 
 seats (gradus) where his place was 
 numbered, thus having to pass only 
 those few persons who might be sitting 
 between the staircase and the stall 
 belonging to him. 
 
 PR^CLA'VIUM. That portion 
 of a piece of cloth intended to be de- 
 corated with the purple stripe (da- 
 vus), which was woven before or 
 witliout the stripe (Non. s. v.). It 
 was made of wliite wool, and when 
 completed the coloured threads were 
 taken up, and woven into the fabric, 
 as is clear from a passage of Afranius 
 (ap. Non. /. c. ) : — 7nea nutrix, surge, 
 si vis, profer, purpuram, prmdavizim 
 textuTn est. 
 
 PR^'CO. A puHic erier ; em- 
 ployed by the Romans for.many pur- 
 poses — in a court of justice to 
 
 summon the plaintiff and defendant, 
 announce the names of the parties, 
 proclaim the sentence, 
 comitia to call up the 
 vote, proclaim the 
 vote of each cen- 
 tury, and the names 
 of the persons elect- 
 ed ; at auctions to 
 call the articles put 
 up for sale, an- 
 nounce the bid- 
 dings, &c. ; at the 
 public games, where 
 they summoned the 
 people to attend 
 and proclaimed the A 
 names of the suc- 
 cessful competitors ; at the public 
 assemblies, where they were em- 
 ployed to keep silence and presei-ve 
 order; and at solemn funerals (funera 
 iiidictiva), when they went round the 
 city inviting the people to attend, of 
 which the annexed figure affords an 
 example, from a Roman bas-relief, in 
 which he is represented with his long 
 trumpet at the head of a funeral pro- 
 cession ; and, finally, as a town crier, 
 who cried lost property through the 
 district. Plant. Cic. Liv. Hor. &c. 
 
 PRMFECTI. Twelve officers in 
 a Roman corps d^armee appointed by 
 the consuls to take the command of 
 the contingent of troops furnished by 
 the allies, in which they enjoyed the 
 same rank and authority as the tri- 
 buni in the Roman legions. Cses. 
 B. G. iii. 7. lb. i. 39. Sail. Jug. 50. 
 
 2. When used with reference to 
 the armies of foreign nations the 
 Latin writers apply the term in a 
 sense which we might translate, 
 "generals of division," who acted 
 under the commander-in-chief Ne- 
 pos. Ale. 5. Id. Ages. 2. 
 
 3. Preefectus equiium. The general 
 who commanded the cavalry of a 
 corps d^armee. Hirt. B. G. viii. 12. 
 
 4. Prcsfeetus legionis. A title 
 adopted under the empire, to desig- 
 nate, as is supposed, the officer pre- 
 viously styled legatus legionis, or 
 
PRjEPECTI. 
 
 PR^FICM. 
 
 525 
 
 legionis praposiius ; that is, who had 
 the chief command over one legion, 
 including both the cavalry and in- 
 fantry composing it. Tac. Hist. i. 
 82. Compare Veg. Mil. 9. 
 
 5. Pfcsfecius caslrorum. An officer 
 appointed to every Roman legion, 
 whose duty it was to select the site 
 for a camp, procure the necessary 
 materials for forming it, superintend 
 the construction of its defences, and 
 take charge of the baggage belonging 
 to his legion, the sick and wounded, 
 the commissariat stores and military 
 engines. Veg. Mil. ii. 10. Tac. Ann. 
 xiv. 37. Veil. ii. 119. 4- 
 
 6. Prtsfectus classis. During the 
 republic, an officer who commanded 
 a fleet in active service, under the 
 auspices of the consuls, by whom he 
 was appointed (Liv. xxvi. 48. Flor. 
 iii. 7.). But during the empire the 
 same title was given to two admirals 
 in permanent employ, and appointed 
 by the emperor, one of whom com- 
 manded the fleet stationed at Ra- 
 venna to guard the Adriatic coast; 
 the other at Misenum for the Medi- 
 terranean side. Suet. Aug. 49. Tac. 
 Hist. iii. 12. Veg. Mil. iv. 32. 
 
 7. Prsfectus navis. The captain 
 of a ship of war. Liv. xxxvi. 44. 
 Flor. ii. 5. 
 
 8. Prcefectus fabrum. In the army 
 an officer who directed and com- 
 manded the armourers, carpenters, 
 and engineers who constructed the 
 military machines employed in war- 
 fare (Nep. Att. 12. Caes. B. C. i. 
 24. Veg. Mil. ii. 11.). In civil life, 
 the same title was given to the master 
 of a company of smiths, carpenters, 
 and similar trades [fabrt). Inscript. 
 ap. Orelli. 3428. 
 
 9. Prcefectus pratorio. The com- 
 mander of the Praetorian guards ; an 
 officer first appointed by Augustus, 
 and only employed in a military 
 capacity; but subsequently invested 
 both with civil and military authority 
 to a very great extent, so that he be- 
 came the second person in the realm, 
 and possessed powers almost as ex- 
 
 tensive as the Emperor himself. Tac. 
 Ann. i. 24. 
 
 10. Prafectus vigilum. The com- 
 mander of the watchmen or urban 
 guard, whose duty it was to protect 
 the citizens from robbery, house- 
 breaking, fire, &c. Suet. Aug. 30. 
 Paul. Dig. i. 15. 3. 
 
 11. Prcsfectus urbis. The praefect 
 or governor of the city ; a magistrate 
 originally appointed, when occasion 
 required, to take charge of the city 
 in the absence of the king or con- 
 suls; but he became a permanent 
 officer with a certain jurisdiction 
 under the empire. Suet. Aug. 33. 
 37. Tac. Ann. vi. 10. 11. 
 
 12. Prcefecius ararii. An officer 
 first created under the empire as the 
 guardian of the public treasury, who 
 performed the duties previously en- 
 trusted to the quKstors, or to the 
 tribuni israrii. Tac. Ann. xiii, 28. 
 and 29. Plin. Ep. v. 15. 5. 
 
 13. prtEfectus annoncE. An officer 
 appointed, during the republican 
 period only upon extraordinary emer- 
 gencies of scarcity, to regulate the 
 corn market, procure supplies, and 
 fix the price at which it should be 
 sold ; but under the emperors he 
 became a permanent officer, elected 
 for similar purposes, and ranked as 
 one of the ordinary magistrates. Liv. 
 iv. 12. Tac. Ann. i. 7. lb. xi. 31. 
 
 PRyEFERIC'ULUM. A metal 
 vase, without any handle, and widely 
 open above, like the pelvis, employed 
 for holding the sacred utensils which 
 were carried in procession at certain 
 religious solemnities. Festus, s. v. 
 
 PRyE'FIC/E. Women hired to 
 act as mourners in the funeral pro- 
 cessions of wealthy individuals. (Lu- 
 cil. and Varro ap. Non. s. v. p. 67. 
 Plant. True. ii. 6. 14.) They pre- 
 ceded the corpse, making every ex- 
 ternal demonstration of poignant 
 grief, with bare heads and dishevelled 
 hair, weeping aloud, and chanting a 
 funeral dirge, or singing the praises 
 of the deceased ; as exhibited by the 
 annexed figures from a marble sarco- 
 
526 
 
 FRMFURNIUM. 
 
 PR/ESUL. 
 
 phagus, on which the funeral of 
 Meleager is represented. This singu- 
 
 lar custom is still observed in two 
 districts of Italy, at Canalo and at 
 Agnara, both in the diocese of 
 Gerace, where women, termed rife- 
 titrici, that is, relicarscrs, perform 
 similar offices for the dead. Ficoroni, 
 Vesiig. Rom, part ii. p. 77. 
 
 PR^FUR'NIUM. The mouth 
 of a furnace in a kiln {/ornax), or to 
 the heating chamber {hypocausis) of 
 a set of baths ; that is, the narrow 
 passage or gully opening into the 
 furnace tlirough which the fuel was 
 introduced. (Cato, R. R. 38. i. Vi- 
 truv. V. 10. 2. Id. vii. 10.) It is 
 shown in the annexed wood-cut, re- 
 presenting the remains of a Roman 
 pottery-kiln, discovered near Castor 
 
 -Oij^V^''-^;'- 
 
 in Northamptonshire, by the dark 
 archway at the bottom of the en- 
 gi'aving, behind which the circular 
 furnace is placed. 
 
 PR/EGUSTA'TOR (irpoyeucrTiis). 
 A slave commissioned to taste the 
 dishes at table before they were pre- 
 sented to his master ; to discover if 
 they were properly seasoned, and, 
 more especially, as a safeguard 
 against secret poison. The office 
 was of Oriental origin, but adopted 
 by the Greeks and Romans as luxury 
 increased and morals declined. Suet. 
 Claud. 44. Tac. Ann. xii. 66. Plin. 
 H. N. xxi. 9. Xen. Cyr. i. 3. 
 
 PRELUM. See Prelum. 
 
 PR^PILA'TUS (with the ante- 
 penult short), ((r(/)atpa)T(is, dcrcpaipu- 
 ixivoi) designates a weapon for thrust- 
 ing, which has its point muffled with 
 a button or ball {pila), like our foils, 
 to prevent it from inflicting wounds, 
 whilst the soldiers were learning their 
 exercises, or exhibiting in sham-fights 
 and reviews. Liv. xxvi. 51-. Hirt. 
 B. Afr. 72. Quint, v. 12. 17. Xen. 
 Eq. viii. 10. Polyb. x. 20. 
 
 2. Prapilatus (with the antepenult 
 long), which is derived from pilmn, 
 means simply discharged. Ammian. 
 xxiv. 6. 10. Compare xvi. 12. 36. 
 
 PRyESE'PES, -E'PIS, -E'PIA, 
 ■E'PE, and-E'PIUM. Literally, any 
 place which is protected in front by a 
 hedge or a fence ; whence referred 
 to a pen for sheep (Varro, R. R. ii. 
 2. 19.); astallioT cattle (Cato, R. R. 
 14. I.); a stable for horses (Virg. 
 yEn. vii. 275.) ; and the 7nanger in a 
 stall or stable (Suet. Cal. 55. Colu- 
 mell. i. 6. 6.), for which the technical 
 name is Patena, under which an 
 illustration is given. 
 
 PR^STIGIA'TOR (SauAinTo- 
 iroifis). One who practises sleights of 
 hand ; ^conjureroxjuggler. Senec. Ep. 
 45 Front, de Or. Ep. i. ed. A. Maio. 
 
 PR^STIGIA'TRIX. A female 
 juggler. Plant. Awph. ii. .!.. 159. 
 
 PR^SUL. Literally, one who 
 jumps or dances before others (Cic. 
 Div. i. 26.), whence used as a title for 
 the chief of the Salii, who danced 
 annually through the city, exhibiting 
 the sacred shields (ancilia) to the 
 multitude. Capitol. Marc. Antonin. 4. 
 
PR^TEXTA. 
 
 PRjETORIUM. 
 
 £27 
 
 PR^TEX'TA. See Toga. 
 
 PR^TEXTA'TUS. Wearing 
 the Toga Pr^texta, as explained 
 under that word. 
 
 PR^TOR((rTpoTT;7(is,l|a7r€A6Keus. 
 Polyb. iii. io6. ). A prstor ; the 
 title of one of the civil magistrates 
 of Rome, who ranked next to the 
 consuls ; first created A.U. C. 388. 
 to administer justice in the city, 
 under the pretence that the constant 
 wars obliged both the consuls to 
 absent themselves at the head of an 
 army, but, in reality, to recompense 
 the patrician families, to which the 
 prsetorship was at first confined, for 
 the concession which had been ex- 
 torted from them, of sharing the con- 
 sulate with men of plebeian extrac- 
 tion. He wore the toga prcEiexta, 
 had the privilege of a sella curulis, 
 and was attended by six lictors. At 
 first only one prjetor was appointed, 
 but the number was subsequently 
 increased to four by Sulla, eight by 
 Julius, and to sixteen by Augustus 
 Caesar. 
 
 2. ((TTpaTij-yrfj). AS the word in 
 its literal sense means simply a person 
 who takes the precedence of others, 
 it was at first employed in a more 
 general sense to designate a person 
 who acted as chief, or had a command 
 over subordinates ; thus, in early 
 times, the military consul was styled 
 prcetor (lAv. iii. 55. vii. 3.); and the 
 same title was also frequently used to 
 distinguish the commander or general- 
 in-chief of a foreign army. Cic. 
 Di'j. i. 54. Inv. i. 33. 
 
 PRyETORIA'NI. The praetorian 
 guards, a standing body of troops 
 created by Augustus as a body- 
 guard, in imitation of the more an- 
 cient praetorian cohort (cohors pra- 
 toria], and continued under the suc- 
 ceeding emperors until the time of 
 Constantine, by whom they were 
 suppressed, and their stationary camp 
 at Rome broken up. (Tac. I/ist. ii. 
 44. Plin. H. iV. vi. 35. Aurel. Vict. 
 Cas. 40.) Although the arms and 
 accoutrements of these troops cannot 
 
 be declared with positive assurance, 
 yet there are good grounds for be- 
 lieving that the an- 
 nexed figure from 
 the column of Tra- 
 jan represents a 
 soldier of the corps f 
 in question ; be- 
 cause soldiers 
 equipped in the 
 same manner are 
 commonly seen on 
 the columns and 
 triumphal arches in 
 immediate attend- 
 ance on the emperor's person ; 
 forming parties sent out to reconnoitre 
 the country and movements of the 
 enemy, which was one of the duties 
 appertaining to these guards, as may 
 be inferred from Suetonius ( Til). 60. ) ; 
 and they are never represented as 
 performing any of the ordinary 
 labours of the legionary soldiers, 
 such as digging trenches, felling tim- 
 ber, making fortifications, &c. 
 
 2. Equites p'cetoriaiii. The cavalry 
 which formed part of the praetorian 
 guard. (Suet. Cal. 45. Id. Claud. 
 21.) The illustration is copied from 
 
 the column of Trajan ; and it will be 
 observed that the character of the 
 body armour as well as the form and 
 device of the shield, resembles in 
 every respect those of the preceding 
 figure, thus constituting an additional 
 ground for the belief tliat both these 
 men were intended for pratorians. 
 PR^TO'RIUM {(!Tfa.Tr\-yCiQp]. 
 
528 
 
 PRANDIUM. 
 
 FRECA TIO. 
 
 The tent of the general-in- chief or 
 commander of an army (see the 
 wood-cut p. 125, where it is numbered 
 I.); so termed because the consul 
 who had the chief command was in 
 early days i'VjXzi. prator . Li v. a. 33. 
 Id. vii. 12. 
 
 2. The residence of the governor 
 of a province, at which he administered 
 justice (Cic. Vcrr. ii. 4. 28. Jh. ii. 3. 
 35. ) ; whence transferred to the pa- 
 lace of any king or prince. Juv. X. 161. 
 
 3. Latterly the same designation 
 was also given to the splendid country 
 villas of the noble and wealthy Ro- 
 mans, which were built with so much 
 expense and luxury under the im- 
 perial period. Suet. Aug. 72. Id. 
 Tib. 39. Stat. Sylv. i. 3. 25. 
 
 PRAN'DIUM (SpiiTTo;'). A meal 
 taken about the middle of the day 
 (Suet. Claud. 34.), between the hours 
 of breakfast {jentaculutn) and dinner 
 {cmid), (Suet. Vtt. 13.), which we 
 might translate a Iwtckeon, or an early 
 dinner, according to the nature and 
 quantity of food set out for the pur- 
 pose ; for it was sometimes a very 
 slight and simple meal, intended 
 merely to stay the stomach from long 
 fasting (Hor. Sat. i. 6. 27.), consist- 
 ing of bread and cheese, without meat 
 or wine, and not served upon a table 
 regularly set out (Celsus, i. 3. Senec. 
 Ep. 83. Mart. xiii. 30. ) ; but persons 
 fond of indulging their appetites used 
 to set out a regular meal of delicacies 
 (Cic. Phil. ii. 39.), like our hot lun- 
 cVieons, and even take their wine after 
 it. Plant, yi/tvz. I. 2. 5l. Mart. iv. 90. 
 
 PRASINIA'NI. Persons who 
 h?Lc]!ie.d.yhegree!t party(factio prasina) 
 at the races of the Circus (Pet. Sat. 
 70. 10. Capitol. Ver. 6. The drivers 
 in the Circensian games were divided 
 into four parties, each of which was 
 distinguished by a tunic of different 
 colours, white, red, green, and blue, 
 termed respectively alba, russaia, 
 prasina, veneta, after which their 
 supporters and backers received a 
 corresponding name. 
 
 PRAS'INUS. A driver {auriga) 
 
 in the Circensian races, who wore a 
 green-coloured tunic, and belonged 
 to the green party, as explained in 
 the last word. Suet. Cal. 55. Id. 
 Nero, 22, 
 
 PRECA'TIO. A praying, or 
 offering of prayers (preces), to the 
 divinities more especially. (Doederl. 
 ii. 129. Liv. xxxi. 5. Compare 
 xxxviii. 43. where a distinction be- 
 tween adomtio, precatio, and sup- 
 plicatio, is pointedly made. Tlie 
 attitude of prayer adopted by the 
 Greeks and early Romans was an 
 erect posture, 
 with both the 
 arms extended 
 upwards (iSttti- 
 dcr/j.ara x^p&jf. 
 Aesch. Prom. 
 1 041. Tendoque 
 supinas Ad cae- 
 lum cum voce ma- 
 ims. Virg. yEn. 
 iii. 176. Hor. 
 Carm.m. 23. I.), 
 and the hands 
 brought near together with the palms 
 wide open (pandere palmas, Lucret. 
 V. 1199. ), as exhibited by the pre- 
 ceding figure, representing Anchises 
 in the Vatican Virgil. But after the 
 introduction of Christianity, and in 
 general during ^^ 
 
 the imperial pe- r_^ 
 
 riod, the arms, _ /"C^^V 
 instead of being ^QTjrV/irTi'A 
 brought together, i^!] V' \ 
 were thrown Si W; ' 
 wide apart in 
 the attitude of 
 prayer, though 
 the posture still 
 continued to be 
 an erect one, as 
 shown by the 
 annexed figure, from a painting in a 
 Christian sepulchre near Rome. The 
 same posture is exhibited on nume- 
 rous Imperial medals with the in- 
 scription PiETAS upon them, and by 
 a statue of Livia in the Vatican col- 
 lection. Mus. Pio-Clem. ii. 47. 
 
PRELUM. 
 
 PRISTIS. 
 
 529 
 
 J_i. 
 
 ,;i-3t 
 
 PREfLUM. The press-beam for 
 squeezing the juice out of grapes or 
 olives (Vitruv. vi. 9. 3. Serv. a^^Virg. 
 Gearg. ii. 241. Hor. Carni. i. 20. 9.) ; 
 whence also put for the machine or 
 press itself (Torcular) ; under 
 which term the nature and action of 
 the object is fully explained and 
 illustrated. 
 
 2. The press-beam in a press for 
 clothes, linen, or paper (Mart. ii. 46. 
 3. Plin. H. N. xiii. 23.), as exem- 
 plified by the following wood-cut. 
 
 PRESSO'RIUM. A clothes-press 
 (Ammian. xxviii. 4. 19. solutis prcs- 
 soriis vestes dili^enter explorat. Com- 
 pare Senec. Tranquill. I.). The ex- 
 ample, from a paint- 
 ing in the fullers' 
 establishment at 
 Pompeii, exhibits a 
 machine precisely 
 the same as those 
 now employed for 
 similar purposes, 
 worked by a screw {cochlea) acting 
 upon a press-beam {prelum), which 
 flattens down the folds of cloth laid 
 under it, and against the board on 
 which they are placed. 
 
 PRIMIPILA'RIS. The title re- 
 tained as an honorary distinction by | 
 an officer who had enjoyed the rank j 
 of chief centurion of the first maniple 1 
 of the triarii, after he had received \ 
 his discharge. Quint, vi. 3. 92. Suet. I 
 Cal. 35. and 38. 
 
 PRIMIPILA'RIUS. Same as | 
 preceding. Senec. Const, Sap. 18. 
 
 PRIMIPI'LUS. The first cen- 
 turion of the first maniple of the 
 triarii. He was entrusted with the 
 charge of the eagle, had the right of 
 attending the council of general offi- 
 cers, and took a command in the 
 field in the absence of the tribune. 
 Veg Mil. iL 8. Caes. B. G. ii. 25. 
 Val. Max. i. 6. II. 
 
 PRIN'CIPES. A body of heavy- 
 armed infantry soldiers, who formed 
 the second of the three classes into 
 which the Roman legion was origi- 
 nally divided. It is supposed, from 
 
 the name they bore, that in the 
 earliest times fasprincipes^exe. placed 
 in the first line of the battle array ; 
 but subsequently they were dra^vn up 
 in the second line, between the has- 
 tati and the triarii, and they con- 
 tinued to occupy this position until 
 the latter end of the republic, when 
 the custom was introduced of arraying 
 the army by cohorts, which did away 
 with the primitive distinctions be- 
 tween the hastati, principes, and 
 triarii, and reduced them all to uni- 
 formity in rank and accoutrements. 
 Liv. viii. 8. Compare Hastati and 
 the illustration there given. 
 
 PRINCIP'IA (plural of prin- 
 cipium). The head quarters in a 
 Roman camp ; comprising that por- 
 tion of it where the tents of the 
 general officers were situated, and 
 the space in front of them where the 
 legionary standards were erected, 
 harangues addressed to the soldiery, 
 justice administered, and the sacrifice 
 performed. Liv. vii. 12. Id. xxviii. 
 24. Tac. Hist. iii. 13. and woodcut .f. 
 Castra. 
 
 P R I S T A (irpio-T-ijp). A sa'ayer 
 (Plin. H. iV. xxxiv. 19. § 3). The il- 
 lustration is from a terra-cotta vase. 
 
 of Etruscan or primitive Italian 
 workmanship ; which shows the use 
 of a frame saw, and a simple meth od 
 of supporting the timber to be cut by 
 means of a stand and prop, mthout a 
 regular saw pit. 
 
 PRISTIS. See Pistrix. 
 2 L 
 
530 
 
 PROCCETON. 
 
 PRO NUBA. 
 
 PROCCE'TON (irpoKoiTtij/). An 
 ante-chamber (Plin. Ep. ii. 17. 10 and 
 23. ) ; a convenience adopted by the 
 Romans, together with its name, from 
 the customs and language of Greece. 
 Varro, R. R. ii. Proem. 
 
 PROCURA'TOR. In a literal 
 sense, one who acts as a proxy or 
 agent on behalf of another ; whence 
 the term was used as a title for 
 the head man or superintendent of 
 a Roman household, both in town 
 and country establishments. Though 
 himself a slave, he had the entire 
 management of his master's property 
 and dependants, thus acting in the 
 capacity of our steward or malire 
 dhUel in town, and bailiff or agent 
 in the country. Senec. Ep. 14. Co- 
 lumell. i. 6. 7. Plin. Ep. iii. 19. 2. 
 Cic. Or. i. 58. Id. Att. xiv. 16. 
 
 2. Procurator peni. Plant. Pseud. 
 ii. 2. 14. Same as Cellarius and 
 Promus. 
 
 3. Procurator regni. A viceroy, or 
 deputy governor. Cees. B. C. iii. 112. 
 
 4. An officer who administered the 
 property and collected the dues from 
 any estates in town, or in the pro- 
 vinces belonging to the emperors or 
 to the senate {Suet. Cal. 47. Plin. 
 Paneg. 36.). These persons were 
 not slaves, but selected from the 
 equestrians (Suet. Vit. 2.), or from 
 the class of freedmen. Id. Otho, 7. 
 
 PROJECTU'RA (76?cr(ro^). The 
 beaver of a helmet, so termed because 
 it projects like the eaves of a roof 
 over the top of the face, as is 
 
 clearly shown by the annexed ex- 
 ample from an original bronze hel- 
 met found at Pompeii. The Latin 
 name is quoted by Becchi (Mus. 
 
 Borb. iii. 60. ), but without mentioning 
 his authority ; the Greek one is given 
 by Pollux (i. 135.). 
 
 PROMPTUA'RIUM. A store- 
 closet, or store-room. Cato, R. R. 
 xi. 3. Apul. Met. i. p. 17. 
 
 PROMULSIDIA'REor-A'RIUM. 
 A tray, stand, or other contrivance 
 for holding the dishes and vessels 
 upon which the promuhis was served 
 up. Pet. Sat. 31. 9. where the 
 article is made in the form of an 
 ass with a pair of panniers. Ulp. 
 Dig. 34. 2. 20. 
 
 PROMUL'SIS. The name given 
 to every sort of eatable taken as a 
 stimulant to the appetite before dinner, 
 such as eggs, oysters, radishes, &c. 
 Cic. Fani. ix. 20. 
 
 PROMUS. A cellarman and 
 steward ; a slave who had charge of 
 the wine and provision stores in a 
 Roman household, and whose duty it 
 was to serve out day by day the ne- 
 cessary quantities of each required 
 for the use of the family ; hence the 
 word is often joined with condus, the 
 steward, because the same individual 
 commonly performed both offices. 
 Plant. Pseud, ii. 2. 14. 
 
 PRONA'US or -OS (irpivaos). A 
 porch, or, as we call it, portico, in 
 front of a temple (Vitruv. iii. 2. 8. 
 Id. iv. 4. I . ) ; forming an open space 
 surrounded with columns and sur- 
 mounted by a pediment (fastigium) in 
 advance of the main body (cello) of 
 the building, under which the altar 
 was placed and sacrifice performed. 
 
 The illustration represents an ancient 
 temple, known as the Maison-carree, 
 at Nimes. 
 
 PRO'NUBA. A matron who 
 
PROPES. 
 
 PRORA. 
 
 531 
 
 had not been more than once married, 
 who attended a bride on the day of 
 her wedding, in a somewhat similar, 
 though not the same, capacity as the 
 bridesmaid does amongst us. It was 
 her especial duty to conduct the 
 bride, after the marriage-feast, to the 
 lectus genialis, and to give her en- 
 couragement and instructions respect- 
 
 /^ ;£:■■> 
 
 ing the new duties and condition of 
 life she had just entered upon (Festus, 
 s. V. Varro, aj>. Serv. ad Virg. ^n. 
 iv. 166. Compare Catull. La. 186. 
 and Stat. Sylv. i. 2. 11.); as is 
 graphically sho%vn in the illustration, 
 from the celebrated Roman fresco, 
 preserved in the Vatican, and known 
 by the name of the ' ' Aldobrandini 
 marriage." The bride is the right- 
 hand figure, still enveloped in her 
 bridal veil (flammeuni) ; '&i^ protiuba, 
 the one on the left with a chaplet 
 round her head, and in an attitude of 
 persuasion or encouragement ; both 
 are sitting upon the marriage bed. 
 PRO'PES. The lower end of the 
 
 stretched to the wind, as shown by 
 the aimexed woodcut from a coin oi 
 Lepidus. Turpil. ap. Isidor. xix. 4. 
 3. Compare Herod, ii. 36. 
 
 PROPLASTVIA (7rp((-n-\a(r^a). A 
 small rough model in clay or terra 
 cotta, which sculptors form in order 
 to embody their first thoughts in a 
 rapid and sketchy manner. It serves 
 to show them the composition of their 
 figiires, the arrangement, grouping, 
 and position of the limbs and acces- 
 sories, in the different points of view 
 all round; and thus to regulate the 
 form of the frame upon which the 
 full-sized model of the finished work 
 is to be executed from nature. Plin. 
 H. N. XXXV. 45. Cic. Ait. xiL 41. 
 PROPNIGE'UM (irpoiry.-yeToy). 
 1 The mouth of a furnace (irnyeus) ; 
 ( properly a Greek term, for which the 
 ' Latin one is PRjIFURNIUm. Plin. 
 ; Ep. ii. 17. II. Vitniv. v. II. 2. 
 I PROPUGNA'CULUM. In a 
 ' general sense is applied to any struc- 
 [ ture on land from which men fight 
 ' for the purposes of defence, as a for- 
 tress, rampart, barricade, &c. ; and 
 on shipboard, to the lofty towers 
 raised above the deck, into which the 
 marines {classiarii) ascended to dis- 
 charge their missiles, and which gave 
 to the vessel an appearance very like 
 that of a fortress, as exhibited by the 
 aimexed fragment, from a bas-relief 
 of the villa Albani, which affords a 
 graphic illustration of the words of 
 Horace : inter alia naviitm propig- 
 
 " sheet" {.pes), attached to the clues of 
 a square sail ; viz. that which was nacula. Hor. Epod. I. 2. Schol. 
 fastened down to the quarters of the Vet. ad I. Plin. H. N. xxxii. I. 
 vessel, in order to keep the sail ' PRORA {ir^lffa). The pnnu, or 
 
532 
 
 FRO R ETA. 
 
 PROSTOMIS. 
 
 forepart of a ship (Cass. Cic. Virg. 
 Ovid, &c. ). Almost all the repre- 
 sentations of ancient vessels, whether 
 in sculpture, painting, or mosaic, are 
 extremely deficient in characteristic 
 details, the artists confining themselves 
 to the expression of certain con- 
 ventional generalities, rather than 
 attempting a faithful delineation by 
 vphich the constructive principle would 
 be understood ; so much so, that 
 where only fragments remain, as in 
 the preceding illustration, disputes 
 have arisen respecting the identity of 
 the part, whether it was intended for 
 the head or stem. The example an- 
 nexed, from an ancient painting pre- 
 
 served in the Bourbon Museum at 
 Naples, affords, however, a specimen, 
 perhaps unique, of the prow of an 
 ancient vessel, which is clear and 
 precise in its details, as well as prac- 
 ticable in the eyes of experienced 
 seamen {Jal, Arckwlogie Navale, tom. 
 i. p. 24.) ; and resembles in a very 
 remarkable degree a vessel now em- 
 ployed by the Calabrese, and often 
 seen in the port of Naples, called a 
 chebek (Italian, sciabecco). 
 
 PRORE'TA (irpijipaTTjs). A man 
 who stood upon the forecastle at the 
 
 ship's head (prord), to keep a look 
 out, and make signs to the helmsman 
 
 how to steer, as in the annexed illus- 
 tration from a medal. He was second 
 in command to the gubernator, and 
 had every thing belonging to the 
 ship's gear under his care and orders. 
 Plaut. Jiud. iv. 3. 86. Rutil. Itin. 
 I. 455. Schseffer, Mil. Nav. iv. 6. 
 
 PRO'REUS (7rpa.p6.5s). Same as 
 the preceding. Ov. Met. iii. 634. 
 
 PROSCE'NIUM (rpaaKXiuiav) 
 The stage of an ancient theatre, in 
 eluding the whole space of the ele- 
 vated platform, bounded by the per- 
 manent wall of the scena at the back 
 and by the orchestra in front (Vitruv. 
 V. 6. I. lb. 7. I. Apul. Fior. 18. 
 Virg. Georg. ii. 381. Serv. ad I. 
 
 This stage, or part before the scenes, 
 did not, however, extend backwards, 
 either in a Greek or Roman theatre, 
 to nearly so great a depth as the 
 stage of a modern playhouse, because 
 the number of characters in the 
 ancient drama were much fewer than 
 we are accustomed to introduce, and 
 the chorus of the Greeks performed 
 all their evolutions in the orchestra, 
 while the Romans did not exhibit 
 any chorus at all. The illustration 
 presents a view of the proscenhcfit 
 in the great theatre at Pompei, 
 taken from the centre of the first 
 lobby {pmcinctio), and shows a large 
 part of the orchestra, with the stage 
 beyond, then the wall of the scene 
 with its three entrances, and the 
 boundary wall of the /tfrf.f««!Mm, in a 
 half tint at the back. 
 
 PROS'TOMIS. The reading of 
 some editions for PosTOMis ; which 
 see. 
 
PRO STYLOS. 
 
 PSALTERIUM. 
 
 533 
 
 PROSTVLOS (TrpiiffTuXor). A 
 temple or other building, which has 
 a porch supported 
 upon columns in its 
 front, as shown by 
 the annexed ground 
 plan, and the illus- 
 tration to Pronaos, 
 where a similar struc- 
 ture is exhibited in 
 elevation. Vitruv. 
 
 iii. 2. 
 
 PROS'TYPUM (TrpcSo-TUTTor, 
 Callix. ap. Athen. v. 30.). The 
 reading adopted in some editions of 
 Pliny (H. N. xxxv. 43.) instead of 
 proiypum, and interpreted to mean 
 images in low relief (basso-rilievo), as 
 contradistinguished from such as are 
 executed in high relief (alto-rilievo). 
 
 PROSU'MIA. A small sea-going 
 craft, employed as a spy ship, to keep 
 a look out and watch the motions of 
 an enemy's ileet ; but beyond this, its 
 characteristic peculiarities are not as- 
 certained. Festus, s. V. Csecil. ap. 
 Non. J-. V. p. 536. 
 
 PROTH'YRUM (Hievpo"). An 
 
 entrance hall in a Roman house ; tliat 
 
 is, a small corridor situated between 
 the street door (jamia), which was 
 probably always kept open in the day- 
 time, as is still the practice of modem 
 Italy, and the house door (ostium), 
 which gave immediate access to the 
 atrium, and interior of the house. 
 The Greek name defines it more 
 accurately as the passage through (Sia) 
 or part between the doors ; and their 
 ■npoBvpoy, or place before the door, 
 corresponds with the Roman ves- 
 tibuluvi (Vitruv. vi. 7. 5.). The 
 woodcut represents an entrance-pas- 
 sage to one of the houses at Pompeii, 
 with the ceiling and doors restored 
 to give a more complete notion of 
 the locality ; the columns seen through 
 the furthest door, one leaf of which is 
 represented as closed, are those of the 
 atrium. 
 
 PROT'YPUM (7rp<jTt/7ror). A 
 model after which anything is formed, 
 corresponding with our prototype. 
 In a passage of Pliny (H. N. xxxv. 
 43.), the term is used to designate 
 reliefs in terra cotta employed as 
 antefixes (antefixa) for decorating 
 buildings, and which could be multi- 
 plied to any extent, by making a 
 mould (forma) upon them, and taking 
 casts (ectypa) from it ; but the reading 
 
 \ of the passage is not altogether cer- 
 
 . tain, and some editors adopt Pros- 
 
 : TYPUM in its stead. 
 
 : PROVOCATO'RES. A class of 
 gladiators respecting whom nothing 
 
 j definite is known, excepting that they 
 usually engaged with the &m«2to. Cic. 
 
 ! Sext. 64. Inscript. ap. Orelli, 2566. 
 
 PSALTE'RIUM (■i/aX-r-hpiov). A 
 psaltery, that is, a stringed instrument 
 (Varro, ap. Non. j. Nervi, p. 215. 
 Virg. Ciris, 1 79.), of mixed cha- 
 racter, between the cithara and the 
 harpa, to both of which it possessed 
 certain points of affinity — to the 
 former in having a hollow sounding 
 belly formed of wood, over which 
 the chords were stretched, but 
 which, instead of being held down- 
 wards in the act of playing, as was 
 usual with the cithara (see the wood- 
 
534 
 
 PSALTERIUM. 
 
 PSEUDISODOMUM. 
 
 cut S.V.), was carried upwards on the 
 shoulder, so as to constitute the top 
 rather than the bottom of the instru- 
 ment (Isidor. Orig. iii. 21. 7. Cas- 
 
 oiod. in Psalm. 150. August. i7iPsalm. 
 56.); and to the latter, in having a 
 bent frame which kept the strings 
 extended from its centre, so that the 
 figure presented by the three parts, 
 the strings, belly, and trunk, approxi- 
 mated to the form of a bow, if 
 the juncture of the belly and trunk 
 possessed a circular conformation, as 
 in the engraving ; or of a triangle, if 
 the juncture was an angular one, as 
 is the case with an original specimen 
 of the same instrument, now preserved 
 in the Paris collection of Egyptian 
 antiquities. This account, collected 
 from the different passages quoted 
 above, with the assistance of the 
 figures in the illustration, seems to 
 leave no doubt respecting the identity 
 of the instrument. The lower wood- 
 cut represents an original in the 
 British Museum, the belly of which 
 is covered with leather, strained over 
 it, and perforated with holes to allow 
 the sounds to escape : the upper one, 
 from a painting at Thebes, exemplifies 
 the method of holding and playing 
 the instrument. 
 
 2. ipa\TT]piov opQiov. The upright 
 psaltery, mentioned by Athenaeus 
 (iv. 81.) as a different instrument 
 from the common one, was probably 
 the same, or nearly similar to the 
 Harpa : see the example s. v. p. 
 328, which strongly resembles the 
 preceding figure from Thebes, when 
 
 placed in an upright instead of a hori- 
 zontal position. 
 
 PSAL'TES (.J/oXt,7s). One who 
 plays upon a stringed instrument, as 
 a general term. Quint, i. 10. 18. 
 Sidon. Ep. viii. 9. 
 
 PSAL'TRIA (-i/iXTfia). In -^ 
 general sense a female who plays 
 upon any stringed instrument, as in 
 the annexed figure, from a fresco ex- 
 cavated at Civita, in the year 175S, 
 representing the Muse Erato, which, 
 in the original, has the word ^iXT-pia. 
 inscribed underneath ; but the term 
 is frequently used in a more special 
 sense to distinguish a class of women, 
 not remarkable for rigid virtue, who 
 made a profession amongst the 
 Greeks of going about to play and 
 sing at banquets for 
 the amusement of the 
 guests, representations 
 ofwhom are frequently 
 introduced in the de- 
 signs on the Greek 
 vases, in which revels 
 and drinking parties 
 [comissationes] are de- 
 picted. The same 
 practice was intro- 
 duced at Rome, after 
 the conquest of An- 
 tiochus, by the army 
 which had served in 
 Asia. Liv. xxxix. 6. 
 Juv. Sat. vi. 337. 
 
 PSEUDISOD'OMUM (if<Eu5i(7(J- 
 50|Uo>'). One of the earlier and less 
 
 Cic. Sext. 54. 
 
 perfect styles of masonry in use 
 amongst the Greeks, in which the 
 stones, though laid in regular courses, 
 were not all of corresponding size or 
 
PSE VDODIPTEROS. 
 
 PTEROMA. 
 
 535 
 
 height ; consequently, though all the 
 courses were parallel, and every stone 
 in the same course of one height, 
 yet the respective dimensions of each 
 course differed from the others, 
 which produced the effect of false 
 equality indicated by the term. (Vi- 
 truv. ii. 8. 6. Plin. H. N. xxxvi. 51. 
 and compare Isodomum. ) The illus- 
 tration represents one of the entrances 
 into the ancient citadel of Mycenae, 
 and consequently affords a very early 
 instance of the style. 
 
 PSEUDODIP'TEROS (-i/^vloU. 
 TTTepos). Pseitdodipteral ; a term em- 
 ployed to designate an edifice which 
 presents the appearance of having a 
 double colonnade round it, though in 
 reality it is only a single one, which 
 possesses the same projection from 
 the walls of the cell as the dipteral 
 
 n; 
 
 :r 
 
 • • — 
 
 I '• '■ 
 
 1 ; ' 
 
 H 
 
 ■ • • > • I — 
 
 structure, but the inner row of co- 
 lumns is dispensed with. (Vitruv. 
 iii. 2. ) The colonnade is thus twice 
 as wide as that which is termed 
 simply feripteral ; and of the same 
 vridth as the dipteral, thus combining 
 increased accommodation with less 
 cost. Compare the woodcuts s, DlP- 
 TEROS and Peripteros with the pre- 
 sent one, which will make the dis- 
 tinction self-evident. 
 
 PSEUDOPERIP'TEROS (iJ/ei/So- 
 ■jrep'nrrfpos). Pseudoperipteral ; a term 
 employed to designate an edifice 
 that appears to have a colormade all 
 round, which, in reality, it does not 
 possess ; the walls of the cell being 
 
 merely furnished with half or three- 
 quarter columns to correspond with 
 
 the isolated ones of the porch. (Vi- 
 truv. iiL 2.) By such an arrange- 
 ment more room was afforded for the 
 interior, as is clearly shown by the 
 example, representing the ground- 
 plan of the temple of Fctrtuna Virilis 
 at Rome, while the distribution of 
 the columns on the flanks suggests 
 the notion of a colonnade, as may be 
 seen by the illustration s. Pronaos, 
 which exhibits it design of the same 
 style in elevation- 
 
 PSEUDOTH'YRUM{i|,eu5<(9upor'). 
 A false or rather secret door, for the 
 purpose of giving ingress and egress 
 to the premises, without being sub- 
 jected to observation. Ammian. xiv. 
 I. Compare Cic. Sen. 6. Id. Verr. 
 ii. 2. 20. 
 
 PSEUDOURBA'XA sc. adificia. 
 Those parts of a farmhouse or country 
 villa which were appropriated to the 
 use of the owner and his family, i. e. 
 the mansion itself, apart from the 
 farm-buUdings and the tenements 
 occupied by the farming-men (familia 
 rustica) (Vitruv. \\. 5. 3. compared 
 with ColumelL i. 6. i.). The term 
 pseudourban, which might be trans- 
 lated city-like, was given to the 
 above-mentioned part of the villa, 
 because, though in reality a country- 
 seat, it was designed and laid out 
 upon the same plan and with the 
 same luxuries as a town mansion. 
 
 PSILOCITHARIS'TA (^i.\oKiea- 
 piffT^s). One who merely plays 
 upon the guitar [cithara] as an in- 
 strumental performer, without ac- 
 companying it with his voice. Suet. 
 Dom. 4. 
 
 PSILO'THRUM (^.'AaSpoO. An 
 unguent or medical preparation, made 
 chiefly of heated arsenic and imslaked 
 lime, employed for removing hairs 
 from the surface of the skin, by men 
 of effeminate habits as well as women. 
 Mart iii. 74. vi. 93. Plin. H. N. 
 xxiv. 37. Id. xxxii. 47. 
 
 PTERCMA or PTER'ON (irTe- 
 fuy-a, TTTepSf). In architecture, a 
 colonnade on the flank of a temple, 
 or other edifice similarly constructed, 
 
536 
 
 PTEROTUS. 
 
 PUCIO. 
 
 projecting from the wall of the cell 
 on each side, like a pair of wings, 
 which resemblance gave rise to 
 the name (Vitruv. iii. 3. g.) ; but in 
 buildings which had no side columns, 
 and an outwork on each side of the 
 central pile, similar to what we call 
 wings, or only a blank wall running 
 out like a screen, such an outwork or 
 wall was designated by the same 
 name. Plin. H. N. xxxvi. 4. § 9. 
 Id. xxxvi. 13. Strabo. xvii. 28. 
 
 PTERO'TUS (TTTcpwrds). Pro- 
 perly a Greek word, meaning winged, 
 but employed as a characteristic epi- 
 thet for the drinking-cup, termed 
 calix, because it was furnished with 
 handles on each side, like wings, as 
 exhibited by the il- 
 lustration represent- 
 ing an original calix 
 of Greek manufac- 
 ture. Plin. JI. N. XXXV. 66. 
 
 PUBLICA'NUS(T6Aci;'7)!. N. T.). 
 A publican, in the sense which that 
 term bears in our version of the New 
 Testament, meaning thereby a person 
 who took a contract of the public 
 taxes from the state at a stipulated 
 amount, he employing and paying 
 the underlings who collected them, 
 and reserving to himself for his own 
 profit all that remained beyond the 
 sum at which he had taken the con- 
 tract. The Roman publican was in 
 general a person of equestrian rank. 
 The taxes he collected were the land 
 tax, levied upon pastures ; the tithe 
 of corn, from arable lands ; and the 
 customs dues on imports ; and as he 
 stood in the place of a middleman, 
 and had the onus of direct collection, 
 which would be rigorously enforced, 
 to make a good profit of the contract, 
 the reputation he bore was, in gene- 
 ral, far from being flattering or 
 popular ; though his wealth made 
 him an important and influential per- 
 sonage. Plin. B. N. xxxviii. 8. Cic. 
 Plane. 9. Liv. xliii. 16. 
 
 PUGIL (ttuktt)!). a boxer; that 
 is, one who fights with the fist (pug- 
 nus, iru|). The art of boxing (pugi- 
 
 latio, pugilattis) dates from a remote 
 antiquity, being practised by the 
 Greeks and Etruscans in 
 very early times, and con- 
 tinuing to be a popular 
 exhibition at Rome dur- 
 ing the republic and em- 
 pire. (Liv. i. 35. Cic. 
 Tusc. ii. 17. Suet. Aug. 
 45. ) The attitudes, 
 guards, and method of 
 directing the blows ex- 
 hibited in various works 
 of art, indicate that the 
 boxing of the ancients 
 resembled in most re- 
 spects the practice of our 
 own countrymen, with one important 
 exception, which must have rendered 
 their conflicts cruelly severe — that of 
 covering the lower part of the arm 
 and fists with thongs of leather studded 
 with knobs of metal (C^STUS), as is 
 shown by the annexed illustration, 
 from a well-known statue of the 
 Villa Borghese. 
 
 PUGILA'TI0-A'TUS(iru7^.iX''')- 
 Boxing; a boxing-match. See PtJGIL. 
 
 PUGILA'TOR. Same as P ugil. 
 
 PUGILLA'RES. Small tablets 
 covered with wax for writing on, so 
 termed from their diminutive size, 
 because they could be held commo- 
 diously in a little hand (piigilliis). 
 They were principally used for me- 
 morandum books, for noting down 
 
 first thoughts, and to be despatched 
 as love letters ; which intention is 
 exemplified by the illustration, from 
 a Pompeian painting, representinc; 
 Cupid with a love billet which Po'y- 
 phemus sends to Galatea. Senec 
 Ep.ie,. Plin. Ep. i. 6. I. III. 22. 11. 
 PUG'IO (eVxf'P'SioJ'). A short. 
 
PUGIUNCULUS. 
 
 PULVINAR. 
 
 537 
 
 two-edged, sharp-pointed dagger, 
 openly worn on the right side, more 
 particularly by o£6cers in the army, 
 and persons of rank under the empire, 
 as well as by the emperors themselves, 
 in order to indicate their power over 
 life and death. (Cic. Phil, ii 
 12. Suet. Vit. 15. Tac. Hist. 
 iii. 68. Id. i. 43. Val. Max. 
 iii. 5. 3.) The example is 
 from an original of bronze in 
 the Neapolitan Museum; the 
 holes on the handle were in- 
 tended for the reception of 
 ornamental studs. 
 
 PUGIUN'CULUS. Diminutiveof 
 PUGIO. A small dagger, a dirk. 
 Cic. Fragm. contra C. Anton, ap. 
 Ascon. Id. Or. 67. 
 
 PULLA'RIUS. The person who 
 had the care of the sacred cliickens 
 (woodcut J. Cavea, 3.), and affected 
 to predict the results of future events 
 from the manner in which they ate 
 or rejected their food. Cic. Div. ii. 
 34. Liv. X. 40. 
 
 PULTITUM O^M")- A tribune 
 or pulpit made of wood and of a 
 moveable character (Suet. Gramm. 4. 
 remoto pulpito), into which an orator, 
 declaimer, grammarian, &c., ascended 
 for the purpose of making himself 
 conspicuous, and acquiring a com- 
 manding situation, when about to 
 address an audience. Hor. Epist. i. 
 19. 40. 
 
 2. (^07610^, oKpi$as). In an ancient 
 theatre that part of the stage {pro- 
 scenium) which was nearest to the or- 
 chestra, upon which the actors stood 
 
 when they delivered their dialogues 
 
 or speeches (Hor. A. P. 278. Vi- 
 truv. V. 7. 2. lb. 6. I. Propert. iv. 
 I. 16.). It is represented by the 
 elevated platform on the left side of 
 the annexed woodcut, which affords 
 a view across the pit and stage in the 
 small theatre at Pompeii ; the dark 
 groove which runs along it, shows 
 the recess into which the drop-scene 
 {au/cea) was lowered. 
 
 PULSAB'ULUM. An instrument 
 with which the chords of a stringed 
 instrument were struck (Apul. Ptor. 
 15.) ; for which the more usual name 
 is Plectrum, where an illustration 
 is introduced. 
 
 PULTA'RIUS. Property a vessel 
 in which pottage (puis) was served 
 up. It was made in the form of an 
 inverted funnel (Pallad. vi. 7. 2. 
 Compare Colamell. ix. 15. 5.), with a 
 broad bottom and narrow mouth, 
 which may be easily conceived in the 
 absence of any authentic specimen ; 
 and was likewise employed for other 
 purposes to which such a figure 
 adapted itself, as a cupping-glass 
 (Celsus, ii. II.), and a. vessel for 
 drinking out of. (Plin. J/. N. viL 
 54. Pet. Sat. i.2. 2.) 
 
 PULVIL'LUS. Diminutive of 
 
 PULVINUS. 
 
 PULVI-NAR or POLVI'NAR. 
 May be translated by our terms 
 pillow, bolster, cushion, as best suits 
 the purpose for which it is applied. 
 But the term conveys a notion of 
 greatness and grandeur, and is to be 
 understood, when strictly used, as 
 indicating a cushion of large size and 
 costly materials, such as would be 
 used for beds and couches on which 
 the body reclines, rather than for 
 chairs and seats, or for a sitting pos- 
 ture. Pet. Sat. 135. 5. Senec. Ira, 
 iiL 37. And woodcuts, pp. 374, 375. 
 
 2. Hence the word is principally 
 used to designate the splendid couches 
 with cushions and squabs, upon 
 which the images of the gods were 
 laid at the feast of the Lectister- 
 nium, to partake, as it were, of the 
 banquet spread before them (Cic. 
 
538 
 
 PULVINARIUM. 
 
 Phil.\i. Afl. \A. Dom. '^i- Liv. xxx. 
 
 21.); as exhibited by the annexed 
 woodcut from a terra-cotta lamp. 
 
 3. In the circus, a spot where 
 couches of the same description were 
 laid out for those deities whose statues 
 were carried in solemn procession 
 at the Circensian festival. Festus, s. 
 Thensa. Suet. Aug. 45. Id. Cal. 4. 
 
 4. A bed of state, or marriage bed ; 
 but with especial reference to those of 
 the divinities (CatuU. Ixiv. 47.), and 
 of the Roman emperors, to whom 
 divine honours were paid. Suet. 
 Dom. 13. Juv. vi. 132. 
 
 PULVINA'RIUM. The place in 
 a temple where the couches of the 
 deities were set out at the feast of 
 the Lectlstenduin. Liv. xxi. 62. 
 
 PULVINA'TUS. Having a full 
 or swelling contour, like a bolster or 
 cushion ; whence applied as a technical 
 term by architects to the capitals of 
 Ionic columns, the sides of which, 
 formed by the lateral part of the vo- 
 
 lute, present a round or swelling 
 shape, like a bolster, as shown by the 
 annexed example from a capital be- 
 longing to the temple of Minerva 
 Polias. Vitruv. i. 2. 6. Id. lii. 5. 5. 
 PULVI'NUS. In its general 
 applications has nearly the same 
 meaning as Pidvinar^ a pillow, 
 cushion, or bolster ; but, in strictness, 
 of a smaller and less ostentatious 
 
 PUNCTUM. 
 
 character, and so more particularly 
 descriptive of those which were used 
 for sitting on (Cic. Or. i. 7. Id. 
 Fam. ix. 18., and woodcut j. Ca- 
 thedra), resting the head against, 
 like the pillow of a bed (Sail. Jug. 
 74, and woodcut j. Cervical), or 
 leaning upon, like the pillow on 
 which a person supported his elbow 
 on a triclinary couch (Nepos, Pel. 3. 
 and woodcut y. Cubital), than of 
 such as were intended for the re- 
 ception of the body in a reclining 
 posture. 
 
 2. In architecture the bolster or 
 baluster on the sides of an Ionic 
 capital (Vitruv. iii. 5' 7-)> which 
 imitates the full and swelling outline 
 of a stuffed cushion as shown by the 
 preceding woodcut. 
 
 3. In a warm- water bath, [alc/eus], 
 the part immediately above the step 
 (gradus) on which the bather sat, and 
 which thus constituted as it were a 
 cushion for his back to lean against 
 (Vitruv. V. 10. 4.). The illustration 
 
 !MflDiil 
 
 J 
 
 mEi 
 
 -J 
 
 represents a section of the warm bath 
 in the thermal chamber at Pompeii, 
 in which A is the bath itself, B the 
 step on which the bather sat, and C 
 the cushion or pulvinus for his back. 
 
 4. A ridge between two trenches 
 in a field or garden (Plin. H. N. 
 xvii. 35. § 4.) ; and a raised border 
 or flower bed (Varro, R. R. i. 35. I.) ; 
 both from their resemblance to the 
 upheaving form of a pillow or squab. 
 
 PUMILIO'NES, PUMILO'NES, 
 PU'MILI. Senec. Ep. 76. Stat. 
 Sylv. i. 6. 57. Suet. Aug. 83. Same 
 as Nani, which see. 
 
 PUNC'TUiW. Any small hole 
 made by piercing, or pricking ; 
 hence a vote or suffrage ; because in 
 early times, before the custom of 
 voting by ballot had obtained, the 
 
PUPA. 
 
 PUTEAL. 
 
 539 
 
 poll clerk (rogator) held a list of the 
 candidates inscribed upon a tablet 
 covered with wax, and scored off 
 each vote as it was announced, by 
 making a puncture in the wax against 
 the initials of the candidate whom 
 the elector supported. Cic Plane. 
 22. Id. Tusc. iL 24. 
 
 2. One of the points or units upon 
 a die (Mart. xiv. 17. Compare 
 Suet. Nero, 30. ). The KT • \ 
 example is copied 
 fi-om an original die 
 found at Herculaneum. 
 
 3. One of the fractional marks or 
 points on the beam of a steel-yard 
 (staUrd) by which the exact weight 
 is indicated (Vitruv. x. 3. 4.). The 
 
 example represents an original steel- 
 yard of bronze found at Pompeii 
 
 PUPA(K(ip7j). In the primitive sense 
 a little girl ; thence a child's play- 
 thing, or doll (Varro, ap. 
 Non. s. V. p. 156. Pers. ii 
 70. Hieion £pi!t. 128. n. I.). 
 The illustration represents 
 an original ivory doU dis- 
 covered in a child's se- 
 pulchre near Rome; and 
 another specimen of terra- 
 cotta, found in Sicily, and 
 more elegant in design, is 
 published by the Prince of 
 Biscari, Degli antichi Orna- 
 Ttienti e Trastulli de' Bambini, tav. v. 
 
 PUPPIS [irpiixva). The poop, 
 stern, or after part of a ship. The 
 works of art, hitherto discovered, do 
 not furnish us with any clear and 
 satisfactory example of the precise 
 manner in which the ancient ship- 
 builders constructed the stems of 
 their vessels, beyond the fact that 
 they are always represented round, 
 and in many cases scarcely dis- 
 tmguishable from the prow (prora). 
 Of such, numerous specimens are 
 
 introduced in various parts of these 
 pages ; but the annexed example, 
 
 composed by the Academicians of the 
 I Royal Antiquarian Society at Naples 
 (Academici Ercolanesi) from parts 
 or indications observable in different 
 ancient monuments, is introduced 
 in order to give a more practical 
 notion of the real appearance pre- 
 sented by the stem view of an ancient 
 vessel, than what can be acquired 
 from the conventional figures mostly 
 exhibited by the artists of antiquity. 
 If compared mth the illustration s. 
 Prora, which shows a prow faith- 
 I fully delineated from the antique, it 
 vidll be at once seen how well the 
 ' two would suit together, as the fore 
 ' and after parts of tie same vessel. 
 PUT'EAL. A . dwarf wall or 
 circular shell of marble or other 
 materials surrounding the mouth of a 
 well {puteus) as a protection against 
 i the danger of falling in. Many of 
 
 these have been found in excavations, 
 and may be seen in the various collec- 
 
54° 
 
 PUTEUS. 
 
 PYCNOSTYLOS. 
 
 tions of antiquities, oftentimes richly 
 decorated witli figures or other devices 
 in relief (the putealia sigillata of Cic. 
 Att. i. lo. ) ; and the annexed woodcut 
 shows one of the same description 
 still covering the mouth of a well, as 
 it now exists in the cloisters of the 
 convent attached to the basilica of 
 S. Giovanni Laterano at Rome. 
 
 2. When any spot was struck with 
 lightning it was immediately deemed 
 sacred, and venerated as such by the 
 Romans, being surrounded by a shell 
 of the same character and name as 
 last described, in order to preserve it 
 from the tread of profane feet (Cic. 
 
 Sext. 8. Ov. R. Am. 561). Amongst 
 these the piUeal Libonis or Scribo- 
 niamim in the Roman forum, was 
 much celebrated, as the spot near 
 which usurers met and money affairs 
 were negotiated. It is represented 
 by the annexed woodcut from a 
 medal of the Scribonian gens, and has 
 the inscription, Puteal Libonis, 
 underneath. 
 
 PUT'EUS and -UM ((^pUp). A 
 well ; artificially dug in the ground, 
 and supplied from its own spring of 
 water, of which examples are given 
 J-. GiRGiLLUs, and j-. Puteal. Cic. 
 Hor. Plin. &c. 
 
 2. A pit sunk in the earth for 
 storing grain, as we do potatoes. 
 Varro, R. R. i. 57. 2. 
 
 3. An air or vent hole in the water 
 course of an aqueduct, of which a 
 sufficient number were formed at 
 regular intervals throughout its whole 
 length. When the duct was a sub- 
 terranean one, the vent holes were 
 constructed like the shaft of a tunnel ; 
 when there were two or more sepa- 
 rate courses of water conveyed by 
 the same aqueduct, one over the 
 
 other, the vent holes of the lower 
 ones were formed at the sides of the 
 channels, above the level of the 
 
 flowing water; but when there was 
 only a single course, the opening was 
 made in the top, as exhibited by the 
 annexed illustration, representing a 
 portion of the Alexandrian aqueduct 
 at Rome, in which A shows the 
 channel (specus), through which the 
 water flows, and E the puteus or vent 
 hole in question. Vitruv. vii. 8. 
 
 PUTIC'ULI or -L^. Grave pits 
 in which the bodies of slaves and 
 people of the poorest classes, who 
 could not afford the expense of a 
 private tomb, or of a funeral pyre, 
 were interred as in a public burial 
 ground. Originally they were situ- 
 ated on the Esquiline hill, but were 
 removed from that locality in the 
 time of Augustus, out of regard for 
 the healthiness of the district, the site 
 being subsequently occupied by the 
 palace and gardens of Mecaenas. 
 Varro, L. L. v. 25. Festus, s. v. 
 Compare Hor. Scit. i. 8. 10. 
 
 PYCNOSTY'LOS [i^mvitrTvXos). 
 Pycnostyle ; a term employed by the 
 ancient architects to de- ©-li® 
 signate the closest of the ^_a_^ 
 five different kinds of ^..ji..^ 
 intercolumniation in use 3' _ « 
 
 amongst them, which ® ® 
 
 only had an interval of ®"" ^ • 
 
 one diameter and a half between each 
 column, as shown by the top line in 
 the annexed diagram, exhibiting at 
 one view the relative proportions of 
 all the five styles. It was only ap- 
 plied in the Ionic and Corinthian 
 orders. Vitruv. iii. 2. 
 
pycTA. 
 
 PYXIDICVLA. 
 
 541 
 
 PYCTA or PYC'TES (ti/kttjj) 
 (Phaedr. iv. 24. Senec. Contr. i. 3.). 
 Merely a Greek word Latinized, for 
 which the genuine Latin term is 
 PUGIL; which see. 
 
 PYR'A (irvpa.). A funeral pyre ; 
 made of unhewn wood piled up into 
 a square form, upon which the corpse 
 was placed with its bier to be burnt. 
 It was designated pyra, before the 
 fire was applied, as in the annexed 
 representation of Dido's pyre in the 
 Vatican Virgil ; but rogus when ig- 
 
 graved gem, may be identified as a 
 tomb by the accompanying figure 
 intended to represent a gladiator of 
 the class termed bustuarii, who were 
 engaged to fight round the burning 
 pyre of distinguished persons. 
 
 PYR'GUS. (Sidon. Ep. viii. 12.) 
 A word coined from the Greek irup^os, 
 though not occurring with the same 
 identical signification in that lan- 
 guage, and for which the genuine 
 Latin word is TURRICULA, which see. 
 
 PYRR'HICHA and PYRR'- 
 
 nited. Virg. Ain. xi. 185. Serv. ad 
 I. Id. Ain. xi. 204. 
 
 PY'RAMIS (irupa/i/r). K pyramid, 
 a structure upon a square base, taper- 
 ing gradually to a point at the top. 
 The particular form, as well as the 
 name, originated without doubt with 
 
 the Egyptians ; but for what precise 
 object is still undetermined. It 
 was, howexer, adopted by the Etrus- 
 cans (Plin. H. N. xxxvi. 19. § 4.) 
 and the Romans, as an appropriate 
 design for sepulchral monuments ; all 
 those which are mentioned by their 
 writers having been constructed for 
 that purpose, as well as the one now 
 remaining at Rome, which is known 
 as the pyramid of C. Cestius; and 
 the one here introduced from an en- 
 
 HICHE (Truppi'xi). A Greek war- 
 dance of Doricorigin, performed to the 
 sound of the flute in rapid measure, 
 the performers wearing their armour, 
 and imitating by their motions the 
 attack and defence of combatants in 
 a battle. The illustration, copied 
 from a fictile vase, is generally re- 
 ceived as a representation of the 
 old Pyrrhic dance, as executed by 
 the Greeks; of which an imitation 
 was introduced at Rome by Julius 
 Caesar, and also exhibited by suc- 
 ceeding emperors. Suet. Jul. 39. 
 Nero, 12. Spart. Hadr. 19. 
 
 PYTHAU'LAor-LES (iri/0auA7)s). 
 In its original and proper acceptation 
 signified a musician who played an 
 air upon the pipe {aiiKi^), expressive 
 of the combat between Apollo and 
 the Python (Hygin. Fab. 273.); 
 whence the name was afterwards 
 given to a musical performer at the 
 theatre, who played the accompa- 
 niment to a single voice, as contra- 
 distinguished from the Choraules, 
 who accompanied the entire chorus. 
 Diomed. iii. 489. Varro, ap. Non. s. 
 Ramices, p. 166. 
 
 PYXIDIC'ULA. Diminutive of 
 
542 
 
 PYXIS. 
 
 QUADRANTAL. 
 
 PYX'IS (iru|(s). Literally, a small 
 box or case made of boxwood, but 
 formed in a particular manner ; viz. 
 with a lid having a lip or return 
 which shuts over the edge of the 
 box, like the mouth of a tortoise 
 (Plin. H. N. ix. 12.), as is very 
 plainly expressed in the annexed 
 woodcut from the design on a fictile 
 vase. But as boxes of this character 
 were made of various other materials 
 besides boxwood, and extensively 
 used for holding any small articles of 
 use or ornament, especially such as 
 
 are characteristic of female habits, 
 the word possesses in general a sig- 
 nihcation analogous to our jewel case, 
 trinket box, and such other recep- 
 tacles as receive their characteristic 
 name froA the nature of the objects 
 contained in them. Pet. Sat. no. 
 Ma7-t. ix. 38. Suet. Nero, 12. Cic. 
 Ci?/. 25. 
 
 QUAD'RA. In a general sense 
 implies anything which has four 
 comers, or possesses a square form ; 
 whence specially : — 
 
 I. A square dining-table (Virg. 
 
 distinct from a round one ; both of 
 which forms were adopted by the an- 
 cients, the former being the earliest 
 model, the latter of most common 
 usage. Hence the expression aliena 
 vivere quadra (Juv. v. 2.) denotes a 
 parasite, who lives at another man's 
 expense ; or, literally, at another 
 man's table. The illustration repre- 
 sents a square dining-table, from the 
 Vatican Virgil, spread before the 
 companions of Ulysses, in the island 
 of Circe. 
 
 2. The Roman architects employed 
 the word in two different senses ; — to 
 
 r 
 
 J 
 
 Mn. vii. 115. lb. iii. 257.) as contra- 
 
 designate the square member or //wzi'/i 
 placed under the base (spira) of a 
 column (Vitrav. iii. 4. 5.) ; and each 
 of the narrow flat bands with plain 
 surfaces, forming respectively the 
 upper and lower division between the 
 hollow scolia and swelling to-^j above 
 and belcw it (Id. iii. 5. 2. and 3.) ; 
 all which members are exhibited by 
 the illustration annexed. 
 
 QUAD'RANS (TerpSs). A small 
 copper coin, three ounces (u7icice) in 
 weight, and equal to a 
 fourth part of the As in 
 value. It is marked with / 
 three balls to designate the \ 
 weight, accompanied with 
 the device of an open hand, 
 a strigil, a dolphin, grains of com, a 
 star, the image of a ship, or the head 
 of Hercules or Ceres ; all of which 
 are found on different specimens in 
 various numismatic collections. (Plin. 
 H. N. xxxiii. 13. Hor. i. 3. 137, 
 Mart. ii. 44.) The example here in- 
 troduced is from an original, weighing 
 in its present state 2 oz. 179 gr., and 
 is drawn of one-third the actual size. 
 
 QUADRAN'TAL. A vessel with 
 four square sides, each a foot long, 
 employed as a measure for liquids, 
 
QUADRIFORIS. 
 
 QUADRIREMIS. 
 
 543 
 
 the solid contents of which were 
 equal to an amphora. Cato, R. R. 57. 
 2. Plant. Cure. i. 2. 16. Festus, s. v. 
 QU ADRIF'ORIS sc.>Kaa (rerpti- 
 Bvpos). A door, in which each of 
 the two valves fold back into two 
 parts, thus forming altogether /our 
 pieces, upon the same principle as 
 our window-shutters and folding- 
 doors ; as is exemplified by the illus- 
 tration, representing a cabinet or 
 
 armoire, from a Pompeian painting. 
 Vitruv. iv. 6. 5. 
 
 QUADRI'GA (TiBpnnov &pna). 
 A team of four horses or other ani- 
 mals ; thence a carriage drawn by four 
 horses abreast, and more especially 
 applied to the racing chariots of the 
 Circus (see the following woodcut), 
 or to those employed in public pro- 
 cessions, triumphs, &c. (Cic. Liv. 
 Suet. &c.) Carriages of this descrip- 
 tion were originally furnished with 
 two poles and a long cross-bar or 
 yoke, which stretched across the 
 backs of all the four animals, in the 
 same manner as shown by the first 
 woodcut s. BiGA. But that practice 
 was early set aside, and then the two 
 centre horses only were yoked, and 
 termed /a^a/ifj-, the two outside ones 
 being attached by ropes, and termed 
 funales. Isidor. Orig. xviii. 35. In 
 the Pompeian mosaic representing 
 the battle of Issus, which is, perhaps, 
 the most naturalistic, and therefore 
 the most accurately circumstantial of 
 all the ancient pictures yet discovered, 
 the outriggers to the quadriga of 
 Darius have no traces, but are at- 
 tached to the front of the chariot on 
 each of its sides by a rope, which 
 
 appears also to run through a loop 
 coupling them to the two innermost 
 horses. 
 
 QUADRIGA'RIUS. A charioteer 
 who drove a team of four horses 
 abreast ; more especially applied to 
 one who drove a four-horsed car 
 {quadriga^ at the races of the Circus ; 
 
 as represented by the annexed cut 
 from the device on a terra-cotta 
 lamp. Cic. Fragm. Varr. R. R. ii. 
 7. IS. Suet. Nero, 16. 
 
 QUADRIGA'TUS. A silver de- 
 narius, so termed from its having the 
 
 impress of a quadriga stamped on the 
 reverse, as shown by the annexed 
 specimen from an original of the 
 same size. Plin. H. N. xxxiii. 13. 
 Liv. xxii. 58. 
 
 QUADRIRE'MIS (Terp^pTjr). A 
 war-galley propelled by four banks 
 (ordines) of oars on each of its sides. 
 (Plin. H. N. vii. 57. Cic. Verr. ii. 5. 
 33. ) The illustration, copied from a 
 medal of the Emperor Gordian, though 
 too minute and imperfect to be re- 
 ceived as a complete representation 
 of a quadrireme, yet affords a valuable 
 and most satisfactory authority re- 
 specting the chief point which dis- 
 tinguished the class to which it be- 
 longed, viz. the position and rating 
 of its oarage. It will be perceived 
 that four separate banks, in tiers 
 
544 
 
 QUADRIVIUM. 
 
 QUINARIUS. 
 
 superimposed one above the other, 
 are distinctly expressed by the four 
 
 horizontal lines indicating the sepa- 
 ration of each bank, and the diagonal 
 position of each file of oars, by the 
 angular termination of their extre- 
 mities on the left side of the entire 
 range ; thus plainly demonstrating 
 that the principle followed in dis- 
 posing and reckoning the oarage of a 
 quadriremis, was the same as that 
 practised in the Biremis and Tki- 
 REMis, the illustrations under which 
 words, being upon a larger scale, and 
 from more detailed models, will show 
 the matter in a clearer light. 
 
 QUADRIVIUM (T6Tpao5io>.). A 
 
 place where four streets or cross 
 roads meet (CatuU. 58. Juv. i. 64). 
 The illustration represents a street view 
 of this nature in the city of Pompeii. 
 QUA'LUS and -UM (rdAapos). 
 A very general name for a wicker 
 basket, which might be employed for 
 various purposes ; as, a woman's wool 
 basket (Hor. Od. iii. 12. 4. and next 
 woodcut) ; a strainer made of wicker 
 work, used at the vintage (Virg. 
 Georg. ii. 242. Serv. ad I. and wood- 
 cut s. CoLUM, I.) ; a wicker cage or 
 coop for fowls (Columell. viii. 3. 4. 
 and woodcut j-. Cavea. 2. ). It will 
 be observed that all the baskets in 
 the illustrations referred to possess a 
 conical shape, though sometimes 
 
 standing upon their base, and at 
 others used in an inverted position, 
 which is the very form described by 
 Columella (ix. 15. 12.), and conse- 
 quently to be received as the distin- 
 guishing characteristic of the qualus. 
 QUASILLA'RI^. Female slaves 
 engaged in the spinning department 
 of an ancient household, whose duties 
 consisted in carrying the baskets of 
 wool (quali, quasilli) to the spinners 
 and weavers, while they were occu- 
 pied with their tasks. They formed 
 the lowest rank in the household, 
 merely attending upon other slaves, 
 and not being themselves skilled in 
 any branch of industrial art (Pet. 
 Sat. 132. 3. Inscript. ap. Grut. 648. 
 5.). The illustration represents two 
 females of this class with the basket 
 between them, from a frieze in the 
 forum of Nerva at Rome, on which 
 various processes connected with the 
 
 arts of spinning and weaving, and 
 different classes of workwomen, are 
 sculptured. 
 
 QUASILL'US and -UM (Ta\a?'is). 
 Diminutive of QuALUS ; especially 
 applied to the basket in which wool 
 and spinning implements were carried, 
 as explained and illustrated under 
 the last two words. TibuU. iv. 10. 3. 
 Prop. iv. 7. 41. 
 
 QUINA'RIUS. A half denarius ; 
 
 silver coin of Roman currency, 
 
QUINCUNX. 
 
 RADIUS. 
 
 545 
 
 worth about 4jd. of our money. 
 (Varro, Z. L. v. 173. Plin. H. N. 
 xxxiii. 13.)- The example is from 
 an original of the actual size. 
 
 QUINCUN'X. A copper coin of 
 Roman currency, weighing five 
 ounces {uncice), and equal in value to 
 five twelfths of an As (Hor. A. P. 
 327.). It was distinguished by five 
 balls to denote its value, of the same 
 character as those which appear on 
 the quadra7is (woodcut s. v.) ; but 
 the coin itself is of extreme rarity, 
 and the British Museum does not pos- 
 sess a specimen. 
 
 2. A figure of things arranged in 
 the same position as * * * * 
 the five points [puttc- * * w 
 ta) are upon a die. * * * * 
 Cic. Se7t. 17. Cces. * * * 
 B. G. vii. 73. * * =(= * 
 
 QUINCUP'EDAL. A five-foot 
 rod, divided into graduated parts, for 
 taking measurements. Mart. xiv. 92. 
 
 QUINQUERE'MIS (Tre^TTJpDs). 
 A war galley equipped with five 
 banks {ordines) of oars on each side ; 
 a class of vessels very commonly em- 
 ployed during the second Punic war. 
 (Liv. xxviii. 30. Plin. H. N. vii. 57. 
 The absence of any known represen- 
 tation of an ancient quinquereme 
 renders it impossible to show the 
 disposition of the oarage in vessels of 
 this class by reference to a model of 
 undoubted authority ; but there are 
 fair conjectural grounds for believing 
 that each bank was placed and rated 
 in an ascending line, one over the 
 other, the oar ports of all the five 
 ranging diagonally in file, in the 
 manner shown by the following dia- 
 gram ; because the biremis, triremis, 
 and quadriremis are shown by existing 
 monuments to have been rated and 
 constructed upon that principle, as is 
 proved by the illustrations to each of 
 those words ; and it has been ascer- 
 ***** 
 
 tained by actual experiment that a 
 fifth tier superimposed in the same 
 manner would not be too high above 
 the water's edge for the blade to dip 
 into the water without requiring the 
 oar to be of an unmanageable length ; 
 though beyond that number such an 
 arrangement is found practically im- 
 possible, because the handle would 
 be hoisted above the rower's reach, 
 from the great obliquity given to the 
 oar by the height of the fulcrum on 
 which it would be poised ; or, if the 
 oar were lengthened sufficiently to 
 meet the water at a working angle, 
 the handle would become so long that 
 it could not be contained within the 
 vessel. 
 
 QUINQUER'TIO {i^ivra^Ko^]. 
 One who practises the games of the 
 quinquertium. Liv. Andron. ap. Test. 
 s. V. 
 
 QUINQUERTIUM (Tre^-TaflAoi/). 
 An athletic contest of Greek origin 
 (Festus, 0. V.) consisting of five feats 
 (quinque ariium), viz. ; leaping (sal- 
 tus, aA/iti), running (cursus, Sp6iJ.os), 
 wrestling {lucta, T!aKr\), throwing the 
 quoit (discus, Si(TKos), and boxing 
 (pugilatus, irvyfiTi), for which last 
 throwing the javelin (jaculatio, aK6v- 
 Ttais) was afterwards substituted ; 
 but to gain the prize it was neces- 
 sary to achieve a victory in all the 
 five. 
 
 R. 
 
 RA'DIUS {l>d$Sos). A pointed rod 
 or wand, employed by professors of 
 geometry, astronomy, or mathe- 
 matics, for describing diagrams in 
 sand, &c. (Cic. Tusc. v. 23. Virg. 
 
 Ed. iii. 40.), as exhibited by the 
 annexed figure, representing the Muse 
 Urania, from a Pompeian painting. 
 2 M 
 
546 
 
 RADULA. 
 
 RASTER. 
 
 2. (aicTis). A ray of light ; usually 
 represented by artists as a sharp 
 pointed spike ; whence 
 
 corona radiis distmcta 
 (Flor. iv. 2. 91.), a 
 crown ornamented 
 with metal spikes to 
 imitate the rays of the 
 sun, as in the an- 
 nexed example, repre- 
 senting the head of 
 Augustus, on an en- 
 graved gem. 
 
 3. (aKTi'i, Kvi]ia]). The spoke of a 
 wheel {Virg. Georg. ii. 444, Ov. 
 Met. ii. 318.); so termed because 
 they radiate from the nave, like rays 
 of light from a centre ; hence ro- 
 ta radiata (Varro, 
 R. R. iii. 5. 15), a 
 wheel with spokes 
 as contradistin- 
 guished from the 
 solid wheel {tym- 
 paimm) which had 
 none. The latter 
 of the two Greek words bracketed 
 above, KVTifxi], means literally the shin- 
 bone, and thus suggests a different 
 image for the same object, which is 
 also exemplified by the form of the 
 spokes in the annexed illustration, re- 
 presenting an original wheel of ancient 
 workmanship now preserved in the 
 gallery of antiquities at Vienna. 
 
 4. A sharp pointed stake or pali- 
 sade for making a vallum. Li v. 
 XXXV. 3. 
 
 5. [sTtaii], KspKis}. An instrument 
 used by the ancient weavers in their 
 upright looms (Virg. ^n. ix, 476. 
 Ov. Met. iv. 275. VI. 56. Lucret. v. 
 1352.); which, reasoning from ana- 
 logy, and the other senses of the word, 
 we may infer to have been the same 
 as the long reed now employed by the 
 Hindoos, serving both the purposes of 
 a shuttle and batten. It is formed like 
 a large netting needle, rather longer 
 than the breadth of the web, into which 
 it introduces the threads of the weft, 
 and is likewise used to condense them. 
 
 R A' D U L A. A scraper; an iron 
 
 instrument for scraping or paring off 
 extraneous matter, such as an old 
 coat of paint or pitch from another 
 surface. Columell. xii. 1 8. 5. 
 
 R A U L U M. Contracted for 
 raditlujn. A scraper in the form of a 
 
 spud, which a ploughman put on to 
 the butt end of his goad {stimulus), 
 and used for scraping off the earth 
 from the ploughshare. Plin. //. I^f. 
 xviii. 49. § 2. The annexed example 
 is copied from an Etruscan bronze, in 
 which it is carried by a rustic en- 
 gaged at the plough. 
 
 RASTEL'LUS. Diminutive of 
 Raster ; especially in the sense of 
 a wooden rake for smoothing over the 
 ground after seed had been sown 
 (Columell. ii. 12. 6. ) ; or for raking 
 up hay, straw, &c. , in the hay or corn 
 field. Varro, R. R. i. 49. i. Id. L. L. 
 V. 136. 
 
 RAS'TER, RAS'TRUS and -UM. 
 An agricultural implement of a mixed 
 character, betv/een our fork, rake, and 
 hoe, both as regards the form of the 
 object and the manner in which it 
 was used. It resembled the fork and 
 rake, in so far that the head, which 
 was made of iron (Cato, R. R. x. 3. 
 xi. 4.), but very heavy (Virg. Georg. 
 
 i. 164.), contained two, three, or 
 sometimes four prongs (quadridens, 
 Cato, //. cc), set at intervals apart 
 (Isidor. Orig. xx. 14. 6., a raritate 
 dentium), and arranged, like the rake, 
 transversely across the handle at 
 right angles with it, not in direct 
 continuation, like the common fork : 
 
RASTER. 
 
 RA r/s. 
 
 547 
 
 but the ordinary method of using it 
 resembled that of a man hoeing with 
 energy, it being raised up from the 
 eartli at each stroke (Senec. /ra, ii. 
 5.) and then driven down forcibly 
 upon or into' it (Celsus, op. Non. j-. v. 
 p. 222.). Thus it was employed in 
 digging and clearing the surface of 
 the soil (Varro, Z. L. v. 136. Virg. 
 Georg. iii. 534.) ; for subduing or 
 working the land, instead of plough- 
 ing (Id. yEn. ix. 608.), and more 
 especially for chopping down and 
 breaking into smaller particles any 
 large clods of earth left by the 
 plough, before harrowing, or as a 
 substitute for it (Plin. N'. N. xviii. 
 49. § 3. Virg. Georg. i. 94.). The 
 figure in the wood-cut, which is 
 copied from a very ancient MS. of 
 Terence in the Vatican Libraiy, pos- 
 sesses all the qualities described ; and 
 though undoubtedly an imperfect por- 
 traiture, will enable the reader to 
 form an accurate notion of the real 
 character of the instrument. It forms 
 the headpiece of the first scene of the 
 first act in the Hemttonti7n., being 
 carried on the shoulders of Mene- 
 demus, and is evidently intended for 
 an agricultural instrument of the name 
 and nature described, from the dia- 
 logue it illustrates. — Chremes. Istos 
 rastros interea tamen adpone, ne labora. 
 Menedem. Minime, &c. ; and by the 
 accessories of a sheaf of wheat, and a 
 yoke for plough oxen, which accom- 
 pany the original design. At the 
 same time it exemplifies the difference 
 between the raster and the ligo, an 
 instrument of otherwise similar cha- 
 racter and use, but which, instead of 
 having its head formed by two or 
 more distinct prongs, like a rake, or 
 being, as this is, and as Columella ex- 
 presses it, a "two-horned tool" (bi- 
 corneferrum, Coluniell. x. 148.), had 
 a continuous blade like the hoe, but 
 notched at its edge, or, in the lan- 
 guage of the same author (x. 88.), 
 broken up into X.ee.'A^—fracti dente 
 ligonis — as shown by the illustration 
 J. Ligo. The term, moreover, is 
 
 mostly applied in the plural number, 
 because the head was composed of 
 several parts or prongs, instead of a 
 single blade. 
 
 2. Raster ligneus. A wooden rake 
 (Columell. ii. 11. 27. ) ; for which the 
 diminutive Rastellus is more com- 
 mon. 
 
 RA'SUS {liaT6%]. Close shaved 
 with a razor ; both with respect to 
 the beard and hair of the head (Cic. 
 Hose. Com. 7. Aul. Gel. iii. 4. : 
 and woodcut s. Liniger) ; as opposed 
 to tujisus, which means clipped or cut 
 short with scissors. 
 
 RATA'RIA. Enumerated by 
 Aulus Gellius amongst the different 
 kinds of boats and ships of which he 
 gives a list (x. 25), but without any 
 indication of its characteristic quali- 
 ties. Servius (ad Virg. ^n. i. 43.) 
 describes it merely as a small ship 
 propelled by oars — navicula cum 
 remis ; Isidorus (Orig. xix. I. 9.) 
 seems to imply that it was roughly 
 built, and flat-bottomed, like a raft. 
 
 RATIS (o-^eSm). Araft; formed 
 by joining together a number of 
 planks or spars to make a float, as 
 shown by the annexed example, from 
 a mosaic in the ceiling of an ancient 
 
 temple of Bacchus, now the church of 
 Santa Constantia, near Rome. Plin. 
 H. JV. vii. 57. Coel. ap. Quint, vi. 
 3. 41. Cic. Ati. ix. Isidor. Orig. 
 xix. I. 9. Hence scirpea ratis (Plaut. 
 Aul. iv. I. g.), a float made of rushes 
 used to support beginners when learn- 
 ing to swim, in the same manner as 
 tablets of cork, which are mentioned 
 by Hor. Sat. i. 4. 120. 
 
 2. {irKoiov KovTQjr6y). A Jlat-boi- 
 iomed boat, pushed on by a pole, as in 
 
548 
 
 RECHAMUS. 
 
 REGULA. 
 
 the annexed example, from the very 
 ancient mosaic pavement of Praeneste, 
 instead of being rowed with oars. 
 It constitutes, in fact, the first step in 
 naval architecture from the simple raft 
 
 to the regular vessel. Virg. Georg. 
 ii. 445. Flor. iv. 2. 32. Diodor. xix. 
 Bayfius, Re Nav. 
 
 3. By the poets used indiscrimi- 
 nately for a boat or ship of any kind. 
 
 4. A pontoon, or bridge of boats 
 for passing over from one side of a 
 river to the other: formed by fixing 
 the requisite number of boats in the 
 
 centre of the stream to serve as piers 
 for supporting a footway of planks 
 laid athwart them from one side of 
 the river to its opposite bank ; whence 
 the expression of Llvy, rate jungere 
 Jlunien. The example is from the 
 column of Antoninus. 
 
 RECH'AMUS (Vitruv. ^. 2, i.). 
 Same as Trochlea. 
 
 RECINC'TUS (Virg. Ain. iv. 
 518.). Equivalent to DisciNCTUs. 
 
 RECI'NIUM. See RiciNlUM. 
 
 RECTA (op9ocTTa5i'as). A tunic, 
 woven in one piece 
 all round, like our 
 stockings ; which 
 fitted into the 
 waist, and took 
 the form of the 
 figure, without re- 
 quiring any girdle 
 to keep it adjusted 
 to the person, as 
 was necessary with 
 the common tunic, 
 which was made of 
 
 equal width from top to bottom. It 
 consequently hung down in straight 
 or direct folds from the neck to the 
 feet, as exhibited by the annexed 
 figure of Ceres, which peculiarity 
 gave rise to the name, both in the 
 Latin and Greek language. Plin. 
 // N. viii. 74. Festus, s. v. Isidor. 
 Orig. xix. 22. 18. Pollux vii. 48. 
 
 REDEMP'TOR (ifyoXifioi). A 
 contractor; like our own term, of 
 general application for one who un- 
 dertakes to perform any description 
 of work, such as the building or 
 repairing of a house, &c. , for a stipu- 
 lated amount. Q\z. Div.n. i\. Plin. 
 H. N. xxxvi. 55. Liv. Hor. 
 
 REDIMI'CULUM. Along 
 lappet, or fillet attached to the mitra 
 (Isidor. Orig. xix. 31. 5. Virg. ALn. 
 ix. 6l6), or any other headdress of 
 similar character, for the purpose of 
 
 fastening it under the cliin (wood- 
 cuts s. Mitra, p. 426.), but the whole 
 of which, when loose, would hang 
 down over the shoulders and breast 
 (Ov. Met. A. 265.), as shown by the 
 annexed figure of Paris, from one of 
 the Pompeian paintings. 
 
 RE'GULA (liavwv). A straight 
 rule, used by carpenters, masons, 
 artificers, and people in general, for 
 drawing lines, or taking measure- 
 ments (Vitruv. V. 3. Cic. ap. Non. 
 .). Perpendiculum, p. 162.). The 
 example represents an original bronze 
 rule, found in a mason's shop at 
 , . . . . -^-»3-r^.-^ — : — ■-: i^ 
 
REMEX. 
 
 549 
 
 Pompeii, which is divided into gra- 
 duated parts, and made to shut up in 
 half, by means of a hinge, similar to 
 those now in use ; but is moreover 
 furnished with a stay at the back, 
 indented by two notches, which slip 
 under the heads of two small pins, 
 and thus prevents the two halves 
 from closing or yielding from the 
 straight line whilst in use. 
 
 2. In a more general sense any 
 long straight lath, or thin bar of wood 
 or metal, for whatever purpose ap- 
 plied : and specially in the plural, the 
 laths, within which the pulp of olives 
 {samsa), or the husks of grapes (pes 
 vinaceorum) were included, when 
 placed under the press beam (frelum) 
 to keep the entire mass under the 
 action of the beam, and prevent the 
 sides from bulging out beyond the 
 centre where the force was applied. 
 ColumelL xii. 52. 10. See the illus- 
 tration s. TORCDLAR, I. which ex- 
 hibits a basket {facina) employed, as 
 was frequently the case (Id. xii. 39. 3. ). 
 instead of laths, for the same purpose. 
 
 RE'MEX {iper-ns, Ka>Tn]\iTrts). A 
 rmoer or oarsman who rows in a boat, 
 galley, or ship. In vessels of war the 
 rowers (remiges) formed a distinct 
 class from the sailors (natita) who 
 managed the sails and navigation of 
 the vessel ; and from the marines 
 (classiarii), or troops to whom its 
 defence was committed ; but the 
 three together, the soldiers, seamen, 
 and rowers, completed the manning 
 of the vessel. Cic. Verr. ii. 5. 33. 
 Id. ii. 4. 34. Cass. B. C. iii. 24. 
 
 In boats and small craft the 
 ancients used their oars in most of 
 the different ways still practised ; a 
 single man sometimes plying a pair 
 of sculls (woodcut J. BiREMis, I.) 
 when the boat was very small ; or, in 
 those of a larger size, handling only 
 a single oar, and then either sitting 
 and pulling towards himself, as we 
 do, or standing up and pushing from 
 himself, as is still the more common 
 practice in the Mediterranean (wood- 
 cut J-. ACTUARIOLUM.). 
 
 In sea-going vessels of a large size 
 furnished with a single line of oars, 
 such as the naves lotiga, lihiriiica, 
 and others belonging to the class of 
 moneres, which were equipped witia 
 oars of great weight and length, it is 
 almost certain that more than one 
 man pulled at the same oar, and sat 
 on the same bench, as was the prac- 
 tice adopted in the galleys of the 
 Venetians, Genoese, and French of 
 Marseilles, during the 15th, i6th, and 
 17th centuries, a method which is 
 thus described in the memoirs of Jean 
 Marteihle, a French protestant, con- 
 demned to the galleys inl70l. "The 
 rowers sit upon benches " (the iranstra 
 of the Romans), " six men to an oar ; 
 one foot rests upon a low stool or 
 stretcher, the other is raised and 
 placed against the bench before them. 
 They lean their bodies forward " (the 
 remis iTT^umbunt of Virgil, compare 
 Polyb. i. 21. 5.), "and stretchout 
 their arms over the backs of those 
 before them, who are also in a simi- 
 lar attitude. Having thus advanced 
 the oar, they raise themselves and the 
 end of the oar wliich they hold iu 
 their hands " (remis fariter iiisurgunt, 
 Virg. ), " and plunge the opposite one 
 into the sea ; which done, they throw 
 themselves back upon their benches, 
 which bend beneath the pressure. " 
 
 In vessels which were furnished 
 mth more than one bank (ordd) of 
 oars, such as the bireviis, triremis^ &c., 
 the system of rowing was conducted 
 upon a different plan. In these the 
 rowers sat upon separate seats (sedilia) 
 instead of cross benches (ti-ajistra), 
 and each oar was pulled by a single 
 man, the highest one from the water 
 being of course the longest, and the 
 labour of the man who worked it 
 the most severe. But when vessels 
 of very great size were constructed, 
 such, for instance, as the hexeris, 
 hepteris, decemremis,SiC., even though 
 they could not have more than five 
 oars in an ascending line from the 
 water's edge to the bulwarks, as ex- 
 plained in the article Ordo, yet it is 
 
55° 
 
 REMIGIUM. 
 
 REPAGULA. 
 
 clear that the length and weight of 
 the oar must have borne a certain 
 proportion to the width and length of 
 the ship ; and in such cases it is but 
 reasonable to infer that both the 
 methods of rowing hitherto described 
 were united ; the lower and smaller 
 oars being managed each by a single 
 man, the upper and larger ones by as 
 many more than one as their size re- 
 quired. Thus when mention is made 
 in the ancient authors of the oarage 
 not being fully manned, it is not 
 thereby implied that any of the oars 
 are wanting, which could scarcely 
 be, but that the proper strength or 
 number of hands, required for their 
 effective management, was not put 
 upon some of them. 
 
 REMIG'IUM. The oars or oar- 
 age of a ve.ssel, in a collective sense ; 
 also, like the Greek cipiTia and rb 
 4p^tik6v, for remiges, a crew of rowers. 
 Virg. Hor. Plin. &c. 
 
 REMUL'CUM or -US (^Cfja). A 
 tow-rope^ by which one vessel is drawn 
 after another. Isodor. Orig. xix. 4. 8. 
 Hirt. B. Alex. H. Liv. xxxii. 16. 
 
 RE'MUS {eV^'^'M^^' '^'^''''?)' Knoar. 
 The small oars and sculls, when 
 managed by a single man, differed in 
 no respect from those in modern use, 
 as may be seen from numerous speci- 
 mens inserted in these pages ; but 
 the larger kinds, which sometimes 
 extended to the length of 54 feet, 
 and consequently required several 
 men to one oar, must have been too 
 thick at the handle for the hand to 
 grasp ; whence it may be confidently 
 assumed, that they were constructed 
 in the same manner as those used in 
 the Mediterranean galleys of the i5th 
 and 17th centuries, which were from 
 45 to 50 feet in length, each one 
 requiring six rowers, who managed 
 it by the assistance of a false handle 
 or rail, affixed to the main butt, as 
 shown by the annexed woodcut, re- 
 
 presenting the part inboard of one of 
 the oars described. The flat piece. 
 
 just beyond the handle, is distinct 
 from the oar itself; but is fastened to 
 it, as a guard, to prevent the con- 
 sumption of the oar by rubbing 
 against the side of the vessel, and 
 easily renewable when itself worn out. 
 RE'NO or RHE'NO. A very 
 short cloak [parvis rhctjonuin tegu- 
 mentis. Goes. B. G. vi. 21.) which 
 only covered the shoulders and breast 
 as far as the loins and abdomen (Isi- 
 dor. Orig. xix. 23. 4.), forming an 
 article of clothing, especially charac- 
 teristic of the Germans (Sallust. 
 Fragm. Incert. 13. ed. Gerlach. ), and 
 of the Gauls (Varro, L. L. v. 167.). 
 It was made out of the rough skin of 
 the reindeer, still called Ren in 
 Swedish, and is frequently seen on 
 
 •m 
 
 the German figures of the column of 
 Antoninus (see the illustrations s. 
 Framea. and Supplex) ; but is also 
 worn by some of the soldiers in the 
 imperial army on the column of Tra- 
 jan, two of whom, affording a front 
 and back view, have been selected 
 for the illustration, because they 
 show the peculiar form and dimen- 
 sions of the object more distinctly. 
 
 REPA'GULA. Plural. One of 
 the contrivances 
 adopted by the 
 ancients as a door 
 fastening (Cic. 
 Div. i. 34.), the 
 precise nature of 
 which must at this 
 day be collected 
 from inferential 
 reasoning, rather 
 than positive tes- 
 timony. As the 
 word only occurs 
 in the plural, we may conclude that 
 
REPL UM. 
 
 REPOSITORJUM. 
 
 551 
 
 the device consisted of a double fast- 
 ening, and not a single one ; while the 
 expression of Plautus ( Cist. iii. 1 8. ), 
 occludite pessulis, repagulis^ leads to 
 the conjecture that it consisted of a 
 pair of bolts (pessiili), made of wood 
 and fastened on the leaves of a fold- 
 ing door (Plin. H. N. xvi. 82.), but 
 made to shoot against one another 
 from opposite sides, which seems to 
 be the true meaning of the definition 
 given by Verrius, (ap. Fest. j. v.) re- 
 pagzila, qua patefaciiindi gratia ita 
 figuntur^ ut e contrario oppanguntur. 
 The annexed illustration, representing 
 an Egyptian door, from a painting at 
 Thebes, which shows the two bolts 
 affixed to separate valves, and shoot- 
 ing from opposite sides against each 
 other, confirms this account so far 
 as to encourage the belief that it 
 really exhibits the contrivance in 
 question. Indeed it is from the 
 Egyptians that both Greeks and 
 Romans appear to have derived the 
 models for most of their locks, keys, 
 and fastenings in general. 
 
 REPLUM. (Vitruv. iv. 6. 5.) 
 An upright rail fixed in the centre of 
 the frame of a doorcase, and stretch- 
 ing from the lintel to the sill, in 
 order to serve the purpose of a rebate, 
 and guard the crevice formed by the 
 juncture of the two valves, as shown 
 by the annexed example, represent- 
 ing an ancient bronze door in its 
 original state, which formerly be- 
 longed to the temple of Remus, now 
 converted into the church of S. 
 Cosmo and Damiano, at Rome. The 
 ground-plan at the bottom, where it 
 appears in the centre, exhibits the 
 manner in which the rebate closed 
 over the juncture ; and the elevation 
 shows one leaf of the door closed 
 against it ; if both valves were open, 
 it will be readily perceived that it 
 would remain, like an isolated up- 
 right, in the centre of the entire 
 opening. The interpretation here 
 given cannot, however, be accepted as 
 certain, for the precise meaning of 
 the word is much controverted, and 
 
 there are no authorities to establish 
 a decision beyond the bare mention 
 
 of the term in the one passage of 
 Vitruvius above cited. 
 
 REPOSITO'RIUM. A piece of 
 furniture employed by the Romans 
 for bringing up to table the various 
 dishes comprised in a course (Plin. 
 H. j\\ xviii. go.), and which was 
 placed with its contents upon a table 
 in the dining-room (Pet. Sat. Ix. 4.). 
 It consisted of a large covered box or 
 case (whence tkeca repositorii. Pet. 
 Sat. xxxix. 3.), either round or 
 square, and sometimes made of choice 
 woods inlaid with tortoise-shell, and 
 enriched by ornaments of silver (Fe- 
 nestella ap. Plin. H. -A', xxxiii. 52. 
 Pet. Sat. xxxv. 2.). The whole case 
 was moreover divided into a number 
 of stories, one above the other, 
 each of which held a separate tray 
 (ferculum) furnished with dishes 
 like the dinner baskets in which a 
 French or Italian restaurateur sends 
 out a ready-dressed dinner to , hi<; 
 customers. This is clear from Pe- 
 
552 
 
 REPOTIA. 
 
 RETIARIUS. 
 
 tronius (Sat. xxxvi. i. and 2. Com- 
 pare XXXV. 1. and 2.), where a re- 
 positorium is placed upon the table, 
 and after the first division has been 
 removed, another tray containing a 
 different coui-se of entrees is exposed 
 to view — superiorem partem reposi- 
 torii abstulcrunt. Quo facto, vidcmus 
 infra, scilicet in altera, ferculo, altilia, 
 &c. — which passage distinctly points 
 out the difference between a reposi- 
 torium and a ferculum, and proves 
 the inaccuracy of those scholars who 
 make the two words synonymous. 
 
 REPO'TIA. A carousal or drink- 
 ing bout after a banquet (Apul. Apol. 
 p. 501. Id. de Mund. p. 750.); 
 whence, in a more special sense, the 
 entertainment given by a bridegroom 
 to his friends the day after his wed- 
 ding. Festus J. V. Hor. Sat. ii. 2. 60. 
 
 RESTIA'RIUS (o-xoii-oTAciKoj, 
 KoKaiaTpi^os). A rope maker. In- 
 script. Vet. a Jo. Cam. Rossi edita. 
 
 RES'TIO (ffx<'"'<"r'i'A.7)s). A dealer 
 in ropes and cords. Front, ap. 
 Putsch, p. 2201. Suet. Aug. 2. 
 
 RE'TE and RE'TIS (5i/cTi-ov). A 
 net ; in the same general sense as is 
 conveyed by our own word ; including 
 both fishing and hunting nets, and, in 
 consequence, all the different kinds 
 which are enumerated in the Classed 
 Index. (Cic. Plaut. Virg. &c.) But 
 
 sportsmen made use of the term in a 
 more special or technical sense, to 
 
 distinguish the large net or haye 
 [longo meantia retia tractu. Nemes. 
 Cyne«. 300.), with which they used to 
 surround a wide tract of country, be- 
 fore the operation of beating the covers 
 commenced, in order to prevent the 
 game from dispersing through the 
 open country, and to form an enclosed 
 circle towards which they might be 
 driven, when dislodged by the dogs 
 from the shelter of their thickets. 
 Both the object itself, the manner of 
 setting it, and the purpose for which 
 it was used, may be readily imagined 
 from the annexed illustration, copied 
 from a fresco-painting in the sepul- 
 chre of the Nasonian family, near 
 Rome, which also contains several 
 other pictures illustrative of hunting 
 scenes. 
 
 RETIA'RIUS. A Roman gladi- 
 ator, so named from the net (rc/c) 
 which formed his characteristic im- 
 plement of attack. Besides this, he 
 was equipped with a heavy three- 
 pronged fork [fuscina, tridejis), but 
 had no body armour; and his art 
 consisted in casting the net over the 
 head of the adversary, generally a 
 Secutor, with whom he was matched. 
 If he succeeded in the throw, so as to 
 hamper his opponent, who was fully 
 armed, in the toils of his net, he ad- 
 vanced to close quarters, and attacked 
 
 him with the trident, as exhibited by 
 the illustration from an ancient 
 mosaic ; but if he failed, having no 
 defensive armour, he immediately 
 took to flight, and endeavoured to 
 collect his net for a second cast before 
 he could be overtaken by his adver- 
 
RETICULATUS. 
 
 RETIUM. 
 
 553 
 
 sary, who pursued him round the 
 arena. Suet. Col. 30. Claud. 34. 
 Juv. ii. 143. viii. 203. 
 
 RETICULA'TUS. Literally, 
 that which is formed like a net, or in 
 a pattern like net-work. 
 
 I. Reticulata structura. Reticu- 
 latum opus. A method of constructing 
 walls very common in Italy during 
 the later days of the republican and 
 early part of the imperial period, the 
 
 external appearance of which pre- 
 sented a reticulated pattern, like the 
 meshes of a net, as shown by the 
 division marked A in the annexed 
 wood-cut, which exhibits at a view 
 the different constructive arrange- 
 ments adopted by the Roman builders. 
 The one in question was formed by 
 small stones, or by blocks of tufo, cut 
 into a die, which, instead of being 
 laid on their sides, were placed upon 
 the sharp edge, so as to fit into one 
 ■another like wedges. This method 
 of construction, though extremely 
 pleasing to the eye, has the great de- 
 fect of wanting durability, in conse- 
 quence of the tendency which such 
 walls have to settle into cracks. Vi- 
 truv. ii. 8. I. Plin. H. N. xxxvi. 51. 
 
 2. Reticulata fenestra. A lattice, 
 i. e. a window protected by small 
 bars of wood or metal, crossing each 
 other in a reticulated pattern. Varro, 
 R. R. iii. 7. 3. 
 
 RETICULUM (SiKT.JSio.'). Dimi- 
 nutive of Rete ; a small net, or a net 
 made with small meshes (Varro, R. R. 
 iii. 5. 13.); whence the following 
 specific senses : — 
 
 I. A bag of network, the original 
 
 of our reticule, employed for holding 
 various articles: — bread (Hor. Sat. 
 i. I. 47.); playing balls (Ov. A. Am. 
 iii. 361.); dried rose leaves, or other 
 aromatic productions, which were 
 thus carried in the hand, for the same 
 purpose as the modem scent bottle. 
 Cic. Verr. ii. 5. 11. 
 
 2. (/CfKpiicfaAos). A cap for the 
 hair, made of net-work, and properly 
 belonging to the female attire (Varro, 
 L. L. V. 130.), 
 though the same 
 was sometimes 
 adopted by the 
 male sex (Lam- 
 prid. Heliog. II. 
 Juv. ii. 96.), as 
 is still the case 
 in modern Italy, 
 where it is worn 
 by the women of Albano, and by the 
 men of Sonnino. The example is 
 from a painting at Pompeii. 
 
 RETINA'CULUM [uxo^viov eV.'- 
 76ioc). In nautical language, a hawsa; 
 thrown out from the stem of a 
 vessel (Ov. Met. xv. 696.), by 
 which it was made fast to the shore 
 (lb. xiv. 547' )> 35 contradistinguished 
 from the cable (ancorale) at the bow. 
 
 2. A tow-rope, by which animals 
 draw a vessel from the shore (Hor. 
 Sat. i. 5. 18. ), as contradistinct from 
 remulcus, by which one vessel was 
 towed behind another. 
 
 3. Long traces for wagons to which 
 several pairs of oxen are attached, 
 sometimes extending to the length of 
 26 feet. Cato, R. R. 63. and 135. 
 
 4. Any kind of long rope or thong 
 which serves to retain or restrain; as 
 a tether, or a halter for cattle (Colu- 
 mell. vi. 2. 4. Capistrum); the 
 reins of a chariot. Virg. Ceorg. i. 
 513. Habena. 
 
 RE'TIOLUM. Diminutive of 
 Rete (Apul. Met. viii. p. 155.); 
 same as Reticulum, 2. Augustin. 
 Ep. 109. n. 10. 
 
 RE'TIS. See Rete. 
 
 RE'TIUM. Same as Rete. 
 Glos. Philox. ; and Schol. Vet. ad 
 
554 
 
 RHEDA. 
 
 RHYPAROGRAPHUS. 
 
 Juv. viii. 207., where it is applied to 
 the net of the Retiarius. 
 
 RHE'DA. A large and roomy 
 carriage upon four wheels (Isidor. 
 Orig. XX. 12.), and furnished with 
 several seats, so as to be adapted for 
 the transport of a large party, with 
 their luggage and necessaries (Juv. 
 iii. 10. Mart. iii. 47. 5.). It appears 
 to have been in very general use 
 amongst the Romans, both for town 
 and countiy (Cic. Mil. 20. Id. Att. 
 vi. I. lb. V. 17. Suet. Jul. 57.); 
 and probably resembled the French 
 char-ct-banc with a cover overhead, 
 for the carriage itself, as well as its 
 name, was of Gallic original (Quint, 
 i. 5. 68.). The annexed illustration is 
 
 not copied from any ancient au- 
 thority, nor is it altogether imaginary, 
 being composed by Ginzrot ( Wagen 
 und Fahrwerke, tab. 20. ), after the 
 models of several very similar 
 carriages which appear on the co- 
 lumns of Trajan and Antoninus ; but 
 is here introduced in order to con- 
 vey a proximate notion of the general 
 character of the conveyance in 
 question, which, though not altogether 
 genuine, will still serve as a useful 
 illustration to the various passages 
 above referred to. 
 
 RHEDA'RIUS. The coachman, 
 or person who drives a Rheda. Cic. 
 Mil. 10. 
 
 2. A tradesman who makes these 
 carriages. Capitol. Max. et Balb. 5. 
 
 RHOM'BUS (^in&os). Originally 
 signified the spindle (fusus) with 
 which women spun their thread 
 (Schol. «fl? ApoU. Argon, i. 1139. ); a 
 vertical section of which, when cover- 
 ed with thread, would exhibit the 
 figure termed a rhomboid by mathe- 
 maticians, as will be seen by the 
 centre figure in the illustration s. 
 Fusus. This meaning subsequently 
 obtained, to the complete exclusion 
 of the primary notion ; though a very 
 distinct allusion to that is contained 
 in one of the common applications of 
 the word both by the Greek and 
 Latin writers, who make use of it to 
 designate a sort of reel or whorl em- 
 ployed in enchantment. Ov. Am. i. 
 8. 7. Prop. iii. 6. 26. 
 
 RHOMPyE'A, ROMPH^'A, and 
 RUM'PIA {boti'^aia). A mihtary 
 weapon peculiar to the Thracians 
 (Aul. Gell. X. 25.); but whether be- 
 longing to the class of swords or of 
 spears is a matter of doubt, though 
 the latter seems the more probable. 
 At all events, it was characterized by 
 prodigious length (Liv. xxxi. 29.); 
 and by having, like the Roman j?>//Mm, 
 a wooden shaft of the same dimen- 
 sions as the iron head affixed to it. 
 Val. Flacc. vi. 98. 
 
 RHYPAROG'RAPHUS (^uirapo- 
 ■ypd(pos). A painter of low, coarse, 
 and trivial subjects, amongst which 
 are enumerated scenes of ordinary 
 life, interiors of barbers' shops, 
 coblers' stalls, animals, and objects of 
 still life (Plin. I/. N. xxxv. 37.), such 
 as those for which the Dutch and 
 Flemish schools have become cele- 
 brated. It is evident from the adjec- 
 tive which gives the governing sense 
 to the term (^uirapcis, foul, dirty), that 
 works of this description were held 
 in low estimation by the talented and 
 accomplished people of Greece; but 
 the coarser-minded and more ma- 
 terial Romans, whose love of art, and 
 taste, were far less pure, being 
 acquired or affected, not innate, set 
 the highest value upon them, and 
 bought them at prices oftentimes ex- 
 
RHYTIUM. 
 
 RISC US. 
 
 555 
 
 ceeding what they paid for the great 
 works of the best masters. Plin. /. c. 
 RHYT'IUM (t5 1,ut6v). Properly, 
 the Greek name for a drinking-horn 
 (Mart. ii. 35. 2.), out of which the 
 liquor was allowed to flow (whence 
 the name, ^\n6%, running, flowing) 
 through an ori- 
 fice in the point 
 at bottom, into 
 the mouth of the 
 drinker, as ex- 
 hibited by the 
 annexed example 
 from a Pompeian 
 painting. It is here shown in its 
 simplest form of a mere horn; but 
 vessels of the same character were 
 made in many ornamental devices, 
 especially imitating the heads of dif- 
 ferent animals, in which the narrow 
 extremity formed by the nose and 
 lips makes a point for the hquor to 
 flow from. Several such have been 
 discovered in the excavations of 
 Pompeii and Herculaneum, and are 
 engraved in the Museo Borbonico (v. 
 20. viii. 14.). 
 
 RI'C A. A square sheet of woollen 
 cloth with a fringe round its edges 
 [vestimentum qua- 
 dratum, fimbria- 
 turn. Verrius, 
 
 ap. Fest. 0. v.), 
 worn as a veil 
 over the head by 
 females, when 
 performing sa- 
 crifice more es- 
 pecially (Varro, 
 L. L. v. 130.), 
 but also upon 
 other occasions 
 (Plant. Epid. ii. 
 2. 50. Aul. Gell. vi. 10. CcEs. 
 German, in Arat. 121.). Both the 
 form and character of this piece 
 of drapery are plainly discernible on 
 the annexed figure, representing a 
 priestess of Isis, from a statue of the 
 Chiaramonte collection in the Vatican. 
 
 RICPNIUM, RECI'NIUM, RI- 
 CI'NUS, or RECI'NUS. Diminu- 
 
 tive form of RlCA. A small square 
 sheet of woollen cloth (palliolurn 
 breve, Non. j. v. p. 542.), doubled in 
 two (Varro, L. L. v. 132.), and worn 
 over the head (Isidor. Orig. xix. 25.) 
 as a veil; more especially assumed 
 as a mourning costume by females 
 (Varro, de Vit. .- 
 
 Pop. Rom. ap. V^ 
 
 Non. /. c. ^i. ^L^^T), 
 Fragm. xii. *'»-i^' ' -■ 
 tab. ap. Cic. 
 Leg. ii. 23.). 
 The example 
 is copied from 
 one of four 
 figures in a 
 fresco painting 
 which deco- 
 rated one side 
 of a chamber 
 in the Thermse 
 of Titus, in which the celebrated 
 group of Laocoon was found, and is 
 supposed to represent Veturia, the 
 mother of Coriolanus, when she went 
 \ out as a suppliant and in mourning, 
 j to dissuade her son, who forms a 
 I prominent object in the picture, from 
 1 advancing against his native city. 
 But even if this explanation of the 
 subject be not the true one, it is still 
 apparent from the attitudes and de- 
 meanour of the two females in the 
 design, that they are represented in 
 the character of suppliants, and con- 
 sequently attired in the habiliments of 
 grief; which alone would be sufficient 
 to connect the very peculiar piece of 
 drapery on the headand shoulderswith 
 the name and object above described. 
 RI'CULA. Diminutive of RlCA. 
 A veil worn by young women over 
 the head. Turpil. ap. Non. j. Rica, 
 p. 539. Isidor. Orig. xix. 31. 5. 
 
 RIS'CUS (yiaKos). A ward-robe, 
 more especially for female apparel 
 (Terent. Eun. iv. 6. 15. Ulp. Dig. 
 34. 2. 26. Pollux, vii. 79.). The 
 word appears to have been generally 
 apphed to any kind of receptacle 
 adapted for the purpose mentioned, 
 as it is severally explained to be a 
 
556 
 
 ROBORARIUM. 
 
 RORARU. 
 
 w-icker basket covered with leather 
 (Donat. ad Terent. /. c); n. large 
 chest ( Gloss. Philox. ) ; and a closet 
 let into the wall. Non. s. v. p. 165. 
 
 ROBORA'RIUM. A place en- 
 closed with wooden palings, more 
 particularly of oak. Scip. Afric. ap. 
 Gell. ii. 20. 
 
 RO'BUR. The underground 
 dungeon in ix goal (career) in which 
 the sentence of capital punishment 
 was carried into execution ; whence 
 the expression, dignuvi earcere etrobore 
 (Apul. Apol, p. 530.), deserving im- 
 prisonment and death. Festus, s. v. 
 Liv. xxxviii. 59. compared with 
 xxxiv. 44. where it is termed career 
 inferior. Lucan, ii. 125. It is shown 
 by the circular chamber in the an- 
 
 
 nexed illustration, which represents a 
 section of the state prisons, con- 
 structed by Ancus Martins and Ser- 
 vius Tullius, now existing at Rome, 
 and the identical one to which the 
 passages of Livy, above quoted, refer. 
 ROGATO'RES. Officers ap- 
 pointed to act at the Roman Comitia, 
 whose duty it 
 was to stand 
 at the nearest 
 end of the 
 bridge {pons 
 suffragiorum), 
 which each 
 citizen as- 
 cended in order to record his vote upon 
 
 ^^m 
 
 coming out from the inclosure (orile) 
 in which he had been previously mus- 
 tered with the other members of his 
 century ; and to present a balloting 
 token (labella) to every one of them in 
 turn, by whom it was taken and 
 thrown into the box (cista) placed at 
 the opposite extremity of the bridge. 
 The illustration, from a coin, explains 
 the entire process, showing at bottom 
 the railing which enclosed the ovile, a 
 voter ascending the bridge and re- 
 ceiving his ballot from the rogator, 
 whilst another one at the opposite 
 end is engaged in depositing his in 
 the box. The tei'ra, however, origi- 
 nated before the practice of secret 
 voting had obtained, when the poll 
 clerk had only to ask (rogare) the 
 citizens how they intended to vote, 
 and to register the result upon a 
 waxed tablet containing a list of the 
 candidates, by making a mark or 
 point (punctum) against the name of 
 each one as a suffrage was recorded 
 in his favour. Cic. N. D. ii. 4. Id. 
 Div. ii. 35. Ii. i. 17. Id. iii Sen. 11. 
 Id. Pis. 15. 
 
 ROGUS (TTupii). A funeral pile 
 whilst in process of combustion ; 
 composed of 1, 1 1 
 
 rough logs ,()«,,('■',' "(t-., ti i\ 
 
 of wood, not 
 cut into shape 
 (xii. tab. 
 ap. Cic. Leg. 
 ii. 23.), but 
 piled up into 
 a square mass, on the top of which a 
 corpse was reduced to ashes (Virg. 
 yEn. xi. 189.). It was strictly 
 termed pyra before the fire had been 
 applied to it, and rogus when burning 
 (Serv. ad Virg. /. c), as in the ex- 
 ample annexed, representing the pile 
 on which the body of Patroclus is 
 consumed, in the bas-relief known as 
 the Tabula llinca, on which the 
 various events recorded in the Iliad 
 are portrayed. 
 
 RORA'RII. A class of soldiers 
 in the Roman armies, forming part of 
 the Imis armatura, or light-armed 
 
RORARrr. 
 
 troops. They were drawn up in the 
 third line behind the triarii, and in a 
 position between them and the accensi 
 (Liv. viii. 8. Compare Plaut. Fragm. 
 ap. Varro, L. L. vii. 58.) ; their 
 duty being to rush forward, as op- 
 portunities of- 
 fered, and make 
 desultory at-' 
 tacks upon the 
 enemy's co- 
 lumns, with 
 showers of mis- 
 siles discharged 
 from amidst the 
 ranks formed by 
 the first and se- 
 cond lines of the 
 heavy legionary 
 soldiers (Liv. viii. 9.). It is pro- 
 bable enough that the term was 
 derived from rores, drops of rain, as 
 the grammarians say (Varro, /. c. 
 Festus, s. V. Non. j-. v. p. 552.) ; but 
 it by no means follows therefrom, as 
 they, and the modern lexicographers 
 after them, have inferred, that the 
 name was given to these troops be- 
 cause they commenced the action by a 
 sho^ver of missiles, like the drops 
 which precede a storm ; for that was 
 the duty oi i\ie/erentarii, who, for that 
 purpose, were conveniently posted 
 upon the wings (Veg. Mil. i. 20.), 
 whereas the rear ranks of the army, 
 the post of the rorarii, would be a 
 most unfit one for such a purpose. 
 Rores are any drops of water which 
 fall during a shower, as well as before 
 it. The post, moreover, assigned them 
 by Livy, immediately before the 
 accensi, who constituted the lowest 
 grade of the whole army, indicates 
 sufficiently that they formed a dis- 
 tinct class from them, as well as from 
 X\it ferentarii, holding an intermediate 
 position between both in regard to 
 rank and accoutrements. The figure 
 in the woodcut, from the column of 
 Trajan, represents a soldier of the 
 Imperial anny fighting, as above 
 mentioned, between two heavy-armed 
 legionaries. Though his weapon is 
 
 ROSTR UM. 
 
 557 
 
 not seen, it is plain enough from the 
 attitude that he is in the act of dis- 
 charging a missile. Similar figures 
 occur on two other parts of the co- 
 lumn, with shields of the same cha- 
 racter, and appointed in the same 
 manner, naked to the waist, with short 
 drawers (femoralia) and military 
 boots (caligcE) : in one instance stand- 
 ing amongst a body of troops of all 
 arms, heavy and light, who are lis- 
 tening to an harangue [allocutio] from 
 the emperor ; and in the other one, 
 on the field of battle, engaged 
 amongst the heavy infantrj', like the 
 one here selected. In early times no 
 doubt a kilt [campestre) was worn 
 instead of drawers, which were not 
 introduced until the Imperial age ; 
 but that will not impair the genuine 
 evidence of the other details, while 
 the use of a missile and shield, in 
 connexion mth the defenceless state 
 of the rest of the body, accords per- 
 fectly with the rank which these men 
 occupied, and the duties they had to 
 perform, and shows a ground of dis- 
 1 tinction between them and the 
 \ferentarii, who had no shield nor 
 I defensive arm whatever, and the 
 accensi, who had not even an offen- 
 sive weapon beyond what nature sup- 
 plied them, their fists and stones. 
 ; ROSTRA'TUS. Formed in the 
 shape of, or furnished with, a snout 
 or beak (Rosh-um) ; whence applied 
 as a descriptive epithet to many 
 different objects — to the bill-hook 
 (Columell. ii. 21. 3. Rostrum, 3.) ; 
 to the plough (Plin. J7. N. xviii. 48. 
 Rostrum, 4.) ; to a crown (Plin. 
 H. N. xvi. 3. xxii. 4. Corona, 8.) ; 
 to a ship (Hirt. B. Afr. 23. Ros- 
 trum, I.) ; to a column (Suet. Calb. 
 23. COLUMNA, 3.). 
 
 ROS'TRUM (/>i>yx°s)- Literally, 
 the sno^it of a beast, especially of 
 swine, and the bill of a bird ; whence 
 the term is transferred to various 
 artificial objects, resembling in form, 
 or in the uses to which they are ap- 
 plied, either of the natural organs 
 above mentioned ; as : — 
 
558 
 
 ROSTRUM. 
 
 I. (ifi^oAos). The ieai, as it is 
 called by us, of a ship of war, made 
 of bronze, or sometimes of iron, and 
 intended to act against the timbers of 
 an enemy's vessel, like the battering- 
 ram against a wall (Liv. Hor. Hirt. 
 Plin. &c. ). In early warfare it con- 
 sisted of a single beam, shod at the 
 end with a metal head, mostly repre- 
 senting some animal, as exhibited by 
 the annexed example, from an 
 original, perhaps unique, which was 
 found at the bottom of the port of 
 
 J 
 
 Wii'-^Pffl"^^^ 
 
 Genoa, and is supposed to have been 
 sunk there in the battle fought be- 
 tween the Genoese and Mago the 
 Carthaginian. It projected from 
 the head of the vessel at a certain 
 elevation above the keel and water's 
 edge, in the manner shown by the 
 woodcut at p. 442. But when the 
 system of naval warfare was per- 
 fected, it was formed by several pro- 
 jecting beams, cased with shai"p metal 
 points, sometimes employed alone, 
 and sometimes in addition to the one 
 last described ; but either situated on 
 
 the same level as the keel, or de- 
 pressed below it, so that eveiy frac- 
 ture not only damaged the vessel, but 
 made a fearful leak below the water. 
 All these properties are exhibited by 
 the annexed illustration, from two 
 Roman medals, the one on the left 
 showing the rostrum on the same line 
 with the keel, according to the con- 
 
 struction adopted during the Punic 
 war ; that on the right, with the 
 original rostrum, in the form of a 
 bird's head, above, and the improved 
 and more formidable one underneath 
 it, depressed below the bottom of the 
 vessel, according to the construction 
 employed in the age of Augustus. 
 Scheffer, Mil. Nav. ii'. 5. 
 
 2. Jiostra, plural (ol (/.i0oAoi, Polyb. 
 vi. 53. I . ). T/ie rostra ; a name 
 given to the tribune in the Roman 
 forum, from which public men ad- 
 
 dressed the people, because it was 
 ornamented with ships' beaks taken 
 from the Antiates in the Latin 
 war (Liv. viii. 14. Varro, Z. L. 
 V. 155. Cic. Ca:s., &c.). The 
 illustration, from a coin of the LoUian 
 :;i'iis (probably the M. LoUius Pali- 
 canus mentioned by Cicero. / Wr. 
 ii. 41.), though exceedingly defi- 
 cient in respect of accurate details, 
 will nevertheless enable us to con- 
 ceive a just notion of the form and 
 character which this celebrated 
 structure possessed. It is plainly 
 indicated by the sweeping direction 
 of the lines drawn across the coin 
 that the building was a circular one, 
 with a parapet and a platform at the 
 top on which an elevated stand was 
 placed, the whole being supported 
 upon arches, the piers of which were 
 ornamented with the beaks of the 
 vessels above mentioned. It must 
 have been ascended by a flight of 
 steps, and probably there was one on 
 each side of it, so that the whole 
 structure would resemble very closely 
 
ROSTRUM. 
 
 ROTA. 
 
 559 
 
 the ambones or pulpits, still to be 
 seen in several of the earliest Chris- 
 tian churches at Rome. 
 
 3. The crooked and pointed end of 
 a vine-dresser's bill-hook (falx vini- 
 toria), that is, the point which is 
 turned uppeimost in the annexed 
 example, 
 from an an- 
 
 cient MS. Hfe^^^,,Ji^_^_^ ^ 
 of Colu- — V) 
 
 mella, and which bears a close re- 
 semblance to the beak of certain 
 birds of prey. Columell. iv. 25. 3. 
 
 4. The curved end of the primitive 
 Roman plough, used for light soils, 
 formed from the limb of a tree, either 
 
 naturally or artificially bent into a 
 crook, and when necessary, shod 
 with iron at its extremity ; as is very 
 clearly displayed in the annexed 
 figure, from a small Etruscan bronze, 
 found at Arezzo. Plin. H. N. xviii. 
 48. 
 
 5. The iwzzle of an oil lamp 
 (lucerna), through which the wick 
 projects, and 
 which is usu- 
 ally made with f 
 a curved line 
 rising from the 
 body of the 
 object, not unlike the beak of a bird, 
 as exhibited by the annexed example 
 from an original Roman lamp. Plin. 
 H. N. xxviii. 46. 
 
 6. The head of a smith's hammer 
 or mallet (malleus] ; in which case 
 the analogy is deduced from the ap- 
 plication, not from the form, of the 
 instrument ; because it is the part 
 with which the shock is given, in 
 allusion to the rostrum of a ship, as 
 exemplified by the annexed illus- 
 tration, representing smiths at the 
 
 anvil, from a bas-relief Plin. H. Al 
 
 XXM\. 41. 
 
 ROT'A (rpoxiis). A. wheel ; made 
 in the same form as now, and com- 
 posed of the fol- 
 lowing members : 
 — modiolus, the 
 nave ; radii, the 
 spokes ; absides, 
 the felloes ; canthus 
 or orbis, the tire ; 
 all of which are 
 distinctly marked in the annexed 
 figure, representing an original wheel 
 now preserved in the cabinet of an- 
 tiquities at Vienna. 
 
 2. The expression, insistere roiis 
 (Virg. Georg. iii. 114.), literally "to 
 stand upon, or over, the wheels," is 
 not a merely poetical figure of speech, 
 but a graphical description of the 
 
 manner in which the ancient car 
 {currus) was driven by its charioteer, 
 whose posture was always a standing 
 and not a sitting one, as shown by 
 the annexed example from a terra- 
 cotta lamp. Thus Martyn's trans- 
 lation of the above passage — "to sit 
 
56o 
 
 ROTA. 
 
 RUBRIC A. 
 
 victorious over the rapid wheels" — 
 is not only incorrect as regards La- 
 tinity, but suggests an image at direct 
 variance with the words of the poet. 
 
 3. The wheel of toi'ture ; an instru- 
 ment of punishment employed by the 
 Greeks, by means of which the victim, 
 when bound to 
 the spokes, 
 was whirled 
 round with a 
 rapid rotation 
 till sensation 
 or life became 
 extinct, as ex- 
 hibited by the 
 annexed ex- 
 ample from a Greek bas-relief repre- 
 senting Ixion, who was condemned 
 to the wheel by Jupiter for his in- 
 gratitude and other overt acts. Cic. 
 Tusc. v. 9. Apul. Met. iii. p. 48. 
 Tibul. i. 3. 74. 
 
 4. J?ota atjiiaria, A water wheels 
 for raising water from a flowing 
 stream, and which works itself by the 
 action of the current (Lucret. v. 
 517.). Wheels of this nature, of 
 very simple construction, but agreeing 
 exactly with the description of Vi- 
 truvius (x. 5.), are still employed in 
 many countries, of which the follow- 
 ing example, representing a water 
 wheel commonly met with in China, 
 
 will afford a very clear notion. The 
 wheel itself is made entirely of bam- 
 boo, and consists of two concentric 
 rims, between which are affixed small 
 paddles or float boards (piima), 
 which turn the wheel as they are I 
 
 A potters wheel 
 35.) laid hori- 
 
 urged by the current. On the outer 
 circumference (frons) are situated a 
 certain number of scoops (haustra), 
 made out of single joints of the bam- 
 boo, in place of which the Romans 
 used wooden boxes [modioli) or 
 earthenware jars (rotarum cadi). 
 (Non. J. Haustra, p. 13.) As the 
 wheel revolves these are filled by 
 immersion ; and being placed with a 
 slight inclination upon the wheel, 
 when they rise to the summit of revo- 
 lution they are forced to discharge 
 their contents into a receiving- trough 
 which conducts the water into a 
 reservoir, or into canals on the level 
 of the high land. 
 
 5. Rota fi^ularis. 
 (Plaut. Epld. iii. 2. 
 zontally, as a 
 table, the mass 
 of clay, out of 
 which the vase 
 is to be form- 
 ed, being situ- 
 ated upon it, 
 and fashioned 
 by the hands of 
 the workman, as the rotatory motion 
 of the wheel (currente rota. Hor. 
 A. P. 21.) would readily assist in 
 producing any circular form, either 
 for the inside or the outside. The 
 process is clearly shown by the an- 
 nexed example from an Egyptian 
 painting, which exhibits a potter sit- 
 ting on the ground before his wheel, 
 with the lump bf clay, marked in a 
 darker tint, upon it, gradually form- 
 ing into shape ; the hollow part of 
 the inside being scooped by the 
 thumb of the right hand, and the 
 outside rounded by the palm of the 
 left one — a process precisely similar 
 to what may be seen every day in 
 our own potteries. 
 
 ROT'ULA (rpoxiffKos). Diminu- 
 tive of Rota. Plaut. Pers. iii. 3. 30. 
 Plin. H. N. xviii. 48. 
 
 RUBRI'CA. Red ochre; thence, u 
 law, or ordinance of the civil law ; 
 such, for instance, as the Twelve 
 Tables, and in contradistinction to a 
 
RUDENS. 
 
 RUN A. 
 
 561 
 
 praetor's edict, or rule of the courts 
 (album) ; because the titles of the 
 former, or, it may be, the entire text, 
 were written with red ochre ; whereas 
 the latter were posted on a white 
 ground, and inscribed in the usual 
 form. Quint, xiii. 3. 11. Pers. v. 
 99. Compare Juv. xiv. 192. 
 
 RUD'ENS (KoAtts). A TO/,?; more 
 especially intended to designate any 
 part of the lighter cordage constituting 
 the rigging of a vessel (Pacuv. ap. 
 CceL ad Cic. Fam. viii. 2. Virg. 
 Ain. I. 9I.)> employed about the 
 mast, or used for raising and trimming 
 the sails ; in contradistinction to the 
 heavier kinds, such as cables, haw- 
 sers, &c. ; for example, the halyard, 
 by which the sail was raised (Catull. 
 kiv. 235.), and down which the 
 seaman slid from the yard to the 
 deck (Ov. Met. iii. 616.), brail ropes 
 (Virg. Ain. iii. 682.), sheets, or, per- 
 haps, braces, or both. Id. x. 229. 
 
 RUDIA'RIUS. A gladiator who 
 had been presented with the rudis, in 
 token of receiving his discharge. 
 Snet. Tib. 7. 
 
 RUDIC'ULA (/cu;f7)9poc). Dimi- 
 nutive of RUDIS. A mull or wooden 
 spoon (ColumelL xiL 46. 3.), for 
 beating up, stirring, or mixing toge- 
 ther diiferent ingredients, whilst 
 boiling, stewing, or making decoc- 
 tions (Catoi?. R. 95. 1. Plin. H. N. 
 
 Joodv. 54.). The example, from n 
 picture of still life at Pompeii, ex- 
 hibits a plate of eggs, tc^ether with 
 the vessel and muU for beating them 
 up. 
 
 RUDIS {KVKi\ifov). An imple- 
 ment for stirring and mixing liquids 
 
 and other ingredients while boiling, 
 &c. ; similar to the preceding exam- 
 ple, but of larger dimensions. Cato, 
 R. R. 79. Plin. Id. N. xxxiv. 50. 
 
 2. A stick with a knob at the end 
 or blunted at the point, employed by 
 gladiators and soldiers whilst learning 
 
 the art of attack and defence, or 
 practising for exercise and amuse- 
 ment. (Suet. Cal. 32. Liv. xxvi. 
 51. Ov. Am. ii. 9. 22. Id. A. Am. iii. 
 515.) It was usual to present an in- 
 strument of this description to the 
 gladiator who had received his dis- 
 charge from service ; whence the 
 expression rude donari, means to be 
 relieved from duty. (Hor. Ep. i. i. 
 2. Compare Suet. Claud. 21.) The 
 illustration, from an engraved gem, 
 is believed to represent a gladiator 
 with the rudis in his hands ; a conjec- 
 ture which the round form of the 
 object, and its proximate resemblance 
 to the stirring mull, described under 
 the primary meaning of the word, 
 renders extremely probable. 
 
 RU'GA (^i/t£s). LiteraUy, a 
 wrinkle; whence, the worm of a screw 
 (Plin. H. N. xviii. 74. and Cochlea), 
 and a small irregular crease or fold 
 in a piece of drapery, contradis- 
 tinguished from sinus, a deep and 
 loose one, and from contabulatio, a 
 straight and regular one. Plin. H. N. 
 XXXV. 34. MacTob. Sat. ii. 9. and 
 woodcuts J. Contabulatio and 
 Sinus. 
 
 RUL'LA. See Rallum. 
 
 RUM'EX. A weapon of similar 
 character to the Sparum. Festus 
 s. V. Lucil. ap. Fest. AuL Gell. x. 25. 
 
 R U N A. A weaoon of similar 
 2 N 
 
5(>2 
 
 RUMPIA. 
 
 R UTR UM. 
 
 character to the PiLUM (Festus 
 ^. V. Ennius ap. Fest. ) ; perhaps an 
 antiquated term for pilum. 
 
 RUM'PIA. See Rhomp^ea. 
 
 RUNCA'TIO {&ma.via,i6s). The 
 act of thinning out and weeding young 
 crops, by removing the weakly or 
 over thick plants and weeds, which 
 choke up and draw off nourishment 
 from the rest. (Columell. 11. 12. 9. 
 Plin. H. N. xviil. 50.) This opera- 
 tion was usually performed after the 
 hoeing (sarrilio. Columell. ii. II. 9.), 
 and was conducted chiefly by the 
 hand (Id. v. 6. 7. ), with the assistance 
 of a crooked weeding-hook (runco), 
 for the removal of any stubborn roots 
 or weeds amongst the plants. 
 
 RUNCA'TOR. One who thins 
 out and clears a crop from extraneous 
 herbage and weeds, in the manner 
 described under the preceding word. 
 Columell. 11. 12. I. Id. xi. 3. 19. 
 
 RUNCI'NA (limivn). A carpen- 
 ter's p/ane, for smoothing and levelling 
 surfaces in wood ( Plin. 
 H. N. xvi. 82.), of 
 which an example is 
 afforded from a sepul- 
 chral marble at Rastadt, which is 
 furnished with a handle, and shows 
 the holes through which the shavings 
 (reinienta) turned up. The same 
 name was also given to the rebate 
 plane, employed by cabinet-makers, 
 joiners, and carvers in wood, for 
 making grooves or channels between 
 the folds of drapery, &c. TertuU. 
 Apol. 12. Augustin. C. D. iv. 8. 
 
 RUN'CO. A weeding-hook (Pal- 
 lad, i. 43. 4.), employed for rooting 
 out briars and other stubborn offsets 
 amongst the young crops, when they 
 were being thinned and cleared out 
 (runcatio). It was formed with a 
 cutting edge and bent neck, like the 
 falx (Isidor. Orig. xx. 14. 5.), and 
 appears to have received its name 
 from the Greek ^vyx<^^i the snout of a 
 beast and the bill of a bird, either in 
 allusion to the form, or to the manner 
 in which it was applied, of pecking 
 and routing up the earth. In modern 
 
 Italy the terms ronca and roncone 
 are now used to designate a bill- 
 hook. 
 
 RUSSA'TUS. Clothed in red; 
 especially employed to designate a 
 driver [auriga) in the chariot races 
 of the Circus, who belonged to the 
 red party (/actio russata), and wore 
 a red tunic to distinguish him from 
 his competitors, whose colours were 
 respectively white, green, or blue. 
 Plin. JV. N. vii. 54. Inscript. af. 
 Reines, cl. 5. n. 63. 
 
 RUTA'BULUM. A fire-shovel, 
 employed by bakers and smiths for 
 throwing up the embers and ignitable 
 matter in their ovens and forges 
 (Festus s. V. Isidor. Orig. xx. 8. 6. ) ; 
 whence it is commonly mentioned in 
 conjunction with the tongs (forceps). 
 Cato R. R. A. 3. xi. 5. Suet. Aug. 
 
 75- 
 
 2. A wooden shovel, used for stir- 
 ring together and amalgamating the 
 new-made wine (tnustiwi) with that 
 which was boiled down (defrutum) 
 and other ingredients infused into it 
 for the purpose of producing an arti- 
 ficial body and flavour. Columell. 
 xii. 20. 4. Ih. 23. 2. 
 
 RUTEL'LUM (bixoKiaTi^f,). Di- 
 minutive of RuTRtJM. A strickle, or 
 small shovel employed by com meters 
 for filling the measure and levelling 
 the surface, in order to strike the 
 exact quantity. Lucil. Sat. ix. 18. 
 ed. Gerlach. 
 
 RUT'RUM. The implement mth 
 which Remus is said to have been 
 slain (Ov. Fast. iv. ^__jfj> 
 843.); consisting of a C"^* 
 large and broad iron 
 blade into which the 
 handle was inserted per- 
 pendicularly, like our 
 shovel ; and which, like 
 that, was adapted for the various 
 purposes of grabbing, scraping, dig- 
 ging, and mixing ; as, for bi'eaking 
 down clods of earth (Varro, L. L. v. 
 134.); scraping and throwing up 
 sand (Festus s. z/.) ; for kneading and 
 chopping up mortar (Vitruv. vii. 3. 
 
SABANVM. 
 
 SACCUS. 
 
 563 
 
 Pallad. i. 15.); and other similar 
 uses to which such a form would be 
 adapted. The example represents 
 the blade of a shovel of this nature 
 from an original discovered amongst 
 various other building implements at 
 Pompeii. 
 
 S. 
 
 SAB'ANUM (a-d$apop). A linen 
 cloth, employed as a napkin to con- 
 tain anything (Pallad. vii. 7. 3.); a. 
 towel for rubbing and drying (Veg. 
 Vei. V. 46. II.), and for wrapping 
 round the body to confine the perspi- 
 ration after sweating in the vapour 
 bath. Marcell. Empir. 26. 
 
 SAB'ULO. (Macrob. Sat. ii. i.). 
 A player upon some musical instru- 
 ment ; but the reading of the word is 
 extremely doubtful, and, consequently, 
 the interpretation given to it. 
 
 SACCEL'LUS. Diminutive of 
 Sacculus. a very small bag. Pet. 
 Sat. 104. Cels. iv. 4. 
 
 SAC'CEUS. Made of coarse 
 linen or sackcloth. Hieron. Vit. 
 Hilar. 44. 
 
 SACCIPE'RIUM (o-oKKoirijpa). A 
 large bag made of sackcloth, and em- 
 ployed as a receptacle within which 
 the smaller bag or purse was de- 
 posited. Plaut. Rtid. ii. 6. 64. 
 
 SACCULUS {aa.KKiov). Any 
 small sack or bag (Apul. Met. ix. 
 p. 200. ) ; and espe- 
 cially one employed 
 for holding money 
 (Catull. xiil. 7. Juv. 
 xiv. 138.) ; as in the 
 annexed example, which exhibits a 
 bag of this kind with a heap of money 
 lying beside it, from a painting at 
 Pompeii. 
 
 2. (Cic. Fin. ii. 8.) Diminutive of 
 Sacchs 3. 
 
 SACCUS (<ra/cKoj). A large bag 
 or sack, made of coarse linen cloth ; 
 as a com or flour sack (Cic. Vei-r. 
 ii. 2. 38. Phsedr. ii. 7.), like the an- 
 nexed example from a group of 
 
 soldiers on the Trajan column, who 
 are busied in carrying to their re- 
 
 spective quarters a number of sacks 
 of com distributed for the use of the 
 army. 
 
 2. A sack or large bag for holding 
 money, the use of which is intended 
 to convey a notion of enor- 
 mous wealth (Hor. Sat. ii. 
 3. 149. Id. i. 1 . 70. ), where- 
 as the diminutive sacculus , 
 conveys an impression of ' 
 poverty or small means. 
 The example is copied from a bas- 
 relief discovered at Rome, which, as 
 the inscription on it testifies, was 
 formerly employed as a street direc- 
 tion, to point out the way to the 
 pubUc treasury. 
 
 3. Scucus mnarius. A basket, net, 
 or strainer, made of bulrushes, osiers, 
 or bast, and in the shape 
 of an inverted cone (Colu- 
 mell. ix. 15. 12.), through I 
 which the ancients strain- 
 ed their wine after it was 
 made, for the purpose of 
 clearing it and mitigating 
 its intoxicating qualities (Plin. H. X. 
 xxir. I. Id. xiv. 28. Mart. xii. 60, ). 
 The illustration exhibits an article of 
 the kind described, from a Roman 
 bas-relief representing various pro- 
 cesses connected with the vintage, 
 and the making of wine ; the grapes 
 with which it is filled, indicate the 
 object for which it was used. 
 
 4. Saccus nivarius. A piece of 
 coarse cloth, employed in a common 
 way, or by poor people, instead of 
 the colum nivarium, for the purpose of 
 cooling their wine by mixing it with 
 
564 
 
 SACELLUM. 
 
 SAGA. 
 
 snow ; the cloth, with a lump of 
 snow upon it, being placed over the 
 wine cup, and the liquor then poured 
 upon the snow,, and made to filter 
 through the cloth into the cup. Mart, 
 xiv. 104. 
 
 SACEULUM (7rep(/3o\os). A di- 
 minutive from Sacrum. A small 
 enclosed precinct, either square or 
 round, consecrated to a divinity, and 
 containing an altar (C. Trebat. ap. 
 Gell. vi. 12.), but not roofed over 
 (Festus J. V. ). Such a spot was often 
 set apart by individuals on their own 
 property in honour of some favourite 
 deity, as well as by the state, for 
 public reverence. Cic. Div. i. 46. 
 Id. Agr. ii. 14. Ov. Fast i. 275. 
 
 SACE'NA. See ScENA. 
 
 SACER'DOS (Upiis and iepeia). 
 A priest, and a priestess ; a general 
 term applied to both sexes of all 
 classes and orders of the priesthood ; 
 including, therefore, the Augur, Pon- 
 tifex, Flameii, Vestalis, and others 
 enumerated in the Classed Index, 
 and described under their special 
 titles. Varro, L. L. v. 83. Cic. Leg. 
 ii. 8. Id. Verr. ii. 5. 45. Ov. Fast. 
 V. 573- 
 
 SACERDO'TULA. A young 
 priestess, or one of inferior grade 
 who ministers to her superior. Var- 
 ro, L. L. V. 130. Festus s. Flaminia. 
 
 SACO'MA (fjriKO!iJ.a). A counter- 
 poise ; properly a Greelc word Latin- 
 ized (Vitriiv. ix. Frixf. 9.), for which 
 the Roman expression is ^quipon- 
 DIUM, where see the illustration. 
 
 SACOMA'RIUS. One who makes 
 weights for counterpoises. Inscript. 
 ap. Mur. 979. 4. 
 
 SACRA'RIUM {Upo'pxiKiKiov). In 
 a general sense any place where 
 sacred things are kept, but more 
 especially the sacristy of a temple, in 
 which the utensils, vessels, imple- 
 ments, &c. , used in the service of the 
 deity, were preserved (Serv. ad Virg. 
 ^n. xii. 199. Ov. Met. x. 691.) ; 
 whence the town of Csre, to which 
 the Vestals fled with the sacred fire 
 and property of their temple when 
 
 Rome was besieged by the Gauls, is 
 termed by Livy the sacristy of the 
 Roman people — sacrarium populi 
 Romani. 
 
 2. A private chapel in a man's own 
 house (Cic. Fani. xiii. 2.), such as 
 are attached to some of the mansions 
 of our old nobility and great Catholic 
 families. An apartment of this na- 
 ture has been discovered in one of 
 the houses at Pompeii, consisting of a 
 square room, with an absis at one 
 end for the statue of the divinity, an 
 altar in the centre within a small 
 peristyle of four columns whicli sup- 
 ported the roof, and furnished with 
 a separate flight of stairs on each 
 of its flanks, conducting to the suites 
 of apartments situated in the upper 
 story. 
 
 3. An apartment in the Imperial 
 palace (Auson. Grat. Act.) ; so styled 
 in order to flatter the emperor by 
 insinuating his deification. 
 
 SA'GA. Literally, a wise woman, 
 deeply versed in religious mysteries 
 (Cic. Div. i. 31. Festus J. Sagaces) ; 
 whence the more common meaning 
 affixed to the word corresponds with 
 our terms, a witch, sorceress, fortune- 
 teller. (Hor. Od. i. 27. Columell. i. 8. 
 6. Id. xi. I. 2.) The annexed figure 
 
 of a female in a Pompeian painting, 
 who in the original is sitting just 
 outside the door of a miserable 
 thatched hovel, exhibits all the popu- 
 lar characteristics, and seems to e:;- 
 
SAGATUS. 
 
 hibit the original-type of our nursery 
 ' witch. The Mother Shipton's hat, 
 the magic wand, the dog, and the 
 caldron, are all recorded and depicted 
 in children's story-books. 
 1 SAGA'TUS. ^V earing the mantle 
 
 of coarse woollen cloth, termed joomot, 
 as explained and illustrated under 
 that word ; and as the sagum was 
 worn by the miUtary more especially, 
 ■ the word sagatus is frequently opposed 
 ' to togatiis, thereby implying that the 
 individual so equipped is prepared 
 for military duty, or for a violent 
 conflict Cic. Fragm. ap. Xon. j. 
 Sagum. Capitolin. Marc. Antonin. 
 Philos. 27. 
 
 2. Made of coarse long-napped 
 wool ; e. g. of the same fabric as the 
 sagum. Columell. xi. i. 21. Id. i. 
 
 8.9. 
 
 SAGE'XA (aayhtrn). Our seine; 
 a large drag-net for taking fish, one 
 edge of which was floated by corks 
 on the water, and the other depressed 
 and extended by leaden weights ; the 
 entire length of the net being suffi- 
 cient to enclose a considerable extent 
 of water, as much as an entire bay. 
 (Alciphr. Ep. i. 17.). One end of it 
 was carried out from a boat or from the 
 shore, and laid round in a circle until 
 the two ends were brought together, in 
 which state it was dragged into the 
 boat or shore, in the same manner as 
 still practised in the gulf of Naples, 
 and on the coast of Cornwall. llaniL 
 Astron. v. 678. Ulp. Dig. 47- lO- 
 '3- 
 
 SAGINA'RIUM. A place m 
 which poultry is put up to be fatted. 
 Varro, R. R. iii. 10. 7. 
 
 SAGIT'TA (TfSfeu^a, oiffTiis, iiis). 
 An arrow ; amongst the Greeks and 
 
 SAGITTO. 
 
 565 
 
 annexed example, from a terra-cotta 
 lamp ; the use of which is more espe- 
 
 cially characteristic of the Asiatics 
 I and northern nations. Ov. Trist. iii. 
 
 10. 63. 
 i 3. A lancet ox phleme for bleeding 
 cattle (Veg. Vet.\.Z2.\. lb . 2.'-,. <^.) ; 
 evidently so termed from being 
 formed in the same shape as the 
 , Greek and Roman arrow-head, 
 as sho^^^l by the annexed speci- 
 men from an original of bronze, 
 found in a surgeon's house at 
 Pompeii. 
 
 SAGITTA'RII. Archers or bmu- 
 men, who formed part of the hght- 
 
 
 Romans usually made with a plain 
 bronze head, without barbs, as ex- 
 hibited by the annexed specimen, 
 from an original found in Attica. 
 
 2. Sagitta hamata or adunca. An 
 arrow with a barbed head, like the 
 
 armed infantry in the Roman armies. 
 But as the bow was not a national 
 weapon amongst the Romans, the 
 battalions of archers were generally 
 furnished by the allies. (Cses. Sail. 
 Tac. &c. ) The illustration repre- 
 sents a German archer from the 
 column of Antoninus. 
 
 2. Sagittarii eguiies {linroT0^6Tai). 
 Mounted bowmen. Tac. Ann. ii. 
 16. Curt. V. 4. See HiPPOTOxOTA. 
 
 SAGITTO (ToleiJw). To shoot 
 ■with a bow and arrows ; an art 
 amongst the Greeks and Romans 
 almost entirely confined to the sports 
 of the field or exercises of skiU. The 
 illustration is taken from a fictile 
 vase, representing three Greek youths 
 shooting at a cock tied on the top of 
 a column. One of them kneels in the 
 same position as the figure s. Phare- 
 
566 SAGMA. SAGOCHLAMVS. 
 
 TRATUS, and the present figure shows I £/ij-/. o/>. Vopisc. Aurel. 7.) The 
 
 the precise manner of handling the 
 bow, fixing the arrow, drawing it be- 
 tween tlie fingers, and of directing its 
 course by projecting the forefinger of 
 the left hand along the shaft ; thus 
 graphically illustrating the various 
 passages which describe the process 
 — nervo aptare sagiitas {Virg. ALn. 
 X. 131.); iinponere (Ov. Met. viii. 
 381.) ; dirigere (Claud, iv. Cons. 
 Honor. 530.), &c. 
 
 SAG'MA [ai-yiioi). K pack-saddle 
 made on a frame, and employed for 
 sumpter horses and beasts of burden, 
 to receive the panniers or loaded 
 goods, as contradistinguished from 
 the ordinary riding-pad [ephippium], 
 which was soft and stuffed, and had 
 no tree (Veg. Vet. iii. 59. i. Isidor. 
 
 Orig. XX. 16. 5.). The example is 
 copied from a Pompeian painting ; 
 and similar saddles are also exhibited 
 on the column of Trajan. The frame 
 projecting from the side is intended 
 to receive the lowest packages, and 
 thus constitute a broad base for 
 piling up the goods all round. 
 
 SAGMA'RIUS. A horse, mule, 
 or other beast of burden, who carries 
 a load upon the pack-saddle (sagmd) 
 as described under the last word. 
 (Lamprid. Elag. 4. Aurel. Imp. in 
 
 annexed illustration is copied from 
 the column of Trajan. 
 
 SAGOCHLAM'YS. A particular 
 kind of military cloak introduced 
 under the empire, which, as the name 
 implies, must have possessed some 
 property common to the Greek 
 chlamys, and the Roman or foreign 
 sagum. (Valer. in Epist. ap. Trebell. 
 Clatid. 14.) Both the figures in the 
 annexed woodcut, one of whom re- 
 presents a foreign soldier in the 
 Roman service, and the other a cap- 
 tive youth of the same nation, wear 
 an outer cloak of very peculiar 
 fashion, repeatedly occurring on the 
 column of Antoninus. It is formed 
 by two square pieces of cloth, fastened 
 together over each shoulder by 
 brooches ; so that one of the parts de- 
 pends in front of the person, the other 
 
 in a corresponding manner at the 
 back. The square form, the length of 
 the drapery, the manner of adjust- 
 ing, and the general appearance pre- 
 sented by it, afford many points of 
 
SAGULATUS. 
 
 SALGAMARIUS, 
 
 567 
 
 resemblance to the two articles of 
 attire compounded in the present 
 name, as will be apparent by referring 
 to the figures which illustrate those 
 terms respectively ; and, as it cannot 
 be doubted that a garment so singular 
 as the one above delineated must 
 have been called by a name of its 
 own, while no other occurs in the 
 language so appropriate as the one 
 affixed, it is not unreasonable to infer 
 that it is the true one. 
 
 SAGULA'TUS. Wearing the 
 sagulum. Suet. Vit. 11. 
 
 SAG'ULUM. Diminutive of 
 Sagum ; the diminutive sometimes 
 implying fineness of texture, as well 
 as reduction in size, a thin or fine 
 sagiim, as well as a small one. Suet. 
 Aug. 26. Liv. vii. 34, Sil. Ital. iv. 
 515. xvil 527. 
 
 S ACXJM and -US (o-ayos, l^aTni^). 
 Properly a Celtic word, the original 
 of our "shag,' and adopted in the 
 same sense by the Romans to desig- 
 nate a mantle made of coarse wool, 
 or of goat's hair, with the nap left on. 
 It consisted of a square, or at least 
 rectangular, piece of cloth (Afran. 
 ap. Charis, i. 81.), which when off 
 the person could be spread out Uke a 
 sheet (Suet. Otho, 2.), but when put 
 on was folded in two and fastened by 
 a brooch [fibula, Varro af. Non. s. v. 
 p. S38., whence sagum fibulatorium. 
 Trebell. Poll. Trig. Tyrann. 10.), or 
 tied in a knot (nodus, and woodcut 
 s. V.) on the top of the left shoulder, 
 the brooch being fixed through one 
 edge of the drapery at the distance of 
 about one third from each of the cor- 
 ners, so that the left arm and side 
 were covered and protected, the right 
 being left open and free, while the 
 two upper comers fell upon the 
 breast and arm, and the two lower 
 ones depended before and behind on 
 the level of the knees, as is plainly 
 exhibited by the annexed figure, 
 from a bas-relief in the Museum at 
 Verona, representing a lictor in the 
 sagum, which was his appropriate 
 costume when in attendance upon the 
 
 governor of a province (.Cic. in Pis. 
 23.). As the sagum was more es- 
 pecially a military costume, both for 
 
 the officers and common soldiers, it 
 was for that very reason assumed by 
 the citizens generally instead of the 
 cumbrous and stately toga, in times 
 of tumult or threatened invasion ; 
 whence such expressions as saga 
 sumere — in sagis esse — ad saga ire 
 — are always indicative of turbulent 
 and troubled times or of a state of 
 actual warfare. Cses. B. C. i. 75. 
 Sallust. Fragm. ap. Non. s. v. p. 538. 
 Cic. Phil. viii. 11. Liv. Epit. 72. 
 
 2. A saddle-cloth ; composed of 
 coarse shag 
 placed under the 
 tree-saddle (sella 
 bajulatoria) or 
 the pack-saddle 
 (sagma), to pre- 
 vent the hard 
 substance from 
 galling the animal's back (Veget. 
 Vet. iii. 59. 2.), as exhibited by the 
 annexed illustration firom a painting 
 at Herculaneum. 
 
 S AL'GAMA (to a\Maia). Pickles; 
 made from roots, herbs, fruit, &c., 
 potted down and preserved in brine. 
 Columell. X. 117. Id. xii. 4. 4. 
 
 SALGAMA'RIUS (aA^neur^s). 
 One who makes and deals in pickles 
 (salgama) of the kind last described. 
 Columell. xiL 44. i. 
 
568 
 
 S A LI ENS. 
 
 SALISUBSULUS. 
 
 SAL'IENS. A jet rTeau, or arti- 
 ficial fountain in which the water is 
 made to shoot forth or leap up by the 
 force of its own pressure, in passing 
 
 through a small tube (sipho) which 
 gives it vent. (Cic. Q. Fr. iii. i. 2. 
 Vitruv. viii. 6. 2. Ulp. Dig. 19. i. 
 15.) Agrippa formed one hundred 
 and five of these fountains in the city 
 of Rome (Plin. H. N. xxxvi. 24. § 
 9.), and the illustration exhibits one 
 still remaining in the fuller's esta- 
 blishment at Pompeii. 
 
 SAL'II (ScAfoi). The Salii ; 
 twelve priests of Mars Gradivus, who 
 had the custody of the anciliay or 
 sacred shields. Their costume con- 
 sisted of an embroidered tunic, girt 
 round the waist with a broad military 
 belt of bronze (Cingulum, 4.); or 
 possibly covered by a 
 breastplate (Pecto- 
 rale), which seems 
 more probable ; and 
 the trabea for an out- 
 ward mantle. On 
 their heads a pointed 
 bonnet (APEX) ; a 
 short sword suspended 
 from the left side, a 
 shield upon the left 
 arm, and in the right 
 hand a spear or a 
 wand with which they 
 struck the sacred shields as they were 
 being carried through the city by 
 their ministers suspended from a 
 pole. (Liv. i. 20. Dionys. ii. 70.) 
 Most of these particulars are illus- 
 trated by the annexed woodcuts ; 
 the first of which, from a Roman 
 bas-relief, exhibits the apex, trabea, 
 and wand above mentioned ; a branch 
 of laurel is carried in the left hand, 
 
 because the priest is engaged at a 
 sacrifice of thanksgiving for some 
 victory. The lower figures, from an 
 engraved gem, which is inscribed 
 
 with Etruscan characters, exhibit the 
 embroidery on the drapery, the sa- 
 cred shields, and the method of 
 carrying them in procession. 
 
 SALIL'LUM (Catull. xxiii. 19.). 
 Diminutive of Salinum. 
 
 SALI'Nj^i [aKo-a-kyion). Places or 
 pits in which salt is made. Plin. 
 H. N. xxxi. 39. 
 
 SALINA'TOR {h.\oT!Tiy6^). One 
 who prepares or makes salt ; thus 
 salinator ccrai-his (Ennius ap. Serv. 
 ad Virg. JEn. iv. 244.) is one who 
 leased from the government the privi- 
 lege of making and selling salt. 
 
 SALI'NUM. A salt-cellar ; both 
 for holding the salt which was 
 sprinkled over the altar at a sacrifice, 
 and that which was used at meals. 
 It usually consisted of a cup standing 
 in a dish or a saucer ; and, from being 
 employed at the domestic sacrifice, 
 was regarded as an object of vene- 
 ration in the family ; so much so, 
 that persons even of slender means 
 were ambitious to possess one of 
 silver, if they could contrive to pur- 
 chase it. Val. Max. iv. 4. 3. Liv. 
 xxvi. 36. Hor. Od. ii. 16. 13. 
 
 SALISA'TORorSALISSA'TOR. 
 One who forbodes the occurrence of 
 good or evil from the sensible pul- 
 sation or palpitation of any part of 
 his body. Isidor. Orig. viii. 9. 29. 
 
 SALISUB'SULUS. A dancing 
 Salian ; an epithet given to the priests 
 of Mars (Catull. xvii. 5.), in allusion 
 to the dance which they performed 
 
SALPICTA. 
 
 S ALT ATI O. 
 
 569 
 
 an certain festivals, as described s. 
 Saltatio, ii. 3. 
 
 SALPICTA or SALPISTA 
 (o-oATriy/cT^s, aaXiriaTTis). (JuL Finn, 
 viil 21. Vopisc Carin. 19.) A 
 word coined from the Greek, for 
 which the Latin term is Tubicen ; 
 which see. 
 
 SALSAMENTA'RIUS (rapixo- 
 Tri4A7)s). A dealer in salted fish. 
 Auct. ad Herenn. iv. 54. Macrob. 
 Sat. viL 3. 
 
 SALSAMEN'TUM. The brine 
 or pickle used for salting fish (Cic. 
 Div. ii. 57.) ; whence also the salted 
 fish itself ; Greek rdptxos. Terent 
 Adelph. iii. 3. 26. 
 
 SALTA'TIO (Spxio-iJ, x<ipe'"r's)- 
 A dancing, or a dance ; under which 
 term the inhabitants of ancient Greece 
 and Italy designated four different 
 kinds of exercises having little in 
 common with one another, beyond the 
 circumstance that the motions of the 
 performers in all of them were ac- 
 companied and regulated by strains 
 of music or a chorus of voices : viz. 
 
 I. Religious dances ; consisting for 
 the most part of slow and stately 
 movements round the altar, without 
 any violence of gesture or attempt at 
 gymnastic dexterity, and more in the 
 nature of a ceremonial accompanied 
 by music, than what is implied 
 by our term dance ; consequently, 
 amongst the Greeks and Romans free- 
 bom citizens of both sexes and all 
 ranks, even the highest, took a part 
 in these exhibitions, vrithout any dis- 
 paragement to the gravity of their 
 characters or dignity of position. 
 Quint, i. II. 18. Macrob. Sat. ii. 
 10. Serv. ad Virg. Bucol. v. 73. 
 
 II. Gymnastic or war dances; 
 which served as a training for the 
 field and a stimulus to military va- 
 lour, like the dances of the South Sea 
 Islanders and the Indians of North 
 America. Amongst these are enu- 
 merated : — 
 
 I. Saltatio Corybantum. The 
 Corybantian dance, more especially 
 peculiar to the natives of Phrygia 
 
 and Crete ; which possessed a mixed 
 character between the religious, mili- 
 tary, and mimetic exhibitions, the 
 performers being armed, and bound- 
 ing about with wild and violent ges- 
 tures while striking their shields and 
 swords together, to imitate the noise 
 made by the Corybantes, when en- 
 deavouring to stifle the cries of the 
 infant Zeus, in the island of Crete. 
 (Lucian, Salt. 8. Strabo, x. 3. 21.) 
 It is supposed to be represented by 
 the annexed figures, from a Greek 
 
 bas-relief in the Vatican. The entire 
 composition now remaining contains 
 six figures, all in the same attitude as 
 the pair here introduced ; but as 
 neither of the two outside ones is con- 
 fronted by another, it is evident that 
 the marble is only a fragment which 
 originally formed part of a longer 
 frieze, including a greater number of 
 performers. 
 
 2. Saltatio Pyrrhica. The Pyrrhic 
 dance ; described and illustrated s. 
 Pyrrhica. 
 
 3. Saltatio Saliorum. A dance 
 performed by the Salii, or priests of 
 Mars (Quint, i. 11. 18.), during the 
 ceremony of carrying the sacred 
 shields (ancilia) through the city of 
 Rome. We have no representation 
 of this performance ; but it may be 
 inferred from a passage of Seneca 
 (Ep. 15.), that the motions exhibited 
 by these priests resembled the act of 
 leaping and jumping, more than 
 graceful or measured steps, for he 
 compares them to the stamping and 
 jumping of fullers (saltus fullonius 
 
57° 
 
 SALTATIO. 
 
 SALTATRIX. 
 
 upon the clothes they are engaged in 
 cleaning, as explained and exhibited 
 by the text and wood-cuts under 
 FULLO and Fullonica, but they 
 evinced a considerable degree of mus- 
 cular strength and agility. 
 
 4. Saltatio bdlicrepa. A Roman 
 dance of a military character, said to 
 have been instituted by Romulus, in 
 commemoration of the rape of the 
 Sabines, and as a ceremonial for 
 averting a similar calamity from his 
 ow^n people. Festus, .r. v. 
 
 III. Mimetic dances ; in which the 
 performers represent certain events 
 and actions by mere gesticulation and 
 movements of the body, to a musical 
 accompaniment, but without tlie aid 
 of the voice, lilie the actors in a 
 modern 'ballet. These exhibitions 
 would in our day be classed under 
 the name of acting in dumb show, for 
 dancing, in our sense of the term, 
 had no place in it, the performance 
 consisting in expressive movements 
 of the features, body, arms, and 
 hands, rather than the feet. Macrob. 
 Sat. ii. 7. Suet. Cat. 57. Nero. 54. 
 Tit. 7. Ov. A. Am. i. 595. 
 
 IV. Operatic dances ; in the ordinary 
 sense of the word as applied by our- 
 selves; intended as an exhibition of 
 
 grace, agility, and strength, in which 
 the movements of the feet and body 
 perform the essential part, without 
 any direct attempt at mimetic re- 
 presentation, as shown by the an- 
 nexed group, from a fictile vase. 
 Such dances were chiefly exhibited 
 for the amusement of the guests 
 
 at great banquets; and numerous 
 representations of the persons who 
 performed in them, both male and 
 female, have been found amongst 
 the paintings of Herculaneum and 
 Pompeii, all showing the great de- 
 gree of perfection to which the art of 
 dancing had advanced in ancient 
 times. 
 
 SALTA'TOR {opx^o'Th^ irat-TSfju- 
 fios). A dancer; only of mimetic 
 dances on the stage (Saltatio III. ), 
 or of operatic dancers at banquets 
 and public places (Saltatio IV. ) ; 
 not the performer in a religious, nor 
 in a war-dance (Saltatio I. and II. ); 
 the two former being regarded by 
 the Romans as a degrading or un- 
 becoming employment, but the two 
 latter in nowise derogatory. Hence 
 the term always contains an implied 
 sense of contempt or reproach. Cic. 
 Mur. 6. Id. Off. I. 42. Macrob. Sat. 
 ii. 10. 
 
 SALTATRI'CULA. Diminutive 
 of Saltatrix; the diminutive con- 
 veying a notion of disparagement. 
 Aul. Cell. i. 5. 
 
 SALTA'TRIX {6px;fl<rrpia). A 
 dancing girl ; a class of women com- 
 mon in ancient Greece and Italy, as 
 now in the East, of indifferent morals 
 
 'Sr^ 
 
 but considerable personal beauty, 
 who hired themselves out to dance 
 at great banquets and entertainments 
 for the amusement of the guests. 
 (Cic. Pis. 8. Ammlan. xiv. 6. 19. 
 Macrob. Sat. ii. 10.) Females of 
 
SALTUARIUS. 
 
 SAMNITES. 
 
 571 
 
 this description are frequently repre- 
 sented in the Pompeian paintings, 
 from one of which the annexed 
 figure is copied ; mostly furnished 
 with a large and transparent piece of 
 drapery, which is sometimes wrapped 
 in graceful folds round the person, 
 sometimes, as in the example, allowed 
 to expand itself as a partial veil, and 
 at others entirely removed from the 
 figure, and carried floating in the air, 
 so as to leave the body altogether ex- 
 posed to the gaze of the spectators, — 
 a scandal which is not to be ascribed 
 to the caprice of the artist, but which, 
 at least under the corruptions of the 
 Imperial age, was actually practised. 
 TertuU. de Spectae. p. 269. 
 
 SALTUA'RIUS. Strictly, a slavs. 
 charged with the superintendence of 
 a tract of woodland and pasture {sal- 
 tus), whom we might call a forester 
 or ranger (Inscript. ap. Orelli, 1 599. ) ; 
 but the word is mostly applied in a 
 more general sense to designate the 
 steward of a landed estate, who per- 
 formed the same duties, and stood in 
 a similar relation to the country 
 tenants of his master, as the insularius 
 in the city; /. e. he had the general 
 superintendence of the lands and 
 farms, attended to the letting and 
 keeping up of repairs, that the pro- 
 perty might not be wilfully or care- 
 lessly deteriorated. Pet. Sat. 53. 9. 
 Pomp. Dig. 7. 8. 16. African. Dig. 
 32. I. 58. 
 
 SALUTIGER'ULI sc. pueri. A 
 class of slaves whose occupation con- 
 sisted in carrying out complimentary 
 messages, salutations, &c., to the 
 friends and acquaintances of their 
 masters. Plant. Aul. iii. 5. 28. 
 
 SAMBU'CA (ffa/x^Su/o?). A stringed 
 instrument with chords of different 
 lengths and substance, similar to our 
 harp. (Scipio African, ap. Macrob. 
 Sat. ii. 10. Persius v. 95. Porphyr. 
 in Ptol. Harm.) It was sometimes 
 of small dimensions, like the Welsh 
 harp ; at others a large and powerful 
 instrument, like our own, and highly 
 omaiiiented, as shown by the annexed 
 
 example, from an Egyptian painting. 
 
 now well-known as Bruce's harp, 
 who first made it public. 
 
 2. A military engine employed for 
 scaling walls. (Festus s. v. Veg. 
 Mil. iv. 21. Vitruv. a. 16. 9.) In 
 the absence of any representation of 
 the machine, we may easily conceive 
 its use and character from the above 
 figure, as a movable platform raised 
 up and down by a number of ropes 
 attached to pullies on the top of the 
 frame, like the strings of a harp. 
 
 SAMBU'CINAandSAMBUCIS'- 
 TRIA (crafi0uici(rrpta). A female 
 harpist (Plaut. Stick, ii. 3. 57.); 
 mostly a foreign woman of Egyptian 
 or Asiatic race. (Liv. xxxix. 6.) 
 When playing, she either stood up- 
 right, in the position of the preceding 
 
 figure, or knelt and sat upon her 
 hams, as in the annexed example, 
 which represents an Egyptian per- 
 former, from the tombs of Beni 
 Hassan. 
 
 SAMNI'TES. A class of gladi- 
 
572 SANDALIGERUL/E. 
 
 SARABALLA. 
 
 ators (Cic. Sext. 64.), who wore the 
 same kind of armour as the Samnite 
 soldiers, viz. a 
 dose helmet with 
 wings [pinnce) at 
 the sides (Varro, 
 L. L. V. 142.), a 
 shield of the kind 
 called scutum, n 
 greave (ocrm) on 
 the left leg (Li v. 
 ix. 40. ) ; and a 
 piece of armour 
 or armlet ['/ua7zi- 
 ca, Juv. vi. 256.) 
 on the right arm, 
 which was not protected by the shield. 
 Most of these particulars are distinctly 
 visible in the annexed figure, which 
 from that circumstance is believed 
 to represent a gladiator of the class 
 in question. It will, however, be 
 observed that both the legs are fur- 
 nished with greaves, instead of the 
 left one only, as expressly mentioned 
 by Livy and Juvenal (//. cc.) ; but as 
 the original, which once formed part 
 of a bas-relief in stucco, on a tomb 
 at Pompeii, has entirely perished, in 
 consequence of the fragile nature of 
 that material ; and had, moreoA'er, 
 suffered from the lapse of time before 
 it was first discovered, it will not be 
 unreasonable to assume that Mazois, 
 the artist to whom we are indebted 
 for the design, has added the greave 
 to the right leg to make both match, 
 in ignorance of the real fact, or, per- 
 haps, misled by corrosions of the 
 stucco. 
 
 SANDALIGER'ULyE. Female 
 slaves who carried their mistresses' 
 dress slippers [sandalia) when they 
 went out. Plant. Trin. ii. i. 29. 
 
 SANDA'LIUM [aavliXtov, adpSa- 
 \oy). A highly-ornamented slipper 
 worn by the ladies of Greece, from 
 whom it was adopted by those of 
 Rome. (Terent. JSutt. v. 7. 4. Tur- 
 pil. a/>. Non. 0. Priores, p. 427.) In 
 character it appears to have possessed 
 an intermediate form between the 
 calcealus and the solea, having a sole 
 
 and upper leather over the toes and 
 front half of the foot, but leaving the 
 heel and back part _^-t>m»!^ 
 
 uncovered, like a mo- /j"" ^^JJ*^ 
 dern slipper ; and to V;:,j=;itJ £^ 
 this part it is probable -^-^--=^!cmo^ 
 that a strap, or a sandal as it is now 
 called, was, sometimes at least, at- 
 tached to fasten it over the instep. 
 The use of it was exclusively con- 
 fined to the female sex ; and accord- 
 ingly the example here introduced, 
 which also shows the manner of de- 
 corating the upper leather, is worn 
 by a female in a Roman bas-relief; 
 another, of precisely similar form, 
 is met with on the feet of a female 
 figure in one of the Pompeian paint- 
 ings. Mils. Borb. vii. 39. 
 
 SANDAP'ILA. A coarse and 
 common kind of coffin or bier, in 
 which the corpses of indigent people 
 and of makfactors were carried out to 
 burial. Fulgent, s. v. Suet. £>om. 17. 
 
 SANDAPILA'RIUS. One who 
 carries out the bier called satidapila. 
 Sidon. Ep. ii. 8. 
 
 SANGUIC'ULUS. A sort of 
 black pudding, made with the blood 
 of a kid. Plin. H. N. xxviii. 58. 
 
 SAN'NIO. Literally one who 
 grins or makes grimaces ; whence a 
 stage buffoon, who 
 endeavours to excite 
 the merriment of the 
 spectators by any kind 
 of grotesque gesture, 
 ridiculous manner, or 
 distortion of the face 
 and body, in the man- 
 ner exhibited by the 
 annexed figure, re- 
 presenting a perform- 
 er of the kind de- 
 scribed, from an en- 
 graved gem. Cic. Or. ii. 61. 
 
 SAP'A (li|/i)na, a'ifa.mv'). Must, or 
 new wine boiled down to one third of 
 its original quantity (Plin. H. N. xiv. 
 II.), employed principally for season- 
 ing and strengthening other wine. 
 Columell. xii. 19. 
 
 SARABAL'LA and SARA- 
 
SAFO. 
 
 SARCINALIS. 
 
 573 
 
 BA'RA (aapi^dKXa and -^apo.). 
 Long and loose irowsers (fiuxa ac 
 sinuosa, Isidor. 
 Orig. xix. 23. ) 
 reaching from the 
 waist to the instep, 
 worn by the Par- 
 thians (Publius 
 ap. Isidor. /. c], 
 Medes (Tertull. 
 Pall. 4. ), and some 
 others of the Asi- 
 atics ; and also 
 by the Northern 
 people, as repre- 
 sented by the annexed figure of a Ger- 
 man auxiliary on the column of Trajan. 
 
 SA'PO {a6.-Kav\ A Celtic or 
 German word, containing the ele- 
 ments of the low German sepe, and 
 our soap, but indicating an article of 
 different character, both in quality 
 and use, from what is now understood 
 by that term ; inasmuch as the ancient 
 sapo was not made for washing, but 
 as a pomade for tinging the hair of 
 a light brown colour. It was com- 
 posed with goat's tallow and beech- 
 wood ashes, the most approved 
 quality being manufactured by its 
 inventors the Germans, the next best 
 in Gaul. It was made up into balls, 
 and imported at Rome for the use 
 of women and young fashionables, 
 amongst whom light hair was con- 
 sidered extremely beautiful, as it is 
 by their descendants of the present 
 time. Plin. H.N. xxviii. 51. Com- 
 pare Mart. viii. 33. 20. Id. xiv. 26. 
 Beckman, History of Inventions, vol. 
 ii. p. 92. Lond. 1846. 
 
 SARA'PIS (aifa-nis). A tmiic 
 worn exclusively by the kings of 
 
 Persia, which had a sort of reddish- 
 purple tint (purpurms, iropfvpeos) 
 
 decorated with a stripe of white down 
 the front {jie<r6\fVKos), as is. plainly 
 shown by the annexed illustration, 
 representing Darius at the battle of 
 Issus, from the celebrated mosaic of 
 Pompeii, in which the shades of 
 colour are tinted as described. 
 Plaut. Pan. v. 5. 33. Compare 
 Curt. iii. 3. 28. Hesych. j. z: 
 
 SAR'CINA. K pack or bundle oi 
 things collected together and made 
 up into a lump for 
 the convenience of 
 carriage by men, 
 beasts of burden, or 
 in vehicles (Pet. 
 Sai. 117. ir. 
 Phsedr. ii. 7. Hirt. B. AJr. 75.), as 
 contradistinguished from fascis, a 
 bundle tied up into a faggot. The 
 example is from the column or 
 Trajan, and shows the way in which 
 the ancient packs are uniformly re- 
 presented when tied up, 
 
 2. The personal baggage belonging 
 to, and carried by, a Roman soldier on 
 the march ; viz. his 
 arms, clothes, ra- 
 tions for a certain 
 
 I number of days, 
 
 ' and the utensils for 
 
 : cooking them ; as 
 contradistinguished 
 from impedimenta, 
 the baggage of the 
 entire army. Cses. 
 
 • B. C.i. 24. Id. B. C. iii. 76. Hirt. 
 
 1 B. Afr. 75. The illustration represents 
 a Roman soldier, with his baggage 
 as described, on the column of Trajan. 
 SARCINA'LIS and SARCI- 
 NA'RIUS. A pack-horse, or other 
 animal, which 
 carries a load on 
 his back, made 
 up into the form 
 of a sarcina, as/ 
 exhibited by thel 
 annexed illus-i; 
 tration from thef\ 
 arch of Constan- 
 tine. Caes. B. C. = 
 i. 81. Ammian. xv. 5. xxix. 5- 
 
574 
 
 SARCINATOR. 
 
 SARRACUM. 
 
 SARCINA'TOR (aK€<rT^s). One 
 whose trade consists in mending and 
 repairing garments (Lucil. Sat. xxviii. 
 33. Plaut. Aul. iii. 5. 41. Alciphr. 
 Ep. iii. 27. Paul. Dig: 47. 2. 82.) ; 
 not a tailor, in our sense of that word, 
 for the garments of the ancients did 
 not require to be cut out and fitted like 
 our own ; the outer ones being chiefly- 
 formed by a large rectangular piece 
 of cloth, the underneath ones of two 
 or more breadths of similar shape, 
 merely sewed together at the sides 
 and top, excepting where openings 
 were left for the arms and head to 
 come through. By such means, and 
 the practice of weaving round upon 
 an upright loom, all the varieties of 
 habiliments e.xhibited in the course of 
 these pages could be produced. 
 
 SARCINA'TRIX (ifteVrpia). A 
 female who exercises the same trade as 
 the sarcinator, that of mending and 
 repairing garments. Varro, ap. Non. 
 i. V. p. 56. Cajus, Dig. 15. I. 27. 
 
 SARCIN'ULA. Diminutive of 
 Sarcina. 
 
 SARCOPH'AGUS {<ra(,Ko<p6.yo%). 
 Literally carnivorous, whence the 
 name was given to a particular kind 
 of limestone quarried at Assos in 
 Troas, and remarkable for possessing 
 the peculiar power of consuming or 
 eating away the flesh and bones, with 
 the exception of the teeth, of a body 
 enclosed within it, in the short period 
 of forty days. (Plin. H. N. xxxvi. 
 27. ) On account of this property it 
 was extensively employed for making 
 coffins, when the corpse was buried 
 entire without burning ; and thence 
 the term came to be used in a general 
 sense for any kind of coffin or tomb, 
 without regard to the materials of 
 which it was made. Juv. x, 172. 
 
 SARCULA'TIO. The act of 
 hoeing or earthing up round the roots 
 of young plants and crops with the 
 sarculum. Pallad. iii. 24. 6. 
 
 SAR'CULUM and -US {aKaxU). 
 A hoe, of a lighter and smaller 
 description than the ligo ; employed 
 chiefly for weeding in fields and gar- 
 
 dens (Plin. H.N. xviii. 65. § 2. Id. 
 xix. 33. Columell. ii. n. 10.) ; and 
 in mountain districts, where the soil is 
 usually of little depth, and the in- 
 equalities of surface forbid the use of 
 a plough, the sarculum was employed 
 instead of that implement. (Plin. 
 H. N. xviii. 49. § 2.) The example 
 
 is copied from a Roman bas-relief re- 
 presenting a race in the circus ; and 
 an accessory of the same kind is com- 
 monly introduced by the ancient 
 sculptors in scenes of this description, 
 where it was used for hoeing out a 
 trench across that part of the arena 
 in which athletic contests were con- 
 ducted, as explained s. Scamma. 
 
 2. Sarcuhmi bicorne (Pallad. i. 43. 
 3.). A two-pronged hoe, specially 
 called BiDENS ; where see the illus- 
 tration. 
 
 SARIS'SA (ffa'pio-o-a). A pike 
 peculiar to the infantry of the Mace- 
 donian phalanx (Liv. ix. 19.), of pro- 
 digious length (Id. xxxviii. 7.), not 
 less than 18 or 20 feet (Polyb. xviii. 
 12.), and of a similar description to 
 the contus, only much longer (Veg. 
 Mil. iii. 24. ). A proximate notion of 
 the general character and dimensions 
 of this weapon, the longest and most 
 ponderous of the class of spears in use 
 amongst the ancients, maybe obtained 
 by referring to the figure of the contus 
 carried by Alexander at p. 200. 
 
 SARISSOPH'ORUS (o-apio-tro- 
 (p6pn!). Armed with the sartssa ; a 
 title given to the soldiers who formed 
 the Macedonian phalanx, to whom 
 that weapon was peculiar. Liv. 
 xxxvi. 18. Curt. iv. 15. Polyb. xii. 
 20. 2. 
 
 SARRA'CULUM. Ammian. xxxi. 
 2. 18. Diminutive of 
 
 SARRA'CUM. A particular kind 
 of wagon or cart, of foreign origin, 
 but adopted into Italy (Sisenn. ap. 
 Non. s. Carra, p. 195. Capitolin. 
 
SARRACUM. 
 
 SA TRAP A. 
 
 575 
 
 M. Antonin. 13.), where it was com- 
 monly employed by the agricultural 
 population as a conveyance for them- 
 
 selves and families (Cic. Fragm. in 
 Pis. ap. Quint, viii. 3. 21.), and for 
 transporting the produce of their 
 farms to market. The circumstance 
 of its being mentioned by the Roman 
 authors in connexion with the plaus- 
 trum (Juv. iii. 254.), or as a quasi 
 synonyme with it (Id. v. 23. Vitruv. 
 X. I. 5.), indicates that it must have 
 had considerable resemblance to that 
 particular conveyance, though at the 
 same time possessing some difference 
 from it ; which forms the inducement 
 for proposing the figure exhibited by 
 the annexed illustration as a genuine 
 example of the sarracum. It is copied 
 from a painting representing a group 
 of country people in the market-place 
 of Herculaneum, and possesses two 
 principal qualities which characterize 
 a genuine flaustrum, viz. a thick 
 platform of boarding placed upon a 
 pair of solid wheels (tympana) instead 
 of radiated ones (rotoe), but differs 
 from it in the essential particular, 
 that it has a regular body with close 
 sides affixed to the platform instead 
 of a mere basket placed upon it, or 
 an open railing, or nothing at all, as 
 was usual wath that kind of wagon, 
 and will be perceived by referring 
 to the article and illustration j. 
 Plaustrum. But if the body of this 
 vehicle was removable, it would be 
 well adapted for the transport of scaf- 
 folding poles and timbers for build- 
 ing, in accordance with the language of 
 
 Juv. /. c, by coupling several of the 
 trucks together, in which sense the 
 words of Seneca— /;«?«■ et abies defe- 
 rebatur, longo vehiculorum ordine, 
 vicis intrementibus — {Ep. 90. ) may be 
 understood. 
 
 SARRI'TIO or SARI'TIO. The 
 act of hoeing out weeds from young 
 plants and crops. (Colimiell. ii. 1 1. 4. 
 Plin. H. N. xviii. 50. ) It was per- 
 formed with the sarcul-um ; but differs 
 from sarculatio, which expresses the 
 hoeing up of earth to the plant ; and 
 from runcatio, which expresses the 
 weeding and thinning with the hand 
 and the instrument termed runco. 
 
 SARRI'TOR or SAKI'TOR. A 
 labourer who performs the sarritic, 
 as just explained. Columell.xi. 13. i. 
 
 SARRITU'RA. Same as Sar- 
 
 RITIO. 
 
 SARTA'GO {T^avop). A kitchen 
 utensil, believed to be 
 the same as OMr frying- 
 pan, of which an ex- 
 ample is afforded by the 
 annexed illustration from 
 an original of bronze, dis- 
 covered at Pompeii. Plin. 
 H. N. xvi. 22. Juv. x. 64. ^J^6=^ 
 
 SAR'TOR (from sarcio). Same 
 as Sarcinator. Non. s. v. p. 7. 
 
 2. (from sarrio.) Same as Sar- 
 RITOR. Plaut. Capt. iii. 5. 3. 
 
 SAT'RAPA, SAT'RAPES, and 
 SATRAP'S {iraTpiinis). A satrap; 
 i. e. a Persian officer of 
 
 high rank, who acted in 
 
 the capacity of governor 
 
 of a province, or viceroy 
 
 for the king. (Quint. 
 
 Curt. iii. 13. Nepos, 
 
 Con. 2.) One of the 
 
 distinctive badges of 
 
 these personages consist- 
 ed in the right of wear- 
 ing a tall, stiff, upright 
 
 cap (tiara recta), which, 
 
 as being worn by the 
 
 annexed figure, from a 
 
 Persepolitan sculpture, 
 
 induces the belief that it represents 
 
 an officer of the quality described. 
 
576 
 
 SA VANUM. 
 
 SCABELLUM. 
 
 SAV'ANUM. See Sabanhm. 
 
 SAVIL'LUM or SUAVIL'LUM. 
 A sort of pudding, made of flour, 
 cheese, eggs, and honey, and served 
 up to table in the vessel in which it 
 was cooked, like our puddings in a 
 pie-dish. Cato, R. R. 84. 
 
 SAXUM QUADRATUM. A 
 rock of volcanic formation, termed 
 by the Italian geologists " lithoid 
 tufo " (tiifo litoide), the same as that 
 which forms the basis of the Capito- 
 line hill, and which received the 
 name from the rectangular masses 
 into which its natural fissures divide 
 it. All the earlier buildings ascribed 
 to the legendary period of the kings, 
 the underground dungeon of Servius 
 TuUius, the Cloaca Maxima, and the 
 substructions of the Capitolium, are 
 built of this material, which in fact 
 was the only one in use until the 
 introduction ofthe Appian andGabian 
 stone, now designated by the name of 
 peperino. It is consequently this 
 which Livy designates by the name 
 of saxum quadratum (vi. 4. ), when 
 speaking of the foundation of the 
 Capitoline temple ; and the same 
 material is intended (x. 23. ) when he 
 says that the road from the Porta 
 Capena to the temple of Mars was 
 paved saxo quadrato ; not that the 
 stones were regularly squared, like 
 ashlar, since the Romans always em- 
 ployed polygonal blocks for road 
 paving (see the article and illustration 
 s. Via), but that the material used 
 was lithoid tufo, instead of silex, 
 which in his time was the usual one. 
 Brocchi, Suolo di Rovia. 
 
 SCABEL'LUM. Diminutive of 
 
 SCAMNUM (Quint, i. 4. 12.); asmall 
 
 square stool, forming but one step, or 
 consisting of a single height (Varro, 
 L. L. V. 168.), employed as a bed- 
 step, when the bedstead was not a 
 very high one (Varro, /. c. ), as shown 
 by the annexed illustration from a 
 Roman bas-relief 
 
 2. (uTTOTrtiSioc). A footstool, of 
 similar character, placed before a 
 chair or seat for the feet to rest upon as 
 
 in the annexed example from a Pom- 
 peian painting. Isidor. Orig. xx. 1 1 . 8. 
 3. (KpoyTre'C'ct)- A musical instru- 
 ment ; consisting of a very thick- 
 soled wooden shoe , 
 (Pollux, vii. 87.) 
 with a deep fissure 
 under the toes, 
 which, when yield- 
 ingto the pressure of 
 thefoot, emitted cer- 
 tain notes from a 
 small machine of me- 
 tal ( compare Lucian, 
 Salt. 83.) placed between its upper 
 and lower surfaces. It was worn by 
 the pipe-player [tibicen] at the theatre 
 (Pollux, X. 153.) ; and was especially 
 used to give notice of the commence- 
 ment and termination of an Act (Cic. 
 Cal. 27.) ; to beat the time, and 
 make an accompaniment with other 
 instruments. (Suet. Ca/. 54. August. 
 de Mus. 3. ) Although some doubts 
 are entertained respecting the accu- 
 racy of the interpretation here given, 
 yet the numerous remaining repre- 
 sentations of a contrivance similar to 
 the one exhibited by the woodcut, from 
 an ancient marble statue, and the cha- 
 racters by whom they are used, afford 
 
SCABELLUM. 
 
 SCALM. 
 
 577 
 
 very strong evidence of .its correct- 
 ness. A terra- cotta of the British 
 Museum shows a figure by the side 
 of a wine-vat playing on the double 
 pipes (tibia pares) while he beats 
 time upon an instrument similar to 
 the one engraved ; a marble sarco- 
 phagus published by Visconti (Mus. 
 Pio Clem. ■/. tav. C. ) exhibits a female 
 playing the Phrygian pipes (tibia Phry- 
 gia) and beating time upon a similar in- 
 strument ; and a female statue of the 
 Capitol (Mus. Capitolin. iii. 36. ) has 
 the same contrivance under her foot. 
 
 SCA'L^ (kA.iVo5). a ladder; or 
 machine for ascending (from scando), 
 but used in the 
 plural because it 
 was composed 
 by a number of 
 separate steps, 
 arranged one 
 over another 
 and between two 
 uprights, in the 
 same manner as 
 practised at the 
 present day. 
 (SalL Plin. Cks. 
 Tac. Ov. Virg. ) 
 The illustration 
 represents one of the Roman soldiers in 
 Trajan's army carrying a scaling lad- 
 der for the assault of a Dacian fortress. 
 
 2. A shifs ladder, of the same con- 
 struction, but carried on board, and 
 let down from the sides of the vessel 
 when required for the convenience of 
 
 embarkation or disembarkation, as 
 
 in the annexed example from an 
 ancient fresco painting discovered at 
 Rome (Virg. ./¥ln. x. 653. Liv. 
 xxvi. 45.); whereas the pons, or 
 shipfs bridge, was a mere plank, 
 thrown out from the deck or side of a 
 small vessel in a horizontal position 
 to the top of a quay, or any promi- 
 nence on the shore of corresponding 
 height with the vessel itself, as shown 
 by the illustration s. Pons, 5. 
 
 3. A staircase, conducting from 
 the bottom to the upper stories of a 
 private house or other edifice. The 
 ancient builders formed their stair- 
 cases much in the same way as the 
 modem ones, either by fixing them 
 against a wall in the interior, so as to 
 leave one side open, like the ordinary 
 stairs of private houses in England, 
 or on the exterior of the building 
 (Liv. xxxix. 14.), as is still a com- 
 mon practice in Italy ; or they en- 
 closed it altogether by side walls, like 
 a staircase formed in the thickness of 
 a wall, so that the person ascending 
 or descending was concealed from 
 the view of all others above and be- 
 low, excepting only such as happened 
 to be uponthe sameflightwith himself. 
 These were specially termed Greek 
 staircases (scalm Gracce, Vitruv. ix. 
 Pmf. 7. Aul. Gell. X. 15. Sen. 
 ad Virg. j^n. iv. 646. ), and from the 
 nature of their construction would of 
 necessity be dark and generally nar- 
 row, which explains the reason why 
 the staircase is so often mentioned as 
 a hiding-place (Cic. Mil. 15. Id. 
 Phil. ii. 9. Hor. Ep. ii. 2. 15.); a 
 notion so much at variance with 
 modem usages, by which the stairs 
 are the most open and public parts of 
 the house, that the commentators 
 upon all the passages cited, from not 
 being acquainted with the construc- 
 tive peculiarity just described, are 
 reduced to the expedient of miscon- 
 straing their authors by substituting 
 one preposition for another, as if the 
 person took refuge under the staircase 
 instead of upon it. 
 
 4. At a much later period the same 
 
 2 
 
578 
 
 SCALMUS. 
 
 SCALPRUM. 
 
 word appears to have been em- 
 ployed to designate a pair of stir- 
 rups ; being first met with in a 
 treatise on the art of war written 
 by the Emperor Maurice at the end 
 of the sixth century. It is sufficiently 
 ascertained that the pure Greeks and 
 Romans did not ride upon regular 
 saddles, made like our own upon a 
 tree (see Sella equestris), but only 
 upon pads (ephippia). Consequently, 
 as stirrups were not used until the 
 regular saddle was invented, the word 
 is not to be regarded as pure Latinity 
 in this sense, nor as characteristic of 
 really ancient manners, but as one 
 adopted during the period of transi- 
 tion from ancient to modem times. 
 Mauricii, Ars Mil. ed. Joh. Scheffer, 
 Upsal, 1664. p. 22. and lib. ii. cap. 8. 
 p. 64. Beckman, History of Inven- 
 tions, Article "Stirrups." 
 
 SCAL'MUS (<TKaK^.i%]. The 
 thowl ; a strong wooden stay on the 
 inside of a vessel to which the oar 
 was attached by means of a thong 
 {struppus) to keep it firm and steady 
 in rowing. {Cic. Brut. 53. Id. Or. i. 
 
 38. Vitruv. X. 3. 6.) Being inside 
 the vessel, this object is not apparent 
 in any ancient work of art ; but there 
 can be no doubt that it was formed in 
 the same way as in the Mediterranean 
 galleys of the i6th century, from 
 which the example annexed is taken. 
 
 SCALPEL'LUM and -US 
 {(jfiOdov). Diminutive of SCALPER 
 or ScALPRUM. A small sharp sur- 
 gical knife, employed for cutting 
 away the proud flesh round a wound 
 (Columell. vi. 32. Plin. j'/.iV. xxviii. 
 28. Qac Sext. d^.] \ and for opening 
 veins to let blood. (Cels. ii. 10.) 
 
 SCAL'PER. Same as 
 
 SCAL'PRUM {<ridKi\, KoKa-rrT^p). 
 A sharp, cutting instrument, em- 
 
 ployed by artists and mechanics for a 
 variety of purposes, and belonging to 
 the class which we denominate chisels 
 or celts (Isidor. Orig. xix. 19. 13.); 
 that is, which are driven with a 
 mallet, or, when applied for cutting, 
 are thrust from the person using 
 them, instead of being drawn towards 
 him ; though the name was also given 
 to several other instruments ordinarily 
 used for cutting, as explained in the 
 subsequent paragraphs. 
 
 1. Scalpriim fabrile. A common 
 chisel, driven by a mallet (Liv. xxvii, 
 49. malleo adactiim) of the 
 same description with 
 those still in use, as 
 shown by the annexed 
 examples, both from 
 originals in the British 
 Museum ; the left hand 
 one being formed to re- ' - — ^ 
 ceive a wooden handle, like those 
 used by carpenters, the other entirely of 
 metal, like those used by stonemasons. 
 
 2. A leather-cutter's, or shoe- 
 maker's knife (Hor. Sat. 
 Jul. Pollux, vii. 83.) ; 
 of the same form as 
 those used for similar 
 purposes in our own 
 times, as shown by the 
 annexed example, from 
 an original found at Pompeii. 
 
 3. An instrument employed by 
 surgeons {Jul. Poll. iv. 181. x. 141.) 
 for opening wounds, 
 and cutting away parts 
 of the diseased flesh 
 (Celsus, viii. 3. and4.); 
 for which purpose the 
 annexed example from 
 an original found in 
 a surgeon's shop at 
 Pompeii, is supposed by medical men 
 to have been intended. 
 
 4. A pen-knife ; used by the tran- 
 scribers and copyists [b- 
 hrarii) in the employ 
 of private individuals or 
 of booksellers, for tem- 
 pering the reed pen 
 arundo, calamus), with 
 
 106. 
 
SCALPTOR. 
 
 SCAM NUM. 
 
 579 
 
 which an ancient MS. was written. 
 (Tac. Ann. v. 8. Suet. Vitdl. 2.) 
 The example is from an original ex- 
 cavated at Rome ; the handle is of 
 bone, into which the blade is made 
 to shut, precisely in the same manner 
 as now practised. 
 
 5. A particular part of the vine- 
 dresser's pruning hook {falx vinitoria) 
 situated between the sinus and the 
 rostrum, as will be understood by re- 
 ferring to the article and illustration 
 s. Falx, 5. Columell. iv. 25. I. 
 PUn. H. N. xvii. 26. 
 
 SCALP'TOR. An artist wno 
 executes with the chisel (scalprum), 
 as in the annexed illustration from 
 an engraved gem found at Pompeii, 
 which represents an artist at work 
 upon a marble vase. Scholars differ 
 
 greatly in opinion respecting the ac- 
 curate meaning of the two words 
 Scalptor and Sculptor ; some consider- 
 ing them to be purely synonymous 
 (B. Crusius, Clavis Suet. s. Scalpere) ; 
 others that the first designates an en- 
 graver of gems only, the latter a 
 sculptor of marble CEmesti ad Suet. 
 Au^. 50. Nero, 46.); others that 
 the scalptor means an artist who exe- 
 cutes coarser or commoner kinds of 
 work than the sculptor (Oudendorp, 
 a(/Suet. Galb. 10.); and others leave 
 the matter in doubt as one which 
 cannot be decided. (Bremi ad Suet. 
 Aug. 50. Heindorf. ad Hon Sat. 
 ii. 3. 22.) Thus the term is used to 
 designate a gem engraver (Plin. H. N. 
 xxxvii. 15. scalptor gemmarum) ; a 
 sculptor (Id. xxxvi. 5. scalptor mar- 
 morum) ; and an artist who makes 
 the dies for coins. (Inscript. ap. 
 
 Marin. Iscriz. Alb. p. 109. scalptor 
 monetm.) 
 
 SCALPTO'RIUM. An instru- 
 ment made in the form of the human 
 hand for scratching any part of the 
 person not otherwise easily accessible. 
 Mart xiv. 83. 
 
 SCALPTURA'TUS. Engraved 
 with the chisel (scalprum). 
 
 2. Pavimentum scalpturatum. .See 
 Pavimentum, 5. 
 
 SCAM'MA (ffKafiiia). A Greek 
 word signifying literally that which is 
 dug, as a trench or ditch ; thence a 
 ring in the gymnasium, within which 
 the wrestlers contended, because it 
 was defined by a small trench scraped 
 in the sand, to mark the limits beyond 
 which no competitor was permitted 
 to retreat. (Csel. Aurel. Tard. ii. i. 
 Polyb. xl. 55.) Amongst the Ro- 
 mans, athletic contests were exhibited 
 in the broad end of the circus ; which 
 explains the otherwise unaccountable 
 introduction of two accessories com- 
 monly met with in bas-rehefe repre- 
 senting the Circensian games, viz. , a 
 hoe (sarculum), and a basket of sand 
 {fiaphe), the former being used to 
 make the ring, the latter to sprinkle 
 over the bodies of the wrestlers. 
 
 SCAMNA'TUS (sc. ager). See 
 
 SCAMNUM, 
 
 SCAM'NUM A bed-side step or 
 stool (Ov. A. Am. ii. 211.), of an 
 intermediate size between the sca- 
 bellum and gradus (Varro, L. L. v. 
 168.), which was used when the bed- 
 
 stead was of a middle size, between 
 I the highest and lowest. (Isidor. Orig. 
 
58o 
 
 SCAM NUM. 
 
 SCAPHA. 
 
 XX. II. 8.) Hence the expression 
 scandere ledum, means strictly to get 
 into bed by the assistance of this 
 contrivance. The example is taken 
 from a bas-relief ; the legs upon 
 which the stool is raised indicate the 
 increased height, serving the purpose 
 of an extra step, and if compared 
 with the illustrations j. Scabellum, 
 I. and Grapus, i. will at once 
 demonstrate the accurate distinctions 
 between those three words and the 
 objects expressed by them. 
 
 2. A foot-stool ; of a higher and 
 consequently more dignified character 
 than the com- 
 mon one (sca- 
 bellum, suppe- 
 daneuni), con- 
 sisting of a 
 double step, so 
 that the feet 
 could rest at 
 different ele- 
 vations, as in 
 he annexed il- 
 lustration, from a marble bas-relief, 
 in which it is appropriately placed 
 under the feet of Jupiter to indicate 
 the majesty of the god, and the 
 grandeur of the throne on which he 
 sits. The epithet eaznim, the hollow 
 foot-stool, applied by Ovid {A. Am. 
 i. 162.) to this object may be in- 
 tended to describe the incavation 
 formed by cutting away the step in 
 front, as in the present example ; or 
 to its being actually hollow under- 
 neath, like the preceding specimen. 
 
 3. A seat formed with a step be- 
 
 peian painting. It is this property 
 which, accurately speaking, consti- 
 tutes the difference between a scam.- 
 num and a subselUum ; though the 
 distinction is not strictly preserved. 
 Ov. Fast. vi. 305. Mart. v. 41. 
 
 4. In the technical language of the 
 agricultural people, a balk, or long 
 line of earth between two furrows 
 left unbroken by the plough (Colu- 
 mell. ii. 2. 25. Plin. H. N. xviii. 49. 
 § 2.); also a tract of the same cha- 
 racter left between the ridges that are 
 made with the hoe. Columell. iii. 13.2. 
 
 5. In the technical language of 
 land-surveyors [agrimensores), the 
 breadth of a field, as opposed to 
 striga, its length. Auct. /v. Agrar. 
 pp. 46. 125. 198. ed. Goes. 
 
 SCAN'DULA or SCIN'DULA. 
 ((7x/5a|). A shingle; i. t. a small 
 board about a foot long, employed in 
 early times instead of tiles for cover- 
 ing the roof of a house. Shingles 
 continued to be commonly used at 
 Rome until the period of the war 
 with Pyrrhus, and may still be seen 
 in different parts of Europe, and 
 as protections for the roof or spire in 
 many old English churches. Plin. 
 H. N. xvi. 15. Pallad. i. 22. 
 
 SCANDULA'RIS. Made or 
 covered with shingles (scandula:). 
 Apul. Met. iii. p. 54. 
 
 SCANDULA'RIUS. One whose 
 business consists in laying a roof 
 with shingles (scandula). Arcad. 
 Dig. 50, 6. 6. 
 
 SCANSO'RIA MACHINA 
 (aKpo^aTiKTt ^T]XOivi\). A scafvlding 
 for working upon at any elevation 
 above the ground. Vitruv. x. 1. i. 
 
 SCAPH'A (<rKci(f)i)). Askiff, cutter, 
 long-boat, or jolly-boat, carried on 
 
 low for the feet to rest upon, as in 
 
 the annexed example from a Pom- board larger vessels, to be lowered 
 
SCAPHE. 
 
 SCAPUS. 
 
 581 
 
 and used as occasion required. (Caes. 
 B. C. iii. 24. Cic. Inv. iL 79. Pet. 
 Sat. loi. 7.) The modem name of 
 skifi^ which appears to retain the 
 elements of the ancient term, and 
 designates a form of boat precisely 
 similar to the one exhibited by the 
 annexed wood-cut, from a Pompeian 
 painting — that is, with a broadish 
 body, sharpish head, and small flat 
 stem, — favours the conjecture that 
 it affords a genuine specimen of the 
 model designated by the term scapha ; 
 but even if that be doubtful, the ex- 
 ample is in every respect worthy of 
 attention, as one of the very few 
 remaining illustrations of ancient ship 
 or boat building, which affords a 
 practical model, with correctness of 
 form and detail, instead of the usual 
 imperfect and conventional style of 
 representation, so generally adopted 
 by the ancient artists when treating 
 marine subjects. 
 
 2. A smaller boat, constructed upon 
 the same model as the preceding, but 
 rowed only by a pair of oars (Hor. 
 Od. iii. 29. 62. biremis scapha), and 
 employed for river and coasting oc- 
 cupations, such as fishing (Justin, ii. 
 13. piscatoria scapha), &c. 
 
 SCAPH'E (Vitruv. ix. 8.). Same 
 
 as .SCAPHIUM, 2. 
 
 SCAPH'IUM (dKa^mv). A vessel 
 of small dimensions and Greek in- 
 vention, employed at the dinner table 
 as a wine cup. It was sometimes 
 made of silver (Phylarch. ap. Athen. 
 iv. 21.), and elaborately ornamented 
 as an object of luxury (Plaut. Stich. 
 V. 4. II. Cic. Verr. ii. 4. 17.); 
 and appears to have belonged to the 
 same class of utensils as the patera or 
 phiala, since Plutarch (Agid. et Cleom. 
 p. 811.) uses the latter term to desig- 
 
 nate the same vessel which is called 
 scaphium by Phylarchus (Athen. /. c. ). 
 Perhaps the real distinction between 
 
 these words consisted in this, that 
 when the cup was a mere saucer mth- 
 out any handle, it was called a patera 
 by the Romans, and phiala (ipta\-ri) 
 by the Greeks ; when furnished ivith 
 a projecting handle, like the annexed 
 example from an original found at 
 Pompeii, (which gives to the whole 
 object a certain similitude to the boat 
 scapha, after which it was named,) 
 then it received the special name of 
 scaphhini and OKatpiov. The same 
 article is also enumerated amongst 
 the necessaries of a woman's dressing- 
 room (Juv. vi. 263. Ulp Dig. 34. 
 2. 28. ), but for what particular pur- 
 pose is not mentioned. 
 
 2. A sun-dial, formed by a hollow 
 circular vessel. 
 
 mthin which the 
 horn- lines were 
 dra\vn (Mart. 
 Capell. vi. 194.), 
 as in the example 
 from a statue , 
 formerly existing 
 at Ravenna- It 
 received the pre- 
 sent name from 
 its resemblance 
 in form to the 
 bowl of the last- 
 engraved utensil, 
 but was also termed hemisphcBrium, 
 from its affinity with that figure. Vi- 
 truv. ix. 8. 
 
 SCAPH'ULA (<r/ta<pi5ioi'). Dimi- 
 nutive of Scapha. Veg. Mil. iii. 7. 
 
 SCA'PUS (cKan-os). In its primary 
 sense means an object upon or by 
 which any other thing supports itself, 
 as the stalk of a plant, for instance, 
 which supports the head and blos- 
 som ; the notion obtaining from the 
 primitive sense of the Greek word 
 o-K^TTTw, "to prop or support oneself 
 by a staff." This root, from which 
 the Latin form is derived, also fur- 
 nishes an appropriate meaning for the 
 following special and technical appli- 
 cations of the term. 
 
 I. The shaft of a column; which 
 supports the capital {fapitulum) and 
 
S82 
 
 SCAPUS. 
 
 rests upon the base {spira). The top 
 of the shaft directly under the capital 
 is distinguished by the expression 
 sumniiis scapiis ; the bottom of it, 
 just above the base, by that of imus 
 seapus. (Vitruv. iii. 5.) All these 
 parts are sufficiently displayed by 
 the left-hand figure in the annexed 
 
 wood-cut, representing the column of 
 Trajan at Rome. 
 
 2. The shaft or pillar which sup- 
 ports one end of each stair in a stair- 
 case (Vitruv. ix. Praf. 8.), as shown 
 by the right-hand figure of the above 
 wood-cut, representing the internal 
 construction of the same column. 
 
 3. The stile of a door ; that is, the 
 vertical piece on each side of the 
 valve, into which the transverse pieces 
 or raih {impages) are mortised 
 (VitiTiv. iv. 6. 5.) ; exhibited by the 
 four uprights decorated with bosses 
 in the following illustration, represent- 
 ing an ancient door of bronze now 
 belonging to the church of S. Theo- 
 dore at Rome. 
 
 4. Scapus cardinalis ((rrp6cpiy^). 
 The main stile of a door which carried 
 the pivots {cardines), by which each 
 leaf is kept in an upright posi- 
 tion, when not fixed with hmges 
 {gi?tglymi), and made to revolve as 
 the pivots turned in a socket exca- 
 vated in the sill and lintel respec- 
 tively. (Vitruv. iv. 6. 4.) It is 
 
 seen on the right side of the annexed 
 wood-cut, which exhibits an ancient 
 marble door-case, with the original 
 valves of bronze, now standing at 
 Rome ; but represented in the draw- 
 ing for the purpose of illustration, 
 as it would appear if that portion of 
 the ornamental facing (antepagmen- 
 
 tuni), which conceals it on the oppo- 
 site side, were removed. 
 
 5. (KctuAiis). The shaft or stem of 
 a lamp-stand {candelahriwi)'^ that is, 
 the portion between the ■^:^ 
 
 base or foot upon which 
 it rested, and the capital 
 or flat tray [superficies) 
 at the top, on which the 
 lamp was placed. (Plin. 
 H. N. xxxiv. 6.) The 
 use of the term also 
 implies that a tall 
 and slender shaft, like 
 the stalk of a plant, is 
 alluded to. It was in- 
 tended to stand upon 
 the ground, and conse- 
 quently made of consi- tpi^*^ 
 derable height, in order 
 that the light might be raised to a 
 convenient elevation for illuminating 
 the chamber ; and for this purpose. 
 
 i 
 
SCELETUS. 
 
 SCENA. 
 
 583 
 
 the stem of the example here intro- 
 duced, from an original found at 
 Pompeii, is made to draw out from 
 the mouldings observable on it, in the 
 same manner as a telescope. 
 
 6. The beavi of a steelyard (sia- 
 tera, Vitruv. x. 3. 4.), as contradis- 
 tinguished from Ju^um, the yoke of a 
 
 balance (/i^a)j The example is from 
 a bronze original found at Pompeii. 
 
 7. A wooden cylinder round which 
 books and paper were rolled, as maps 
 now are. Plin. //. jV. xiii. 23. 
 
 8. The yarn-beam of a weaver's 
 loom, to which the threads of the 
 
 warp (stamen) are fastened, and situ- 
 ated at the opposite extremity to the 
 cloth-beam (insuhulum). It is seen 
 in the illustration, from an Egyptian 
 painting, at the bottom of the warp, 
 attached by a sliding brace at each 
 end to the two uprights of the loom, 
 and is termed "noisy" (LucreL v. 
 1352. sonans), either because weights 
 were sometimes fastened under it to 
 keep the warp on the stretch, and 
 which would rattle against each other 
 when shaken by the strokes of the 
 batten (spaiha), in driving home the 
 weft, or from the noise of the braces 
 as they played against the uprights 
 under the same process. 
 
 SCEL'ETUS {,aK(\fris). Literally 
 dried or parched up like a mummy 
 (Apul. Apol. pp. 504. 507.) ; not a 
 skeleton in our notion of the word, for 
 that was termed larva. 
 
 SCEOCA (ain\vi\). The scene of 
 an ancient theatre ; under which name 
 were included the stage on which the 
 actors performed, and the scenes, and 
 side-scenes, as we now distinguish them. 
 The first of these consisted of a per- 
 manent wall at the back of the stage, 
 with three doors ; one in the centre. 
 
 through which the chief actor en- 
 tered, termed valvce regies, and two 
 lateral ones kospitales (Vitruv. v. 6. 
 8.), all of which are distinctly 
 marked on the illustration, which 
 exhibits the scena of the great theatre 
 at Pompeii in its present state. The 
 movable side-scenes were adapted for 
 the representation of any particular 
 locaUty, in which the action of the 
 piece was supposed to take place, and 
 were distinguished by the epithets 
 versaliles a.nA ducliles (Serv. ad Virg. 
 Georg. iii. 24.), accordingly as they 
 were constructed to turn round on a 
 pivot, or to slide fom'ard in a groove. 
 SCE'NA or SACE-XA. An old 
 Latin name for the double-edged 
 hatchet, employed in killing the 
 victim at a sacrifice, haNing the broad 
 blade of an axe (securis) on one side, 
 and the small cutting edge of the 
 dolabra on the other, as exhibited 
 
 by the annexed specimen from a bas- 
 reUefofthe Villa Borghese. Festus 
 observes (s. v.) that the scena was 
 evidently a cutting instrument (genus 
 cultri), but whether belonging to the 
 class of secures or dolabm was to him 
 a matter of doubt. Yet the passage 
 
584 
 
 SCENOGRAPHIA. 
 
 SCEPTRUM. 
 
 which he quotes from Livius Andro- 
 nicus — corruit^ quasi ictus scena — 
 evidently expresses an instrument 
 which dealt out a blow rather than a 
 gash or slab, precisely such as would 
 be inflicted by the figure exhibited in 
 the wood-cut ; and the uncertainty 
 entertained respecting the actual cha- 
 racter of the instrument is accounted 
 for by the fact of its possessing both 
 the qualities mentioned, that of cul- 
 ling ^s well as striking. 
 
 SCENOGRAPH'IA((rK7,vo7pa0m). 
 The perspective draught of a building, 
 &c., as it really appears to the eye of 
 a spectator, and would be represented 
 in landscape or scene painting (Vi- 
 truv. 1, 2, 3. ) ; and as contradistin- 
 guished from the geometrical draught 
 (orthographia), which represents the 
 same as it would appear if it could be 
 viewed from an infinite distance. It 
 has been said that the ancient draughts- 
 men were not acquainted with the 
 art of linear perspective ; and the 
 numerous errors observable in the 
 architectural and landscape scenes 
 amongst the Pompeian designs are 
 referred to in corroboration of that 
 opinion ; but it must be remembered 
 that the artists who executed those 
 works were merely provincial house- 
 painters and decorators, of unequal 
 merits, some of whom were certainly 
 deficient in this respect ; but the in- 
 tricate and accurate designs of many 
 amongst them, evince, on the other 
 hand, a perfect knowledge of per- 
 spective. There is, consequently, no 
 sufficient reason for doubting the 
 genuineness of the term, nor for alter- 
 ing the reading in the above passage 
 of Vitruvius, as some commentators 
 propose. 
 
 SCEP'TRUM {jKrifTTpoiy). Strictly 
 a Greek word, for which the Romans 
 frequently use another form of the 
 same Greek root, scipio; though both 
 words bear a very similar significa- 
 tion. The original sceptrum was a 
 long staff, like the shaft of a spear 
 (Justin, xliii. 3.), formed from a 
 sapling or young tree, cut down to 
 
 the roots (Virg. ^«. xii. 206. ), which 
 in early times served for a support in 
 walking, while its imposing length 
 gave an air of importance to the per- 
 son who bore it, as is well exemplified 
 by the illustration, which represents 
 Agamemnon with a staff of the nature 
 
 described, from a bas-relief of Greek 
 workmanship. 
 
 2. A sceptre ; the emblem of royal 
 authority (Cic. Sext. 57.) ; conse- 
 quently ascribed to 
 Jupiter (Suet. Aug. 
 94. ), Juno, kings, 
 and actors on the 
 stage (Plin. H. N. 
 x.xxvii. 6. ) who 
 personated them ; 
 and which, in its 
 original form, was 
 nothing more than 
 a long staff, like 
 the preceding one, 
 converted into an 
 ornament of state 
 by the addition of 
 a decorative head-piece, like the ex- 
 ample annexed, representing Latinus 
 in the Vatican Virgil. 
 
 3. Sceptrtini ehtrncuin. An ivory 
 sceptre ; especially the ro)ial sceptre 
 introduced at Rome by the kings of 
 the Etruscan dynasty, and subse- 
 quently appropriated to themselves 
 by the consuls of the republic. (Serv. 
 ad Virg. ALn. xi. 238.) This was 
 
SCEPTUCHUS. 
 
 much shorter than the primitive 
 Greek sceptre, as is shown by the an- 
 nexed example, from an engraved 
 gem, representing Porsena sitting in 
 judgment upon Mucins Scaevola; and 
 is more commonly designated by the 
 Latin word scipio, instead of the 
 
 SCHCENICUL/E. 
 
 585 
 
 sented by the annexed figure firom 
 one of the sculptures of Persepolis. 
 Tac. Ann. vi. 33. Xen. Cvr. viL 3. 
 
 purely Greek one sceptrum. Liv. v. 
 41. Val. Max. iv. 4. § 5. 
 
 4. Sceptrum Augusii. (Suet. Galh. 
 I.) The imperial and triumphal 
 sceptre ; which was not identical with 
 the regal and ^.^-^ 
 
 consular ones, 'i. '■■-^ 
 butwasdecorated si,l, 
 with the figure 
 
 7^^ 
 
 
 of an eagle on Y \. 
 
 the top (Juv. ji. /. i\ 
 
 43.), and was i>'^ ^ 
 carried by a vic- 
 torious general 
 at his triumph, during the republican 
 period, as well as by the emperors 
 generally under the empire, as sho\vn 
 by the annexed example, representing 
 Antoninus, from the base of the 
 column erected in his honour. 
 
 SCEPTU'CHUS (axmirro^xo^. 
 A high officer in the Persian coiut, 
 so termed from the sceptre which he 
 bore as a badge of office, as our own 
 titles of "gold and silver stick," or of 
 "black rod." have arisen from hke 
 causes. He was generally, if not 
 always, a eunuch, though regarded as 
 a personage of consideration, having 
 the command over some province 
 assigned to him ; but his costume 
 and badges are beheved to be repre- 
 
 17. VUL 1. jO 
 
 SCHED'A or .SCIDA (o-x<'5t)). A 
 strip cut from the inner bark of the 
 papyrus, and used for the purpose of 
 making sheets of paper to write books 
 upon ; which was effected in the fol- 
 lo^NTng manner. The inner skin was 
 first peeled off in thin coats {philyrtz) 
 of the largest size which could be 
 obtained without flaws or fractures. 
 These were cut into strips {schedce), 
 \ and glued together by their largest 
 j sides, to form the writing surface ; 
 I the back part being strengthened by 
 I other strips stuck on in a transverse 
 j direction, to prevent the paper from 
 i spUtting up in the direction of the 
 fibres. One row of strips thus pre- 
 pared and joined together was called 
 a length or a breadth (plagula) ■ a 
 certain number of which were then 
 glued together into one large sheet to 
 make a book or roll (liier, volumen ). 
 Plin. H. N. xiii. 23. Hence the 
 word is frequently used in the sen.e 
 ' of a leaf, a single piece of paper, or 
 I the fractional part of a sheet, like our 
 page. Cic. Att. i. 20. Quint, i. 8. 
 19. Mart. iv. 91. 
 
 SCHCENIC'UL^. Women who 
 perfiraied themselves vrith a ver)- 
 coarse and common kind of ointment, 
 manufactured from a species of rush 
 {sckaiius), possessing odoriferous pro- 
 
S86 
 
 SCHCENOBATES. 
 
 SCIRPICULA. 
 
 perties ; intended as a contemptuous 
 nickname. Festus s. v. Varro, L. L. 
 vii. 64. Compare Plaut. Pmn. i. 2. 
 58. sch(eno delibictas. 
 
 SCHCENOB'ATESCffxoiw/SaTTis). 
 A Greek term for a rope-dancer (Juv. 
 iii. 77- ) ; for whicli the genuine Latin 
 expression is Funambulus. 
 
 SCHOL'A (<rxo\i)). Literally 
 means rest from bodily labour, which 
 affords an opportunity for mental 
 recreation or study ; whence the 
 term is transferred to the place where 
 teachers and their pupils assemble 
 for the purpose of instruction, our 
 school (Cic. Or. ii. 7. Suet. Gra?nm. 
 16. Auson. Idyll, iv. 6., and Lu- 
 Dus) ; and to a room in which phi- 
 losophers and literati assemble toge- 
 ther for conversation and discussion. 
 Plin. //. N. XXXV. 37. xxxvi. 4. § 5. 
 
 2. Schola alvei. Schola labri. The 
 vacant space on the floor of the ther- 
 mal chamber (caldarium) in a set of 
 baths, which surrounds the warm 
 water bath [alveus] ; or the circular 
 basin (labrum) situated at the oppo- 
 site end of the room, where the 
 bathers, who were waiting to use 
 either of these vessels, might sit or 
 stand until their turn came. (Vitruv. 
 
 'i^^- 
 
 >T^. \ 
 
 
 V. 10. 4.) We might translate it the 
 waiting or resting place, which fully 
 expresses the primary as well as 
 secondary notion of the word schola. 
 
 In the annexed illustration, repre- 
 senting the circular end of the ther- 
 mal chamber in the baths at Pompeii, 
 with its labrum in the centre, the 
 schola labri is the passage round the 
 basin ; and a reference to the wood- 
 cut j. Labrum, i., which exhibits thf-, 
 bathers standing round the vessel, will 
 further elucidate the matter, by show- 
 ing how that vessel was occupied by 
 one set of bathers, while the others 
 were compelled to stand by until 
 they could find a vacant place at 
 their disposal. 
 
 SCIMPOD'IUM (aKiiL-K6liov). A 
 small couch or sofa, of Greek inven- 
 tion ; or, rather, an invalid's chair, con- 
 structed so as to support the legs and 
 feet in an easy position, like our gouty 
 chair, for it was used by persons sub- 
 ject to that complaint during an access 
 of the malady. Aul. Gell. xix. 10. i. 
 
 SCIN'DULA. SeeScANDULA. 
 
 SCIOTHE'RICON (ffic:oenpmhi'). 
 A term coined from the Greek lan- 
 guage (Plin. If. N. ii. 78. ), for which 
 the Latins use Solarium. 
 
 SCI'PIO (cTKi'irajy). A stajf and a 
 sceptre; applied in the same sense as 
 ScEPTRUM ; both words being only 
 different forms from the same Greek 
 
 root (T/CTJJrTa). 
 
 SCIR'PEA or SIR'PEA. A large 
 basket made of rushes {joV^mj) platted 
 together, and employed more espe- 
 cially to form the body of a wagon 
 (plaustrum) used for agricultural pur- 
 poses, as in the annexed example 
 from a marble bas-relief ; whence 
 
 scirpea stercoraria, a dung-basket or 
 dung-cart. Varro, L. L. v. 139. Ov. 
 last. vi. 680. Cato, J!. R. x. 3. xi. 4. 
 SCIRPICULA or SIRPIC'ULA. 
 A small portable basket of platted 
 
SCISSOR. 
 
 SCOTIA. 
 
 587 
 
 rush (scirpus), employed for a variety | 
 of purposes, as for holding flowers 
 (Prop. iv. 2. 40.) ; vegetables (Lucil. 1 
 a/. Non.); as a fishing basket. (Plaut. j 
 Capt. iv. 2. 37. &c.) The exam- 
 ple is from a Pom- 
 peian painting, and 
 represents a flower- 
 basket placed on a 
 bench which stands beside the gar- 
 land makers (coronarii), in the origi- ' 
 nal picture from which the illustration '. 
 to that word is copied. j 
 
 SCIS'SOR. A slave who cut up 
 the viands for the company at an \ 
 entertainment. He was always ex- ] 
 pected to carve with skill and science, | 
 and a certain sleight of hand ; but at 
 the banquet of the ridiculous Trimal- 
 chio, the carver is made to flourish 
 his knife and dissect the food with 
 sundry gesticulations, to the sounds 
 and measures of a musical accom- 
 paniment. Pet. Sat. 36. 6. 
 
 SCOBI'NA. A rasp, for scraping 
 wood, as used by carpenters (Isidor. 
 Orig. xix. 19. Varro, L. L. vii. 68. 
 Plin. H. N. xi, 68.), and contradis- 
 tinguished from lima, a file, which is 
 enumerated amongst the implements 
 of smiths and metal workers. Isidor. 
 Orig. xix. 7. 
 
 SCO'PjE (^niXKwrfov, edpaBpov). 
 In the singular means a llti/i twig-; 
 but the word is rarely used except in 
 the plural, when it signifies a lirc/i 
 broom (Cato,/i'. V?. 152. V\z.-aX. Stick. 
 ii. 3. 27. ), made up from a number of 
 twigs, like our own. See the wood-cut 
 s. Kv.'i.K, 5. which exhibits an Egyp- 
 tian at the edge of a threshing-floor 
 with such a broom in his hands. 
 
 SCOPA'RIUS. A slave whose 
 occupation consisted in sweeping out 
 rooms or other places with a birch 
 broom (scopa). Ulp. Dig. 33. 7. 8. 
 
 S C O' P U L A. Diminutive of 
 SCOPA. A birch, or hand-brush, of 
 twigs, sometimes myrtle (Columell. 
 xii. 38. 4.), tied together, used for 
 cleansing the interior of small ob- 
 jects, such as wine-jars, &c. Cato, 
 R. R. 26. 
 
 SCORDISCATIIUS. One who 
 makes and sells horses' clothings 
 {scordisca). Hieron. Ep. 51. 5. 
 
 SCORDIS'CUM. A housing or 
 clothing ioT horses (Veg. Vet. iii. 60.), 
 made of untanned leather or skins 
 (Isidor. Gloss. Edict. Dioclet. 24.), 
 and adapted to 
 the shape of 
 the animal, 
 very much in 
 the same style 
 as now prac- 
 tised. But 
 the ancients 
 appearto have 
 
 used it not so much for the purpose 
 of warm clothing, as to provide a de- 
 fence for the animal on the field of 
 battle. This may be inferred in part 
 from the strong material of which it 
 was made, from its being designated 
 in the edict of Diocletian (/. f.) as a 
 military accoutrement, and from the 
 fact of its being frequently repre- 
 sented in the Egyptian paintings and 
 Etruscan vases on the bodies of horses, 
 whenhamessedtothewar-chariot. The 
 example is copied from a Greek medal. 
 SCOR'PIO, -US, and -OS (uKop- 
 vios, -Triav). A weapon for dis- 
 charging stones, plummets, and 
 arrows (Veget. A/il. iv. 22. Ammian. 
 xxiii. 4.), handled by a single man, but 
 requiring skill to be used effectively 
 (Vitruv. x. I. 3.); and probably the 
 same as, or very similar to, the modem 
 cross-bow, the form of which has a 
 close affinity to that of a scorpion, the 
 insect after which it was named. 
 
 2. A heap of stones piled up to a 
 point, and employed as a boundary 
 mark between adjacent properties. 
 Sicul. Flacc. de Gondii. Agror. pp. 4. 
 6. Goes. 
 
 SCOT'IA ((TKOTi'a, rpoxiXos). The 
 scotia in architecture ; that is, a hol- 
 low moulding 
 in the base 
 of a column, 
 between the 
 fillets of thef 
 upper and 
 
S88 
 
 SCRIBA. 
 
 SCULPTOR. 
 
 lower tortis, which received its name 
 from the dark sliadow {(tk6tos, dark- 
 ness) cast upon its receding surface by 
 the projecting cushion of the torus, as 
 shown by tlie tinted portion of the 
 annexed example. Vitruv. ilL 5. 2. 
 2. A groove or chanjtel cut into the 
 under surface of the corona in the 
 Doric order, and near its edge, the 
 object of which is to prevent the rain 
 water which trickles over the cornice 
 from re-entering underneath it. Vi- 
 truv. iv. 3. 6. Marquez. Ord. Dor. 
 
 P- 47- 
 
 SCRI'BA {ypaixixa-nvs). Generally 
 any person employed in writing ; but 
 more especially applied to the public 
 notary or clerk, who was a free man, 
 professionally employed by the state 
 in copying public documents, &c. ; 
 whereas the ordinary copyist (li- 
 brarius) was a slave, who worked 
 for the individual that owned him. 
 Cic. Liv. Suet. 
 
 SCRIBILI'TA or SCRIBLI'TA. 
 A particular sort of plain pasty, eaten 
 hot from the oven, and made of 
 cheese and flour, with honey poured 
 over the top ; something like our 
 cheese-cake. Cato, R. R. 78. Pet. 
 Sat. 35. 4. Mart. iii. 17. 
 
 SCRIBLITA'RIUS. One who 
 makes cheese-cakes {scriblita). 
 Afran. ap. Non. s. Lucuns. p. 131. 
 
 SCRI'NXUM. A circular box or 
 case (Phn. H. N. xvi. 84.) in which 
 books, papers, let- 
 ters (Sail. Cat. 47. 
 Hor. Ep. ii. i. 
 112.), or other 
 small portable ob- 
 jects, such as scents 
 and unguents ( Plin. 
 H. N. vii. 30.), 
 were kept. The exact difference 
 between a scrinmni and capsa is not 
 easily ascertained ; since they were 
 both formed with the same external 
 shape and materials, and used for si- 
 milar purposes. A passage of Pliny, 
 however (H. N. xvi. 84.), clearly 
 distinguishes them from each other ; 
 whence it has been conjectured that 
 
 the scrinhim was a capsa, but divided 
 internally into a number of separate 
 compartments {guasi secerniuvi) ; and 
 this supposition gains some sort of 
 authority from the annexed illustra- 
 tion, representing the jcr/;z/?/7;/z«/^wf;;- 
 iarium of Venus, in a Pompeian paint- 
 ing, amongst a number of other 
 articles appertaining to the toilette of 
 that goddess. Though the inside of 
 the case is not exposed, yet the form 
 of the lid, rising in the centre to give 
 room for the largest bottle, sufficiently 
 indicates the purpose for which it 
 was intended to be used ; and a case 
 containing many bottles would answer 
 its object very imperfectly, unless 
 divisions were made in it for the re- 
 ception of each one, distinct from the 
 rest. Quaranta. Mus. Borb. xi. 16. 
 
 or SCRU'PU- 
 the smallest gold 
 
 Compare Capsa. 
 
 SCRI'PULUM 
 LUM. A scruple; 
 coin of the Roman 
 currency, weigh- 
 ing one-third of | 
 the denarius. 
 
 (Plin. H. N. 
 xxxiii. 16.) It is distinguished by 
 the head of Mars in a helmet, and an 
 eagle with the word Roma on the re- 
 verse, as in the example, from a spe- 
 cimen belonging to the Royal Library 
 at Paris. The coin is extremely 
 rare. 
 
 SCULPO'NE^ (Kpo^TTefai). A 
 common kind of shoe or sandal, with 
 a thick wooden 
 sole, worn by 
 slaves in the agri- 
 cultural districts 
 (Cato, R. R. 135. 
 I. Id. 59. Plant. 
 Cas. ii. 8. 59.) ; 
 possibly represented by the annexed 
 wood-cut from a small bronze figure 
 of an agricultural serf. Pignor. de 
 Serv. p. 526. 
 
 SCULP'TOR. Apparently syno- 
 nymous with scalptor ; and applied 
 to the sculptor who works in marble 
 (Plin. H. N. xxxvi. 5. § 2. Plin. 
 Tun. Ep. i. 10. ) ; as well as to the 
 
SCVRRA. 
 
 SCUTRA. 
 
 589 
 
 engraver of gems. Plin. H. X. xxix. 
 38. SCALPTOP.. 
 
 SCUP.'RA, A polished gentle- 
 man, or one who has acquired the 
 habits of good society and town life, 
 as opposed toav.-kv.-ard and provincial 
 manners. (Plaut. Mo:t. i, i. 14. J; 
 afterwards, one who toadies great and 
 wealthy individuals for the purpose of 
 getting iniitations to dinner, which 
 he repays by flattering his host 
 and amusing the guests with his 
 anecdotes and bon-mots (Plaut. Pcen. 
 iii. 2. 35. Hor. Et. i. 18. 10.) ; and I 
 finally, in a sense of contemptuous i 
 reproach, a mere buffoon. Hor. Sai. \ 
 L 5. 49. Plin. Ep. ix. 17. I. 1 
 
 2. At a later period the soldiers of 
 the emperor's body-guard were de- \ 
 signaled by the same name. Lam- 
 prid. Alex. Sev. 61. Id. Elag. 33. 
 
 SCUTATLE. Either the purse of 
 a sling (funda) in which the missile ; 
 ;s placed, or the thong by which it is 
 projected ; but opinions differ respect- 
 ing which is the proper interpretation, 
 as the term only occurs in a.sohtary 
 passage of Livy (xxxviii. 29.). 1 
 
 SCUTA'RIUS. One who makes ' 
 shields (scuia). PlauL Epui. L i. 35. 
 
 2. Scutarii. The title given to a ; 
 class of foreign troops introduced by 
 Constantine ; probably as a body- 
 guard. Ammian. xx. 4. 
 
 SCUTA'TUS. Armed with the 
 oblong rectangular shield, termed 
 scutum, as exhibited 
 by the annexed figure 
 of a Roman soldier ^\ ^■■? "i; 
 from the column of 
 Trajan. (Liv. xxviii. 
 2. Virg. yEn. ix. 
 370.) The legio- 
 nary soldiers {legio- 
 narii) on Trajan's 
 column are uniform- 
 ly represented with 
 a long square shield, 
 made of a convex 
 form to take the 
 shape of the body ; and never, as 
 some writers have supposed, with one : 
 of a long flat oval, or of an hexagonal ' 
 
 form ; for those figures are n-ithout 
 exception given to the ca.-. airy {equi- 
 Us), to the PrEetorian troops ( imto- 
 rtani), or to the enemy and allied 
 troops from foreign nations. But 
 the scutum was likewise used by the 
 Samnites, and consequently v.as 
 carried by the Samnite gladiators, as 
 may be seen by the figure introduced 
 in illustration of that word. 
 
 SCUTEL'LA. A diminutive of 
 ScuTRA. A salver or waiter upon 
 which other vessels were placed to 
 be brought up and handed round to 
 
 the guests at table (Ulp. Dig. 34. 2. 
 20.) ; thus potwnis sctUella (Cic. 
 Tusc. iii. 19.), a salver on which 
 goblets of wine, or any other beverage, 
 are handed about, like the armexed 
 example, from a picture of " still life '' 
 painted at PompeiL 
 
 SCUT'ICA. A whip with a thong 
 made of leather (Mart. x. 62.;, whence 
 
 I 
 
 the name (from the Greek crKvTiKis). 
 As an instrument of punishment it 
 was sharper than the switch (ferula), 
 but milder than the scourge [Jlagellum, 
 Hor. Sat. i 3. 119. Juv. vi. 479., 
 where all the three words are in- 
 stanced distinctively). The example 
 is from a marble bas-relief. 
 
 .SCUTRA. A sort of tray or dish 
 (Plaut Pers. i. 3. 8. Cato, R. R. 
 clvii. II.); of which nothing defini- 
 tive is ascertained beyond the sup- 
 position that it received its name 
 
S90 
 
 SCUTRISCUM. 
 
 SCYPHUS. 
 
 from the Roman shield, scutum, after 
 which it was probably formed ; since 
 the word is so written by Lucilius 
 {Sat. V. 28. Gerlach. ), who more- 
 over states that it was made of wood. 
 
 SCUTRIS'CUM. Probably a 
 diminutive of the last word. Cato, 
 R. R. X. and xi. 
 
 SCUT'ULA((rKi;TaM)). A wooden 
 roller or cylinder placed under ob- 
 jects of great weight for the purpose 
 of assisting in moving them. Ctes. 
 B. C. iii. 40. 
 
 2. (Diminutive of Scutra. ) A 
 small dish or platter, of which no- 
 thing decisive has been ascertained ; 
 but supposed from other analogies of 
 the word to have possessed a diamond 
 or lozenge shape. Mart. xi. 31. 19. 
 
 3. A segment of marble, or other 
 artificial material, cut into the shape 
 of a diamond or rhomb, and used for 
 
 inlaying floors or pavements, like the 
 three white patterns in the centre 
 division of the annexed example, 
 which represents a portion of the 
 ancient mosaic pavement now re- 
 maining in the church of Santa 
 Croce in Gerusaleinme, at Rome. Vi- 
 truv, vii. I. 4. Pallad. i. 9. 5. 
 
 4. A check, or diamond figure 
 
 woven in the pattern of a piece of 
 cloth, like the border on the drapery 
 of the annexed figure from a fictile 
 vase. Plin. H. N. viii. 74. 
 
 SCUTULA'TUS. Applied to 
 drapery ; ornamented with a pattern 
 in checks, as shown by the preceding 
 wood-cut. Juv. ii. 97. Plin. H. N. 
 viii. 73. 
 
 2. Applied to animals, as horses ; 
 it corresponds with our term flea- 
 bitten. Pallad. iv. 13. 4. 
 
 SCU'TULUM (Cic. N. D. i. 29.). 
 Diminutive of Scutum. 
 
 SCU'TUM {BvpeSs). The large 
 oblong shield generally adopted by 
 the Roman infantry instead of the 
 round buckler {clipeus), at the period 
 when the military ceased to serve 
 without pay. It was about 4 feet 
 long by 2 j wide ; formed out of 
 boards, like a door (whence the 
 
 Greek terms Svpa and Bvpfos), firmly 
 joined together and covered over 
 with coarse cloth, under an outer 
 coating of raw hide, attached and 
 strengthened round the edges by a 
 metal rim. The men of each legion 
 had their shields painted of a differ- 
 ent colour, and charged with distinc- 
 tive symbols, as is exhibited by the 
 illustration representing three scuta, 
 as they stand upon the ground in the 
 column of Trajan, distinguished seve- 
 rally by the image of a thunderbolt, 
 of a wreath, and the same bolt with a 
 pair of wings. Liv. i. 43. viii. 8. 
 Plin. //[ M xvi. 77. Virg. A£n. viii. 
 662. Veg. Mi/, ii. 18. Polyb. ii. 30. 
 3. vi. 23. 2. 
 SCYPH'US (a-Kiipos). A eu/ for 
 
SCYTALA. 
 
 SECURIS. 
 
 591 
 
 drinking wine out oi, very commonly 1 
 used at convivial parties. (Hor. Od. i 
 L 27. I. Id. £pod. ix. 33.) It was 
 sometimes of beech wood (TibuU. i. 
 10. 8.), or of silver (Varro ap. GelL 
 iii. 14. I.), or of earthenware, the 
 material used for 
 the original from 
 which the an- 
 nexed example 
 is copied. The 
 figure conceived 
 under our term cup affords a very 
 true and accurate notion of its form, 
 which was circular and deep, so as to 
 be adapted for holding a large mea- 
 sure ; whence it is the vessel com- 
 monly given to Hercules by the poets 
 and artists (Val. Flacc. ii. 272. Virg. 
 vSk. viii. 278. Serv. ad. I.) ■ whereas 
 the calix, patera, and others, which 
 were of a more open and shallow 
 form, have a closer affinity to the 
 figure of our saucers. 
 
 SCYT'ALA or SCYT'ALE (o-ku- 
 T&Kri). A Greek term for a stick ; 
 thence a roller or staff employed at 
 Sparta for the purpose of enabling 
 the government to communicate secret 
 despatches to their generals, which 
 was effected in the following manner. 
 A strip of leather was first rolled 
 slantivise upon a wooden cylinder, 
 and upon this the orders written 
 lengthwise ; so that when the leather 
 was unrolled from the cylinder, it 
 contained only a series of single letters 
 without any consecutive meaning. In 
 this state the strip was transmitted to 
 their officer, who ascertained the con- 
 tents by applying it to another cylin- 
 der of precisely the same dimensions, 
 given to him before he set out for the 
 campaign. Nep. Paus. 3. Aul. Gell. 
 xvii. 9. 3. 
 
 SECES'PITA. A sort of knife, 
 employed at the sacrifice, with a 
 
 sharp-pointed iron blade and round 
 handle, made of ivory, and orna- 
 
 mented with gold and silver. (Fes- 
 tv&,s.v. Serv. o^Virg. ^Sn. iv. 262. 
 SueL Tib. 25.) The example is 
 copied from the frieze of an ancient 
 temple, still remaining in the Forum 
 at Rome, on which it appears amongst 
 various other sacrificial implements. 
 
 SEC'TILIS. SeePAViMENTUM, 2. 
 
 SECURIC'ULA(7rEXEKu5io;'). Di- 
 minutive of Securis ; a little axe, for 
 a child's toy. Plant. Rud. iv. 4. 1 14. , 
 and woodcut s. Crepu.n'DIA. 
 
 2. (ireAeKij/os). A mortise or dove- 
 tail in carpentry, produced by a re- 
 cessed cutting in the shape of a 
 hatchet head, which receives the 
 tenon or projecting end of a corre- 
 sponding form, left on another piece 
 of timber, so as to bind the two toge- 
 ther at a given angle. Vitruv. a. II. 
 8. Id. iv. 7. 4, 
 
 SECU'RIS (7re\£/cM). An axe or 
 hatchet, employed as a battle-axe 
 (CurL iii. 4. ) ; for slaughtering cattle 
 at the sacrifice (Hor. Od. iii. 23. 12. 
 Ov. Trist. iv. 2. 5. ) ; oras a woodman's 
 
 axe for felling timber (Ov. Fast. iv. 
 649. ), &c. The example is from the 
 column of Trajan. 
 
 2. Securis dolabrata. A hatchet 
 with a small cutting edge, like that 
 of the dolabra, 
 projecting from 
 the back part 
 of the regular 
 blade, like the annexed example from 
 the Vatican Virgil ; and as contra- 
 distinguished from the bipennis, which 
 has two perfect blades, and from the 
 common hatchet, also termed securis 
 simplex, because it has no addition 
 beyond the simple blade. Pallad. 
 R. R. i. 43. 
 
 3. The axe inserted in the bundle 
 
 of rods (^fasces) carried by the Roman 
 
592 
 
 SECUTORES. 
 
 SEGMENTA TVS. 
 
 lictors, and with which a criminal 
 was beheaded after he had been 
 beaten with the rods. (Cic. Pis. 34. 
 Liv. ii. 5.) The iUustration exhibits 
 the axe and rods bound up together, 
 from a marble bas-relief in the Mattel 
 palace, at Rome. 
 
 4. The lunated member on the 
 back part of the vine-dresser's prun- 
 ing-bill, which is clearly detailed in 
 the annexed illustration, representing 
 
 a design of that instrument, from 
 a very ancient MS. of Columella. 
 Columell. iv. 25. i. 
 
 5. A pick-axe, of similar form, use, 
 and character to the same instrument 
 
 in our own day ; as shown by the 
 annexed example, from a sepulchral 
 bas-relief Stat. Sylv. ii. 2. 87. 
 
 SECUTO'RES. Pursuers; the 
 name given to a particular class of 
 gladiators, who were trained to com- 
 bat with the Retiarii (Juv. viii. 210. 
 Suet. Cal. 30. Isidor. Or/f. xviii. 55.), 
 
 receiving the name from the manner 
 in which they pursued round the 
 
 arena an adversary who had made an 
 unsuccessful cast withhis net, and who, 
 in consequence of being unprotected 
 with defensive armour, was compelled 
 to immediate flight until he could 
 succeed in gathering up his net for 
 another throw. The arms of the 
 secular were a sword and shield 
 (Xiphil. Ixxii. 19.), precisely as seen 
 in the annexed illustration, from an 
 ancient mosaic in which several dif- 
 ferent classes of gladiators are re- 
 presented. The retiarius, who is on 
 the ground, and in a simple tunic, as 
 described by Suetonius (/. c. retiarii 
 tunicaii), has thrown his net over the 
 secutor, but without entangling him 
 sufficiently in its toils to hamper the 
 pursuit, or prevent himself from being 
 overtaken. 
 
 SEDE'CULA {Si<ppi<rKos). A 
 settee; a low seat or stool; see the 
 illustrations. Sella, i., of which it is 
 only a diminutive form. Cic. Att. iv. 
 10. Pollux, X. 47. 
 
 SE'DES (?5pa). A seat; in the 
 same general sense as our own term, 
 and thus including all the particular 
 kinds which are enumerated in the 
 Classed Index. 
 
 SEDI'LE. Any seat or thing to 
 sit upon ; used in the singular with the 
 same general meaning as Sedes ; but 
 the plural Sedilia is commonly used 
 to designate a row of seats, such as 
 were permanently constructed of stone 
 or marble in the theatres, &c. (Plin. 
 Ep. V. 6. Hor. £p. iv. 15. Gradus, 
 3. ), or of wood put up for temporary 
 accommodation in public places, at 
 shows and ceremonies (Suet. Au^. 
 43. ) ; or on which the rowers sat on 
 board ship. Virg. ./£■«. v. 837. Remex.' 
 
 SEGES'TRE or-ES'TRIUM (o-re'- 
 yacTTpov). Any covering or wrapper, 
 made of straw matting (Varro, Z. X. 
 v. 166.), or fur skins (Festus j-. v.), 
 and employed very generally for 
 packing goods (Plin. J/. N. xiii. 23.), 
 as a coverlet for beds, or wrapper for 
 persons exposed to the weather. Suet. 
 Aug. 83. 
 
 SEGMENTA'TUS. Ornamented 
 
SEGMENTUM. 
 
 SELLA. 
 
 593 
 
 with segmenta. Juv. vi. 89. Isidor. 
 Orig. xix. 22, 18. 
 
 SEGMEN'TU.M. An ornament 
 attached to the dresses of females 
 (Val. Max. v. 2. i. Ov. A. Am. iii. 
 169. Juv. ii. 124,); 
 consisting of one or 
 more strips of gold 
 tissue, or some other 
 richly coloured ma- 
 terial, sewed on to 
 the skirts of the 
 drapery in parallel 
 lines, one above the 
 other, like tucks 
 (Isidor. Orig. xix. 
 22. 18.), as shown 
 by the annexed ex- 
 ample, representing 
 one of the figures in the celebrated 
 Roman fresco of the Vatican, which 
 goes by the name of the Aldobrandini 
 marriage. This interpretation is 
 further confirmed by a passage of 
 Pliny {H. N. vi. 39.), in which the 
 word segmentum means a division 
 formed by parallel circles — segmenta 
 mundi, quce nostrl circulos appellavere^ 
 GriEci parallelos. 
 
 SE'JUGIS. A chariot drawn 
 by six horses yoked abreast. Liv. 
 xxxviii. 35- 
 
 SELIQJAS'TRUM. An old- 
 fashioned or antiquated kind of seat 
 (Festus J-. z'.), but of what precise 
 character is not ascertained. Varro. 
 L. L. V. 128. Hygin, Asiron. ii. 10. 
 iii. 9. 
 
 SELLA {Siippos). A low seat of 
 the characteristic kind which we 
 
 in opposition to chair {cathedra) ; 
 that is, without back or arms, such as 
 was commonly used by females (Cic. 
 Div. I. 46.) and artisans (Id. Cat. iv. 
 8. ) engaged in sedentary occupations. 
 The illustration represents Penelope 
 in a Pompeian painting ; and compare 
 the wood-cuts j. Calceolarius, 
 Calculator. 
 
 2. Sella curulis (Si^pos a.-)Kv'k6-i:ovz). 
 A curule seat; that is, a stool with 
 bent legs, made to open and shut like 
 
 understand by our terms stool or settle, 
 
 our camp-stools, for the convenience 
 of being transported with its owner 
 wherever he went. The example 
 exhibits an original of bronze, dis- 
 covered at Pompeii. The left-hand 
 figure shows one side of the frame, as 
 it would stand when opened out to 
 receive the seat, which fitted into the 
 incavations observable at the top ; 
 the right-hand one shows it when it 
 is shut up and the four legs brought 
 close together. Seats of this kind 
 were introduced from Etruria, and 
 were originally used exclusively by 
 the kings at Rome, but were subse- 
 quently granted as a privilege to the 
 consuls, praetors, and curule aediles of 
 the republic. In early times they were 
 inlaid or embossed with ivory carv- 
 ing, but subsequently enriched ^vith 
 ornaments in gold. Liv. i. 8. ix. 46. 
 Suet. Aug. 43. Ov. Pont. iv. 9. 27. 
 
 3. Sella castrensis, A camp-stool 
 (Suet. Galb. 18.); made to open and 
 shut upon the same principle as the 
 preceding example, but probably 
 formed in a much simpler manner, 
 without any adventitious ornaments, 
 and with straight legs instead of the 
 bent ones, which constituted the 
 essential and distinguishing feature of 
 the sella ciirulis. The illustration is 
 from a bas-relief, which originally 
 decorated the triumphal arch of Tra- 
 2 P 
 
594 
 
 SELLA. 
 
 jan, and represents the emperor in 
 the act of addressing his troops from 
 
 a camp-stool of the precise character 
 described. 
 
 4. Sella balnearis. A bath-seat ; 
 in wliich the bather sat to have warm 
 water poured over 
 him, and to be 
 steamed by va- 
 pour whilst he 
 remained in it, 
 closely enveloped 
 in wrappers. 
 Eveiy bathing 
 establishment was furnished with a 
 sufficient number of these conve- 
 niences ; the Thermae of Antoninus 
 alone contained as many as 1600, all 
 made of marble, one of which, from 
 the original, is exhibited by the illus- 
 tration. It has a very low circular 
 margin round the back, a flat seat, 
 hollow underneath, but perforated by 
 a horse-shoe aperture in front (whence 
 it is also termed sella pertusa by, Cato, 
 R. R. 157. II.), which served to 
 carry off the water thrown over the 
 person occupying it, or to transmit 
 the steam if it was used for a vapour 
 bath. Sidon. Ep. ii. 2. Cassiodor. 
 Var. Ep. 39. Paul. Dig. iii. 7. 
 
 5. Sella pertusa. Same as the pre- 
 ceding. 
 
 6. Sella familiarica. Knight-stool. 
 Varro, R. R. i. 13. 4. Scrib. Coiiip. 193. 
 
 7. Sella tonsoria. A barber^ s ehair ; 
 which was low, and had a narrow rest 
 for the back, like the example last in- 
 serted, and supports for the arms, not 
 
 lying in a horizontal position, but 
 sloping downwards from the front. 
 A seat of this construction was re- 
 commended to paralytic patients by 
 the Roman physicians, in conse- 
 quence of the assistance it afforded in 
 raising the body from a, sitting pos- 
 ture. Coel. Aurel. Ta7-d. ii. i. 
 
 8. Sella gestatoria^ fertoria^ and 
 portoria {S'L<ppus Kardareyo?, Dio Cass, 
 xlviii. 23. (popuov Karaarc-yoVj Id. 
 xlvii. 10.). A sedan chair ; in which 
 the inmate was transported in a sitting, 
 instead of recumbent position, as was 
 the case in a lectica. (Suet. Nero, 26. 
 Vit. 16.) It was generally covered with 
 a roof (Tac. Ann. .xv. 57.), and closed 
 in front and at the sides (Juv. i. 1 24. ), 
 though not always (Suet. Aug. 53.) ; 
 and was more especially used ior 
 females, whence it is also designated 
 sella muliebris (Suet. Otho. 6.). No 
 representation of this conveyance has 
 been discovered, but its character 
 may be readily imagined from the 
 above details. 
 
 9. Sella bajulatoria. A saddle for 
 beasts of burden, made upon a wooden 
 frame coveredwitli A. 
 leather, and of a /^^ 
 considerable size, 
 adapted for receiv- 
 ing the packages to 
 be loaded upon it. 
 (Coel. Aurel. Acut. 
 i. II. Veg. Vct.^^^ 
 iii. 59. 2.) The example is from a 
 paintingofHerculaneum, representing 
 a scene in the market-place of that city. 
 
 10. Sella equestris. A riding-saddle 
 (Veg. Vet. vi. 6. 4. Cod. Theodos. 
 8. 5. 47.), made upon a tree, with a 
 high pommel (fidcrum, Sidon. Ep. 
 iii. 30.) in front, and a cantle behind, 
 covered with leather, and stuffed in- 
 side. The genuine 
 Greeks and Ro- 
 mans either rode , 
 upon the bare 
 back or upon a 
 pad (ephippiurri) ; 
 but the regular saddle is supposed to 
 have been invented about the middle 
 
SELL ARIA. 
 
 SEMITA. 
 
 S95 
 
 I I 
 I I 
 
 of the 4tli century, as an order of the 
 Emperor Theodosius, in the year 
 385, forbids persons who rode post- 
 horses from using saddles of more 
 than sixty pounds weight ; and the 
 example introduced is designed by 
 Ginzrot ( Wagen und Fahrwerk^, pi. 
 80.), from one of the troopers' saddles 
 on the Theodosian column. Conse- 
 quently, this sense of the word is to 
 be regarded as of late Latinity. 
 
 SELLA'RIA. A room furnished 
 with settles (sellce), as a reception 
 room. Plin. I/. N. xxxiv. 19. § 24. 
 xxxvi. 24. § 5- 
 
 SELLA'RIS, sc. equus. K saddle- 
 horse. Veg. Vet. ii. 28. 34. Sella, 10. 
 
 2. sc. gestatio. A riding in a 
 sedan chair. Ccel. Aurel. Tard. i. 4. 
 n. 92, Sella, 8. 
 
 SELLISTEK'XIUM {(XiK\6.<STfa- 
 ai%). A religious feast offered to the 
 female deities (Val. Ma.x. iL I. 2. 
 Tac. Ann. xv. 44-), of the same 
 nature as the Lectisternium ; but 
 with this difference, that their statues 
 were disposed upon settles {relics), 
 instead of couches (lecti), because the 
 ancient women were not accustomed 
 to recUne at table, like the men, but 
 sat upon the edge of the couch, or on 
 a seat apart, as explained by the 
 article and illustrations J-. AccuBO. 
 
 S E L' L U L A. Diminutive of 
 Sella, 8. A small or ordinary 
 sedan. Tac. Hist. iii. 85. 
 
 SELLULA'RII (&6.«avaoi). Ar- 
 tisans and mechanics who work at 
 sedentary occupations, such as shoe- 
 makers, tailors, &c. ; so termed be- 
 cause they sat upon a stool or settle 
 {sella). Liv. viiL 20. Compare Aul. 
 Cell. iii. I. 3. and wood-cuts j. Cal- 
 CEOLARius and Coronarius. 
 
 SEMBEL'LA. A small piece of 
 Roman money, equal to half the 
 libella, or the twentieth part of a 
 denarius. (Varro, L. L. v. 174.) It 
 would belong to the silver currency ; 
 but probably was only a nominal di- 
 vision, never actually coined. 
 
 SEMICINC'TIUM. A cloth fast- 
 ened round the loins for the same 
 
 objects and purposes as the kilt 
 {cinctus), but of smaller dimensions, 
 or, as the name implies, not exceeding 
 half the width of that .-^,_, 
 object. (Isidor. Orig. 
 xix. 33. I. Pet. Sat. 94. 
 8. Mart. xiv. 153.) In 
 the annexed illustration 
 it is worn by Daedalus 
 on an engraved gem ; 
 and a sinular article is 
 frequently met with 
 in sculpture and paint- 
 ing on persons en- 
 gaged in active occupa- 
 tions. 
 
 SEMIMIT'RA (Ulp. Dig. 34. 2. 
 26.). A half mitra ; same as Ml- 
 TELLA, where an illustration is given. 
 
 SEMIOB'OLUS (^Mi<ieoAos). A 
 half obol ; a small piece of the Greek 
 silver coinage, of which there were 
 two standards, the Attic, worth about 
 3-25 farthings, and the ^ginetan, 
 worth id. 0-583 farthings. Farm. De 
 Pond. 8. 
 
 SEMIPHALA'RICA or SEMI- 
 FALA'RICA. (Aul. Cell. ^ 25.) 
 A Falarica of half the ordinary size. 
 
 SEMISPATH'A. (Veg. Mil. ii. 
 15.) A Spatha of half the usual size. 
 
 SEMIS'SIS. Half an As ; a cop- 
 per coin weighing six ounces (uncia), 
 stamped with the letter S to denote 
 
 the value, and the head of Jupiter, 
 Juno, Pallas, &.<:., with the prow of a 
 vessel on the reverse, as in the an- 
 nexed example, from an original, 
 drawn one quarter of the actual size. 
 
 SE'MITA. Any narrow path-way 
 (Varro, Z. L. >-. 35.) ; as z. foot-path 
 in the country (Liv. xliv. 43. Suet. 
 N^ero, 48.) ; or a narrcrcv lane in a 
 town, as opposed to via, a broad 
 street. (Cic. Agr. ii. 35. Mart. vii. 
 61.) Hence the term is used specially 
 in the same sense as Crepido, the 
 
596 
 
 SEMUNCIA. 
 
 trottoir for foot passengers on either 
 side of the carriage road {agger). 
 Plaut. Trill, ii. 4. 80. Id. Cure. ii. 
 3-8. 
 
 SEMUN'CIA. A half ounce 
 weight (Liv. xxxiv. i.) ; a half ounce 
 measure (Columell. xii. 21. 2.) ; and 
 a small piece of money containing 
 the twenty-fourth part of an As. 
 Varro, L. L. v. 171. 
 
 2, The scmuncia is also enumerated 
 by Cato {R. R. x. and xi. ) in a list 
 of farming implements and stock, 
 but without any context to suggest a 
 notion of the object intended. Some 
 commentators suppose it to be a 
 small pair of panniers of half the 
 usual size. 
 
 SENA'CULUM. A place in 
 which the senate used to meet. 
 Three of these are recorded in the 
 city of Rome, — one on a site between 
 the Capitol and Forum, where the 
 temple of Concord was afterwards 
 built ; a second at the Porta Capena ; 
 and a third near the temple of Bellona. 
 Varro, L. L. v. 156. Festus j. i/. Val. 
 Max. ii. 2. 6. 
 
 SE'NIO. The six-point on the 
 dice ; whence this name was given to 
 the throw when all sizes were turned 
 up, Avhich was considered a favour- 
 able one, but not so good as the 
 Venus. Suet. Aug. 71. Pers. iii. 48. 
 
 SENTI'NA (Si-tXos). The hold 
 or lowest part in the interior of a 
 ship, where the bilge water settles 
 (Cic. Favi. ix. 15.) ; and the bilge 
 water itself (Cees. B. C. iii. 28.) ; 
 whence sentinani irahere (Sen. Ep. 
 30.), *' to make leakage;" sentinam 
 exhaurire (Cic. Sen. 6.), "to pump 
 out the ship." 
 
 SENTINA'CULUM. A pump, 
 with which the bilge water (sentina) 
 is worked up from the hold of a 
 vessel. Paul. Nol. Ep. vi. 3. 
 
 SEPLASIA'RIUS. A dealer in 
 medicinal herbs, and in medicines 
 compounded from them, answering 
 in some respects, though not exactly, 
 to the chemist and druggist of the 
 present day. It is not easy, however, 
 
 SEPTIZOmUM. 
 
 to determine the precise branch of 
 trade carried on under this name; 
 but from the passages cited below, it 
 is clear that the seplasiarius sold 
 herbs to veterinaries for the cure of 
 cattle, and also medicines ready made 
 up to physicians, like our dealer in 
 patent medicines. Veg. Vet. iv. 3. 
 6. Plin. xxxiv. 11. Lamprid. Elag. 
 30. Beckmann, History of Inventions, 
 vol. i. p. 328. Lond. 
 
 SEPTIZO'NIUM, and SEMP- 
 TEMZO'DIUM. A particular kind 
 of edifice, of 
 great magni- 
 ficence, con- 
 sisting of se- 
 ven stories of 
 columns, one 
 above the o- 
 ther, support- 
 ing seven dis- 
 tinct entabla- 
 tures or zones, 
 from which it 
 received the 
 -name. It does 
 not appear for 
 Avhat particular """" 
 
 purpose these structures were de- 
 signed ; but two such are specially 
 recorded in the city of Rome, one in 
 the Xllth Region, which existed be- 
 fore the time of the Emperor Titus 
 (Suet. Tit. 2. Ammian. xv. 6. 3.), 
 and the other in the Xth Region, 
 under the Palatine hill, and near to 
 the Circus Maximus, which was built 
 by Septimus Severus. (Spart. Sev. 
 19.) Three stories of this last struc- 
 ture remained standing during the 
 pontificate of Sixtus V., but were 
 taken down by him for the purpose 
 of employing the columns in building 
 the, Vatican. These are exhibited 
 by the annexed wood-cut, from an en- 
 graving of the i6th century (Ga- 
 mucci, Antichila di Roma) ; and 
 though they form but a small portion 
 of the original structure in its entirety, 
 yet that is sufficient to convey an accu- 
 rate notion of the general plan upon 
 whichsuch monuments were designed. 
 
SEPTUM. 
 
 SEPULCRUM. 
 
 597 
 
 SEP'TUM, in a general sense, 
 is applied to any enclosure surrounded ; 
 by barriers, walls, palings, hedges, | 
 &c. ; such as a sheep-fold, homestead ! 
 for cattle, den for wild beasts, and ! 
 the like (Cic. Virg. Varro) ; but in 
 the plural the name of Septa was 
 specially used to designate a number 
 of enclosures in the Campus Martius 
 within which the tribes or centuries 
 were collected at the Roman Comitia, 
 before they proceeded to vote. (Ov. 
 Fast. i. 53- Lucan. vii. 306. Cic. Att. 
 iv. 16.) Each of these was termed a 
 pen (OviLE, and wood-cut s. v.), and 
 was originally partitioned off by 
 wooden railings ; but subsequently 
 the whole site was furnished with 
 marble fittings, and surrounded by 
 colonnades as well as other archi- 
 tectural decorations. B. Cms. ad 
 Suet. Aui^. 43. 
 
 SEPTUN'X. Seven-twelfths of 
 any whole, as of an As ; a nommal 
 piece of money, never in actual coin- 
 age. Varro, L. L. v. 171. 
 
 SEPUL'CRUM. A sepulchre; a 
 eeneral term for any kind of tomb in 
 which the corpse was buried, or the 
 bonesandashesdeposited. (Ulp. Dig. 
 II. 7. 2,). Edifices of this nature 
 would of course vary in details, 
 materials, and embellishments, ac- 
 cording to the wealth of the pro- 
 prietor, and taste of the architect who 
 
 designed them. A single sepulchral 
 chamber, in which the remains were 
 deposited, comprised all that was 
 essentially requisite, and sufficed 
 
 alone for tombs of the ordinary de- 
 scription (see example, No. 2. ) ; but 
 those of a more ostentatious charac- 
 ter had one or two stories built over 
 the buriai-room, containing apart- 
 ments, richly decorated with paint- 
 ings and stucco work, which were 
 intended to accommodatethe members 
 of the family when they went to per- 
 form religious rites or to visit the 
 remains of their deceased relatives, 
 but not to receive cinerary urns nor 
 coffins ; for these were deposited only 
 in the sepulchral chamber, the en- 
 trance to which was in general stu- 
 diously concealed, in order to secure 
 its contents from violation. All these 
 particulars are elucidated by the 
 illustration, representing in half 
 section and elevation an ancient 
 sepulchre of three stories, on the Via 
 Asinaria, near Rome, the identical 
 one in which the celebrated Barbe- 
 rmi or Portland ^■ase, now preserved 
 in the British Museum, was dis- 
 covered. The lowest compartment 
 is the sepulchral chamber, m which 
 the vase was deposited. 
 
 2. Sepuicrum /amiUare. K family 
 sepulchre; that is, which was con- 
 structed by an individual for himself 
 and the other members of his family 
 and household, including also the 
 freed men and women. (Ulp. Dig. 
 II. 7. 5.) A sepulchre of this de- 
 scription is recognized by the diffe- 
 
 
 rent deposits contained in it, as well 
 as by inscriptions like the following : 
 SiBI • £T -CONJUGI -ET • LiBERIS • 
 Et • LIBERTIS ■ LIBERTA.BUSQUE ' 
 POSTERISQUE ' EORUM ' FECIT . 
 
598 
 
 SEPULTURA. 
 
 SERIA. 
 
 and is shown by the design on the 
 second column of the last page, from 
 an interior in the street of the tombs 
 at Pompeii. 
 
 3. Sepulcrum commtine, A common 
 sepulchre ; that is, which received the 
 remains of many different individuals 
 belonging to the same or to many 
 different families. (Cic. Off. i. 17. 
 Auson. Epitaph, xxxvii. i. Inscript. ) 
 It consisted of a chamber divided into 
 numerous rows of niches {columbaria)^ 
 
 sometimes to the amount of several 
 hundreds, and all regularly numbered, 
 in each of which a pair of cinerary 
 jars {oUce) could be deposited ; and it 
 was the common practice for the per- 
 son to whom the sepulchre belonged, 
 to give, sell, or bequeath by will the 
 right of possession in so many niches, 
 set out by number in the document. 
 (Inscript. ap. Fabrett. 16. 71.) The 
 illustration represents the interior of 
 a sepulchre of this kind, which was 
 discovered nearthe PortaPia at Rome. 
 
 SEPULTU'RA. A burying or 
 sepultm'e ; properly meaning the dis- 
 posal of the body or ashes in a tomb 
 \sepitlcrU7n), as contradistinguished 
 from humatio, interment in a grave. 
 Plin. H. N. vii. 55. Cic. Leg. ii. 22. 
 
 SER'A. A padlock; that is, a 
 lock constructed to hang upon a 
 staple, or from the link of a chain, so 
 as to make a fastening upon the same 
 principle as is commonly adopted at 
 the present day. That the sera was 
 not a permanent fixture, but loose 
 and removable, like a modem pad- 
 lock, is clear from many passages, in 
 
 which it is spoken of as being "put 
 on " (apposita. TibuU. i. 8. 76. Ov. 
 Fast. i. 266.) or " taken off" {demta. 
 Ov. Fast. i. 2S0. ; remota,'V 3.rio, L.L. 
 vii. 108. Non. J-. Reserare, p. 41.), or 
 falling down from its holding (sera 
 sua spojite delapsa cecidit, remisscegue 
 subito fores. Pet. Sat. xvi. 2, ) ; and 
 that it was employed with a chain 
 {catena') is expressly mentioned by 
 Propertius (iv. 11. 26.). When used 
 for fastening doors, it was linked on 
 to a staple, or some such contrivance, 
 inserted in the door-post (postis), 
 whence the expression, inserla posti 
 sera (Ov. Am. ii. i. 28.), indicates 
 the door being locked ; excute poste 
 seram (lb. i. 6. 2.), on the contrary. 
 
 describes the process of opening it. 
 The illustration represents a movable 
 iron lock of the character described, 
 which was found, with the key be- 
 longing to it, in a tomb at Rome ; 
 and the barrel of another specimen, 
 exactly similar in form, is now pre- 
 served, with its key rusted in it, 
 amongst the Roman antiquities of the 
 British Museum. The circular plate 
 on the left shows the cap of the barrel, 
 removed from its place for illustra- 
 tion, with its keyhole and the orifice 
 through which a return of the link-rod, 
 now broken off, but originally bent 
 like the right-hand side, would enter 
 when the lock was closed. The ex- 
 ample in the British Museum has lost 
 this adjunct altogether. 
 
 SE'RIA. An earthenware vessel 
 chiefly employed for holding wine 
 and oil (Columell. xii. 18. 5- Varro, 
 F. F. iii. 2. 8.), though also put to 
 other uses, as a jar for potted meats 
 (Columell. xii. 55.4. 7\3.\it. Capi. iv. 
 4. 9.), burying money (Pers. ii. 11.), 
 &c. We have no passages which 
 detail the exact form of the vessel in 
 
SERIOLA. 
 
 SERRULA. 
 
 599 
 
 qnestion, excepting that it had a full i 
 body, terminated by a narrow throat ' 
 {faux, ColumeU. xii. 55. 
 4_?, and that it was smaller 
 than the dclium, but larger 
 than the aviphora. (Id. 
 xii. 28. I. ) The annexed 
 figure is copied from an i 
 original in earthenware, 
 discovered, amongst many 
 others of diflferent shapes 
 and siies, in a wine cellar 
 under the walls of Rome, of which 
 1 plan and description are given, 
 s. Cella, 2. ; and as it bears 
 a distinct outline from the well-ascer- 
 tained forms of the dolium and am- 
 phora, whilst possessing the properties 
 above mentioned, it is here intro- 
 duced as 1 probable example of the 
 model known by the name of Seria; 
 the more so as the locaUty where it 
 was found fuUy testifies its quality 
 and use. 
 
 SE'RIOL.\. (Pers. iv. 29. Pal- 
 lad. iv. 10. 9.) Diminutive of Serl\. 
 
 SERPERAS'TRUM. A sort of 
 splint or other contrivance fastened 
 to the knees of infants for the pur- 
 pose of keeping their legs straight, 
 and counteracting any tendency to 
 distortion (Varro, L. L. ix. 11.); 
 whence Cicero gives the name allu- 
 sively to the officers of his cohort 
 (Att. vii. 3.), because it was their 
 duty to keep the army in order. 
 
 S E R' R A (Trpiuv). A saw ; an 
 iron toothed instrument for cutting 
 wood. (Vitruv. i. 5. 7. Virg. Ceor^. 
 i. 143. Senec. £p. 90.) The saws 
 of the ancients were made in the 
 
 same manner, and possessed the same 
 variety of forms and sizes, adapted to 
 the nature of the work for which 
 they were applied, as those now in 
 n£e. The example represents a/rame- 
 
 saw, of the kind used by sawyers for 
 cutting timber into planks ; the blade 
 (lamina) is copied in detail from a 
 sepulchral bas-reUef; and the frame 
 has been added through the rings at 
 each of its extremities, upon the 
 authority of a similar instrument 
 roughly delineated on an Etruscan 
 vase. 
 
 2. A saw for cutting stone, made 
 of iron, but without teeth, Uke those 
 still used by our stonemasons ; the 
 place of teeth being supplied b\- 
 emery or ver\- fine sand, by means of 
 which even the hardest marbles, such 
 as porph)-ry or granite, can be cut 
 into slabs. Plin. H. A~. xxx\t. 9. 
 SERRA'CUM. See Sarraccm. 
 SERRA'RIUS. A saw-maker 
 (Senec £p. 56.), not a sawyer 
 (pristd) ; the termination in arius, 
 according to the usual analogy, de- 
 scribing the person who makes, not 
 the one who uses, the object to which 
 it is added, like calceolarius, coro- 
 narius, restiarius, sdlarius, and many 
 J others enumerated in the Classed In- 
 dex of trades. Thus Seneca (/. c.) 
 I complains of the noise inflicted by 
 I such tradesmen on their neighbours ; 
 which would scarcely be reasonable 
 ' if the mere sawing of timber were 
 I the nuisance objected to ; but the 
 disagreeable sounds produced by con- 
 i stantly filing up the teeth of this 
 j instrument {stridor serr(Z turn, cum. 
 acuitur, Cic. Tiisc. v. 40.), will be 
 1 readily admitted to be an intolerable 
 infliction. 
 
 SERR'ULA {Trpiiviov). Diminu- 
 , five of Serra. A small saw; such 
 j as employed by carpen- 
 I ters (wood-cut s. Fabri- 
 1 Ca), surgeons (Celsus, \Ti. 
 I 33- )) woodsmen (Colu- 
 i meU. Arb. vi. 4.), &c. The Ulustra- 
 ' tion represents an implement of this 
 description, from a sepulchral bas- 
 I rehef, of the class now called bow- 
 I saws by our mechanics. 
 
 2. Serrula manubriaia, A small 
 
 saw, having the blade fastened into 
 
 ' a short handle {manubrium) at one 
 
6oo 
 
 SERTA. 
 
 SIC A. 
 
 end, instead of being set in a frame, 
 lilie tlie last two specimens. (Pallad. 
 i. 43. 2.) The example is from a 
 
 ■czz 
 
 ZZZZZ^:^ 
 
 many 
 
 marble bas-relief, where it appears in 
 the hands of Dadalus. 
 
 SER'TA, plural ; ((rTe>uaTa). A 
 festoon, or long 
 flowers sewed to- 
 gether, and em- 
 ployed chiefly in 
 decorating altars, 
 temples, or the 
 doorways of pri- 
 vate houses upon 
 occasions of festi- 
 vity ; whereas the 
 corollcB and corona; 
 vfere more parti- 
 cularly intended 
 to be worn as or- 
 naments for the 
 person ; but this distinction is not 
 always observed. (Plant. As. iv. i. 
 58. Virg. ^n. I. 421. Cic. Ttisc. iii. 
 18.) The illustration exhibits a fes- 
 toon of the kind described, which is 
 carried by a young woman in a bas- 
 relief, representing a marriage fes- 
 tivity, to decorate the doors of the 
 bridal mansion ; and the last illus- 
 tration s. Infulatus, shows the 
 manner of suspending it over the 
 doorway of a house or temple. 
 
 SESTER'TIUS. A Roman coin, 
 worth two asses and a half, the fourth 
 part of a denarius, and equal in value 
 to a fraction more than two pence 
 of our money. It 
 belonged origi- 
 nally to the sil- 
 ver coinage ; 
 but subsequent- 
 ly was made of the metal called aiiri- 
 chalchum, a very fine quality of brass. 
 (Plin. H. N. xxxiv. 2.) The ex- 
 ample is from an original of silver, 
 and of the actual size ; but speci- 
 mens in the latter metal are much 
 larger. 
 
 SEX'TANS. A copper coin of 
 
 Roman currency, weighing two ounces 
 (uneiee), and equal in value to the 
 sixth part of an As. (Varro, L.L. v. 
 171.) It bore the impress — ^^ 
 o( a. eadiiceus and a. sirigi/is, f'^2\ 
 with two balls to denote its (^'WIs,) 
 value, as exhibited by the V |j j/ 
 annexed specimen, from an 
 original, drawn of one-third the ac- 
 tual size. 
 
 SEXTA'RIUS. A Roman mea- 
 sure both for liquids and dry things ; 
 containing a sixth part of the congius, 
 and the fourth part of the modius. 
 Rhemn. Fann. DePond. 71. Hor. Sat. 
 \. \. 1i^ Columell. ii. 9. VYm. H. N. 
 xviii. 35. 
 
 SEX'TULA. The smallest de- 
 nomination in Roman money, con- 
 taining the sixth part of an imcia or 
 ounce. Varro, L. L.v. 171. Rhemn. 
 Fann. De Pond. 22. 
 
 SIB'INA or SIB'YNA (o-iiStii/T)). A 
 particular kind of hunting-spear 
 {venabulum), but of which the peculiar 
 properties are unknown. (TertuU. 
 adv. Marc. i. I. Hesych. s. v.) It 
 was, however, used as a boar spear. 
 (Athen. ii. 5.) Compare the illus- 
 trations s. Venatio and Venator. 
 
 SI'CA. A sort of knife or dagger 
 with a sharp point and curved blade 
 (Gloss. Philox. iiipos i-wMdixiris), like 
 a wild boar's tusk (PHn. H. N. xviii- 
 
 1. apridentiumsicas exactiunt), which 
 rendered it particularly efficacious for 
 stabbing and ripping up. It was the 
 national weapon of the Thracians 
 (Val. Max. iii. 
 
 2. 12.) ; and 
 was conse- 
 quently em- 
 ployed by the 
 gladiators, who took their name and 
 accoutrements from that people (Suet. 
 Cal. 32. Mart. iii. 16. and next 
 wood-cut.) But amongst the Ro- 
 mans it was only regarded as the 
 weapon of a ruffian and assassin 
 (Cic. Cat. ii. 10. Quint. Decl. 321. 
 Isidor. Oti^. xviii. 6. 8.), like the 
 knife of the lowest Italian popu- 
 lace, which is formed and used 
 
SICARIUS. 
 
 SIGILLVM. 
 
 6oi 
 
 in a similar way, to stab at the aWo- 
 men, and rip upwards. The example 
 is in the hands of a barbarian on the 
 column of Antonin'js. 
 
 SICA'RIUS. In a general sense, 
 one who makes use of the curved 
 knife or dagger termed ska ; but as 
 that weapon amongst the Romans 
 was chiefly employed for ruffianly 
 pmposes, the word suarius was com- 
 monly used to designate a bandit, 
 murderer, or assassin {Cic R.j:c. Am. 
 36. Hor. Sat. i. 4. 3. ), even without 
 reference to the instrument by which 
 the murder was accomplished. Quint. 
 X. I. 12. 
 
 2. A gladiator (Cic. Ro:c. Am. 3. 
 siearios atque gladiaiares) belonging 
 to the class 
 called Thra- 
 cians, who were 
 armed with the 
 sica, a natio- 
 nal weapon in 
 Thrace, instead 
 of the sword 
 {gladius), as ex- 
 hibited by the 
 annexed figurfe 
 of a Thracian "'■■ 
 gladiator, from the de^-ice on a terra- 
 cotta lamp. 
 
 S I C 1 L I C'U L A. Diminutive of 
 SiCiLls ; the reading of some editions 
 of Plaut. Xud. iv. 4. 124., but of 
 which the correctness is very doubtful. 
 
 SICIXIS. A spear-head, cha- 
 racterized by the broadness of its 
 point (Ennius and Festus s. v.), 
 and a partial resemblance to 
 the outline of the Caspian sea 
 (Plin. H. uV. vi. 15.) ; both 
 which properties are sufficiently 
 apparent in the annexed figure, 
 from an original spear-head found 
 at Pompeii, to admit of its being 
 produced as a probable example of 
 the form in question. A spear-head 
 of exactly the same shape occurs 
 twice on the column of Trajan. 
 
 SICINXIS'TA ((nKivvKTTris). One 
 who dances the sieinnium, a dance of 
 Satyrs, introduced in the Greek 
 
 Satyric drama (Sch jl. Vet. ad Aris- 
 toph. Xub. 540J, in which the per- 
 
 formers accompanied themselves by 
 their o^^■n miisic and singing (Aul. 
 GeU. XX. 3.), as in the annexed illus- 
 tration, from a fictile vase of Italo- 
 Greek workmanship, which is be- 
 lieved to aflbrd a representation of 
 the dance in question. In the origi- 
 nal the open mouth and expression of 
 the female figure, both of which are 
 lost in our wood-cut from the minute 
 scale of the drawing, clearly indicate 
 that she is singing. The ver)' pecu- 
 liar poses and gestures of the per- 
 formers are, moreover, worthy of 
 attention, because they express the 
 exact attitudes and steps of the mo- 
 dem Neapohtan tarantella, which may 
 be consequently regarded as a relic 
 of this old classic dance. 
 
 SICIXXTUM (alKiwis). The Si- 
 cinnis ; a Greek Satj-ric dance, de- 
 scribed and illustrated in the pre- 
 ceding article. GeU. xx. 3. 
 
 SIGILLA'TUS. Ornamented 
 «ith small figures in reUef (sigilla) ; 
 like the embossed ornaments on a 
 vase (Cic. Verr. ii. 4. 14), or cari-ed 
 devices on a well cover. Id. Att. L 
 10. PUTE.A.L, I. 
 
 SIGIL'LUM. A small statue, 
 figure, or image (Ov. A. Am. L 407. ) ; 
 embossed or affixed to vases of gold 
 and silver (Cic. J'^rr. ii. 4. 22.) ; cast 
 in terra-cotta moulds for architectural 
 decorations (Plin. //. X. xxxvi. 59.), 
 formed by the impressions of a signet 
 ring (Cic. Acad. iv. 26.) ; or worked 
 in embroidery. Ov. 3/et. vi 85. 
 
SIGMA. 
 
 SIGNUM. 
 
 SIG'MA. A semicircular dining- 
 couck (Mart. xiv. 87. Apul. Afet. v. p. 
 90. suggestum semiroticnduni)^ adapted 
 for use with a round table {orhis) ; 
 and so named because it resembled 
 one of the early forms of the Greek 
 letter Sigma, which was written like 
 our C. It was not invented until the 
 square dining-table {quadra) fell into 
 disuse, when the introduction of the 
 circular form necessitated a similar 
 change in the shape of the sofa used 
 with it. But it was more convenient 
 than the old lectus tridiniaris, because 
 it did not like that require the fixed 
 
 number of nine guests, but could be 
 arranged for smaller parties ; for six 
 (Mart. ix. 60.), seven (Id. x. 48.), or 
 eight (Lamprid. Elag. 25.); and the 
 order of precedence in the places 
 upon it ran straight on in regular 
 succession, from the highest to the 
 lowest. The illustration is from a 
 painting at Pompeii, which represents 
 a scene in the fable of Psyche. 
 
 2. A circular seat round the bot- 
 tom of the hot-water bath, on which 
 the bathers sat and washed them- 
 selves. (Sidon. Ep. ii. 2.) Also the 
 bath itself Id. ib. 
 
 SIG'NIFER ((r7]anioip(i/)os 
 ensign or standard-bearer 
 intheRomanarmies(Cic. 
 Div. i. 35. CiES. B. G. 
 ii. 25.) ; a general term, 
 which will include all 
 the individual officers, 
 who nevertheless re- 
 ceived a special title 
 from the particular kind 
 of ensign they carried, 
 such as the Imaginifer, 
 Draconarius, &c. , whose 
 ensigns were all classed 
 under the name of signa 
 miliiaria. The an- 
 
 nexed example, from 
 Trajan's Column, ex- 
 hibits the signifer of a 
 
 cohort, whose standard is different 
 from either of those mentioned. 
 
 SIGNI'NUM (sc. op-US'). The 
 name given to a particular kind 
 of material employed for making 
 floorings ; consisting of tiles broken 
 up into minute particles and mixed 
 with mortar, then beaten down into 
 a solid substance with the rammer. 
 It acquired the name from the town 
 of Signia (now Segni), which was fa- 
 mous for its tiles, and where it was first 
 introduced. Columell. i. 6. 12. Plin. 
 H. N. xxxv. 46. Vitruv. viii. 6. 14. 
 
 SIG'NUM {ai]^iiov]. In a general 
 sense, any mark, sign, or signal by 
 which something is known ; whence 
 the following more special amplica- 
 tions have obtained. 
 
SIGNUM. 
 
 SILEX. 
 
 603 
 
 1. {i.yaKu.a), An image or figure, 
 whether of metal, marble, wrought, 
 cast, sculptured, or embroidered (Cic. 
 Verr. iL 4. i. Virg. ^n. ix. 263. 
 lb. i. 648. PKiu Ep. i. 20. 5.) ; but 
 strictly \ised to designate the image of 
 a deity (Plin. Ep. ix. 39.), as contra- 
 distinguished from statua (ai/Spi'as), 
 an image of men. Inscrip. ap. Grut. 
 174. 8. SiGNUM MaRTIS ET ST.l- 
 TUAM SIBI POSUIT. 
 
 2. The image or device en^aved 
 upon a seal, and the 
 signet or impression 
 made by it. (Cic. Cal. 
 iii. 5. Id. Quint. 6. Id. 
 Att. ix. 10.) The ex- 
 ample is from an original. 
 
 3. The sign of a shop (Quint, vi. 
 3. 38.) ; indicating, by some emble- 
 matical representation, the nature of 
 
 the business carried on inside, like 
 the annexed example of two men 
 carrying an amphora, which is exe- 
 cuted in terra-cotta, and forms the 
 sign of a wine-shop at Pompeii. A 
 milkman's in the same town is dis- 
 tinguished by the sign of a. boy 
 milking a goat. 
 
 4. (o-Tj/ua), A constellation or sign in 
 
 the heavens, formed by a group of stars 
 
 apparently representing the form of 
 certain animals ; as in the annexed 
 illustration, from a statue of Atlas 
 with the heavens on his shoulders. 
 Ov. Fast. V. 113. Id. Met. xiii. 
 619. 
 
 5. Signamilitaria[(y'r\^aia.). Militar}' 
 standards or ensigns, including, in 
 reality, the eagle 
 (aguila), which was the 
 general ensign of the 
 entire legion; but more 
 commonly used with 
 reference to the diffe- 
 rent standards belong- 
 ing to each separate _ 
 maniple and cohort, 
 as distinct from the eagle. (Cic. 
 Cat. il. 6. Tac. Hist. 11. 29. Id. 
 Ann. i. 18.) The illustration, from 
 a medal, shows the eagle between two 
 standards of cohorts ; the name of 
 each ensign is enumerated in the 
 Classed Index, and an example 
 given under its o^vn denomination. 
 
 SILENTIA'RIUS. A domestic 
 slave whose duty it was to preserve 
 silence in the household, and keep 
 the whole establishment from making 
 the slightest noise in the presence of 
 their master ; even a cough or sneeze 
 being immediately checked by the 
 ready stroke of the rod. Salvian. 
 Cub. Dei. iv. 3. Inscript. ap. Fabrett. 
 p. 206. n. 54. Compare Senec. Ep. 47. 
 2. Silentiarius sacri palatii. At a 
 late period of the Empire, one of 
 thirty officers who were persons of 
 some consequence at the Byzantine 
 court, acting under the authority of 
 three superiors [decnriones], and ap- 
 pointed for the purpose of preserving 
 order, silence, and decorum within 
 the precincts of the palace. Imp. 
 Anastas. Cod. 15. 62. 25. Inscript. 
 ap. Grut. 1053. 10. 
 
 SIL'EX. Generally a common 
 flint or flint-stone ; but in a more 
 special sense a large hard stone of 
 ' volcanic formation, cut by the mason 
 into polygonal blocks, and then dove- 
 tailed accurately together, which was 
 extensively used in the construction 
 
6o4 
 
 SILICERNILM. 
 
 SIMPULUM. 
 
 of walls (Vitniv. i. 5. 8.), and for 
 the paving of streets and roads (Liv. 
 
 xli. 27. xxxviii. 28.) ; in the manner 
 shown by tlie annexed example from 
 a piece of Roman pavement near 
 Rome. It is thus frequently opposed 
 to lapis, a square flag-stone, and to 
 saxtttn, also used in polygonal masses, 
 and likewise of a volcanic formation, 
 but possessing properties which geo- 
 logists call tnfo, instead of a flinty 
 substance. 
 
 SILICER'NIUM {T^ffi'iliiTivov). A 
 funeral feast given in honour of a 
 deceased person, either at the funeral 
 or within a few days after it (Varro, 
 ap. Non. J. V. p. 48.); whence the 
 term is sometimes used in mockery, 
 to designate a decrepit old man. 
 (Terent. Ad. iv. 3. 34.) Amongst 
 the Romans it would appear that this 
 entertainment took place at the sepul- 
 chre itself («(/.r(/i«/f;7««, Varro,/. c); 
 and the highly decorated chambers, 
 so commonly met with as appendages 
 to their tombs (Sepulcrum, i. and 
 illustration), but never used to re- 
 ceive deposits, were doubtless intended 
 for the purpose : while a regular 
 
 for the table, is still to be seen within 
 one of the sepulchral enclosures at 
 Pompeii. But amongst the Greeks 
 it was always given in the house of 
 the nearest relative to the deceased, 
 and immediately after the funeral. 
 Demosth. de Coroii. p. 321. 25. Cic. 
 Leg. ii. 25. The illustration 
 represents the relatives of a young 
 Greek lady at a funeral feast of 
 the kind described, from a marble 
 bas-relief sculptured upon her tomb. 
 The objects in the cornice above are 
 merely intended to represent various 
 articles of the female toilette and 
 work-table. 
 
 SI'MA (livixa). An architectural 
 moulding, so termed from the character 
 
 of its outline, which resembles c^— 
 
 the snub nose of a goat, being ^^ — 
 hollow in its upper surface but swell-, 
 ing below, as exhibited by the figure 
 annexed. It is chiefly employed for 
 the crowning or uppermost memlier 
 of a cornice, being placed over the 
 corona, and is now termed *'sima," 
 or " cyma recta," by English archi- 
 tects, and "ogee" by the workmen. 
 Vitruv. iii. 5. 12. 
 
 SIM'PULUM. A ladle or cup 
 (cyathus) with a long handle, em- 
 ployed at the sacrifice for taking the 
 wine in small quantities (Varro, L. L. 
 V. 124.) out of the a-aia- or other 
 large vessel, in order to make liba- 
 tions. (Festus s. V. Apul. Apol. p. 
 
 triclinium, with its couches and stand I 434.) The right side of the annexed 
 
SIMPUVIUM. 
 
 SI A' US. 
 
 605 
 
 wood-cut exhibits the implement it- ' 
 self, from an original found in a fictile : 
 vase, which has a picture on its out- 
 side, representing a priestess in the 
 act of filling a cup with wine, taken 
 out of a larger vessel with the sim- 
 pulum, as sho^vn by the illustration. ; 
 
 SIMPUVIUM. A vessel em- ' 
 ployed at the sacrifice, supposed to 
 be only another name for sinipulum, ; 
 which see. PliiL H. N. xxxv. 46. 
 Juv. vi. 343. 
 
 SIN'DON ((TivStiv). A very fine 
 sort of linen cloth, or mus/in, em- I 
 ployed for clothing by the natives of j 
 India, Egypt, and Asia. The same 1 
 fabric was also imported into Greece 1 
 and Italy, and used by persons of 
 refined habits, for light summer , 
 dresses, both of the inner (hidulus) 
 and outer apparel {nmictus). JIart. 
 ii. 16. iv. 19. Auson. Epkevi. in 
 Parecb. 2. Diog. Laert. vi. 90. 
 
 2. A wrapper for books. Mart. 
 xi. I. Same as Membrana, 2. I 
 
 SrXUM and -US (STros). A very [ 
 large, round, and deep bowl for wine ! 
 
 I. A semicircular fold in a loose 
 outside garment, produced by catching 
 up one of its sides and throwing the 
 end over the opposite shoulder, in 
 the manner described.?. An.ieoliuii ; 
 thus contradistinguished from pre- 
 mium, a. lap formed by holding up 
 the lower portion of the dress, and 
 from ruga, a small irregular crease, 
 arising from the constraint of a 
 girdle (dnguhim). The ordinary simis 
 was formed immediately across the 
 
 (Varro, Z. Z. v. 123. Id. De Vit. Pop. 
 Rom. ap. Non. p. 547. Plaut. Cure. 
 i. I. 82.), or milk (Virg. Eel. vii. 33.) ; 
 like the annexed example, which re- 
 presents Ulysses presenting a bowl of 
 wine to Polyphemus, in a bas-relief 
 of the Villa Pamfili. The fabled 
 size of the Sicilian monster is thus 
 appropriately expressed by the great 
 capacity of the vessel containing the 
 potation proffered to him. 
 
 SIN'US ((((iATros). Literally, any 
 surface bent into a semicircular or 
 hollow form, whence the following 
 expressive senses : — 
 
 breast, so as to make but a short 
 fall, thence termed sinus brevis 
 (Quint, xi. 3. 137.), as in the left- 
 hand figure of the annexed wood-cut, 
 from a statue at Venice ; whence the 
 word is frequently used to designate 
 that part of the human person. 
 (Phaedr. v. 5. 16. Terent. Heaut.'m.. 
 3.2. Tac. Z'irf. iii. 10.) But it might 
 be lengthened out to a much lower 
 sweep by -dropping the right hand 
 and arm, and dra\ving the end do^vn 
 with it from the shoulder, as Caesar 
 is represented to have done when 
 about to fall beneath the strokes of his 
 assassins — simul sinistra manu sinum 
 ad ima crura deduxii (Suet. C<rs. 82.); 
 it was then termed sinus laxus (Hor. 
 Sat. ii. 3. 172.), because it made a 
 long and loose belly, in the manner 
 represented by the part marked 2. on 
 the right-hand figure, from a statue 
 of the Villa Pamfili. In the late 
 fashion of adjusting the toga, a double 
 sinus was formed, a short one drawn 
 from under the right arm to the top 
 
6o6 
 
 SIPARIUM. 
 
 SIPHO. 
 
 of the left shoulder (Quint, xi. 3. 
 102.), as shown by the right-hand 
 figure, at the part marked 4, and the 
 loose one lower down, marked 2. 
 Both sexes were accustomed to ad- 
 just their outer drapeiy in this style, 
 and the hollow thus created served 
 as a convenient receptacle for carrying 
 about their persons any object which 
 they wished to keep concealed, such 
 as a letter, purse, &c. Cic. Verr. i. 
 5. 57. Ov. Am. i. 10. 18. 
 
 2. The purse of a fishing and 
 hunting net. Plant. True. i. I. 15. 
 Grat. Cyneg. 29. 
 
 3. The bosom of a sail when filled 
 by the wind. Virg. Ov. TibuU. 
 
 4. A bay or gulf on a coast, formed 
 by the retiring of the land into a semi- 
 circular recess. Cic. Virg. Plin. 
 
 5. The curved or hollow part of 
 the sharp edge in a vine-dresser's 
 bill-hook (Columell. iv. 25. i.), which 
 
 and as it is known that in some of 
 the large theatres of the Macedonian 
 era, the part of the orchestra situated 
 between the front of the regular 
 stage {proscenium) and the altar of 
 Bacchus (thymele) was converted into 
 a lower stage, upon which the mimes 
 and dancers performed (Muller, Hist, 
 of Greek Literature^ vol. i. p. 299.), 
 it may be fairly inferred that the 
 siparium was intended to conceal this 
 lower stage ; and that it was folded 
 up to reveal the dancers upon it, at 
 the moment when the aulceum was let 
 down to show the scenery upon the 
 regular stage. 
 
 SI'PHO iaii^iuv). A pipe or tube 
 through which water is made to rise 
 by its own pressure, or by artificial 
 
 resembles in form a bay of the sea, 
 as exhibited by the annexed example 
 from an ancient MS. of Columella. 
 
 6. A large full-bodied vessel for 
 wine or milk. See SiNUM. 
 
 SIPA'RIUM. A folding-screen, 
 employed at the theatre, and con- 
 sisting of several leaves, which could 
 be opened out or folded together 
 (Apul. /)/t-/. i. p. 7. sipai-ium compli- 
 cato. Id. X. p. 232. , cotnplicitis sipa- 
 riis) like a modern screen. Some 
 antiquaries think that the siparium 
 was the drop-scene used only in 
 comedy, and the aulaum only in 
 tragedy. But Apuleius speaks of 
 both as used together ; while his 
 language implies that the aulceum was 
 let down (subductutti) under the stage 
 when the play commenced, and the 
 siparium folded up {complicatum) at 
 the same moment. He represents 
 this as taking place upon the pre- 
 sentation of a pantomimic ballet, de- 
 scriptive of the judgment of Paris ; 
 
 means, into a jet a'eait. (Senec 
 Q. N. ii. 16. Plin. H. N. ii. 66.) 
 The illustration represents a fountain 
 in the fulling establishment at Pom- 
 peii; the tubes still remain projecting 
 from each of the square reservoirs, 
 but the water has been added in the 
 drawing, to show the manner in 
 which it played from them, and fell 
 in a united stream into the labrum, 
 or central basin. 
 
 2. A siphon, or pipe, by which 
 
 liquids are drawn out of casks (Cic 
 
SIPHO. 
 
 607 
 
 Fin. iL 8. Pollux, vi. 2. x. 20.), in 
 the same manner as practised at the 
 present day. The invention is of 
 very great antiquity, and of Egyptian 
 Qrigin, for the name of the instrument 
 is traced back to the Egyptian root 
 " sif, " to imbibe (Wilkinson, Manners 
 and Customs of Ancient Egvft., iii. 
 p. 341.). and is represented in the 
 annexed engraving from a painting 
 at Thebes. The right-hand figure 
 pours the Hquid into three vases 
 placed on the top of a high stand, 
 while the one on the opposite side 
 draws it off by three separate siphons 
 into a larger vessel below. One of the 
 siphons is applied to his mouth in the 
 act of exhausting the air, and the liquid 
 is already flowing through the other 
 two, which are held in his right hand. 
 3. A double-actioned forcing-pump, 
 used also as 2t. fire-engine. (Plin. Ep. 
 X. 35. Isidor. Orig. xx. 6. Ulp. 
 Dig. 32. 7. 12.) A machine of this 
 kind, discovered in the last century 
 at Castrum Novum, near Civita 
 Vecchia, and supposed to have been 
 used for pumping up the water into 
 the public baths of that town, is ex- 
 hibited on the opposite column. It 
 is constructed upon the same principle 
 as the Ctesibica machina, described 
 by Vitruvius (x. 7.), but is more 
 simple in its parts ; and, since it 
 agrees in all respects with the di- 
 rections given by Hero (de Spirit, p. 
 180.), who was a pupil of Ctesibius, 
 we can have no hesitation in receiving 
 it as a model of the original pump 
 invented by Ctesibius with the im- 
 provements effected by his pupil. 
 The parts of which it is composed, 
 and their technical names, are as fol- 
 lows : — A A (5iJo jru|i5es, modioli ge- 
 melli), two cylinders, in which the 
 suckers, B (e/ifioXoi, emboli), and 
 pistons, C (Kav6via, regulcc), work 
 alternately up and down ; D, a hori- 
 zontal tube {auKi\v) communicating 
 with and connecting the two cylin- 
 ders, and into the centre of wliich 
 another upright tube, E, l^iT^fov <saki\v 
 UpBios) is inserted. F F F F, on the 
 
 section below, four self-acting valves 
 
 "■■'"-"1, 
 
 (ao-(ra/.ii, asses), two of which are 
 affixed to the bottom of the two 
 cylinders, and the others to the neck 
 of the upright tube, one on each 
 side of it. The pump was placed, in 
 the same position as shown by the 
 engraving, over the reservoir, with 
 the lower ends of the two cylinders 
 (ff) immersed in the water. The 
 action was precisely similar to that 
 described under the article Ctesibica 
 Machina. The two pistons work 
 simultaneously, but inversely, tlie 
 one up and the other down. As one 
 rises, the valve at the bottom of the 
 cylinder opens, and allows the water 
 to be drawn in through the aperture 
 thus created, while the one which 
 descends in the other cylinder closes 
 its own valve, and thus forces the 
 water contained in it into the hori- 
 zontal tube, forcing open the neck 
 valve at its own side, and closing the 
 other one ; so that the water, having 
 the communication with the opposite 
 cylinder shut off, is driven into the 
 upright tube (e), and forced out of it, 
 with a continuous stream, through a 
 pipe or a hose, fastened on to its 
 upper end ; which is not sho\vn in 
 the engraving, because the top was 
 in a mutilated state when discovered. 
 
6o8 
 
 SIPHONARII. 
 
 SITULA. 
 
 The adaptation of such a contrivance 
 for fire engines will be readily under- 
 stood ; it, in fact, proceeds upon the 
 same principle as that employed in 
 the construction of such machines 
 amongst ourselves. 
 
 SIPHONA'RII. Firemen; or, as 
 the French language more closely 
 renders the term, pompiers, who 
 worked the engines (sip/iones) kept 
 for extinguishing conflagrations. 
 They formed part of the cohort of 
 watchmen {vigiles) established by 
 Augustus. Inscript. ap. Mur. 788. 3. 
 
 SIPHUN'CULUS. Diminutive of 
 SiPHO. A small pipe or tube through 
 which water is discharged to form a 
 jet dealt. Plin. Ep. v. 6. 23. and 
 illustration s. SiPHO, i. 
 
 SIR'PEA. See Scirpea. 
 
 SIRPIC'ULUS. See Scirpi- 
 
 CULUS. 
 
 SISTRA'TUS. One who carries 
 the Egyptian rattle (sistrum) ; thence, 
 by implication, a 
 priest or a priestess 
 of Isis, who made 
 use of that instru- 
 ment in their re- 
 ligious ceremonies, 
 holding it up and 
 shaking it with the 
 right hand, in the 
 manner exhibited 
 by the annexed fi- 
 gure from a Pom- 
 peian painting, in 
 which various classes of the Egyptian 
 priesthood are represented. Mart, 
 xii. 29. 
 
 SIS'TRUM((r€r- 
 (TTpoy). A sort of 
 rattle, used by the 
 Egyptians in the 
 religious ceremo- 
 nies of Isis (Ov. 
 A. Am. iii. 635. 
 Met. ix. 783.), and 
 in war instead of 
 the trumpet. (Vii'g. 
 A£n. viii. 696. 
 Prop. iii. II. 43.) 
 It consisted of a 
 
 number of metal rods {virgula) in- 
 served into a thin oval frame (la- 
 minam angustam in moduvi baltei re- 
 curvatam) of the same material (Apul. 
 Met. xi. p. 240.) ; to this a short 
 handle was attached, by which it was 
 held up and rapidly shaken, so as to 
 make the rods give out a sharp and 
 rattling noise. The example is from 
 an original of bronze. 
 
 S I T E L ' L A . Diminutive of 
 SiTULA. A vessel with a full belly 
 and narrow throat, em- 
 ployed at the Roman 
 Comitia for the pur- 
 pose of drawing by lot 
 the names of the tribes 
 or centuries, in order to fix the ro- 
 tation in which they were to vote. 
 The lots (sortcs), made of wood, were 
 dropped into this vessel, which was 
 filled with water, so that when shaken 
 only one of them could present itself 
 at a time, in consequence of the nar- 
 rowness of the throat, through which 
 it had to be drawn out. (Plant. Cas. 
 ii. 4. 17. lb. ii. 5. 34. Liv. xxv. 3,) 
 The example is copied from the de- 
 vice upon a coin of "the Cassian 
 gens. 
 
 SIT'ICEN (Tu/iflaiJATis). A mu- 
 sician who performed at funerals, 
 npon a particular kind of straight 
 horn (tuba) Capito. ap. Gell. xx. 2.), 
 the characteristics of which are not, 
 however, explained. 
 
 SIT'ULA. A bucket for drawing 
 water out of a well (Isidor. Orig. xx. 
 15. Plant. Amph. ii. 2. 47. Paul. 
 Dig. 18. 1. 40.) ; made with a pointed 
 bottom, to facilitate immersion, as 
 shown by the annexed example from 
 an original of bronze. 
 The same outline is 
 constantly observed in 
 the ancient representa- 
 tions of wells with a 
 windlass and bucket ; 
 in a fragment of fresco- 
 painting preserved in 
 Museum, and in the 
 GiRGILLUS. 
 
 2. A vessel used for drawing lots. 
 
SITVL US, 
 
 SOLDURII. 
 
 609 
 
 (Plaut. Cos. ii. 6. 6. Cic. Verr. iL 
 2. 51.) Same as Sitella. 
 
 SIT'ULUS. (Cato, R. R. x. 2. 
 Vitruv. X. 4. 4.) Same as SiTUL.i- 
 
 SOCCA'TUS. Wearing the shoe 
 or slipper termed soccus. Sen. Ben. 
 ii. 12. 
 
 SOC'CIFER. (Sidon. Corsz. ix. 
 215.) Same as the preceding. 
 
 SOC'CULUS. (Sen. Ben. ii. 12. 
 Suet. Fi'/. 2.) Diminutive of 
 
 SOCCUS. A loose slipper, or 
 shoe without any tie to it, but which 
 completely cover- 
 ed the foot, so 
 that a person 
 wearing it is said 
 to be soccis indutus (Cic. Or. iii. 32. ), 
 or soccis calceatus. (Plin. H. A''. 
 xxxvi. 4. § 13.) Amongst the 
 Greeks it was commonly worn by 
 both sexes (Cic. Rai. Post. 10. 
 TerenL Heaul. i. i. 72.) ; but at 
 Rome its use was strictly confined to 
 females (soccits muliebris. Suet Cal. 
 52.), and to actors on the comic 
 stage, in order to form a contrast 
 with the high-soled boot {cothurnus) 
 of the tragic drama (Hor. A. P. 80. 
 Ov. Pont. iv. 16. 29. Quint, x. 2. 
 22. ) ; so that whenever an instance 
 occurs of the soccus being worn by a 
 Roman off the stage, it is recorded as 
 a singularly anti-national affectation, 
 and reprobated accordingly. (Sen. /. c. 
 Suet. /. c. Plin. H. N. xxxvii. 6.) The 
 example here introduced is worn by a 
 comic dancer in an ancient painting. 
 
 SOLA'RIUM (<rKiafl7)po>'). A.sun- 
 dial ; a general term, including many 
 different kinds and forms of the same 
 instrument, with distinct and appro- 
 priate names, enumerated in the 
 Classed Index, and described, each 
 one under its o\vn special denomina- 
 tion. Varro, L. L. vi. 4. Plin.//. A' 
 vii. 60. 
 
 2. Solarium ex aqua. Kwater-^lass, 
 which performed the uses of a clock ; 
 showing the hours by the decrease of 
 water contained in it, against a cer- 
 tain number of spaces (spatia, Sidon. 
 ApoU. Ep. ii. 9 ) partitioned off on 
 
 the body of the vessel from which it 
 escaped, or of the one into which it 
 distilled. (Cic. N. Z>. u. 34.) In this 
 passage Cicero uses the term solarium 
 both for a sun-dial and for a water- 
 clock ; but distinguishes them by 
 callingthe former solarium descriptum, 
 the latter solarium ex aqua. 
 
 3. (^AmtTT^ptoj'). A terrace on the 
 top of a house built with a flat roof, 
 or over a porch, surrounded by a 
 parapet wall, but open to the sky, to 
 which the inhabitants retired to en- 
 joy the sunshine and fresh breezes in 
 fair weather, as is still a common 
 practice at Is'aples and in the East. 
 (Isidor. Orig. xv. 3. 12. Suet Nero, 
 16. Plaut. Mil. ii. 4. 25.) A terrace 
 of this kind was discovered on the 
 second story of a house excavated at 
 Herculaneum, of which a description 
 is given at p. 25 1 . and a plan of the 
 same, on which it is marked G. Sub- 
 sequently, however, the solarium was 
 covered with a roof (Inscript. ap. Fa- 
 brett. p. 724. n. 443.) as a protection 
 
 against the sun, and formed, in fact, the 
 upper story of a house, open to the air 
 on all sides, except the top, as in 
 the example, representing Dido's pa- 
 lace, from the Vatican Virgil When 
 thus constructed it was employed in 
 hot weather as a cceiviculum, or re- 
 freshment room. Inscript. /. c. 
 
 SOLDU'RII (€ix<"A.i/<aToi). Pro- 
 perly a Gallic word, employed by the 
 ancient Gauls (Ca^. B. G. iii. 22.) in 
 a sense somewhat similar to our 
 vassals or retainers, thereby intending 
 to designate a body of men attached 
 to some chieftain, whom they served 
 2 Q 
 
6io 
 
 SOLEA. 
 
 SOLE A TUS. 
 
 with the utmost fidelity and devo- 
 tion. 
 
 SOL'EA. A sort oidog or sandal, 
 of the simplest form ; consisting of a 
 mere sole underneath 
 the foot (Festus, o. v. 
 Isidor. Orig. xix. 34. 
 II. Aul. "Gell. xiii. 
 21.), bound on by a strap across the 
 instep, like the annexed example 
 from a Pompeian painting, and the 
 clogs now used by the Capuchin 
 friars. It was worn by both sexes 
 indiscriminately. Ov. A. Am. ii. 
 212. Hor. Ep. i. 13. 15. Plaut. 
 True. ii. 4. 12. 
 
 2. Solea spartea. A shoe or boot 
 made of the Spanish broom, for the 
 purpose of protecting 
 the feet of cattle and 
 beasts of burden, 
 when tender or dis- 
 eased. (Columell. 
 vi. 12. 3. Veg. Vet. i. 26. 3. ii. 45. 3.) 
 The example annexed is not from an 
 ancient original, but shows a contriv- 
 ance of the same kind now used by 
 the inhabitants of Japan, consisting of 
 a small basket, made to the shape of 
 the animal's foot, on to which it is 
 bound by a strap round the fetlock. 
 
 3. Solea ferrea. A protection for 
 the feet of mules (CatuU. xvii. 26.) 
 employed in draught ; intended to 
 answer the same object as the modern 
 horseshoe, though differing materi- 
 ally in its quality and manner of 
 fixing ; for the absence of all evi- 
 dence, either written, in sculpture, or 
 painting, of the use of any such 
 article, seems to afford sufficient evi- 
 dence of the fact that neither the 
 Greeks nor the Romans were in the 
 habit of shoeing their animals by 
 nailing a piece of iron on to the hoof 
 as we now do. The contrivance 
 they employed was probably a sock 
 made of leather or some such mate- 
 rial, and similar in form and general 
 character to the solea spartea last 
 described ; being passed under and 
 over the foot, and bound round the 
 fetlock and shanks of the ani- 
 
 mal by thongs of leather, like the 
 earbatince of the peasantry. This 
 sock was not permanently worn, but 
 was put on by the driver during the 
 journey in places or upon occasions 
 when the state of the roads required it, 
 and taken off again when no longer 
 necessary. Both the nature of the 
 contrivance, showing that it was a 
 close shoe covering the entire foot, 
 and the practice of putting it on 
 and removing it occasionally is suffi- 
 ciently testified by the particular 
 terms employed to designate the ob- 
 ject itself and the manner of applying 
 it — viulas caUeare (Suet. Vesp. 23.) ; 
 mulis soleas induere (Plin. H. N. 
 xxxiii. 49.) — terms which will be fully 
 understood by referring to the articles 
 Calceus and Indutus. When the 
 underneath part of the sock was 
 strengthened by a plate of iron, it was 
 tenned solea ferrea; but under the ex- 
 travagant habits of the empire, silver 
 plates were sometimes used instead of 
 iron, when it was called solea argentea 
 (Suet. Nero, 30.) ; and sometimes 
 gold, solea ex auro. (Plin. /. d".) It 
 is consequently an iron plate of this 
 kind which Catullus mentions (/. c. ) 
 as being left in the mud, by getting 
 detached from the sock under which 
 it was fastened ; and not one nailed on 
 to the hoof, like a modern horse-shoe. 
 
 4. Solea ligitea. A sort of wooden 
 clog or fetter, into which the feet of 
 criminals were inserted, to prevent 
 them from escaping while being con- 
 ducted to prison. Cic. Inv. ii. 50. 
 
 5. An instrument, or a machine 
 employed for bruising olives to make 
 oil (Columell. xii. 52. 6.) ; the nature 
 of which is entirely unknown. 
 
 SOLEA'RIUS. One who makes 
 solea', Plaut. Aul. iii. 5. 40. 
 
 SOLEA'TUS. Wearing soleas, as 
 shown by the wood-cut s. Solea, i. 
 When the word is used with reference 
 to the Romans, it is indicative of a 
 person being in-doors, or in dis- 
 habille ; as these articles were con- 
 sidered unbecoming for out-door use, 
 and to betoken affected manners or 
 
SOLIFERREUM. 
 
 SPARSIO. 
 
 6ll 
 
 a foreign style of dress. Senec. Ira. 
 iii 1 8. Gastric, ap. Gell. xiii. 21. 
 Cic. Verr. ii. 5. 33. Pis. 6. 
 
 SOLIFER'REUM or SOLLI- 
 FER'REUM. A sort of javelin 
 made of solid iron, bothheadand shaft. 
 Liv. xxxiv. 14. Festus, s. Sollo. 
 
 SOLITAURI'LIA. See Suove- 
 
 TAURILIA. 
 
 SOL'IUM (0p6vos). In the origi- 
 nal and strict meaning, a square 
 high-backed chair, «, 
 with closed sides for 
 arms, as if cut out 
 from a block of solid 
 wood, which was 
 employed in early 
 times for the king 
 to sit in, that his per- 
 son might have some 
 protectionagainstany 
 sudden or secret violence from be- 
 hind. (Serv. ad Virg. .^n. i. 506.) 
 The example, which agrees exactly 
 with the above description of Servius, 
 represents the chair used by Latinus 
 in the Vatican Virgil. 
 
 2. A chair of state, like our throne, 
 upon which the gods, kings, and 
 great rulers Q.'^'''~'^fr~\ 
 
 sat. (Virg. m^^^y/ \\ 
 ALii.ii.wit. I — ' '\ 
 Cic. Fin. (J ;~^,' ;„-!l 
 
 ii. 21. Ov. 
 Fast. vi. 
 3S3-) It 
 differs from 
 an ordinary 
 chair (ca- 
 thedra), in 
 being made of more valuable mate- 
 rials and costly workmanship. In 
 works of art it is mostly represented 
 vrith a back, arms, and cushions, fre- 
 quently covered with rich drapery ; 
 but always vrith a foot-stool in front 
 {scabellum, scammim) to indicate its 
 height. The example shows the 
 solium of Venus in -a. painting of 
 Pompeii. 
 
 3. A large arm-chair, in which the 
 Roman lawyers used to sit and re- 
 ceive the clients, who came to con- 
 
 sult them (Cic. Leg: i. 3. Id. Or. iL 
 55.) ; whence the expression, a sub- 
 selliis ill olium soliumque se conferre 
 (Id. Or. ii. 33.), means to retire from 
 court to chamber practice ; that is, 
 from active pleading in court, where 
 the advocates sat upon benches (sub- 
 sellia), to the comparative leisure of 
 attending consultations in an arm- 
 chair {solium) at home. 
 
 4. Solium eburneum. An ivory 
 chair (Claud. Laud. Stil. 199.) ; 
 meaning thereby the curule seat, 
 which was decorated with ivory ; — 
 only a poetical expression for Sella 
 
 CURULIS. 
 
 5. A receptacle for the dead body, 
 like what we now call a sarcophagus, 
 that is, of an imposing character, 
 
 made of valuable marbles (Suet. Nero, 
 50. ), and enriched by sculpture ; es- 
 pecially used as a deposit for kings 
 and great personages (Curt. x. 10. 
 Flor. iv. II. II.), of which the an- 
 nexed illustration affords a remark- 
 able specimen, from an original in 
 which the body of L. C. Scipio Bar- 
 batus was deposited. 
 
 6. The seat at the bottom of a 
 circular warm-water bath, on which 
 the bather sat and washed himself 
 (Suet. Aug. 82. Festus, s. v. ), usually 
 made of the same substance as the 
 bath itself (Pallad. i. 41.), but some- 
 times of wood (Suet. /. c.), and even 
 of silver. (Plin. H. N. xxxiii. 54.) 
 See the illustration s. Baptisterium, 
 at the bottom of which a seat of this 
 kind is exhibited. But in some of the 
 above passages, as well as others 
 (Celsus, vii. 26. 5. Sidon. ApolL Ep. 
 ii. 2., sola capacis hemicyclium), the 
 word is used for the bath itself. 
 
 SPAR'SIO. An artificial sprink- 
 
6l2 
 
 SPAR TEA. 
 
 SPATHALIUM. 
 
 ling, or mist {nimbus. Mart. Sped. 3. 
 Id. V. 25. ) of scented waters, made to 
 fall over the interior of a theatre or 
 amphitheatre by means of pipes and 
 machinery. (Senec. Contrcrv. v. 
 Prcsf. Id. Ep. 90. Q. N. ii. 9.) 
 This treat was not an ordinary oc- 
 currence, but given occasionally by 
 the munificence of some individual ; 
 and consequently it was customary to 
 announce it by an advertisement {al- 
 buni) posted in prominent parts of the 
 city, such as the following found at 
 Pompeii. — Venatio • Athlete • 
 Sparsiones • Vela erunt. That 
 is, "There will be a hunt of wild 
 beasts, an exhibition of athletic con- 
 tests, a discharge of perfumed waters, 
 and an awning over the spectators." 
 
 2. A scattering of presents to be 
 scrambled for by the people (Stat. 
 Sylv. i. 6. 65. Compare Suet. Cal. i. 8. 
 Dom. 4. ) ; same as MiSSILIA. 
 
 SPAR'TEA. See Solea, 2. 
 
 SPAR'UM or -US. A weapon, 
 properly speaking, peculiar to 
 the agricultural population 
 {agrestis sparus, Virg. .^n. 
 xi. 6S2. ; telmn rusficum, 
 Serv. ad /.), which had a 
 wooden shaft (hastile, Nepos, 
 Epam. 9.), and an iron head 
 with a curved blade attached 
 to it {in modum pedirecurvum, 
 Serv. /. c), but also ending in 
 a sharp point, to fit it for 
 being discharged as a missile 
 (Nepos, /. c. Sisenn. ap. Non. 
 s. V. p. 555.) It was used in 
 hunting (Varro, ap. Non. 
 I. c.) ; and sometimes in war- 
 fare ; but in that case it is not to be 
 regarded as a regular weapon ; only 
 such as might be adopted by rude 
 levies of the peasantry, or in sudden 
 risings, where every man arms him- 
 self as he best can. (Sail. B. Cat. 
 59.) The annexed figure is copied 
 from a bas-relief in the collection at 
 Ince-Blundell, where it is used at a 
 hunt ; and as the very peculiar form 
 of its head agrees so characteristically 
 with the description collected from 
 
 r^ 
 
 the various incidental passages cited 
 above, it does not appear that any 
 doubts can be entertained respecting 
 the name and quality of the object it 
 was intended to represent. 
 
 SPATH'A (<nraen). K batten ; a 
 flat wooden instrument used in 
 weaving, for the purpose of driving 
 home the threads of the woof or tram 
 
 (sublemen, trama) so as to knit the 
 whole closely and compactly together 
 (Senec. Ep. 90.) ; probably similar 
 to the instrument still employed for 
 the same object in Iceland, where the 
 manner of weaving is extremely 
 primitive, and which is represented 
 by the figure annexed. 
 
 2. A broad and flat wooden spatula, 
 employed for stirring, mashing, and 
 mixing medicines or other ingre- 
 dients. Columell. xii. 41. 3. Plin. 
 H. N. xxxiv. 26. Celsus, vii. 12. 
 
 3, A large, broad, and long, two- 
 edged sword, with a very sharp 
 point (Veg. Mil. ii. 15. Tac. Ann. 
 xii. 35. Apul. Met. i. p. 3.) ; as 
 
 fl 
 
 '"•—^ 
 
 shown by the annexed example from 
 the sarcophagus of Alexander Se- 
 venis. In length it reaches from the 
 ground to the top of the wearer's hip. 
 
 4. A wooden implement employed 
 by surgeons in replacing a dislocated 
 shoulder. ■ Celsus, viii. 15. 
 
 SPATHALTUM((r7raeciAinr). An 
 ornament worn by women round the 
 wrist (Plin. H. N. xiii. 52, 
 TertuU. Cult. fain. 13.); 
 which is supposed to have 
 had small bells attached as 
 pendants to it, as in the 
 example, from an original 
 discovered in a Roman 
 sepulchre ; and to have received its 
 name from the resemblance it bore to 
 a branch of the palm-tree with its 
 pendant capsule (spatha) containing 
 the flower and fniit. 
 
SPECILLUM. 
 
 SPECULUM. 
 
 6i: 
 
 SPECILT.UM (m^At,). a sur- 
 geon's p^obe, for sounding wounds, 
 and other purposes. (Cic. N. £>. iii. 
 
 22. Celsus, vii. 8. Id. vi. 9.) The 
 example is from an original of iron, 
 six inches long, which was found in 
 the house of a surgeon at Pompeii. 
 
 SPECULA (o-Koiria, cTKOTrri). A 
 watch-Unver, on which guards were 
 regularly stationed to keep a look-out 
 and transmit signals. (Varro, L. L. 
 vi. 82. Liv. xxii. 19. Cic. Fain. 
 iv. 3. Id. Verr. ii. 5. 35.) The illus- 
 tration represents a coast view, from 
 
 a painting of Pompeii, with five 
 watch-towers situated upon as many 
 eminences, very similar to those with 
 which the Italian coasts of the Medi- 
 terranean are now furnished. 
 
 SPECULA'RIA. Window panes; 
 made of thin plates of talc {lapis 
 specularls) ; a transparent substance, 
 which the ancients employed for the 
 above purpose, before the invention 
 of glass, both as a closing over the 
 aperture of a window (Senec. Ep. 
 90. Jb. 86. Q. y. iv. I3-), and 
 for covering conservatories, garden 
 frames, &c. Plin. Ji. N. xix. 23. 
 Columell. xi. 3. $2. 
 
 SPECULA'TORE.S. Lookers-out; 
 a term applied generally to any per- 
 sons who acted the part of scouts or 
 spies (Liv. xxii. 33. Sail. Jiig. 114-) ; 
 but specially to a small number of 
 men attached to each Roman legion 
 (Tac. Hist. i. 25. Hirt. B. Hisp. 
 13. Inscript. ap. Grut. 520. 5. Ap- 
 pian. B. C. v. 132.), whose duty it 
 was to collect information respecting 
 the numbers and motions of the 
 
 enemy, and to act as aides-de-camp to 
 the general in transmitting his orders 
 to the different divisions of the army. 
 Hirt. B. Afr. 31. 
 
 2. Under the Empire, the name was 
 given to a select body of men retained 
 for the service of ^)0>^ 
 
 the prince's person, ^,ii< T jyyt 
 as a sort of detec- _Ar!^-«r;:^_ 
 tive force and body — 
 guard. (Tac. Hist. i. — E 
 24. lb. il II. Suet. -~1~ 
 Cal. 44. Claud. 35.) j"-! 
 They were armed ' 
 with a lance (lancea. 
 Suet. /. c. Id. Galb. 
 18. ) ; and are fre- 
 quently represented ~~'.-L 
 on the columns of ="-^ 
 Trajan and Antoni- 
 nus in attendance upon the emperor, 
 or keeping guard before his tent, in 
 the manner shown by the example 
 annexed. 
 
 SPECULUM {^uoTTTpov. /caryir- 
 Tpov). A mirror ; 
 originally made of 
 white metal, formed 
 by the admixture 
 of copper and tin 
 (Plin. H. N. xxxiii. 
 
 45.), but afterwards of silver (Plin. 
 /, c. Plant. Mcst. i. 3. III.), which is 
 less brittle ; the surface being kept 
 bright by the use of pounded pumice- 
 stone and a sponge, usually fastened 
 to the frame by a short string. Glass 
 was also employed at a later period 
 for the mirror. The annexed wood- 
 cut represents two originals of silver, 
 both found at Pompeii, one of a cir- 
 cular shape, the most usual one, with 
 a short handle for holding it up, when 
 used, in the manner exhibited by the 
 female figure, from a painting in the 
 
6i4 
 
 SPEC us. 
 
 same city ; the other, of an oblong 
 square form, intended to be held by 
 one slave before her mistress, whilst 
 others adjusted her toilet, as is 
 often represented on Greek vases and 
 other works of art ; but the dressing- 
 mirror made in a frame to stand upon 
 the table, as a piece of furniture, like 
 the modern ones, has not been met 
 with. 
 
 2. A looking-glass (Plin. H. N. 
 xxxvi. 66. ), covered at the back with 
 tin and lead (Beckman, History of 
 Inventions, vol. ii. pp. 69— -76. ), and 
 employed as a piece of ornamental 
 furniture, like our pier-glass, con- 
 sisting of a mirror as tall as the hu- 
 man body (Senec. Q. N. i. 17.), 
 sometimes permanently fixed to the 
 wall (Ulp. Dig. 34. 2. 19. § 8.), at 
 others arranged in such a manner 
 that it could be drawn up and down 
 to different levels, like a sash. Vi- 
 truv. ix. 8. 2. 
 
 SPEC'US (o-Tre'os). Literally, a 
 cave or cavern; whence transferred 
 to the dark, covered channel which 
 forms the water-way in an aqueduct 
 (Front. Ag. 17. 21. 91. Vitruv. viii. 
 
 7. ), as shown by the part marked A 
 in the illustration, rejiresenting a 
 portion of the Alexandrine duct no%v 
 existing at Rome. It was sometimes 
 tunnelled through a hill, at others 
 raised upon one or more tiers of 
 arches, accordingly as the level of 
 the source, or the undulating nature 
 of the country required ; and in some 
 cases two, and even three, of these 
 channels wijre carried, one above the 
 other, over the same file of arches. 
 SPH^RISTE'RIUM ((r.^aipi(r. 
 
 
 expression herring-boned ; for we, as 
 well as the modem Italians, who call 
 it a spina di pesce, deduce the resem- 
 blance from the set of the bones in a 
 ri s ri s n Jic k 
 
 SPI'CULUM {x6yx-n)- Thebarbed 
 head of an arrow or spear (Ov. Met. 
 viii. 375. Hor. Od. i. 15. 17. Celsus, 
 vii. 5. 2. Ammian. XXV. i. 13.) 
 which presents several jagged 
 points like those in an ear of 
 corn [spica), as exemplified by 
 the annexed example from the 
 arch of Constantine. Hence 
 the Latin and the Greek words 
 are frequently used in the plural to 
 include the point with its barbs. 
 
 2. In later times synonymous with 
 PlLUM. Veg. Mil. ii. 15. 
 
 SPICULUM. 
 
 T^pior). An apartment for playing 
 the game at ball, attached to the 
 Gymnasia, Thermce, and other places 
 of public resort, as well as to the 
 private mansions of wealthy people ; 
 and as the players at this game were 
 usually stripped, it was frequently 
 warmed by flues from a furnace 
 (hypocausis) underneath the floor. 
 Plin. Ep. ii. 17. 12. Id. v, 6. 27. 
 Suet. Vesp. 20. Lamprid. Alex. 
 Sev. 30. 
 
 SPH^ROMACH'IA (o-^a.po- j 
 
 luax'")' A match at the game of | 
 ball. Senec. Ep. 80. Stat. Sylv. iv. 
 Prcef. 
 
 SPI'CA TESTACEA. An ob- 
 long brick, employed by the Romans 
 for making floorings (Vitruv. vii. 1. 
 5.) ; so termed because each one was 
 arranged in such a manner as to 
 imitate the setting of the grains in an 
 ear of corn [spica], as shown by the 
 example, from an ancient flooring in 
 the Thermte of Titus. A pattern of 
 this description was termed spicata tes- 
 tacea (Vitruv. vii. I. 4. Plin. H. N. 
 xxxvi. 62.), which answers to our 
 
SPJ.VA. 
 
 SPIRA. 
 
 6i: 
 
 3. ((TaupwTTjp, ovpiaxos, (TTvpa^.) ' Q.nd dolphins [de/pAifwriim co/umnez), 
 The point attached to the butt-end of intended to announce to the spectators 
 
 t^^ 
 
 a lance or a spear (G!o=s. Vet. ap. 
 Alstorp. de Hast. p. 68.), which 
 served for fixing it upright in the 
 ground (Virg. Ain. xii. 130.), or 
 might be used offensively, if the 
 regular point (cuspis) got damaged or 
 broken off. (Polyb. -n. 25.) AVe 
 have no express authority, beyond 
 that of the glossary cited, for this 
 usage of the term in Latin ; but the 
 Greek names are thoroughly authen- 
 tic, as well as the object itself, which 
 is represented at large by the top 
 figure in the annexed wood-cut, from 
 a fictile vase ; while the lower one 
 shows the spear complete, with its 
 regular head on the left end, and 
 pointed butt on the right In early 
 times the Roman lance had no ad- 
 junct of this kind ; but was adopted 
 after contact with the Greeks (Polyb. 
 /. ^. ) ; which may perhaps account 
 for the circumstance of there not being 
 any distinct term in the Latin lan- 
 guage to designate iL 
 
 SPI'XA. The barrier of a race- 
 course (Cassiodor. Var. Ep. iii. 51. 
 Schol. Vet ad Juv. Sat. -v-i. 588.) ; a 
 long low wall extending lengthwise 
 down the centre of the circus for 
 about tvvo-thirds of its length, and 
 which received the present name 
 from the similarity of its position to 
 the spine or dorsal bone in animals. 
 The object of it was to determine the 
 length of the course, and hinder the 
 chariots from coming into collision 
 front to front, as they had to run 
 seven times round it at each race. 
 The goals [vieta), round which they 
 turned, were situated at a small dis- 
 tance from each of its ends ; and the 
 whole length of the wall was deco- 
 rated with various objects on its top ; 
 an obelisk in the centre, statues of 
 the deities, an altar, and columns on 
 ■which the eggs {ova curriculormii) 
 
 ■St- 
 
 .:^ ^c. 
 
 H, Jssi 
 
 the number of courses ran, were put 
 up. The whole of these objects are 
 exhibited in the illustration from an 
 engraved gem, which represents an 
 elevation of the spina, with one side 
 of the course and the racing chariots 
 in it The position it occupied in 
 the general building, and relative 
 length in regard to it, will be seen by 
 referring to the ground-plan of the 
 circus of Caracalla (p. 165), on 
 which it is marked B. 
 
 SPIXTHERfcroi-.icT^p). A par- 
 ticular kind of broie'.et, worn by 
 females on the left 
 arm (Festus s. r .) ; 
 made of gold (Plaut. 
 Mm. iii. 3. 7.), and 
 without any clasp ; 
 but retaining its place 
 on the arm of the 
 wearer by the natural elasticity of its 
 own pressure. From this peculiarity 
 the name arose, in allusion to the 
 action of the sphincter muscle, which 
 naturally remains in a state of con- 
 traction. The illustration is from an 
 original of gold, which possesses all 
 the elastic property described. 
 
 S P I' R A (crjrerpa). A circular 
 body forming a succession of twists 
 or coils ; whence the following 
 special applications. 
 
 1. -\ coil of ropes. Pacuvius ap. 
 Fest. s. V. 
 
 2. An ornament worn by women, 
 which appears to have been a sort ot 
 ^vreath mth many pendants to it, 
 twined and interlaced round the head, 
 like the coils and heads of the ser- 
 pents commonly represented on the 
 
6i6 
 
 SPIRULA. 
 
 SPONDA ULES. 
 
 edge of Minerva's agis, and on the 
 head of Medusa. Plin. //. N. ix.58. 
 Compare Val. Flacc. vi. 396. 
 
 3. The string or tie with which 
 the bonnet [galerus) of the Salian 
 priests was fastened under 
 the chin, as exhibited by 
 tlie annexed wood-cut, 
 from a marble bas-relief 
 of Roman sculpture. Juv. 
 viii. 208. 
 
 4. A particular kind of biscuit or 
 pastry, made in a spiral form. Cato, 
 R. R. Ti. 
 
 5. The base of a column (Festus 
 J. V. Vitruv. iii. 5. Plin. H. N. 
 xxxvi. 56.), which rests upon the 
 plinth (plinthiis), or upo i a continued 
 basement (podium) instead of a plinth. 
 In its simplest form it consists of a 
 single torus surmounted by an astra- 
 gal, as in the Tuscan and Roman 
 Doric orders ; or of an upper and 
 lower torus, divided by a scotia and 
 fillets (quadrcc), and with or without 
 the astragal, as in the annexed 
 
 r 
 
 1 
 
 example, representing a very beautiful 
 and simple specimen, now known as 
 the "Attic base," in which form it 
 was applied to the Ionic and Co- 
 rinthian orders. The Greek Doric 
 had no spira. 
 
 S P I ' R U L A. Diminutive of 
 Spira, 5. (Serv. ad Virg. Mn. ii. 
 217.); of Spira, 4. (Arnob. ii. 73). 
 
 SPLENIA'TUS. Covered with 
 patches of sticking-plaster (splenium). 
 Mart. X. 22. 
 
 SPLE'NIUM (aiT\i}iiiov). An ad- 
 hesive plaster, spread upon white 
 linen or leather (Plin. Ep. vi. 22. 
 Ov. A. Am. iii. 202.), and worn in 
 patches upon the face to conceal any 
 defect, sore, or scar (Mart. ii. 29. 10. 
 Id. viii. 33.), like our sticking-plaster. 
 
 SPOLIA'RIUM. An undressing 
 room, in which the arms and clothing 
 
 were stripped from the gladiators 
 who were slain in combat (Senec. 
 Ep. 93. Lamprid. Commod. 18. and 
 19. Inscript. ap. Grut. 489. 12.); 
 whence the term is also applied gene- 
 rally to any place in which a person 
 is plundered or murdered. Senec. 
 Prov. 3. 
 
 2. An undressing room in a set of 
 baths (Gloss. Isidor.) ; same as Apo- 
 DYTERIUM ; but this usage of the 
 word rests upon no other authority 
 than the one cited. 
 
 SPON'DA (erfi\aToi>). Any one 
 of the four bars in the frame of a 
 
 sofa, or a bedstead (lectus), to which 
 the cords supporting the mattress 
 (torus) are affixed (Pet. Sat. 97. 4. 
 Ov. Met. viii. 656), as exhibited by 
 the above example from the device 
 on a terra-cotta lamp. But when the 
 bedstead or sofa was furnished with 
 sides and a backboard (pluleus), as in 
 
 the annexed example from a Roman 
 bas-relief, the open rail or front, at 
 which the occupant got into it, was 
 termed sponda more expressly (Mart, 
 iii. 91. Hor. Epod. iii. 22.), and 
 the part against the back sponda 
 interior. Isidor. Orig. xx. II. 5. 
 Suet. Ca:s. 49. 
 
 2. A couch or bier upon which 
 the dead were carried out. Mart- 
 x. 5. 9. 
 
 SPONDAU'LES ((riror5™Ar)s). A 
 musician who played an accompani- 
 ment upon a pair of long pipes (tibia 
 
SPOIfSA. 
 
 SPORTULA 
 
 617 
 
 longa) (Marius Victorin. i. 2478. 
 Diomed. iii. 472. J to the hymiis 
 which were sung at the sacrifice 
 dnring libation, as shown by the an- 
 nexed illustration from the column 
 
 of Trajan. The minister (camillus) 
 stands in front of the altar with the 
 incense box {acerra, hence libare 
 acerrd), the spondaules with a pair 
 of pipes behind him, and Trajan 
 with a patera on the right side, the 
 left of the group in the original com- 
 position being occupied by the /-/a 
 and the victim. 
 
 SPOX'SA, SPOX'SUS. A h- 
 trothed couple; but not yet married. 
 Amongst the Romans young per- 
 sons were frequently betrothed to each 
 other long before the marriage was 
 intended to take place ; and the cere- 
 mony was performed in presence of the 
 relatives and friends of both parties, 
 
 when the marriage contract (spon- 
 salid) was signed by the affianced 
 
 pair, who then mutually joined hands, 
 and pledged themselves to one an- 
 other, as represented by the illustra- 
 tion, from a Roman bas-relief; the 
 man then put a ring on the finger of 
 his betrothed for a token of fidelity. 
 The woman was termed sperata, 
 during courtship ; pacta, when 
 the lover had made his proposals, 
 and been accepted by the girl 
 and her father ; spcnsa, when they 
 had mutually pledged their faith ; 
 and nupta, when a bride. Xon. s. z: 
 
 P- 439- 
 
 SPOR'T.\ (tnTt/pis). Around plaited 
 basket, with a small flat bottom, and 
 handles on the top for the purpose of 
 suspending it from the arm, or on a 
 pole (jugum), when carried with its 
 contents from place to place. It was 
 employed for many uses (ColumelL 
 ^•iii. 7. I. Varro ap. 
 Xon. s. Z-. p. 177. 
 Plin. //. X. Kxi. 
 49.), and especially 
 as a fishing-basket. 
 (Mart. X. 37. Al- 
 ciphr. £p. LI., and 
 wood-cut s. HA>ti. 
 OTA.) The example is from the 
 statue of a young fisherman, in the 
 Royal Xeapolitan Museum. 
 
 SPORTEL'LA (iirupiSioi/). Di- 
 minutive of Sporta ; especially a 
 small basket in which cakes, fruit, 
 and eatables were handed round at 
 table. Pet. Sat. 40. 3. Cic. J^am. L\. 
 20. Suet. Z)om. 4. 
 
 SPORTULA ((TirvpiSiov). Di- 
 minutive of Sporta ; a small fishing- 
 basket (Plant. SticA. iL 2. 16. Apid. 
 -l/rf. I. p. 19.), like the preceding 
 example. It would appear that bas- 
 kets of this description were also em- 
 ployed for handing round certain 
 kinds of eatables at table ; whence 
 the term was adopted to signify a 
 dole, consisting of a small basket of 
 provisions, given by great personages 
 to their clients and retainers, as a 
 substantial return for the comt paid 
 to them, when they assembled at the 
 great man's door to make their daily 
 
6i8 
 
 SPUJIfA. 
 
 compliments. Latterly, as manners 
 I grew more refined and morals less 
 so, the dole of provisions was com- 
 muted for a sum of money ; whence 
 a gift or present of any kind was also 
 termed a sportula. Juv. iii. 294. 
 Mart. xiv. 125. Plin. Ep. ii. 14. 4. 
 
 SPU'MA (sc. caustica or Batava). 
 A pomade, manufactured by the 
 Germans and Gauls, from goats' 
 tallow and beech-wood ashes, and 
 employed tor the purpose of giving a 
 light brown tinge to the hair. Mart, 
 xiv. 26. Id, viii. 33. 20. Also termed 
 Sapo. 
 
 SQUA'MA (Aeiris, <po\ls). See 
 LORICA, 3. and 4. 
 
 STABULA'RIUS. Alwery-stable 
 keepei', who keeps a set of stables, and 
 takes in horses to bait. Ulp. Dig. 4. 
 9. I. Caius, ih. 
 
 2. An inn-keeper, or master of a 
 stabuhun, which afforded accommo- 
 dation for "man and beast." Senec. 
 Ben. i. 14. Apul. Met. i. p. 13. 
 
 STAB'ULUM (o-TaMs). In a 
 general sense, any standing-place 
 (from sta7'e) which serves as an 
 abode or shelter for man or beast ; 
 as a stable for horses (Virg. Georg. 
 iii. 184. Equile) ; a pen or fold for 
 sheep and goats (lb. iii. 295. Ain. x. 
 723.) ; a shed or stall for oxen (Colu- 
 mell. vi. 23. Bubile) ; an aviary for 
 poultry and domestic birds (Columell. 
 viii. I. 3. Ornithon. Chors) ; a 
 shed for bee-hives (Id. ix. 6. 4. 
 Apiarium) ; a stock pond for fish. 
 (Id. viii. 17. 7. Piscina.) 
 
 2. (TTaz/So/ceVoy). An i7m qit public- 
 house, for the temporary accommo- 
 dation of travellers. (Pet. Sat. vi. 
 8. Id. xvi. 4, Plin. Ep. vi. ig. 4.) 
 A distinction between the stabulum 
 and caupona is drawn in the Pandects 
 (Ulp. Dig. 4. 9. I.), though without 
 any particulars to explain the differ- 
 ence. But to judge from the general 
 meanings of the two words, and the 
 particular applications given to them, 
 we may conjecture that the latter was 
 only intended for the reception of 
 lodgers who travelled on foot, the 
 
 STADIUM. 
 
 former for the accommodation of the 
 horse as well as its rider. Such 
 a distinction would be perfectly con- 
 sonant with our own customs, since 
 the keepers of many public-houses 
 at this day do not take horses 
 in to bait ; but amongst the Ro- 
 mans it would be the more neces- 
 sary, as the great majority of travel- 
 lers journeyed on foot, and those 
 who were wealthy enough to use 
 horses and carriages, generally took 
 advantage of private hospitality, in- 
 stead of resorting to an inn. A sta- 
 bulum, thus understood, would then 
 be an establishment of much less 
 common occurrence than the caupona, 
 and probably always opened on the 
 roadside, or near the entrance of a 
 town, at which persons coming from 
 the country could put up their horses 
 and carriages, without driving them 
 through the streets ; whereas the cau- 
 pona was mostly in the heart of the 
 city. This notion is further confirmed 
 by the discovery of an inn for man 
 and beast, just outside the gates of 
 Pompeii, on the road to Herculaneum, 
 having a very large range of stables 
 attached to it, in which the skeleton of 
 an ass was found, aswell asseveral bits, 
 wheels, and other pieces of harness. 
 
 STADIOD'ROMUS (o-roSioSpti- 
 juos). One who runs a race in the 
 Greek stadium. Plin. H.N. xxxviii. 
 
 19- § 3- 
 
 STAD'IUM (a-ralMv). A race- 
 course for foot-racing, so named 
 because the famous race-course at 
 Olympia measured exactly one stade 
 (o-TctSioj'), which contained 600 Greek 
 feet, equal to 6o6| English, and about 
 one-eighth of a Roman mile. A course 
 of this description usually formed one 
 of the principal appendages to the 
 Greek gymnasia and Roman thermce, 
 and in these other athletic contests, 
 as well as foot-races, were exhibited ; 
 but separate and isolated structures 
 were also laid out for the same pur- 
 pose. In its general plan the stadium 
 approximated very closely to the 
 Greek hippodrome and the Romac 
 
STALAGMIUM. 
 
 STAMEN. 
 
 619 
 
 circus, without the barrier (spina) 
 and stalls {carceres), forming a narrow 
 oblong area, terminated in a semi- 
 circle at one end, and by a straight 
 line at the other, the seats for the 
 spectators being sometimes excavated 
 on the slope of a hill, sometimes 
 formed upon an artificial embankment 
 of earth, or raised upon arches of 
 masonry and brickwork like the Ro- 
 man circus. The names appropriated 
 to the several parts were the same as 
 those employed for the hippodrome ; 
 vnXh the exception of the circular 
 end, which had a special term of its 
 own, being called the a(pfvS6iiri (fun- 
 da), either from its elliptical figure, 
 or its resemblance to a sling, or to 
 the bezel of a ring ; but this was not 
 used in the foot-race, for the 600 feet 
 comprised in the length of the stadium 
 extended only as far as the straight 
 sides of the enclosure, from A, the 
 starting-place (&(p€ais), to the two 
 angular projections of masonry which 
 
 terminate the (!<pevS6vri, marked B. 
 The illustration represents the ground 
 plan of a stadium at Cibyra (now Bu- 
 raz) in Lycia, still in considerable pre- 
 servation ; to which nothing is added 
 but the two projecting walls, near the 
 circular extremity on the inside, for 
 the purpose of showing the <!<pivi6vr], 
 and these are copied from existing 
 remains in the stadium Jt Ephesus. It 
 stands on a hill-side, from which a 
 certain portion is cut away to form a 
 long flat terrace, having its outer 
 edge bounded by a walled embank- 
 ment represented by the double lines 
 on the top of the plan, and suffici- 
 ently deep to carry several rows of 
 seats arranged along it ; the opposite 
 side, and the circular end is exca- 
 vated out of the slope of the hill, 
 which is cut into twenty-one rows of 
 seats, rising like steps one above the 
 other, and subdivided by staircases, 
 in the same manner as the cavea of a 
 theatre or amphitheatre. 
 
 STALAG'MIUM. An ear-ring, 
 furnished with one or more drops of 
 gold, pearls, beads, or precious a 
 stones, which depend from it (^j 
 and imitate the shape of a drop ^ 
 of water (aTo.Ka'yixa.), which is ^ 
 the meaning of the Greek word ,i 
 after which the Latin one is ^ 
 formed. (Festus s. z: Plaut. ' ' 
 ilen. iii. 3. 18.) The annexed 
 illustration affords an example, ""^ 
 from an original in the British Mu- 
 seum. 
 
 STA'MEN ((TT-fifioii'). A spun 
 thread (Ov. Her. iii. 76.); consisting 
 of several fibres drawn down from 
 the top of the distaff (coins ; deducere 
 stamina colo. TibuU. i. 3. 86.), and 
 
 twisted together by the thumb (stamina 
 pollice torque. Ov. Itlet. xii. 475.) 
 and the rotary motion of the spindle 
 (ficstts), as it hung in a perpendi- 
 cular line from the distaff, the up- 
 right position 
 suggesting the 
 name. All 
 these particu- 
 lars are dis- 
 tinctly illus- 
 trated by the 
 wood-cut, re- 
 presenting a 
 female spin- 
 ning, from a 
 Roman bas- 
 relief. 
 
620 
 
 STAPES. 
 
 STATORES. 
 
 7 
 
 2. The warp or warp-threads in an 
 upright loom, at which the weaver 
 stood instead of sitting. 
 (Varro, /. L. v. 113. 
 Ov. Alel. vi. 54. 55. 
 58. Senec. Ef. 90.) 
 They were extended 
 in a perpendicular di- 
 rection from the warp- 
 beam {ijisubiihivi), or 
 from the yoke of the Wj 
 loom [jtigum], as ex- 4=/ Lj 
 hibited in the annexed hgure, repre- 
 senting Circe's loom in the Vatican 
 Virgil ; and formed the groundwork 
 into which the threads of the woof 
 (subtemen) were inserted ; whence the 
 term is also given to any thing made 
 of thread, as a garment (Claud, m 
 
 Ettirop. i, 304.); or a fillet round the 
 head. Prop. iv. 9. 52. 
 
 3. The strings of a lyre (Ov. Md. 
 xi. 169.); so named from the resem- 
 blance which they bore , 1 
 
 to the warp-threads of '^^=r 
 an upright loom, as 
 exhibited by the an- 
 nexed figure from a 
 painting in the Naso- 
 nian sepulchre near . 
 Rome. ^ ^ 
 
 STAPES or STAPIA. A word 
 found in some inscriptions, evidently 
 not of an early character, in which it 
 signifies a stirritp. It appears to be 
 formed from the German staff, a step ; 
 and though inserted in the Latin dic- 
 tionaries is to be considered as a word 
 of modern invention, for which there 
 is no ancient authority. Compare 
 
 SCALA, 4. 
 
 STATE'RA. A steel-yard; an 
 instrument of much later invention 
 than the balance (libra). It consisted 
 of the yard (scaptis) divided into 
 fractional parts by points (pimcia), j 
 and suspended from above by a hook 
 or chain, called the handle (ansa). 
 The short end of the yard was fur- 
 nished with a hook, to which the 
 objects to be weighed were fixed, and 
 sometimes with a scale (lanctda) for 
 holding them ; the longest end, on 
 
 the other side of the point of sus- 
 pension, with a sliding weight (cequi- 
 
 — 
 
 
 ^ 
 
 
 pondiutn). Vitruv. x. 3. 4. The 
 whole of these particulars mentioned 
 by Vitruvius are exhibited in the an- 
 nexed figures, both from originals 
 discovered at Pompeii. 
 
 2. Sometimes used without discri- 
 mination for libra, a balance. Pet. 
 Sat. 35. 4. Suet. Vesp. 25. 
 
 3. A curricle bar or yoke, placed 
 
 across the withers of a pair of horses, 
 and to which the pole (tenia) was 
 attached, as in the annexed example 
 from a painting at Pompeii. Stat. 
 Sylv. iv. 3. 35. 
 
 3. A kind of dish, probably of a 
 flat circular form, like the scale ap- 
 pended to the steel-yard in the first 
 example. Com. Nepos. ap. Plin. 
 H. N. xxxiii. 52. 
 
 STATO'RES. Officials or public 
 servants who attended upon Roman 
 magistrates in the provinces, and more 
 
STATU A. 
 
 STILUS. 
 
 621 
 
 especially employed for carrying let- 
 ters, messages, dispatches, &c. (Cic. 
 Fam. ii. 17. ib. 19. x. 21.) Their 
 office was abolished by Septimius 
 Severus, and the duties discharged 
 by them transferred to the military. 
 Lamprid. Alex. Sev. 52. Ulp. Dig- 
 I. 16. 4. 
 
 STATU A (avSpLis). The statue of 
 a man, as distinguished from signum, 
 the statue of a deity. Plaut. Bacch. 
 iv. 3. I. Cic. Pis. 38. 
 
 STEG'A (iniyri). A word merely 
 transferred from the Greek, signifying 
 the deck of a ship (Plaut. Bacch. ii. 
 3. 44. Id. Stick, iii. I. 12.); for 
 which the Romans use the expression 
 CoNSTRAxaM NAVis, under which an 
 illustration is given. 
 
 STE'LE (ffT7)\7;). A word merely 
 transferred from the Greek (Plin. 
 H. N. vi. 32.) ; for which the genuine 
 Latin term is CiPPUS. 
 
 ST EM MA (a-Te>na). Properly 
 speaking a Greek word, in which 
 language it signified a garland or 
 wreath bound round with fillets of 
 wool, and worn as a. chaplet on the 
 head, or employed as a decoration for 
 other objects, as well as the person 
 (Corona Infula). But the Romans 
 adopted the term in a more special 
 sense to designate a long scroll deco- 
 rated with garlands, and having a list 
 of the family names emblazoned on 
 it, which it was customary to hang 
 upon the ancestral busts, as they 
 stood in their cases {mdiculce) round 
 the atrium (Plin. H. N. xxxv. 2. 
 Senec. Ben. iii. 28.) ; whence the 
 word came also to signify a genea- 
 logical tree, pedigree, or lineal stem. 
 Suet. Galb. 2. Nero, 37. Mart. v. 
 
 35- 
 
 STEREOB'ATA. (Vitruv. iv. 
 3. I.) Same as Stylobata. 
 
 STIBAD'IUM. A circular 
 dining-couch, adapted to a round 
 table (Plin. Ep. v. 6. 36, Mart. xiv. 
 87. Sidon. Ep. i. 11. Serv. ao'Virg. 
 .lEn. i. 698.) ; otherwise called 
 Sigma. 
 
 STIG'MA (crTi'7Ma). Literally, a 
 
 mark made by puncture ; whence, a 
 brand, or mark pricked into {scriptum 
 and inscriptum, Quint, vii, 4. 14. 
 Sen. Ben. iv. 37O' o'' stamped upon 
 (impressum. Pet. Sat. 105. 11.), the 
 forehead of a slave (Id. 103. 2 and 
 4.), convicted of thieving, running 
 away, &c. A single letter, such as 
 F, for fur, might in some cases be 
 deemed sufficient for the purpose ; 
 but the last passage cited from Pe- 
 tronius expressly mentions an entire 
 word, if not a sentence, in large 
 letters covering the face. 
 
 2. A mark pricked into the arm 
 of conscripts (Veg. Mil. i. 8. Id. ii. 
 5.) after they had been approved as 
 capable of military duty, in order that 
 they might be called out when re- 
 quired ; and likewise upon labourers 
 employed in the state factories to 
 prevent them from deserting their 
 employments, atnd accepting work 
 from other mas ers. (Impp, Arcad. 
 et Honor. Cod. 11. 9. 3.) The 
 same was sometimes pricked on the 
 hand. Imp, Zeno, Cod. 42. 10. 
 
 STIGMAT'IAS {<rTiy^a.Tias). A 
 slave marked with the stigma. Cic. 
 Of. ii. 7. 
 
 STIGMO'SUS. (Pet. Sat. 109. 
 8.) Same as the preceding. 
 
 STIL'US or STYL'US (tP"*^')- 
 An instrument made of iron or bone 
 (Isidor. Orig. vi. 9.), pointed at one 
 end, but having a broad flat blade at 
 the other (Sympos. yEnigm. I.), and 
 employed for writing upon tablets 
 
 covered with a thin coat of wax 
 (Plaut. Bacch. iv. 3. 79. and 91.). 
 The point served for tracing the 
 letters, and the flat end for making 
 corrections by smoothing over the 
 surface of the wax so as to obliterate 
 the writing, whence the expression 
 vertere stilnm (Hor. Sat. i. 10. 72.) 
 means to erase or correct the compo- 
 sition. Scholars generally trace the 
 word to the Greek one, ittDAos, a 
 pillar : but as the best Latin autho- 
 
622 
 
 STIiiaLUS. 
 
 ST LA TA. 
 
 lities spell it with an i instead of j', 
 and the Latin penult is short, while 
 the Greek one is long, it is more pro- 
 bable that it comes from uTeAexos, a 
 stalk, which is also one of the mean- 
 ings of the Latin stilus (Columell. 
 xi. 3. 46. >-. 10. 2.). 
 
 2. Stilus cacus : the spike of a 
 caltrop, which was placed upon the 
 gi'ound, so that it would be concealed 
 
 by herbage, while it effectually dis- 
 abled cavalry from advancing. (Hirt. 
 B. Afr. 31. Sil. Ital. x, 414.) The 
 example is from an original. 
 
 3. The pin or index of a sundial 
 (Mart. Capell. vi. 194.) ; otherwise 
 called Gnomon, under which an ex- 
 ample is given. 
 
 4. A bronze needle, or sharp- 
 pointed rod, employed for destroying 
 maggots and insects in fruit trees. 
 Pallad. iv. 10. 20. 
 
 5. A wooden probe employed in 
 the kitchen garden for inoculating 
 the seed of one plant into the pithy 
 stalk of a different species. Columell. 
 xi. 3. 53. 
 
 STIM'ULUS [KivTfiov). A goad 
 or stick with an iron prick at the end, 
 employed for driving animals, oxen, 
 
 (J^aBMam-^-v^--— — ^v— .r- -iV»illiirTi7>- 
 
 horses, mules, and slaves. Tibul. i. 
 I. 10. Columell. ii. 2. 26. Sil. Ital. 
 vii. 702. Plaut. Most. i. i. 54.) The 
 example is from a terra-cotta at Yel- 
 letri, after Ginzrot. 
 
 2. Stimulus cuspidaiits rallo. A 
 goad with a spud [ralhini) affixed to 
 one end, which was employed by the 
 
 ^■» =3- 
 
 ploughman in cleansing the plough- 
 share, as the point was for driving 
 
 his oxen. Plin. H. IV. xviii. 49. § 2. 
 The example is from an Etruscan 
 bronze. 
 
 STI'PES (a-TUTTos). A round stake 
 fixed in the ground (Festus 
 s. V.) ; as a land mark (Ov. 
 Fast. ii. 642.) ; as a stay for 
 tethering other things to (Id. 
 iv. 331. Suet. IVa-o, 29.), or 
 for supporting them, as in the 
 annexed example from the 
 column of Trajan, which re- 
 presents the manner in which 
 the soldiery piled their helmets and 
 shields when engaged upon field 
 works, making fortifications, &c. 
 
 2. A stake set up for practising 
 recruits at their exercises (Mart. vii. 
 32.) ; same as Palus. 
 
 STI'VA (f'xeVAT)). The plough- 
 staff, or handle of a plough ; consist- 
 ing, in its simplest foi-m, of a single 
 upright branch (Varro, Z. Z. v. 135.), 
 forming part of the same piece as the 
 
 plough-tail {buris), which the plough- 
 man held in his left hand to guide 
 the machine, or pressed down to 
 make the share penetrate the ground, 
 in the manner shown by the annexed 
 example, from a Roman bas-relief; 
 which also graphically illustrates such 
 expressions as siivs fcene rectus inni- 
 titur (Columell. i. 9. 3.) ; stivce in- 
 nix-US (Ov. Mft. viii. 218.) ; stivam 
 p!-emens (Id. Fast. iv. 826.). Other 
 plough-staffs, upon a more improved 
 plan, are exhibited under the words 
 Aratrum and BuRA. 
 
 STLA'TA. A particular kind of 
 sea-going vessel (Aul. Gell. x. 25. 
 Auson. Ep. xxii. 31.), constructed 
 ^vith an unusual breadth of beam, 
 and lying low upon the water (Fes- 
 
STOLA. 
 
 STRAGULUM. 
 
 623 
 
 tus J. V.) ; characteristics which are 
 not suiBciently apparent on any an- 
 cient monuments to afford n. trust- 
 worthy example. 
 
 STOL'A. A female robe, which 
 constituted the characteristic feature 
 in the attire of a Roman matron, as 
 the toga did in that of the male sex 
 (Pet. Sat. 81. 5. Compare Cxz.Phil. 
 ii. 18, though in the latter passage 
 the reading has been controverted). 
 It was a tunic made very full, and 
 sometimes with long sleeves ; at 
 others with short ones, fastened down 
 the fleshy part of the arm with clasps, 
 but put on as an indumentum (Senec. 
 Vit. B. 13.), over the chemise {tunica 
 intima), and fastened mth a double 
 girdle (succincta, Enn. ap. Xon. p. 
 198.J, one under the breast, and the 
 other over the hips, so as to produce 
 an ample display of small irregular 
 folds (rugce, JIart. iii. 93.) when com- 
 pressed by and drawn through its 
 ligatures. Thus — , 
 
 far the stola t,',\ 
 does not ma- ^ "i?T-, 
 terially dSSex /^'r^ '^ 
 from the outer" 
 tunic usually 
 worn by the 
 Roman ladies. 
 But what con- 
 stituted its dis- 
 tinguishing fea- 
 ture was an ap- 
 pendage termed 
 instita^ the spe- 
 cial character of 
 which is investigated 
 word, and appears, together with the 
 garment to which it was attached, to 
 be exemplified by the long train de- 
 pending behind, and covering the back 
 part of the feet of the annexed figure, 
 from a painting in the Thermae of 
 Titus, supposed to personify Veturia, 
 the mother of Coriolanus. 
 
 2. (o-toAt;). The Greek? made use 
 of the term in a more general sense, 
 applying it to any kind of robe worn 
 by men as well as women ; and in 
 this they were followed by the elder 
 
 that 
 
 Latin WTiters. 
 P- 537- 
 
 Ermius af. Xon. s. v. 
 
 3. A long and loose flowing tunic 
 worn by musicians (Varro, R. R. iiL 
 13. 3.), and possess- 
 ing considerable re- 
 semblance to the 
 
 1 female robe described 
 I above, for it was of 
 
 considerable length, 
 
 and made much wider 
 
 at bottom than at 
 
 the top, so that it 
 
 would trail on the 
 , ground behind, as if 
 
 there were an instita 
 
 attached to it. The 
 
 illustration, from a 
 '. statue of ApoUo in 
 
 the Vatican, mil establish the above- 
 mentioned affinity, and thus account 
 \ for the name ; though it was more 
 
 commonly termed falla citharadica, 
 
 4. At a later period, a robe worn 
 ' by certain priests (Apul. Met. xi. 
 
 p. 257.); probably of a similar cha- 
 racter to the last example. 
 
 .STOLA'TA. Wearing the robe 
 of a Roman matron (Pet. Sat. 44. 
 iS.j, as described and illustrated s. 
 Stola, i. ; particularly as indicative 
 of a chaste and virtuous female 
 (whence pudor stolatus. Mart. L 36. ), 
 because women of abandoned charac- 
 ter, or who had been divorced on 
 the ground of adultery, were not per- 
 mitted to wear that article of attire. 
 
 STOR'EA andSTO'RIA. A 
 covering or a mat, made of rushes or 
 string. C^s. B. C. ii. 9. Liv. xxx. 
 3. Plin. H. a: x^-. 18. § I. 
 
 STRA'GULUM {arpHf^a). A 
 general term for any thing which is 
 spread out or over something else, to 
 make an under coverlet for lyingupon; 
 more particularly appUed to the 
 articles used for la)'ing over the 
 mattress of a sleeping bed (Cic. 
 Tusc. V. 21. Varro, Z. Z. v. 167. 
 Senec £j>. 87.) ; or a bier upon 
 which the corpse is laid out (Pet. Sat. 
 42. 6. Id. 78. I.) ; in all which pas- 
 sages the term is used to distinguish 
 
6.24 
 
 STJiA TOR. 
 
 STRIA TUS. 
 
 the under sheet or blanket upon which 
 the body reposes, as contradistinct 
 from the upper one, or coverlet {operi- 
 mentum, opertorium), thrown over it. 
 2. (^iri'|8\i7Ma. ) A caparison for 
 riding horses (Mart. xiv. 86.) ; placed 
 under the padsaddle [ephipipiuin'), or 
 used instead of it, and consisting of 
 the furred skin of some wild beast, 
 such as the lion or tiger (Virg. yEn. 
 viii. 553. Sil. Ital. v. 148.), of sui5 
 
 cient size to cover nearly the whole 
 body of the animal (Virg. /. c), like 
 the sheep-skins of our heavy cavalry, 
 and the example above from a Greek 
 coin ; or without the fur, and then 
 
 made of leather covered over with 
 scale armour (Virg. yEii. xi. 770.), 
 like the present example from the 
 Theodosian column, which exactly 
 resembles in its outline the caparisons 
 now used in our light cavalry regi- 
 ments. 
 
 STRA'TOR (ara/3o\eiJs). A 
 soldier who acted as military groom, 
 or equerry to the emperor, and to a 
 consul or praetor in the Roman armies 
 (Ulp. Dig. i. 16. 4.) ; it being his 
 
 duty to purchase cavalry horses for 
 the service of the commander (Am- 
 mian. xxix. 3. 5. ), as well as to saddle 
 them, lead them out, and assist the 
 officer in mounting (Id. xxx. 5. 19. 
 Spart. Caracall. 7. ), as stirrups were 
 not brought into use until a veiy late 
 period. The illustration rejjresents 
 an equerry of this description, holding 
 the emperor's horse, from the column 
 of Trajan. He wears the military 
 
 cloak, paludamenium, thus indicat- 
 ing that his rank was considerable. 
 Other examples are frequently re- 
 presented on the triumphal arches 
 and columns, both with and withDut 
 this cloak, though always in militiry 
 costume ; bi't civilians of rank and 
 fortune also kept servants who per- 
 formed the same duties, and went by 
 the same designation. 
 
 STRE'NA. A present which the 
 Romans were accustomed to send to 
 one another on a festal day, or clients 
 to their patrons, and citizens to the 
 emperor ; more particularly on the 
 calends of January, as a new year's 
 gift. Festus s. V. Suet. Aug. 57. Id. 
 Cal. 42. 
 
 STRIA (^a35os, Juo-Tpi's). The 
 flute of a column, including the list 
 or fillet between two channels, as 
 well as the channel itself. Vitruv. 
 iii. 5. 14. Id. iv. 4. 2, 
 
 STRIATU'RA [fii.&l^ai%). The 
 fluting of columns. (Vitruv. iv. 3. 
 9.) Stria. 
 
 STRIA'TUS (ia;85oT(!s). Fluted, 
 like a column. Vitruv. vii. 5. 3. 
 
STRIGILECULA. 
 
 STROPHIVM. 
 
 625 
 
 STRIGILE'CULA {a-rXi-^-y^ihov). 
 (Apul. Flor. ii. 9. 2.) Diminutive 
 of 
 
 STRI&ILIS {a-vXeriU, ^va-Tpis). 
 A strigil or scraper, employed in 
 Greece and Italy for scrap- -^-^-^ 
 ing off the moisture and ^ 
 impurities thrown out upon 
 the surface of the skin by 
 the heat of the vapour bath, 
 or the violent exercise of 
 the palaestra. (Cic. Fin. 
 iv. 12. Suet. Aitg. 80. Pers. 
 V. 126.) It was made of 
 iron or bronze, ivith a han- 
 dle, into which the hand 
 could be inserted (clausula), 
 and a curved blade (Mart. xiv. 51.) 
 hollowed into a channel {tubulatio), 
 down which the moisture and per- 
 spiration would flow as in a gutter 
 (Apul. Flor. ii. 9. 2. ). When used, 
 the edge was lubricated with a few 
 drops of oil functus, Juv. iii. 262. ) to 
 prevent abrasion of the skin. The 
 example, which possesses all the pro- 
 perties enumerated, is copied from 
 an original of bronze, discovered at 
 Pompeii, together with three others, 
 upon a ring, which also held an oil 
 flask [ampulla), and ashallowpanwith 
 a handle (scapkiuni) ; the whole as 
 mentioned by Plautus {Fers. i. 3. 44. ). 
 The method of using it is shown by 
 the woodcut s. Aliptes. 
 
 2. (ilTf7xuT7;s.) A surgical in- 
 strument for introducing lotions into 
 the ear (Celsus. vi. 7. Plin. B. N. 
 XXV. 103.) ; which may be readily 
 imagined to have received the name 
 from being formed with a hollow 
 channel down its length, like that of 
 the scraper above described. 
 
 STRO'MA (o-TpSfia). (Capitol. 
 Ver. 4.) A Greek word, correspond- 
 ing with the Latin Stragulum ; . 
 which see. 
 
 STROPHIA'RIUS. One who 
 makes and sells strophia. Plaut. 
 Aul. iii. 5* 42. 
 
 STROPHTOLUM. Diminutive 
 of Strophium. a small chaplet or 
 twisted band for the head. Plin. 
 
 H. N. xxi. 2. Tertull. Cor. Mil. 
 
 '5- 
 STROPHIUM {^Tp6<pLov). A 
 
 sash, or rather scarf (mitra), twisted 
 or rolled up into a long, round, and 
 even form {tereti 
 stropkio, Catull. Ixiv. 
 65. ffrpoyyvXT) ^wvtj. 
 Hesych.), and fast- 
 ened round the bust 
 close under the 
 breast, to serve as a 
 support to the bosom 
 for young women 
 who had attained 
 their full develop- 
 ment. (Cic. Fragm. 
 ap. Non. J. V. p. 538. 
 Catull. /. c). It was not flat, nor 
 was it worn next the skin, like the 
 bosom band (mamillare), but over a 
 little tunic or chemise (tunicula), as 
 is clear from a passage of Turpilius 
 (ap. Non. /. c), in which a girl is 
 introduced lamenting the loss of a 
 letter that she had deposited between 
 her chemise and strophium — inter 
 vias epistola cecidit mihi, Infelix, inter 
 tuniculam et strophium quam colloca- 
 veravt — and precisely as exhibited 
 by the annexed figure, from a statue 
 believed to represent a young Doric 
 female, dressed for the foot-race 
 (compare Pausan. v. 16. 2., who 
 there describes a costume of exactly 
 the same character as the one here 
 shown). A similar appendage is 
 frequently met with on statues and 
 other representations of Diana, the 
 huntress, which is unaccountably 
 mistaken for the chlamys. We may 
 also infer from these peculiar in- 
 stances, that it was not intended as a 
 contrivance for compressing the form 
 artificially, nor worn by all females, 
 but only by those whose figures, or 
 active habits of life, rendered such 
 an assistance necessary. 
 
 2. A wreath worn round the head, 
 Virg. Cop. 31., where it is made of 
 roses ; see the wood-cuts j. Corona, 
 10. and II. 
 
 3. The cable of an anchor. Aoul. 
 
 2 B 
 
626 
 
 STRUCTOR. 
 
 STRUPPUS. 
 
 Met. xi. p. 250. Ancorale, and 
 wood-cut s. V. 
 
 STRUC'TOR (TpaiTiCo-'roi6s). A 
 slave whose duty it was to arrange 
 the several dishes of each course 
 upon the trays (fa-ciila, Serv. ad 
 Virg. AL71. i. 704.), and place them 
 in proper order in the dinner-basket 
 {repositoriwn. Pet. Sat. 35. 2. ) ; 
 sometimes also to take upon himself 
 the office of carver (Mart. x. 48. 
 Juv. v. 120.), and to set out in a 
 tasty manner, or construct in artifi- 
 cial devices, the fruits and delicacies 
 of the dessert. Lamprid. Elag. 27. 
 
 STRUCTU'RA. Generally, the 
 putting together of things in regular 
 order ; whence the term is specially 
 applied to designate masonry, or the 
 constructive arrangement of stones in 
 a wall. (Vitruv. ii. 8. Plin. H. N. 
 xxxvi. 51.) Six different styles are 
 enumerated in the practice of the 
 Roman and Greek architects, each 
 presenting a distinct pattern to the 
 eye, as exhibited in contrast by the 
 annexed engraving ; viz. i. reticu- 
 
 ashlar, E, bound together by girders, 
 F, and the central part filled in with 
 rubble, G ; 6. diamicton, which is the 
 same as the last, without the girders. 
 STRUPPUS (T/JoTTtis, TponaTlip). 
 A twisted thong of leather, or cord, 
 by which the oar is fastened to its 
 thowl (scdlmtis). (Vitruv. a. 3. 6. 
 
 lata, reticulated, which has a che- 
 quered pattern, like the meshes of a 
 net, A ; 2. cisfiienticia aniiqua or in- 
 certa, irregular masonry of stones, 
 not squared nor cut into any certain 
 form, B ; 3. isodomzmi, ashlar, of large 
 stones, and in which all the courses 
 are of the same height, c ; 4. pseud- 
 isodomum, also ashlar, and of large 
 stones, but in which the courses are 
 of different relative heights, D ; 5. 
 emplecton, in which both the outside 
 surfaces of the wall are formed of 
 
 Liv. ap. Isidor. Orig. xix. 4. 9.) 
 The contrivance is explained by the 
 annexed wood-cut, which exhibits 
 the manner of fastening the oars in 
 the Mediterranean galleys of the 
 1 6th century. 
 
 2. The thong of a palanquin {lec- 
 ticd), (Gracchus, ap. Gell. x. 3. 2.); 
 by which the conveyance was at- 
 tached to its carrying-pole (asser), as 
 an oar is to its thowl. It was fas- 
 tened down (deligatus) to the shafts 
 (amites), like the back -band of a 
 
 cart, and the carrying-pole passed 
 through it ; which raised and sup- 
 ported the carriage by resting on the 
 shoulders of the bearers, in the man- 
 ner represented by the annexed en- 
 graving, which exhibits the mode of 
 transporting a palanquin in China. 
 Although the illustration is not from 
 a genuine Greek or Roman model, 
 little doubt will be felt that the con- 
 trivance employed by those nation 
 was the same, if reference be made 
 to the wood-cut j. Phalangarii, 
 which exhibits the same object ap- 
 plied in a very similar manner to the 
 transport of a butt of wine. 
 
SrVLOBATA. 
 
 SUBJUGIUM. 
 
 627 
 
 STYLOB'ATA or -AXES (o-tuAo- 
 jSoTTjs). A stylobate 01 pedestal ; upon 
 which a co- 
 lumn, or row 
 of columns, 
 is raised, in 
 order to 
 
 lengthen or 
 give an extra 
 elevation to 
 them. (Vi- 
 truv. iv. 3. 
 3. and 5. 
 Varro, R. R. '\\\. <^. \i.) A separate 
 stylobate is sometimes placed under 
 each column, as in the annexed ex- 
 ample, representing the arch of Sep- 
 tiraius Severus ; at others a long con- 
 tinuous one is constructed, upon which 
 the whole range rests ; as in the il- 
 lustration s. Pronaos. 
 
 STYLUS. See Stilus. 
 
 SUA'RIUS (6oSo(r/c(ij)- A siaine- 
 herd (PHn. H. N. viii. 77.) ; a pig- 
 dealer (Id. xxi. 7. Inscript. ap. Orelli. 
 2672.). 
 
 SUAVIL'LUM or SAVIL'LUM. 
 A sort of sweet cake, made with flour, 
 eggs, cheese, and honey. Cato, R. 
 R. 84. 
 
 SUBARMA'LE. An article of 
 clothing, the precise nature of which 
 is not satisfactorily ascertained. Some 
 suppose it to be so termed from pass- 
 ing under one shoulder (armus), like 
 an exomis (see the wood-cut s. i/. ) ; 
 others from being worn under the 
 body armour (anna), like the eques- 
 trian statue of N. Balbus (see the 
 wood-cut s. LORICA, 2.), and many 
 of the soldiers on the triumphal 
 arches and columns. Mart. Capell. 
 V. 136. Spart. Sez'. 6. Vopisc. Au- 
 rd. 13. 
 
 SUBCENTU'RIO. An a-djutant 
 to the centurion, by whom he was 
 selected to watch over and protect 
 his superior in the dangers of the 
 field. Liv. viii. 8. 
 
 SUBGRUNDA'RIUM. A place 
 where infants who died before they 
 had cut their teeth were deposited ; 
 for it was not customary to bum 
 
 them at that tender age. (Fulgent. 
 
 J. V. p. 560. Compare Plin. H. AT. 
 vii. 15. Juv. XV. 139.) The il- 
 lustration is from a work on the 
 antiquities of Cadiz, by Jo. Bapt. 
 Suarez, which also accounts for the 
 peculiarity of the term, by showing 
 that the deposits were arranged, like 
 swallows' nests, under a projecting 
 roof or eaves (snb-grunda). 
 
 SUBJUGTUM (ij.4<Ta$op). The 
 under-yoke ; a wooden frame fastened 
 
 p/^_ 
 
 underneath the yoke {jugum), at each 
 of its extremities, by a bolt, or a 
 leathern thong {lorum subjugiuni, 
 Cato, R. R. Ixiii. Id. cxxxv. 5.), 
 which rested upon the animal's neck, 
 and encircled it like a collar, as ex- 
 hibited by the annexed example, 
 from an ancient MS. of Hesiod. 
 (Vitruv. x. 3. 8. Hesiod. Op. 469. 
 Callim. Gram. ap. Procl. ad I. fii<r- 
 aa&a ^ovs uirodvs.) When the yoke 
 itself was formed with two curvatures 
 at its extremities, as was frequently 
 the case (see the example J-. Jugum), 
 there would be no necessity for 
 these additional collars ; but their 
 object was to enable the carter, or 
 ploughman, to distribute the work 
 between two animals of unequal 
 powers in a proportion suitable to the 
 strength of each, by making the 
 point of draught farther removed 
 from the centre on one side than on 
 the other, which would throw the 
 most work upon the animal nearest to 
 
628 
 
 SUBLICA. 
 
 SUBSTRUCTIO. 
 
 the pole (Vitruv. /. c. ), and could be 
 easily effected by shifting one of the 
 collars nearer to, or farther from it. 
 
 SUB'LICA. A pile driven into 
 the earth, or into the ground under 
 water, for the purpose of raising 
 some other superstructure upon it. 
 Liv. xxiii. 37. Vitruv. iv. 3. 2. 
 
 SUBLIC'IUS. Made of wood, and 
 supported upon piles. See Pons, 3. 
 
 SUBLIGA'CULUM (5iafwMa). 
 A cloth fastened round the waist, 
 then passed through 
 or between the 
 thighs, and fastened 
 under the fork. (Non. 
 s. V, p. 29.), to an- 
 swer the purpose of 
 drawers, lilce that 
 worn by itinerant 
 tumblers in our own 
 streets, as shown by 
 the annexed example, 
 from a small figure 
 in the Collegio Ro- 
 mano. It was also 
 worn upon the stage, as a safeguard 
 against any casual or indelicate 
 exposure of the person. Cic. Off. 
 i- 35- 
 
 SUB'LIGAR. (Mart. iii. 87. 
 Juv. vi. 70.) Same as the preceding. 
 
 SUBLIGA'TUS. Wearing the 
 subligar; of men, as shown by the 
 preceding example ; of women (Mart, 
 vii. 67.), as shown by the annexed 
 one, representing a female tumbler. 
 
 in a catalogue of female apparel. Pro- 
 bably, only a name in vogue at his 
 day, descriptive of a reddish tint 
 [minium) with which it was dyed. 
 
 SUB'SCUS. A tenon, in car- 
 pentry, joinery, c&c. ; that is, the end 
 of a piece of wood or melal cut or 
 moulded into a certain form, to be 
 received into a hole of corresponding 
 size and shape, called a mortise 
 (securicula), for the joining of both 
 together. Vitruv. x. 5. 2. Id. iv. 7. 4. 
 
 SUBSEL'LIUM. A moveable 
 bench or form supported upon legs, 
 but without any back, and of suffi- 
 cient length to contain several per- 
 sons upon it at the same time (Cel- 
 sus, vii. 26. I. Varro, L. L. v. 
 1 28. ) ; especially used in places 
 where a number of people are assem- 
 bled together ; in a dining-room 
 (Suet. Tereni.) ; , auction-room (Id. 
 Cal. 39. ) ; senate-house (Cic. Cat. i. 
 7. Suet. Claud. 23. ) ; for the judges, 
 lawyers, suitors, and witnesses in a 
 court of justice. (Cic. Vat. 14. 
 
 from a fictile vase of Italo-Greek 
 manufacture. 
 
 SUBMIN'IA. A garment men- 
 tioned by Plautus [Epid. ii. 2. 48.) 
 
 Rose. Am. 6.) The example is from 
 an original of bronze found in the 
 baths of Pompeii. 
 
 2. In the theatre, amphitheatre, or 
 circus (Plaut. Amph. Prol. 65. Id. 
 Pa:n. Prol. 5. Suet. Aug. 43. and 
 44.), a line of seats encircling the 
 interior of the edifice {cavea), and 
 rising in tiers or steps one over the 
 other, as explained and illustrated 
 s. Gradus, 3. 
 
 SUBSTRUCTIO (aj/ciAijfifia). A 
 wall, pier, buttress, or any work of 
 like nature, constructed underground 
 as a foundation (Vitruv. vi. 11. 5.); 
 or above ground as an underprop to 
 support a superincumbent structure 
 (Liv. xxxviii. 28. Dionys. iii. 69.); 
 such, for example, as the elder Tar- 
 quin is reputed to have raised on the 
 Capitoline hill, for the purpose of 
 
SUBTEMEN. 
 
 SUCCINCTUS. 
 
 629 
 
 forming a level platform as a site for 
 the temple of Jupiter Capitolinus, 
 some remains of which are still ex- 
 tant ; or those on the side of the same 
 hill facing the forum, which were 
 executed by Q. Catulus as a support 
 for the talndarium (Inscript. ap. 
 Orelli, 3267.), and still remain ex- 
 posed to view in a state of consider- 
 able preservation. 
 
 SUBTE'MEN or SUBTEG'MEX 
 (kpSkt), i(p{iipri). The 'ive/t or woo/m 
 weaving ; that is, the cross-thread 
 which is passed alternately under and 
 over those of the warp (stamen), to 
 make a piece of cloth. (Varro, L. L. 
 V. 113. Plin. /-f.iV. xi. 28. Ov. J/rf. 
 vi. 56.) The illustration represents 
 
 It is very clearly exhibited on the 
 annexed figure from a marble bas- 
 
 an Egyptian in the act of inserting 
 the weft into the warp upon a frame 
 stretched on the ground. Though 
 more like mat-making than weaving, 
 it exhibits the object and process dis- 
 tinctly, as a part of the warp, on which 
 he sits, is seen by itself, while the 
 other half is already interlaced by the 
 weft loosely inserted and not driven 
 up close by the batten. 
 
 SUBU'CULA. The innermost 
 tunic, made of woollen {Suet. Au^. 
 82.), and worn next the skin under 
 the regular outer one (Hor. £p. i. i. 
 95.), which then was specially desig- 
 nated indusium or siipparus, accord- 
 ing to the style in which it was made. 
 Varro, L. L. v. 131. Id. ap. Xon. s. z: 
 p. 542. ) It had long sleeves, which 
 the outer one had not, and was worn 
 by both sexes, though some scholars 
 confine it to the male attire, contrary 
 to the express testimony of Varro 
 (/. c. ), by whom it is also enumerated 
 amongst the articles of female dress. 
 
 relief; and two terra- cottas of the 
 Museo Eorbonico (xiv. 37.) repre- 
 sent a male and female both draped 
 in a very similar manner, with two 
 tunics, the underneath one in both 
 cases having long sleeves. 
 
 SU'BULA (oneas). A leather- 
 closer's and shoemaker's awL (Mait. 
 iii. 16. Columell. vi. 
 5.) The example 
 is copied from a se- 
 pulchral stone, found on the Via 
 Cassia, and bearing an inscription 
 which testifies that it was erected in 
 memory of the wife of a worker in 
 leather [sufar). 
 
 SUBUL'CUS {(Tv$(iTr,s, i<l,op^6s). 
 A swineherd. Varro, R. R. ii. 4. 20. 
 
 SUCCI'DIA. Pork salted or cured, 
 like our baeon and ham. Varro, L. L. 
 V. 1 10. Id. R. R. ii. 4. 3. 
 
 SUCCINCTUS {uTToCiiuroi). 
 Wearing a girdle round the tunic, 
 low down under the ribs (from the 
 Greek inr6^u)fj.a, which signifies the 
 diaphragm or midriff). The object 
 of this was not simply to keep the 
 dress closely adjusted to the figure, 
 but to enable the wearer to shorten it 
 by dra\ving up the skirts through the 
 belt in order to leave the lower ex- 
 tremities free and unembarrassed by 
 drapery ; consequently the usage of 
 the teim invariably indicates that the 
 person to whom it is applied is en- 
 
630 
 
 SUCCINGULVM. 
 
 SVDARIUM. 
 
 gaged in active or violent exercise. 
 Thus, the huntress Diana is appropri- 
 
 ately equipped in a succinct tunic 
 (Ov. Am. iii. 2. 31. Id. Met. a. 536.), 
 as in the annexed example from a 
 terra-cotta lamp ; the running foot- 
 man who preceded his master's car- 
 riage [cursor. Mart. xii. 24. ) ; the 
 slave who waited at table (Pet. Sat. 
 60. 8. and wood-cut J-. Pincerna) ; the 
 tutelary spirits (Lares. Pers. v. 31. 
 and wood-cut s.v.]\ and the ministers 
 who slaughtered the cattle at a sacri- 
 fice. (Ov. Fast. iv. 413. Prop. iv. 
 3. 62., add wood-cuts s. HosTlA.) 
 Female figures which have the tunic 
 adjusted in this way are furnished 
 with two girdles, a cingulum above, 
 and the succingubim below, as shown 
 by the example annexed ; but male 
 ones, with a very few exceptions, 
 and those mostly of Phrygian and 
 other Asiatic races, have only the 
 lowest one, like the next illustration. 
 
 2. Siiccinctus gladio, piigione, cul- 
 tro, &c. Wearing 
 a sword, dagger, 
 knife, &c. , attached 
 to a belt or girdle, 
 encircling the dia- 
 phragm, or just 
 over the loins, as 
 exhibited by the 
 annexed figure 
 
 from a painting of 
 Pompeii. Auctor. 
 ad Hercnn. iv. 52. 
 Cic. Phil. xiii. 1 5. 
 Liv. vii. 5. 
 
 SUCCING'ULUM [l-roidiviov). A 
 
 girdle or a belt, worn low down the 
 figure, just round the diaphragm, as 
 explained and illustrated under the 
 preceding word. Plant. Men. i. 3. 17. 
 SUCCOLLA'TUS. Literally, car- 
 ried on the neck and shoulders. (Suet. 
 Otho. 6. Varro, R. R. iii. 16. com- 
 pared with Virg. Georg. iv. 217.) 
 But the verb succollare is specially 
 used to describe the method of carry- 
 ing a palanquin (lectica, Suet. Claud. 
 10.), and other heavy loads, which 
 was effected by the aid of a pole 
 {asser., phalanga), resting on the 
 shoulders, and from which the weight 
 
 to be carried was suspended, in the 
 manner represented by the annexed 
 illustration from the column of Tra- 
 jan. The principle upon which it 
 was applied to the transport of a 
 palanquin is explained and illustrated 
 .r. Struppus, 2, 
 
 SUC'ULA. A capstan ; for draw- 
 ing weights, constructed upon the 
 same principle as the modem ones. 
 Vitruv. X. 2, 2. Cato, R. R. xii. 
 and xix. 
 
 SUDA'RIOLUM. Apul. Apol. 
 p. 491. Diminutive of 
 
 SUDA'RIUM (KcL<\iiipd>TLop). A 
 cloth or handkerchief carried about 
 the person or loose in the hand, to 
 wipe perspiration from the face, and 
 perform the same services as the 
 modem pocket-handkerchief. (Quint, 
 vi. 3. 60. xi. 3. 14S. Suet. Ne7-o, 48. 
 Catull. xii. 14. XXV. 7.) It is carried 
 in the left hand of a statue belonging 
 to the Farnese collection, and sup- 
 posed to represent a Roman empress, 
 
SVFFIBVLVM. 
 
 SUFFLAMEy. 
 
 631 
 
 a portion of whicli is here engraved 
 upon a scale sufficiently large to show 
 
 that the object does not form part of 
 the general drapery, but is a separate 
 
 handkerchief carried in the hand, as 
 modem females carry theirs. 
 
 SUDA'TIO, -ATO'RIUJI. The 
 sudatory or sweating-room in a set of 
 baths (Senec V. B. vii. 7. Id. Ep. 
 51.), which was heated by flues ar- 
 ranged undertheflooring (suspensura), 
 and sometimes also constructed in the 
 walls of the chamber, when it was 
 specially termed sudatio concamerata 
 (Vitruv. >. II. 2.), as in the annexed 
 example, representing a set of baths, 
 from a painting in the Thermse of 
 Titus, in which the warm-water bath 
 (balneum) and the sudatory form 
 two separate rooms. But when both 
 these departments, the water and the 
 vapour bath, were comprised in a 
 single chamber {caldariuin), then the 
 central part of it, between the two 
 
 extremities, formed the sudatory, as 
 explained s. Caldarium, i. 
 
 SUFFI'BULUM. A large oblong 
 square piece of white 
 cloth placed over the 
 head, and fastened by a 
 brooch ijibuld) under 
 the chin ; worn by the 
 Vestals (Festus j. w.), 
 and priests (Varro, L. L. 
 vi. 21.), at the sacrifice. 
 The annexed figure, re- 
 presenting the Emperor 
 Trajan offering a sacri- 
 fice to Mars, from a 
 bas-reUef now inserted into the arch 
 of Constantine, exhibits a piece of 
 
 drapery so similar to the' one de- 
 scribed, that if it be not actually the 
 suffibulum in question, it M-ill at 
 least afford a good proximate idea of 
 the character it bore, and manner in 
 which it was adjusted. 
 
 SUFFLA'MEN (iiroxcis, rpoxo- 
 ■TTeSri). A break or drag-chain for 
 locking the wheel of a carriage or a 
 cart, to prevent it fi-om running upon 
 the horses in steep declivities. (Juv. 
 \-iii. 148. Prud. Psych. 417.) It is 
 seen imdemeath the carriage part of 
 the annexed cart, just in advance 
 of the hind -wheel, though not very 
 distinctly, in consequence of the mi- 
 nute scale of the drawing ; but in the 
 
632 
 
 SUGGESTUM. 
 
 SUPERCILIUM. 
 
 original monument, which is a sepul- 
 chral bas-relief, found at Lan^res in 
 
 France, two chains are distinctly 
 seen, one with a ring, the other with 
 a hook at the end, to lock round the 
 felloe between two of the spokes, and 
 thus stop the revolution, or, as it 
 were, make a fetter for the wheel, 
 which is the literal meaning of the 
 latter Greek word bracketed above. 
 
 SUGGES'TUM or SUGGES'- 
 TUS. In a general sense, any ele- 
 vated place made of earth, stones, 
 &c. , but especially a raised platform 
 on which orators stood to address a 
 
 concourse (Cic. Tusc. v. 20.), gene- 
 rals to harangue their troops (Tac. 
 Hist. i. 55., wood-cut s. Allocutio), 
 or magistrates sat to hear causes 
 (Liv. xxxi. 29.), &c. The illustra- 
 tion, from a bas-relief, represents 
 Trajan sitting on an elevated stage of 
 the kind described, to receive the 
 submission of a Parthian king. 
 
 2. In a wine and oil cellar. Cato, 
 R. R. 154. Same as Calcatorium. 
 
 SUGGRUNDA'RIUM. See 
 
 SUBGRUNDARIUM. 
 
 SUI'LE. Kpiggery, containing a 
 number of separate sties {ham). Co- 
 lumell. vii. 9. 14. 
 
 SU'MEN. The tidder of a sow ; 
 a favourite dish amongst the Romans ; 
 considered to be in perfection if the 
 animal was killed one day after far- 
 rowing, and before the teats had been 
 sucked. Plm. ff. N. xi. 84. Plant. 
 Cure, ii, 3. 44. Mart. xiii. 44. 
 
 SUOVETAURI'LIA(TpiTT.}a). A 
 purificatory sacrifice, consisting of 
 three animals, the pig, sheep, and 
 
 
 bull, which were conducted in solemn 
 procession round the spot or con- 
 course requiring purification, and 
 then slain. (Cato, R. R. 141. i. 
 Varro, R. R. ii. I. 10. Liv. i. 44.) 
 It is exhibited by the annexed illus- 
 tration from a Roman bas-relief ; 
 and other compositions representing 
 the same subject contain a numerous 
 band of instrumental performers, ac- 
 companying the ceremony. 
 
 SUPERCIL'IUM. The //«/(?/ of a 
 
 doorcase (Vitruv. iv. 6. 2. and 4.), 
 
SUPERFICIES. 
 
 SUPPARUM. 
 
 633 
 
 which stretches from the top of one 
 doorpost {posiis) to the other, and 
 over the doorway, Uke an eyebrow 
 over the eye. The example repre- 
 sents a stone doorway to one of the 
 houses at Pompeii. 
 
 SUPERFICIES. Literally, the 
 upper part of anything ; or that 
 which is placed over anything ; as 
 the roof of an edifice (Plin. H. N. 
 xxxiv. 7.) ; or the entire elevation 
 above the ground on which a build- 
 ing stands (Liv. v. 54. Cic. Att. iv. 
 I.); whence the following special 
 senses are derived. 
 
 I. {u-yKos.) A mask, with a wig 
 
 as shown by the annexed example, 
 from an original of bronze found at 
 Pompeii, and indicated by the last 
 
 / ^ 
 
 and bonnet arranged in a pyramidal 
 form on the top of the head, like the 
 roof of a house, or the Greek letter 
 A (Aa55oei5es. Jul. Poll. iv. 133.), 
 and having a hunch or protuberance 
 at the back {caput gibberum. Varro, 
 ap. Non. p. 452). It was usually 
 worn by tragic actors in order to 
 increase their stature, and give a cor- 
 responding altitude to the upper part 
 of the figure, which the high boot 
 (cothurnus) did to the lower extre- 
 mities ; and is exhibited by the an- 
 nexed example, from a painting re- 
 presenting a tragic scene at Pompeii, 
 in which both the penthouse form of 
 the superficies and the protuberance 
 behind are distinctly delineated^. 
 
 2. (Xiixwu eTTi'SeiUCt, iriTOKlOf, 5icrKos.) 
 The uppermost member of a lamp- 
 stand {candelabrum), upon which the 
 lamp was placed ; usually consisting 
 of a small flat circular dish or tray. 
 
 two of the Greek names bracketed 
 above. Plin. H. N. xxxiv. 6. JuL 
 Poll. X. 115. vi. 109. 
 
 SUP'PARUM and -US. --V sail 
 which only had one sheet {pes. Isidor. 
 Orig. xix. 3. 4.), so that it must 
 have resembled in form the latine 
 sail now so common in the Jlediter- 
 ranean, or the figure of an inverted 
 triangle, with its base attached to the 
 yard, as in the annexed example, from 
 a Pompeian painting. It was parti- 
 cularly employed when great expe- 
 dition was required, or the wind 
 slack (Isidor. /. c. Lucan. v. 428. ) ; 
 and as the upper part of the sail in 
 such cases is the one which catches 
 what air there is astir, as Seneca 
 
 remarks with regard to the supparum 
 {Ep. 77.), it seems highly probable 
 that the figure here introduced, which 
 has the broadest part upwards, really 
 exhibits the model in question. It 
 was, moreover, hoisted as a topsail, 
 over the velum or mainsail (Stat. Syid. 
 
634 
 
 SUPPARUM. 
 
 SVPPLICATIO. 
 
 iii. 2. 27. summis adnectite suppara 
 velis. Compare Lucan. /. t. Senec. 
 Here. Ait. 698. ) ; though not so re- 
 presented in the painting from which 
 the present illustration is copied. But 
 this circumstance, which at first 
 might appear to involve a contradic- 
 tion, and to negative the conjecture 
 hazarded respecting the name and 
 character of the very peculiar sail 
 under observation, will not present 
 any difficulty to those who are con- 
 versant with the principles of com- 
 position uniformly followed by the 
 artists of the Greek and Roman 
 schools, both sculptors and painters. 
 Their sole object being to give a 
 prominent interest to the human 
 figure, and not, like the modem 
 artists, to produce a faithful copy of 
 the localities and accessories belong- 
 ing to the scenes or actions they re- 
 presented, it was usual with them to 
 neglect the truthfulness of representa- 
 tionin their back-grounds, accessories, 
 and subordinate parts of the compo- 
 sition, merely indicating the time, 
 place, or circumstances of the action 
 by a few conventional signs, expressing 
 the ideas they wished to convey, and 
 which would be readily recognized by 
 the majority of spectators. Thus the 
 picture from which our illustration is 
 selected represents the desertion of 
 Ariadne, whose person forms the 
 principal object in the foreground, 
 stretched upon the earth in an agony 
 of grief at the moment of discovering 
 the flight of her lover. The ship is 
 just in the offing ; and the artist has 
 ingeniously contrived to express the 
 haste with which the faithless hero 
 escaped, by merely placing on his 
 vessel two sails of the kind which 
 seamen hoisted when they wished to 
 press their craft with the utmost ex- 
 pedition through the water. 
 
 2. A banner stretched upon a cross- 
 tree (Festus, J. v.), affixed to an up- 
 right shaft, like the vexillum and laba- 
 rum (TertuU. Apol. 16.) ; for each of 
 which it is only a more recent name. 
 
 3. An article of the indutus in 
 
 SOiUl 
 
 female apparel (Afran. af. Non p. 
 540. ), made of linen and 
 worn over the subucula 
 (Varro, Z. L. v. 131.), 
 and made with a short 
 andtightish sleeve, which 
 covered the fleshy part 
 of the arm from the 
 shoulder to the elbow- 
 joint. (Lucan, ii. 363. 
 Suppara nudatos cingunt 
 angnsta lacertos. ) There 
 are no passages which 
 prescribe its length ; but 
 the other objects expressed by the 
 same term naturally lead the imagi- 
 nation to a short vest, which sets 
 upon the upper part of the person, as 
 a topsail above the mainsail, or a 
 banner on the top of its shaft, like 
 the annexed figure, from a bas-relief 
 found at Herculaneum, and the one 
 introduced s. SuBUCULA. 
 
 SUPPEDA'NEUM (iTroTrdS.o;'), 
 (Isidor. Orig. xx. 11. 8. Lactant. 
 iv. 12. ). K foot-stool ; same as ScA- 
 BELLUM or SCAMKUM. 
 
 S U PPLEX. One who supplicates 
 
 in a kneeling posture, or with his 
 knees bent under him [sub and plied), 
 as the annexed figure of a German 
 captive supplicating Trajan, from the 
 column of that emperor. Virg. Cic. &c. 
 
 SUPPLICA'TIO. A praying 
 upon the bent knees, or in a kneeling 
 posture, as contradistinguished from 
 the erect one [precatio), in which the 
 Romans usually offered up their 
 prayers. 
 
 2. The supplicatio was also a solemn 
 public thanksgiving offered to the 
 
SUPPOSITITII. 
 
 SYMPHONIA. 
 
 63s 
 
 gods, when all the temples were 
 thrown open, and the statues of the 
 deities brought out and placed upon 
 couches for the people to worship, 
 which, it may be presumed from the 
 term, was done by kneeling down 
 before them. Liv. Cic. &c. 
 
 SUPPOSITIT'II. Substitutes; the 
 name given to gladiators substituted in 
 he room of others who had been de- 
 feated or killed. Mart. v. 24. 
 
 SUSPENSU'RA. In general, any 
 building or flooring raised from the 
 ground by being supported upon 
 arches, pillars, or piles ; and espe- 
 cially applied to the flooring of a 
 bath-room, when it is suspended over 
 the flues of a furnace upon low pillars 
 in order that the warm vapour may 
 circulate freely under it (Vitruv. v. 
 10. 2. Senec. Ep, 90. Pallad. i. 40. 
 2. ), as in the aimexed example show- 
 
 ing the section of a bath-room, dis- 
 covered in an ancient Roman villa at 
 Tusculum, in which the floor of the 
 room is supported upon tubular tiles, 
 themselves hollow and perforated 
 down the sides to admit the vapour. 
 
 S U' T I L I S. Belonging to any 
 thing which is sewed or stitched to- 
 gether; as 
 
 1. Coroim sutilis. (Plin. H. N. 
 xxi. 8. Mart. ix. 91.) A chaplet of 
 flowers sewed together. See Coron'a, 
 n. 
 
 2. Thyrsus sutilis. (Auct. Priap. 
 xix. 3.) A thyrsus which has the 
 head concealed in a wreath of ivy 
 leaves. See Hasta, 7. 
 
 3. Cymba, navis sutilis. (Virg. 
 jEn. vi. 414. Plin. H. N. xxiv. 40. 
 
 Varro, ap. GeU. xvii. 3. 2.) A boat 
 or larger vessel covered with hides or 
 papyrus, stitched over it. See Ca- 
 RABUS. 
 
 4. Domus sutilis. (Val. Flacc. vi. 
 81.) A Scythian tent, made of skins 
 sewed togeier, and fixed upon wag- 
 gons, which transported it from place 
 to place. 
 
 S U' TO R (^aTrTTjs). A leather- 
 closer (Plaut. Aul. i. I. 34. Jb. iii. 5. 
 39. Cic. Fl. 7. ) ; that is, one who 
 sews leather with an awl (subula) and 
 a bristle (seta. Isidor. Orig. x. 263. 
 xii. 26. xix. 34. I. ) ; the particular 
 kind of work being often pointed out 
 by a distinguishing epithet, as sutor 
 crepidarius (Sempron. AseU. ap. Gell. 
 xiii. 21. 3.); sutor caligarizis [Inscri'pt. 
 ap. Grat. 649. I.) &c. 
 
 SUTRI'NA {aKvrCLov). A leather- 
 closer's or a shoemaker's shop. Plin. 
 H. N. x. 60. xxxv. 37. 
 
 SYMPHO'NIA ((ru/x<pa,via). The 
 harmony of many voices or instru- 
 ments concerted together, as contra- 
 distinguished from eaiitus^ the melody 
 of a single voice or instrument. Cic. 
 Ccel. 15. 
 
 2. {poirrpov ^uptroTrayes.) A lo7zg 
 drum, or barrel drum, made by a 
 hollow cylinder of wood or copper, 
 \vith a skin strained over both its ends, 
 and beaten by a pair of dnun-sticks 
 (virgulie) on both sides at once. (Isi- 
 dor. Orig. iii. 21. 14.) Itwasusedas 
 a military instrument by the Egyp- 
 tians (Prudent, adv. Symm. ii. 527.); 
 and by the Parthians (Plut Crass. 
 23. ) ; but not by the Greeks or Ro- 
 mans, though it appears upon a bas- 
 relief published by Licetus (Be 
 gemviis anulorum), slung round the 
 drummer's neck by a broad belt, in 
 the same position as it is borne by 
 the figure on the left side of the il- 
 lustration, which is copied from an 
 Egyptian painting. The right-hand 
 figure exhibits a copper drum, also 
 Egyptian, from an original found at 
 Thebes ; and the bottom one, a 
 wooden drum -stick, from the same 
 country, now preserved in the mu- 
 
636 
 
 SYMPHONIA. 
 
 SYNTHESINA. 
 
 seum at Berlin. The marks on the 
 sides of the drums, along and across 
 their barrels, show the cords which 
 braced up the skins. The knob at 
 
 the end of the drum-stick is formed 
 for being covered with leather 
 wadded underneath ; and the shape 
 of the handle distinctly proves that 
 it was to be used as one of a pair 
 intended for striking a drum placed 
 in a horizontal position, similar to 
 the one carried by the figure imme- 
 diately above it. Burney expresses 
 an opinion that a drum of the kind 
 described was not an ancient inven- 
 tion (Hiit. of Music, i. 1 1 6.), mainly 
 induced by not having met with any 
 representation of it in works of art ; 
 but the example of Licetus was not 
 knoivn to him, and those engraved 
 above had not been discovered when 
 he wrote. Scholars, moreover, and 
 lexicographers, are inclined to regard 
 the term sympJionia as one of doubtful 
 Latinity, in the sense here ascribed to 
 it, because it is thought that the Latin 
 language affords no positive authority 
 for such usage of an earlier period than 
 that of Prudentius and Isidorus. Cel- 
 sus, however (in. i8.), applies the term 
 most distinctly to some kind of musical 
 instrument used in conjunction with 
 cymbals, and intended to make a very 
 great noise, for which none more ap- 
 propriate than the drum could be 
 suggested ; and the word would bear 
 a similar interpretation in a passage 
 of Pliny [H. N. ix. 8.), where it is 
 united with the hydraulic organ ; 
 though in that instance a different 
 interpretation may be preferable. 
 
 At all events, it is certain, from the 
 specimens introduced above, that the 
 barrel drum was used in very early 
 times by the Egyptians, and, in con- 
 sequence, that it could not have been 
 unknown to the Romans, who would 
 naturally invent or adopt some 
 name by which to distinguish it. 
 If that name was not symphonia, what 
 was it ? Assuredly not tympamim; for 
 that word expresses an object of very 
 different form, though somewhat allied 
 in character, as is clearly and accu- 
 rately distinguished by Isidorus, 
 who says that the tympanum had its 
 skin strained over one face only, 
 like a tambourine, or a kettle-drum 
 (Orig. iii. 2i. lo. corium ex una 
 parte extentum), but the symp/wnia 
 over two surfaces (Orig. iii. 2i. 14. 
 ex utraque parte f die extenta). 
 
 SYMPHO'NIACI. Musicians 
 
 who sang or played a piece of music 
 in concert. The name was specially 
 conferred upon young slaves edu- 
 cated as choristers, for the purpose 
 of entertaining their masters at the 
 dinner-table (Cic. Mil. 21.); and to 
 a band of musicians employed on 
 board ship to keep the rowers in 
 stroke, by singing or playing the 
 naval chaunt (celeusma), or to make 
 signals and transmit commands by 
 the sounfi of music. Cic. Div. Very. 
 17. Ascon. ad I. 
 
 SYMPOS'IUM [avfj-T^Uiov). A 
 Greek word, and properly descrip- 
 tive of the manners of that people. 
 (Cic. Fam. ix. 24.) It signifies a 
 wine-party or drinking-bout, which 
 took place after the meal, and to 
 which other guests besides those 
 who partook of the repast were fre- 
 quently invited to come and join the 
 convivial part of the entertainment. 
 At these parties, -the company of 
 dancing and singing girls, as well as 
 drinking to a considerable extent, 
 was indulged in by the youth of 
 Greece. Becker, Charicles, Ex- 
 
 curs. 11. 
 
 SYNTHESTNA. 
 51.) Same as 
 
 (Suet. Nero, 
 
SYNTHESIS. 
 
 TABELLA. 
 
 637 
 
 SYN'THESIS (o-ii^fleo-is). A 
 dress worn by the Romans at their 
 meals (Mart. v. 79.) ; but not at other 
 times, nor in pubUc, excepting during 
 the SaturnaUan festival, when the 
 whole city was engaged in the feast- 
 ing and gaiety of a modem carnival. 
 (Mart. xiv. I. and 141.) It is im- 
 possible to ascertain the character- 
 istic peculiarities distinguished by 
 the terra ; but the bas-reliefs and 
 paintings which exhibit people at 
 meals, represent them with the up- 
 per part of the figure quite naked, 
 or more usually clothed in a loose 
 ungirt tunic, either with short or 
 long sleeves ; the legs and lower 
 half of the body being folded in a 
 loose piece of drapery, which is 
 sometimes also raised as a mantle 
 over the shoulders, as shown by the 
 wood-cuts s. AccuBO and Lectus 
 Tricliniaris. Possibly these two 
 articles together, the indumentum and 
 the amicius, constituted a synthesis ; 
 which is more consonant to the pri- 
 mitive meaning of the term, and 
 analogous to its other senses, than 
 any single piece of drapery would 
 be ; for all of them have reference to 
 a combination of several things ; as, 
 the various pieces which compose a 
 table-service (Stat. Sylv. iv. 9. 44. ) ; 
 a medicinal mixture compounded of 
 different ingredients (Seren. Sammon. 
 XXX. 578.); a wardrobe or entire 
 suit of clothes. (Scsev. Dig. 34. 
 
 2. 39-) 
 
 SYN'TONUM. (Quint, ix. 4. 
 142.) A musical instrument, sup- 
 posed to be the same as, or similar 
 to, the SCABILLUM. 
 
 SY'RINX (<rOpi7|). The Greek 
 name for the pastoral pipe invented 
 by Pan, and formed of 
 reeds or canes of several 
 unequal lengths joined to- 
 gether, as in the annexed 
 example, from a statue 
 found at Pompeii. By the 
 Romans it was termed 
 arundo, or fistula. 
 
 SYR'MA (o-iJp^o). A long robe 
 
 trailing on the ground ; more parti- 
 cularly worn upon 
 the tragic stage 
 (Juv. viii. 229.) 
 by actors 
 performed the 
 parts of divine 
 or heroic person- 
 ages, as in the 
 annexed figure, 
 representing the 
 character of Her- 
 cules, from a 
 group of actors 
 on a marble bas- 
 relief. It was in- 
 tended to give grandeur and dignity 
 to the person, and conceal the un- 
 sightly appearance of the high-soled 
 tragic boot (cothurnus) at the back 
 of the actor. 
 
 SYS'TYLOS (<ru(rTo\os). Close 
 columned ; a term employed by the 
 ancient architects ^ 
 
 to designate an ©H® 
 
 intercolumniation 9--^~w 
 
 of only two dia- ©-^i-© 
 
 meters apart, as ®— s— # 
 
 shown by the se- ^ 4 m 
 
 c.ond line of the 
 
 annexed diagram, which exhibits at 
 one view the relative distances of 
 the five different systems of inter- 
 columniation in use amongst them. 
 Vitruv. iii. 2. 
 
 T. 
 
 TABEL'LA {ttivAkiov, (tmISiov), 
 In a general sense, any small flat 
 board ; whence the following specific 
 usages are derived. 
 
 I. A small tablet made of wood, 
 with a raised margin round the 
 edges, which was 
 covered with 
 
 sand, or with a 
 coat of wax, and 
 used by school- 
 boys as a slate, or for writing on 
 with a metal point (stilus). (Plin. 
 I/. N. xxxiv. 19. Ov. A. Am. i. 
 
 1 
 
638 
 
 TABELLA. 
 
 437. iii. 469.) The example is from 
 a Pompeian painting. 
 
 2. A small, or, as we should say, 
 cabinet picture on panels as con- 
 tradistinguished from a painting on 
 canvas, or 
 upon a wall. 
 (Cic.^a/«.vii. 
 23. Suet. Tib. 
 43. Juv. xii. 
 too.) ; and 
 which might 
 be hung up 
 with a nail 
 on the sides of a room, or over the 
 door, in the manner shown by the 
 annexed illustration, from a painting 
 at Pompeii. 
 
 3. A small votive tablet, which 
 used to be hung up in the temples, 
 and before the statue of a divinity, 
 as a grateful acknowledgment by 
 persons who had escaped from any 
 calamity or accident, such as ship- 
 wreck, &c., or who had been cured 
 of some malady by the miraculous 
 interposition, as it was believed, of 
 the deity to whom the acknow- 
 ledgment was 
 made. (Hor. 
 Sat. ii. I. 33. 
 Cic. Ov. Ti- 
 buU. Juv. &c. ) 
 These tablets 
 contained a 
 rude repre- 
 sentation of 
 the supposed 
 miracle, with 
 an inscription recording the circum- 
 stances attending it, similar to what 
 is now. commonly seen in Roman 
 Catholic churches ; or a. mere por- 
 traiture of the member saved or 
 restored, executed upon a. marble 
 slab, and dedicated in gratitude to 
 the protecting power, as shown by 
 the illustration, from a specimen 
 found at Rome, and supposed, from 
 the inscription, to have been dedi- 
 cated to Hygeia, the goddess of 
 health, by an individual who had 
 arrived safe from a long journey, or 
 
 who had escaped some disease or 
 accident in the feet. 
 
 4. A small tablet employed in 
 voting at the Comitia and in courts 
 of justice. (Cic. Fl. 39. Senec. 
 Ben. iii. 7. 
 Suet.^a^. 33. 
 Cses. B. C. 
 iii. 83.) At 
 the Comitia, 
 two of these 
 tablets were 
 delivered to 
 the voter, one 
 marked with 
 tlie letters 
 U. R. for uti 
 rogus, i. e. I 
 vote as you 
 propose ; the other, with the letter A, 
 for antiquo, i. e. I vote for the old 
 law, as exhibited by the annexed 
 example, from a coin of the Cassian 
 gens, which represents the voter 
 dropping his tablet into the basket 
 {cista). But in a court of justice 
 three tabids were given to the 
 judges ; one marked with the letter 
 A, for absolve, I acquit, or not guilty ; 
 the other with C, for condemno, I 
 condemn, or guilty ; and the third 
 with N. L., for non liquet, it is not 
 clear, which was tantamount to the 
 verdict of "not proven, "in Scotch law. 
 
 5. Tabella absolutoria. The tablet 
 of acquittal, marked with the letter 
 A, as explained in the last paragraph. 
 Suet. Aug. 33. 
 
 6. Tabella damnatoria. The tab- 
 let which expressed a verdict of 
 guilty, marked with the letter C, as 
 explained in paragraph 4. Suet. 
 Aug. 33. , , , 
 
 7. A small gaming-board ; but of 
 what precise description, or for what 
 particular game, is not ascertained. 
 0\. A. ^«. iii. 365. Id. 7>ir^. ii. 481. 
 
 8. A small fan (Ov. Am. iii. 2. 
 28. Id. A. Am. i. 161.), made by 
 stretching, a piece of linen over a 
 square frame with a handle attached 
 to it ; but the only remaining repre- 
 sentations of ancient fans on the fie- 
 
TABELLARIUS. 
 
 TABERSA. 
 
 639 
 
 tile vases and Pompeian paintings, are 
 made of feathers and lotus leaves, as ex- 
 plained and illustrated s. Flabellum. 
 
 9. Tabslla liniinis. The leaf of a 
 wooden door ; which was made, like 
 our own, out of a number of separate 
 slabs. Catull. xxxii. 5. and Jaxua. 
 
 10. A booth, made of boards, and 
 erected by the candidates at the Co- 
 mitia for the reception of their voters, 
 to shelter them from the heat of the 
 sun or moisture of the atmosphere. 
 Varro, R. R. iii. 2. I. 
 
 11. A particular kind of pastr)', 
 so termed from being made in a flat 
 square mould. Mart. xi. 31. 
 
 TABELLA'RIUS (7pa,uMaTo>o- 
 foi, $iliAto!t>6poi, Polyb. jFr. 38.) 
 A letter-carrier, or special mes- 
 senger, by whom the correspond- 
 ence of a private individual, or the 
 government despatches, were con- 
 veyed to the friends of the former 
 or to the employers of the latter ; but 
 not a postman, in our sense of the 
 word, for the ancients had no such 
 convenience as a public post. (Cic. 
 /%«■/. ii. 31. Id. J^am. xii. 12. xv. 
 
 /rf 
 
 17.) The illustration is from a se- 
 pulchral bas-relief, with the inscrip- 
 tion Tabellarius underneath. 
 
 TABELLTO. A notary, em- 
 ployed in drawing out legal docu- 
 ments ; a name which came into 
 use under the Empire, and designates 
 a similar employment to that of the 
 SCRIBA under the republic. Cod. 
 Theodos. 9. 19. I. Ulp. Dig. 48- 19- 
 9. Capitol. Macrin. 4. 
 
 TABER'NA. Literally, a hut 
 formed with planks (tabulte), the 
 earliest style of building amongst the 
 Romans (Hor. Od. i. 4- 13- ^^'P- 
 
 Dig. 50. 10. 183. Festus s. Adtu- 
 bernalis) ; thence — 
 
 2. A shop for the sale of retail 
 commodities (Cic. Varro, Suet. 
 Juv.); so named, because in old 
 Rome, the shops consisted for the 
 most part of boarded stalls projecting 
 from the houses, or raised under the 
 colonnades which surrounded the 
 market-places. Subsequently, how- 
 ever, as wealth and commerce in- 
 creased, the ground-story of the 
 rows of houses, and even palaces, in 
 a street, were appropriated for shops, 
 and let out to separate tradesmen, 
 like those round our Royal Ex- 
 change, and many of the great man- 
 sions in continental towns. In the 
 majority of cases, the shop had no 
 communication with the rest of the 
 house, the tenant merely occupying 
 it for the purpose of his trade, and 
 dwelling himself elsewhere ; but 
 some few houses, of a respectable 
 class, have been discovered at Pom- 
 peii, in which the shop has an en- 
 trance from its back, into the habita- 
 ble parts of the mansion, and these 
 are reasonably beUeved to have been 
 in the occupancy of the persons who 
 dwelt on the premises, and who are, 
 in consequence, supposed to have 
 been wealthy tradesmen. The gene- 
 ral appearance of a Roman shop, as 
 uniformly exhibited by the numerous 
 examples remaining at Pompeii, re- 
 sembled those of our butchers and 
 fishmongers, being entirely open in 
 front, with the exception of a low 
 wall, forming the counter, and were 
 closed by wooden shutters at night. 
 They are mostly comprised in a 
 single room, without any other con- 
 venience ; though in some instances 
 a small back parlom- and other ap- 
 purtenances are added. The aimexed 
 illustration represents an elevation 
 
 restored of six shop-fronts at Pom- 
 I peii ; and the ground-plan of the 
 
640 
 
 TABERNACULUM. 
 
 TAB LI NUM. 
 
 house of Pansa, at p. 248, which also 
 contains the plan of several shops, 
 numbered i — 7, will afford a distinct 
 idea of the usual manner in which 
 they were laid out, both when con- 
 nected with and separated from the 
 dwelling-house. 
 
 3. Taberna deversoria and nieri- 
 toria, or simply taberna. A wine- 
 shop, by the road-side, for the conve- 
 nience of travellers. (Vitniv. vi. 5. 
 2. Varro, R. R. i. 2. 23. Plant. Men. 
 ii. 3. 86. Val. Max. i. 7. ext. 10.) 
 The Roman landlords whose estates 
 abutted on any of the public roads, 
 were in the habit of erecting buildings 
 of this kind, in which they retailed 
 the produce of their estates ; and a 
 very similar practice obtains at the 
 present day amongst the Tuscan 
 nobility of Florence, where a small 
 window is frequently seen by the 
 side of the principal entrance to 
 many of the great palaces, from 
 which the steward retails to the 
 townspeople the produce of his 
 master's vintage. 
 
 TABERNA'CULUM. A tetit ; 
 properly speaking, made with planks, 
 like a booth or wooden hut [tabernay 
 Festus J-. v.], and covered with skins 
 or canvas, as in the annexed ex- 
 ample, from the column of Antoninus, 
 
 in which the boarded roof is dis- 
 tinctly apparent ; but the term is 
 also used more indiscriminately for 
 any kind of 'tent, merely stretched 
 upon cords, and without any wood- 
 work, whether erected by the sol- 
 diery or by individuals for their own 
 use. Cic. Verr. ii. 5. 12. Id. Brut. 
 9. Tac. Hist. v. 22. 
 
 TABERNA'RIUS. A shop, 
 keeper. Cic. Fl. 8. Id. Fam. viii. 6. 
 
 TABER'NULA. (Suet. Nero, 
 26. ) Diminutive of Taberna. 
 
 TABLI'NUM and TABULI'- 
 NUM. One of the principal apart- 
 ments in a Roman house, immedi- 
 ately adjoining the atrium and /auees 
 (Festus s. V. Vitruv. vi. 3. 5. and 
 6. ), which was used in early times to 
 contain the family archives (Plin. 
 H. N. XXXV. 2.), and as an eating- 
 room in a town-house. (Varro, de 
 Vit. P. R. ap. Non. p. 83. ) In most 
 of the houses at Pompeii, there is 
 observed an apartment situated be- 
 tween the atrium and ptristylium, 
 with two narrow corridors [fauces] 
 on each of its flanks ; the relative 
 position of which is shown on the 
 plan of the house of Pansa, at p. 
 248., where it is marked D ; and an 
 interior elevation of a similar apart- 
 ment, in the house of the Dioscuri, 
 is exhibited by the annexed illus- 
 tration. The part immediately in 
 front of the drawing is the floor of 
 the atrium, with a portion of its im- 
 pluvium ; the dark and open recess 
 occupying the left half of the middle 
 ground is the tablinum, with the 
 colonnade of the pei-istylium showing 
 through ; and the small door on the 
 
 right of it is the faux, which also 
 opens upon the peristyle at its further 
 extremity. It will be observed that 
 this apartment is entirely open at 
 both ends, so as to permit a continu- 
 ous view through the two principal 
 
TABULA. 
 
 641 
 
 divisions of the house ; but these 
 ends were closed, when desired, by 
 movable screens or partitions of 
 wood (tabulee), as is evident from 
 there being a separate passage at the 
 side, for the purpose of affording 
 communication between the atrium 
 and peristyle, which would not be 
 required if the tablinum permitted 
 a thoroughfare always through it. 
 The name will thus be derived from 
 tabula; probably in allusion to the 
 partition with which it was closed, 
 as Varro seems to insinuate (/. c. ) ; 
 though Pliny and Festus (//. cc.) 
 suggest another motive, viz. the 
 registers and archives (tabulie ratio- 
 num) deposited in it. 
 
 TAB'ULA (7rAc£|, aavU, nival,). 
 A plank or board ; whence the fol- 
 lowing special applications : — 
 
 I. A bench, or form, made of 
 boards (Hor. Sat. ii. i. 86.), as in 
 the annexed example, from a painting 
 
 legio Romano, which bears neither 
 markings nor divisions upon it, to 
 adapt it for use in a game of skill ; 
 but the inscription upon it, which 
 runs thus — "Give over when you 
 are beaten, you don't know the 
 game, give place to one who does," 
 evidently expresses that its employ- 
 ment was connected in some manner 
 with a game of skill, and not of mere 
 chance, at which no kind of know- 
 ledge would be requisite. 
 
 3. Tabula latruncularia. A board 
 or table upon which the ludus latrun- 
 culorum was played (Senec. Ep. 
 117.) ; a game which had a certain 
 resemblance to our draughts. The 
 annexed illustration shows the table 
 and pieces, with two Egyptians at 
 play, but the exact manner in which 
 its surface was divided is not known, 
 as no original has yet been disco- 
 vered ; and the representations af- 
 forded by works of art are only 
 
 '^"^■^ 
 
 of Pompeii. 
 
 2. A dice-board, or slab on which 
 the dice were cast when playing a 
 game of chance 
 (Juv. i. 90. Senec. 
 Tranq. 14.) ; and 
 which, it is pro- 
 bable, was like- 
 wise used in 
 mixed games of chance and skill, 
 the dice which determined the nature 
 of the move being cast upon a sepa- 
 rate slab, and the move, as at back- 
 gammon, then made in the gaming- 
 board (abacus) with the piece. The 
 annexed example is from an original 
 of marble in the museum of the Col- 
 
 \ delineated in profile, like the one 
 aimexed, so that no details can be 
 seen. But there is good reason to 
 believe that the pieces were moved 
 in parallel lines ; consequently, that 
 the board was not divided into 
 squares, like our chess-board. Some- 
 times, however, the table was made 
 double, one side being fitted for the 
 ludus latrunculorum, the other for the 
 hidus duodccim scriptorum (Mart. xiv. 
 17. ) ; and thus tabula also means a 
 backgammon-board (Pet. Sat. 33. 
 2.), with divisions as described and 
 illustrated j. Abacus, 2. 
 
 4. A board or plank for a game 
 played by the Roman boys during 
 the Saturnalian festival, with walnuts 
 (Ov. Nux. 77. Mart. v. 84.), and 
 probably with balls, which tlie ob- 
 jects in the next illustration seem 
 intended for. The game was played 
 2 S 
 
642 
 
 TABULA. 
 
 TABULARIUM. 
 
 in the following manner. A number 
 of nuts were disposed upon the 
 ground at certain intervals from one 
 another, in front of a plank supported 
 underneath by a stone, or some other 
 object, which caused it to rest in a 
 
 slanting position. From the top of 
 this a single nut was then let off by 
 the player, which ran down the in- 
 clined plane, and captured all those 
 it happened to strike against. The 
 process is very clearly expressed by 
 the annexed illustration, from a Ro- 
 man bas-relief in the collection at 
 Ince Blundell. 
 
 5. A board covered with wax or 
 sand, which the Roman school-boys 
 used for vmting their exercises, or 
 working their pro- 
 blems upon (Hor. 
 Sat. i, 6. 74. Pet. 
 Sat. 46. 3.), as ex- 
 hibited by the an- 
 nexed figure, from a 
 bas-relief in terra- 
 cotta, representing a 
 Roman youth with 
 the bulla round his 
 neck, his tablet on 
 his knees, and his 
 box of books (capsa) 
 on the ground beside him. Hence 
 the term tabula is also applied to any 
 kind of writing ; as, for example, an 
 account-book, catalogue, advertise- 
 ment, legal or testamentary docu- 
 ment, marriage settlement, or any- 
 thing inscribed upon a waxed tablet. 
 Cic. Varro, Hor. Liv. Tac, Ca:s. 
 Ov. Phn. 
 
 6. A picture painted upon panel, 
 as contradistinct from one on canvas 
 or in fresco. (Quint, vi. i. 32. Cic. 
 
 Verr. v. 55. Phn. H.N. xxxv. 37.) 
 These were set in 
 frames of marble or 
 wood, and thus let 
 into the wall (Plin. 
 H. N'. xxxv. 10.), 
 whence the name ta- 
 btila is sometimes used 
 to designate & picture- 
 frame. (Id. xxxv. 
 45-) The illustration 
 exhibits a portrait up- 
 on the easel, and enclosed in a frame, 
 as described. 
 
 7. A votive tablet (Hor. Od. i. 5. 
 13.); as described s. Tabella, 3. ; 
 the diminutive form being most fre- 
 quent in this sense, and the most ap- 
 propriate, as it expresses the medio- 
 crity of size and execution peculiar 
 to such productions. 
 
 8. A tablet used for voting at the 
 Comitia and in courts of justice (Cic. 
 Phil. ii. 8.), as described and illus- 
 trated s. Tabella, 4. ; the diminu- 
 tive form in this sense being the 
 more usual and appropriate. 
 
 9. Tabula {aToX'C&ts], the long 
 parallel folds or plaits into which a 
 loose garment naturally forms itself 
 as it depends from the shoulders or 
 waist (TertuU. Pall. 1 and 5. ) ; and 
 which received the name from the 
 resemblance they bear to that of a 
 series of boards lapping over each 
 other in a wooden building. See 
 CoNTABULATio, and the illustration 
 there introduced. 
 
 TABULA'RII. Notaries, ac- 
 countants, registrars, and keepers of 
 public documents and archives (ta- 
 buliB) are included under this title. 
 Senec. Ep. 88. Capitol. M. Anion. 
 9. Ulp. Dig. 43. 5. 3. 
 
 TABULA'RIUM. A record-office, 
 in which archives, registers, and 
 public or private documents (tabula) 
 were kept ; sometimes a separate 
 edifice constructed for the purpose 
 (Cic. Arch. 4.), like the one under 
 the capitol at Rome (Inscript. ap. 
 Grut. 170. 6.), of which extensive 
 remains are still in existence ; or 
 
TABULINUM. 
 
 TMNIA. 
 
 643 
 
 very commonly attached as an ap- 
 purtenance to a temple and other 
 public buildings (Liv. xliii. 16.) ; or 
 formed in a room of a private house 
 Paul. Dig. 32. I. 90. Tablinum. 
 
 TABULI'NUM. See Tablinum. 
 
 T^'DA or TE'DA (Sats). A 
 species of pine-tree producing a great 
 quantity of resinous matter ; 
 thence a pine-torch, made 
 out of slips cut from a 
 part of the tree into which 
 the resinous matter was 
 artificially made to accu- 
 mulate, and which was 
 particularly employed in 
 marriage ceremonies and 
 processions. (Ov. Virg. 
 Prop. ) The illustration is 
 from a marble bas-relief, in which it 
 is carried by Hymen ; and it will not 
 fail to be obsei-ved that it is formed 
 by small scales of bark, in the pattern 
 of a fir cone, and not of wattled 
 laths or twigs, like the Fax. 
 
 T^'NIA {Tawia.). Strictly, the 
 flat fringed end of the ribbon {vitta) 
 that was twisted round the woollen 
 flocks of a sacred fillet (infula), and 
 which formed a band at each of its 
 extremities for fastening the fillet 
 round the head (Virg. Ain. vii. 352. 
 
 ice7tia vittcB. Serv. ad Virg. ^-Eii. v. 
 269. vittce extremitaS), as will be 
 understood from the annexed illus- 
 tration, representing at the top a 
 woollen fillet, with two tania: at each 
 end, from a fictile vase, and the head 
 of a priest with the ligature round it, 
 from a marble bas-relief, underneath. 
 2. The flat band or ribbon which 
 fastened together the tn-o ends of a 
 
 '^^Xi 
 
 chaplet, wreath of flowers, or hono- 
 rary crowTi (coro- 
 na), and which 
 were left to float, 
 like streamers, at 
 the back of the 
 neck, as in the 
 annexed example 
 from a bust of 
 Antoninus. En- 
 nius ap. Fest. s. v. 
 Virg. Ain. v. 269. 
 Serv. ad I. 
 
 3. A flat band, or bandeau, woni 
 round the head, 
 for the purpose of 
 keeping the hair in 
 a set form of ar- 
 rangement, as ex- )S^^^^^^^ 
 hibited by the an- iQitsasSWArrt \ 
 
 nexed bust from a 
 bronze statue found 
 in Herculaneum. 
 (Mart. xiv. 24.) 
 But the reading of 
 the passage is not free from uncer- 
 tainty. 
 
 4- The Greek name for a bosom- 
 band worn by young girls under the 
 dress and next the skin. (Apul. 
 Met. X. 225. Anacreont. xxii. 32.) 
 Same as Fascia pectoralis, under 
 which term the object is described 
 and illustrated. 
 
 5. A breast-collar fordraught horses 
 (Apul. Met. ix. 184.); as in the 
 
 annexed example from u, terra- cotta 
 lamp. 
 
 6. In architecture, the fillet which 
 separates the Doric frieze from the 
 architrave (Vitruv. iv. 3. 4. ) ; running 
 along the whole line of the architrave 
 
644 
 
 TJENIOLA. 
 
 TAPES. 
 
 between the triglyphs and gutta, 
 like a band, as in the annexed ex- 
 
 ^— -V ig ^ 
 
 ample from a Doric entablature of 
 the theatre of Marcellus at Rome. 
 
 T^'NIOLA {imvihmv]. Diminu- 
 tive of T^NIA. Any small band or 
 tie. Columell. xi. 3. 23. 
 
 TALA'RIS. Reaching to the 
 anlile joints, or heels. See Tunica. 
 
 TALA'RIA (ttcSiAu, Hom. //. 24. 
 340.) Sandals witli wings afhxed 
 to the sides near the anl^le bone 
 {talus) ; attributed by the artists and 
 poets to Mer- 
 cury (Virg. ^^H^TnI / 
 
 .-s^i. iv. 239. ), ~>.y-^ — /. 
 
 Perseus (Ovid. 
 Met. iv. 665.), 
 and to IViiner- 
 va. (Cic. N.D. 
 iii. 23.) The 
 illustration is 
 from a figure of Mercury painted at 
 Pompeii, in which the sole, and liga- 
 tures by which the wings were 
 attached to the foot, are clearly de- 
 lineated. 
 
 TALEN'TUM {T6.\a.vrov). The 
 Greek name for a pair of scales 
 {libra), whence the term was trans- 
 ferred to the object weighed ; and as 
 it was an early practice to weigh out 
 the sums of money to be paid, the 
 talent came to signify a definite weight 
 in money, as well as other commo- 
 dities ; varying, however, in different 
 states of Greece, and at different 
 periods of her history. The Attic 
 
 talent of money contained six thou- 
 sand drachmas, worth about 243/. I5j-. 
 of our money ; the Attic talent of 
 weight was equal to about 57lb. ; the 
 yEginetan to nearly 82|lb. Rhemn. 
 Fann. de pond. 37. 
 
 TA'LUS(a(rT/)a7aAos). Thspastern 
 bone of certain animals, which was 
 employed by the ancients in various 
 games of chance and skill, instead of 
 a dice {tessera). The actual 
 bone was frequently used ; 
 but imitations of it were 
 made in other materials, 
 especially of stone and bronze, of 
 which metal the original of the an- 
 nexed example consists. It had but 
 four flat sides instead of six, the two 
 ends being round, so that the bone 
 would not stand upon either of them. 
 The points were marked upon the 
 four flat sides ; I and 6 upon two 
 opposite faces ; 3 and 4 on the two 
 others ; 2 and 5 were not marked ; 
 but four tali were used together. 
 The best throw, called Venus, was 
 when each side presented a different 
 number, as i, 3, 4, 6. The worst 
 one {cams), when all four numbers 
 came up the same. In playing, they 
 were cast from a box {fritillus), or 
 simply from the hand, as exhibited 
 by the wood-cut s. Astragalizontes. 
 Suet. Aug. 71. Senec. Apocol. s. f. 
 Cic. Div. i. 13. 
 
 2. In the human race, which has 
 no pastern joint, the tahts is a small 
 bone under the base of the tibia, just 
 above the os-calcis, which lies rather 
 backward in the foot, and is now 
 called the astragalus in anatomy 
 (Celsus, viii. I. and 7.) ; but poets 
 apply the term to the projecting base of 
 the tibia, our ankle. Ov. Met. viii. 808. 
 
 TAP'ES, TAPE'TE, or TAPE'- 
 TUM {TaTTrfi). Baize, or diTigget of 
 long napped wool (Plin. H, M. viii. 
 73. ), used as tapestry for the walls of 
 a room, carpeting for floors, coverlets 
 for couches, chairs, or beds (Plant. 
 Stick, ii. 3. 54. Mart. xiv. 147. Virg. 
 Ai7z. ix. 325., and wood-cuts s. Au- 
 l^a and Solium 2.), and as capari- 
 
TEGILL UM. 
 
 TELA. 
 
 645 
 
 sons for horses, of ricUy-dyed colours 
 instead of skin. (Sil. Ital. xvii. 64. 
 Apul. Met. A. 224. Virg. ALn. vii. 
 277. , and wood-cuts s. Stragulum.) 
 TEGIL'LUM. A very coarse and 
 common kind of hood or cowl (Fes- 
 tus J. v.), which was used by fisher- 
 men, rustics, shepherds, &c., to cover 
 their heads and shoulders in wet 
 
 weather. (Plaut. Rud. ii. 7. 18. Yar- 
 ro ap. Non. j. v. p. 179.) The illus- 
 tration represents a young fisherman 
 asleep in his hood, from a statue found 
 at Pompeii ; and characteristically 
 exhibits the form of the object de- 
 signated by the term tegillum, which 
 is a diminutive of tegulum, meaning 
 literally a small roof ; but it is made 
 of better materials than usually em- 
 ployed for the purpose, if the account 
 of Festus (/. c.) be true, that it was 
 ordinarily composed of rushes. 
 
 TE'GULA (/te'payuos). A flat 
 roofing-tile, usually made of baked 
 clay, but in very sumptuous buildings 
 of marble or bronze, and 
 sometimes gilt. (Plaut. 
 Mil. ii. 6. 24. Cic. Terent. 
 Ov. Plin. Liv.) The two 
 sides were made to slope 
 a little inwards, in order 
 that the smaller end of one 
 tile, when laid upon the 
 roof, might fit into and 
 overlap the larger end of another one 
 below it ; and also with raised edges, 
 to prevent the rain-water from pene- 
 trating the lateral interstices, and to 
 catch the sides of the ridge tiles {im- 
 brices), placed over them in the 
 manner shown by the wood-cuts s. 
 Imbrex and Imericatus. The il- 
 lustration represents two tegulce, of 
 baked clay, ^^'ith the maker's stamp 
 
 upon them, from ancient origi- 
 nals. 
 
 2. In the plural, tegiilce is often put 
 for a tiled roof, as we say the tiles ; 
 but the expression per tegulas (Terent. 
 Eu7i. iii. 5. 40. Cic. Phil. ii. 18. 
 Aul. Gell. X. 15. I.), EK Tov Teyovs 
 (Ael. V. H. iii. 4), as descriptive of 
 an entrance or exit effected through 
 
 the tiles does not mean through the 
 roof by displacmg the tdes, but 
 through the open space in the centre 
 of an atrium or peristylium, enclosed 
 by the tiled roof which covered the 
 colonnade surrounding its four sides, 
 as is clearly explained by the an- 
 nexed restoration of an interior of 
 one of the houses at Pompeii, showing 
 the colonnade round the quadrangle, 
 with the roof and tiles which cover 
 it, and over them, in the background, 
 three windows of the upper story. 
 
 TE'LA (i<rT((s and iVriis ifQios), A 
 weaver's loom. (Ov. Met. vi. 576.) 
 The earliest looms, and those most 
 common amongst the Romans, were 
 upright ones, such as are still used at 
 
 the Gobelin's manufactoryandin India 
 for making tapestry, and in Iceland 
 
646 
 
 TELA. 
 
 TEMO. 
 
 for weaving cloth. The illustration 
 represents an Egyptian loom from 
 a painting in the tombs, slightly 
 restored on one of the' sides, which 
 had suffered in the original ; but 
 exhibiting most distinctly all the 
 different parts enumerated by the 
 Latin writers ; viz. the cross piece or 
 yoke (jugum) connecting the two 
 uprights at the top ; the cloth beam 
 (insiibnlum) immediately under it, 
 round which the cloth was rolled as 
 the work progi-essed ; the pair of 
 treddles or leash rods (liciatoria), 
 which are used to decussate the 
 threads of the warp, so as to open a 
 shed for the passage of the shuttle 
 {alveolus), or the needle {radius), 
 which convey the weft across it ; 
 below these is the reed {arimdo), 
 which is passed alternately over and 
 under every thread of the warp, in 
 order to separate the whole of them 
 into two parcels for receiving the 
 leashes {licia) ; and finally the yam 
 beam (scafius), to which the threads 
 or yarns forming the length of the 
 cloth are fastened. In this loom the 
 web is driven from below upwards ; 
 in the following specimen it is driven 
 downwards from above ; but in both 
 of them the weaver stood at his work 
 instead of sitting. 
 
 2. Tela jugalis. The commonest 
 and simplest kind of loom in ordinary 
 use amongst the Romans (Cato, R. R. 
 10. and 14.), so termed because it 
 had no cloth beam (insiibnlum), the 
 yams being merely attached to a 
 yoke (jugum) on its top (Ov. Met. vi. 
 55.), as in the annexed example, re- 
 presenting Circe's loom in the Vati- 
 can Virgil. Schneider (Index, R.R. 
 Script, s. Tela) con- 
 siders that the tela 
 jugalis is opposed to 
 the upright loom, and 
 that it designates a 
 machine of similar 
 construction to those 
 now in use, in which 
 the warp is spread in 
 an horizontal direc- 
 
 
 tion, so that the weaver sat at his work 
 instead of standing. But it does not 
 appear that looms of that description 
 were known to the Romans of Varro's 
 day, for they are only alluded to by 
 Artemidoras (iii. 36.) and Servius {ad 
 Virg. A£n. vi. 14.), and no represen- 
 tation of the kind has been discovered 
 in any of the ancient monuments ; 
 and, furthermore, it is reasonable to 
 conclude that looms of the most 
 ordinary description would be used 
 in farmhouses, where they were only 
 applied for making the commonest 
 articles for the use of slaves ; ani 
 in both the passages referred to from 
 Varro, the tela Jugalis is enumerated 
 amongst the instrumenta ruslica. 
 
 3. The 7uarp (Virg. Georg. i. 285. ) ; 
 i. e. the series of strongly twisted 
 threads or yams, extended on a loom, 
 into which the finer ones of the weft 
 {subtemen) are woven to make a piece 
 of cloth. The word is commonly 
 accompanied by such epithets as stans, 
 recta, pendula (Ov. Met. iv. 275. Id. 
 Fast. iii. 819. Id. Her. i. 10. ) ; all of 
 which imply that the warp was fixed 
 in a vertical position, and consequently 
 upon an upright loom, such as is ex- 
 hibited by both of the preceding illus- 
 trations. 
 
 TELAMO'NES ("ArAcu'Tf s). Mus- 
 cular figures of men, employed in 
 architectural elevations ■^,: 
 instead of columns, to ' 
 support an entablature 
 or a cornice, in the 
 same manner as the 
 female figures, or cary- 
 atides. (Vitruv. vi. 7. 
 6.) The annexed ex- 
 ample represents a sup- 
 port of this kind from 
 the tepidariuni of the 
 Pompeian baths ; and 
 the illustration to that 
 word will show the manner in which 
 they were applied. 
 
 TE'MO (^iz/ids). The pole of a 
 carriage, cart, or any sort of vehicle. 
 (Virg. Ov. Juv. &c. ) The pole was 
 permanently fixed to the axle, in the 
 
TEMPLVM. 
 
 TENS A. 
 
 647 
 
 manner exhibited by the example ' 
 from an ancient bronze car (currus) : 
 now preserved in the Vatican ; and a \ 
 
 curncie bar or yoke (jugum) was 
 bound on to its extremity by a thong 
 (cohtim), or by a bolt shot through it, 
 which is seen in its place in the pre- 
 sent illustration. When the horses 
 were taken out, and the carriage put 
 up, the yoke was removed, and the 
 vehicle tilted on to its beam end, so 
 that the pole would stand upright ii^ 
 the air, as described in the following 
 passage, erecto currum temone supi- 
 nant. Stat. Theb. iii. 414. 
 
 2. (icTTo^Soeus). The beam or pole 
 of a plough (Virg. Georg. i. 171.), 
 which was fastened on to the bent 
 end, or plough tail {buris), passed 
 between the oxen, and bore the yoke 
 by which they were attached at its 
 extremity, as %vill be understood by 
 
 the annexed example, representing 
 an Etruscan plough. Compare the 
 wood-cut s. Aratrum, 2. a a, which 
 exhibits the same object upon a ma- 
 chine of more improved construction. 
 TEjM'PLUM (T€>eTOs), in its 
 primary notion, signifies a portion 
 which is cut off ; and especially with 
 reference to an imaginary space in the 
 heavens, marked off by an augur 
 
 with his wand {liiuus), in order to 
 circumscribe a certain boundary, 
 within which he took his observations 
 on the flight of birds. Varro, Z. Z. 
 vii. 7. 
 
 2. A piece of land separated and 
 marked off by the augurs, with a cer- 
 tain solemn formula, to serve for re- 
 ligious purposes, but more esi^eciaUy 
 for taking auguries. Varro, Z. Z. 
 vii. 8. Cic. Leg. ii. 8. Liv. i. 6. 
 
 3. A temple or religious edifice 
 raised upon the land, consecrated as 
 above by the augurs ; including also 
 the sacred precinct which surrounded 
 it. Cic. p'err, ii. 4. 43. 
 
 4. Any place or building which had 
 been consecrated by an augur ; as the 
 curia (Liv. i. 30. Cic. Dom. ^l.), the 
 rostra (Id. Vat. 10.). 
 
 5. In architecture, ienipla are the 
 purlines placed across the principal 
 rafters (canterii) in the timber work 
 of a roof, for the purpose of receiving 
 the common rafters (asseres) on which 
 the tiles (tegula) are laid. (Vitruv. 
 iv. 2. I.) See the wood-cut J. Mate- 
 RIATIO, on which they are marked 
 gggg. 
 
 TEN'S A or THEN'S A (Sp/xo i^av. 
 Gloss. Philox. ). A state car drawn 
 by animals, upon which the statues of 
 the gods were transported in solemn 
 procession to the Circensian games 
 (FestusJ. o\ Cic. Verr. ii. 7. 72. Suet. 
 
 Vesp. 5. ) ; as contradistinguished from 
 ferculum, which was carried on the 
 shoulders of men. The OlustratioD, 
 
648 
 
 TENTIPELLIUM. 
 
 TEPIDARIUM. 
 
 which is copied from a medal of 
 Nerva, will serve to convey a notion 
 of the general style and character of 
 these vehicles ; though it cannot be 
 pronounced as a positive example of 
 the thensa, yet no other name occurs 
 so apolicable to it as the above. 
 
 TENTIPEL'LIUM (/taAciTrous). 
 Literally, that which stretches leather, 
 whence a shoemaker's last 
 (Festus S.V.), over which 
 the leather is strained, as / 
 in the annexed example ^ 
 from a painting at Her- 
 culaneum. It is probable that this 
 was only a colloquial term of the 
 trade and common people ; for Horace 
 and the Digest use the word forma 
 for the same object. 
 
 2. A cosmetic laid over the face 
 for taking out wrinkles, by tightening 
 the skin (Festus s. 'v.] ; which usage 
 of the word, as well as the former one, 
 has an air of colloquialism. 
 
 TENTO'RIUM (o-ktii/tJ). Strictly, 
 a tent stretched upon cords (from 
 tenius], as contradistinguished from 
 tabernacuhwi, which was formed on a 
 framework of wood. But that dis- 
 tinction is not strictly observed, and 
 the term is applied to any kind of 
 tent, either for military or civil pur- 
 poses. Hirt. B. G. viii. 5. Suet. 
 Tib. 18. Virg. JEn. i. 472., and 
 wood-cuts s. Papilio and Taber- 
 
 NACULUM. 
 
 TEPIDA'RIUM or TEPIDARIA 
 CELL A. A chamber in a set of 
 baths kept at a moderate degree of 
 temperature, in order to prepare the 
 
 body for the great heat of the suda- 
 
 tory or vapour bath, and to break 
 the sudden transition after it before 
 returning into the open air. (Celsus, 
 i. 3. Vitruv. V. lo. J- ) The illus- 
 tration represents the interior of the 
 tepidarium in the baths at Pompeii. 
 It adjoins the undressing-room {apo- 
 dyteriu7n), and the thermal chamber 
 {caldariuni), as directed by \'itruvius 
 (/. c. ), to which the door on the right 
 hand gave admission, as will be per- 
 ceived by referring to the general 
 ground-plan of the building at p. 74., 
 where it is marked c. It contains 
 three bronze benches [sitbsellia) in the 
 positions they were found when the 
 excavation was made, and a brazier 
 {/oats) at the farther end for warm- 
 ing the atmosphere ; but the tepida- 
 rium of the women's department 
 (marked G on the general plan above 
 referred to) was warmed by flues 
 underneath. The walls all round 
 are divided into recesses under the 
 cornice by a number of male figures 
 (telaiiwties), which thus constitute a 
 series of small closets, where the 
 unguents and other necessaries used 
 by the bathers were deposited. It is 
 likewise believed that in a limited 
 establishment, like that at Pompeii, 
 the tepid chamber served also for the 
 oiling-room [eiisothesium, imctorittvi), 
 to which the bather retired to be 
 rubbed and scraped with the strigil, 
 after the sweating bath. The small 
 dark recess below the window con- 
 tained an oil-lamp. 
 
 2. Tepidarium^ sc. ahennm or vas. 
 The boiler which contained the tepid 
 water for supplying a set of baths. 
 (Vitruv. V. 10. I.) It was placed 
 below the cold-water cistern (frigi- 
 dariuui), and above the hot boiler 
 (caldarium)^ but communicating by a 
 pipe with both, so that as the heated 
 fluid was drawn off from the latter, 
 the deficiency was supplied by an 
 equal quantity already partially heated 
 from the tepidarium, the vacuum thus 
 occasioned being at the same moment 
 filled up with cold water from the 
 i cistern above. Each of these parti- 
 
TEREBRA. 
 
 TESSERA. 
 
 649 
 
 culars, as well as the process itself, 
 is exemplified by 
 the annexed il- 
 lustration, which 
 exhibits all the 
 three vessels, with 
 the water flowing 
 from them, and 
 their relative posi- 
 tions in respect to 
 the furnace, from a 
 picture representing 
 the interior of a set 
 of baths painted on 
 the wall of one of th e 
 apartments in the 
 Thermse of Titus at 
 Rome. 
 
 TER'EBRA {rip^rfyov). Literally, 
 a borer ; applied as a general term to 
 several different instruments used for 
 boring holes in wood or other sub- 
 stances : — 
 
 I. A carpenter's gimlet (Isidor. 
 Orig. xix. 19. 14. Celsus, viii. 3.), 
 which makes fine sawdust {scobis) in 
 the act of boring. (Columell. iv. 29. 
 
 15.) This was a very ancient inven- 
 tion, whence it was distinguished by 
 the name of ierebra aniiqua (Colu- 
 mell. /. r.), and exactly resembled 
 our own, as shown by the annexed 
 example of an ancient gimlet, from 
 Ginzrot. 
 
 2. An auger, which makes fine 
 shavings {ramenia) instead of sawdust, 
 in the act of boring (Columell. iv. 29. 
 16. Plin. H. N. xvii. 25.) ; an in- 
 vention of later date, which was dis- 
 tinguished by the name gallica terebra 
 (Columell. Plin. //. cc), and no doubt 
 like our own. 
 
 3. (rfv-nivioti). A bow-drill ; -vfOxVeA 
 by the bow-string twisted round its 
 handle, and used for piercing small 
 holes in metal, stone, or gems (Plin. 
 
 I H. iV. xxxvii. 76.), as it still is by 
 our jewellers. Pliny 
 ascribes its inven- 
 tion to Daedalus 
 (iy.iV. vii. 57.), and 
 agreeably to that 
 tradition the ex- 
 ample here intro- 
 duced is lying on the 
 ground beside the 
 bronze heifer which 
 that artist is forming 
 for Pasephae, in a Pompeian painting. 
 
 4. {rpvirdvov) . A trepan, used by 
 surgeons for cutting out pieces of 
 bone. Celsus, viii. 3. 
 
 5. A military engine, adapted for 
 boring into the walls of a besieged 
 town. Vitruv. x. 13. 7. 
 
 TERGPNUM. A thong of leather 
 used for scourging slaves (Plant. 
 Pseud, i. 2. 22.) by the I.ORARius, 
 which see. 
 
 TERUN'CIUS, sc. nummus. The 
 last and smallest division of the dena- 
 rius, or silver coinage of the Romans, 
 containing three-twelfths (uncits), or 
 one-fourth of the as, and thus equal 
 in value to the copper qttadrans. It 
 seems incredible that so small an 
 amount should ever have been coined 
 in silver, though it is enumerated 
 amongst the silver pieces. Varro, 
 L. L. V. 174. 
 
 TESSEL'LA. Diminutive of 
 Tessera. A small cube of marble, 
 stone, or composition, employed in 
 making tessellated, vermiculated, and 
 mosaic pavements. Senec Q. N. vi. 
 31. Pavimentum, 3. and 4. 
 
 TESSELLA'RIUS. One who 
 makes tesselltE for pavements. Cod. 
 Theodos. xiii. 4. 2. 
 
 TESSELLA'TUS. Tessellated; 
 applied to pavements (Suet. Cces. 
 46.); see Pavimentum, 3. 
 
 2. Applied to whips (Apul. Met. 
 viii. p. 173.) ; see Flagrum, 2. 
 
 TES'SERA (Kii)3os). A square 
 piece of stone or composition for 
 making pavements. (Plin. H. N. 
 xxxvi. 62. Pallad. i. 9. 5.) Same 
 as Tessella. 
 
65° 
 
 TESSERA. 
 
 TESSERARIUS. 
 
 2. Tessera lusoria. A die or liice, 
 for playing games of cliance and 
 skill, consisting of a 
 small cube of ivory, 
 bone, or wood, and 
 numbered on the six 
 sides, like our own. (Pliii. //. N. 
 xxxvii. 6. Cic. Div. ii. 41. Mart, 
 xiv. 17. Ov. Trist. ii. 473.) It was 
 customary to play with three tessera:, 
 which were cast out of a box (fri- 
 alius) ; and the highest throw was 
 when all the three presented a diffe- 
 rent number ; the worst one when all 
 came up the same ; as three aces, for 
 instance. The example is from an 
 original of ivory found at Hercula- 
 neum. Compare Talus, i. 
 
 3. Tessera hospitalis {ffv\x&o\ov). A 
 tally or token of mutual hospitality 
 and friendship ; consisting of a small 
 die, which was given by a host to his 
 
 guest at the time of departure, when 
 it was broken into two parts, each 
 party retaining one-half, in order 
 that if either of them or their descen- 
 dants should again meet, they might 
 recognize each other, and renew or 
 repay their ancient family obligations. 
 (Plant. Pcen. v. 2. 86—93.) The 
 example is from an original. 
 
 4. Tessera frtcjuentaria and num- 
 inaria. A voucher or ticket given upon 
 certain occasions by the magistrates 
 to poor people, in exchange for which 
 they received the quantities of bread, 
 corn, wine, and oil, or sums of money 
 
 m 
 
 inscribed upon it (Suet. Nero, 11. 
 Aug. 40. 41.); or sometimes scattered 
 in a largesse (congiarium) amongst 
 the crowd by the emperors, or wealthy 
 personages, for the purpose of courting 
 popular favour. (Suet. i?o»«. 4.) These 
 vouchers were at first small square tab- 
 
 lets of wood, like the left-hand figure 
 in the illustration, with the number of 
 measures to be received marked upon 
 them ; but subsequently round balls 
 were used like the right-hand figure, 
 hollow inside, and having the quan- 
 tity ' inscribed within them; or con- 
 taining a written order for the object 
 intended to be given away, when 
 that consisted of some fancy article, 
 instead of eatables or money. This 
 order was payable on presentation at 
 the magazine of the donor, and might 
 be sold or transferred. (Suet. //. cc. 
 Juv. vii. 174.) Both the examples 
 are from originals found in excava- 
 tions ; the manner of distributing 
 them is shown in the woodcut s, 
 Congiarium. 
 
 5. Tessera theatralis. A ticket of 
 admission to the theatre, or other 
 place of public amusement (Mart, 
 viii. 78. ), distri- 
 buted by the du- 
 umvir, and entitling 
 the holder to a place 
 at the representa- 
 tion. On it was 
 inscribed the num- 
 ber of the seat, the 
 division and row ii 
 situate, and in some cases the title of 
 the play to be performed, as in the 
 annexed example, from an original 
 found at Pompeii, in which the 
 Casina of Plautus is announced for 
 performance, and the place autho- 
 rized to be taken is the eighth on the 
 second tier of the third cuneus. 
 
 6. Tessera miliiaris {(Tvv&7\ij.o). A 
 billet, or wooden tablet (Polyb. vi. 
 34.) with the watchword inscribed 
 upon it, which was given out by the 
 officers to their soldiers, in order that 
 they might have a test for distinguish- 
 ing friends from foes ; it was also 
 employed as a means by which the 
 orders of the commander were dis- 
 tributed through the different divi- 
 sions of an army. . Liv. vii. 35. xxvii. 
 46. Veg. Mil. ii. 7. Virg. jEn. vii. 
 637. Serv. ad I. 
 
 TESSERA'RIUS. In the army, 
 
 which it was 
 
TESSERULA. 
 
 TESTUDO. 
 
 651 
 
 the orderly who received the billet 
 {tessera) containing the watchword 
 or the order for action from the 
 general, and who communicated it 
 through the army. Tac. Hist. i. 25. 
 Veg. Mtt. ii. 7. 
 
 TESSER'ULA. Diminutive of 
 Tessera ; a die for making pave- 
 ments (Lucil. ap. Cic. Or. 44. ), same 
 as Tessella ; a ticket or voucher 
 (Pers. V. 74.), same as Tessera, 4. ; 
 a tablet for voting at the Comitia 
 (Varro, Ji. R. iii. 5. 18.), same as 
 Tabella, 4, 
 
 TES'TA [utTTpaKov, Kepa/iiof). A 
 general name for any kind of vessel 
 made of baked clay or earthenware 
 (Phn. Virg. Hor. &c.) ; a tile (Vitruv. 
 ii. 8. 19. Tegula) ; a broken frag- 
 ment of tiles or pottery. Ov. Met. 
 viii. 661. Juv. iii. 270. 
 
 TESTA'CEUM. Made of tiles. 
 Columell. i. 6. 13. Plin. Up. x. 46. 1 
 Pavimentum, 6. Spica | 
 
 TESTU and TESTUM. The lid 
 of an earthenware vessel, and the 
 vessel itself. Cato, J?. R. 74- Ov. i 
 Fast. V. 510., and wood-cuts j. Olla. j 
 
 TESTUA'TIUM. Bread baked ! 
 in an earthenware pan. Varro, L.L. 
 V. 106. 
 
 TESTUDINEA'TUS or -DINA'- 
 TUS. Formed in the shape of a 
 testudo, as applied to the roofs and 
 ceilings of houses (Vitruv. ii. I. 4. 
 Columell xii. 15. 1.); see Testudd, 2. 
 
 TESTUDIN'EUS. Made of or 
 decorated with tortoise-shell. Prop, 
 iv. 6. 32. Juv. vi. 80. 
 
 TESTU'DO (xe'Aus, xf^''''"!)- In 
 its primary notion, a tortoise ; whence 
 the name is given to 
 a particular stringed 
 instrument (Cic. N.D. 
 ii. 57. Hor. ^.Z". 394-) 
 forming a variety of 
 \}a.tlyra; that is, when 
 the simple lyre (see 
 the wood-cuts s. v.), 
 had been improved by 
 the addition of a sound- 
 ing bottom, over which the chords 
 were drawn to increase the fulness of 
 
 their tone. It was so termed because 
 the idea was believed to have first 
 occurred to Mercury, the fabled in- 
 ventor of the instrument, upon his 
 observing a tortoise-shell on the sands 
 of Egypt, with the skin of the belly 
 dried up into thin strings across it, 
 which were found to emit different 
 notes when tried ivith the fingers. 
 (Serv. ad Virg. Georg. iv. 464.) 
 Hence the form of the sounding- 
 board was made to imitate the shell 
 of a tortoise, as in the annexed ex- 
 ample, which is carried by Mercurr- 
 in a Pompeian painting. It was 
 sounded with the fingers, and the 
 plectrum, in the manner described and 
 illustrated .r. Cano, 2. The distinc- 
 tion above dra^vn, though doubtless 
 an accurate one, is not, however, 
 strictly observed, for the poets fre- 
 quently apply the term indifferently 
 to any stringed instrument, such as 
 the lyra and cithara. 
 
 2. A ceiling formed by four sides, 
 converging to a centre (Vitruv. v. i . 
 6. ), as distinguished 
 from the vault [camara], 
 and the dome (thohis) ; 
 whence the name is 
 also used to designate 
 an apartment covered 
 by a ceiling of the kind 
 described. (Varro, L.L. 
 V. 161. Cic. Bnit. 22.) 
 The form of the four sides rising to a 
 point at the top is cleverly expressed 
 by the two cross-lines in the centre 
 of the annexed illustration, which are 
 intended to represent the roof of an 
 atrium, on a fragment of the marble 
 plan of Rome, preserved in the Ca- 
 pitol. 
 
 3. A shed formed of planks, covered 
 with untanned hides, and placed upon 
 wheels, so that it could be moved to 
 any position required for the protec- 
 tion of the men while digging trenches 
 and making their approaches up to 
 the walls of a besieged town (Vitruv. 
 X. 15. and 16. Cses. JB. G. iii. 42. 
 and 40.) ; or for covering those 
 who worked the battering-ram (tes- 
 
65^ 
 
 TE TRA CHORDON. 
 
 indo arietaria. Vitruv. x. 
 
 13- 2.) 
 
 whi:h is exhibited by the annexed 
 
 wood-cut, from a bas-relief on the 
 arcli of Septimius Severus. 
 
 4. A shed whicli soldiers formed 
 over head with their shields to pro- 
 tect themselves from the missiles of 
 the enemy, more especially whilst 
 they advanced up to the walls of a 
 
 fortified place, in order to scale them. 
 (Ca:s. B. G. ii. 6. Tac. Hist iii. 27. 
 Id. iv. 23. ) It was effected by raising 
 the shields over the head and shoulders 
 and fitting them closely under each 
 other, so that the whole formed a 
 compact covering like the shell of a 
 tortoise, or the pent of a shed, over 
 which everything would slide off 
 without injuring the men below. 
 (Liv. xliv. 9.) The pent was pro- 
 duced by the outer rank stooping 
 whilst those before them gradually 
 stood more and more erect. The 
 whole of these details are clearly 
 illustrated by the annexed wood-cut, 
 which represents a body of Roman 
 soldiers on the column of Antoninus, 
 formed into a iesiudo, and advancing 
 to the escalade of a German fortress. 
 TETRACHOR'DON (nTpixop- 
 tov). Literally, having four strings, 
 and thus producing four notes (Capell. 
 ix. 324, ) ; a scale comprising two 
 tones and a half, which formed the 
 old Greek musical system. The water 
 
 TEXTOR. 
 
 organ {hydraulus) is termed a tetra- 
 chord by Vitruvius (x. 8. 2.), when 
 it had only four barrels. 
 
 TETRADO'ROS or -ON (tet^o- 
 Soipos or -ov). Literally, of four hands' 
 breadth ; applied to bricks (Vitruv. 
 iii. 2. 3.); see Later, where the 
 comparative sizes of ancient bricks 
 are described and exemplified. 
 
 TETRADRACH'MUM (Terpri- 
 SpaxM"'')- -A- silver piece of the 
 Athenian coinage, containing four 
 drachms {drachmce), and worth some- 
 thing less than 3^. 3(2". of our money. 
 (Liv. xxxiv. 52.) The example is 
 
 
 from an original drawn one-third less j 
 than the actual size. 
 
 TETRAPH'ORI sc. phalattgarii. 
 Porters who carried a load in a body 1 
 of four, by means of a bearing pole j 
 (phalanga). Vitruv. x. 3. 7. See 
 the illustrations j. Phalanga and 
 Phalangarii, where the operation is , 
 performed by two men, and by eight, 
 respectively. 
 
 TETRASTY'LOS (TtTpi.<nv\os). 
 Having four columns ; either situated 
 in a straight line in front of an edi- 
 fice (Vitruv. iii. 3. 7.), or at the four 
 corners of a square in the interior 
 (Id. vi. 3. i.,andwood-cut J. Atrium, 
 2. ) ; whence ietrasfylon, as a substan- 
 tive, is used to designate an interior 
 which has a row of columns disposed, [ 
 like a peristyle {peristylium), round 1 
 the four sides of a square. Capitol. | 
 Gord. 32. Inscript. ap. Grut. 124. I. , 
 
 TEXTOR, TEXTRIX (icpd^Tirt!, 
 ixpavrpia), A weaver, male and female, 
 (Mart. xii. 59. Id. iv. 19.) The 
 process of plain weaving was con- 
 ducted in the following manner. The 
 warp (stamen, tela), which consisted 
 of a number of strongly -twistedthreads 
 or "yams," was fastened to the cross- 
 bar {ju«um) forming the top of the 
 
TEXrOR. 
 
 THE A TR UU. 
 
 653 
 
 loom (wood-cut s. Tela, 2.), or to 
 ;he cloth beam {i-nsubulum), as in 
 the annexed example. A stick or 
 
 reed {arundo) was then passed in and 
 out between each alternate yarn, over 
 one and under the other, in the same 
 manner as the needle is used in darn- 
 ing, so as to divide the whole number 
 of yams into two separate parcels — 
 stamen secernit arundo. All the threads 
 of one parcel were then passed through 
 a set of loops or "leashes" {lia'a), 
 fastened on to a rod {liciatoi'ium)^ cor- 
 responding with the "heddle" of our 
 weavers, each individual thread being 
 passed through a separate loop, as 
 seen in the engraving. This process 
 of putting on the leashes is described 
 by the expression licia telce addere, or 
 subnectere. The ends of the yams 
 were then fixed to the yam beam 
 {scapics), if there was one, as in the 
 wood-cut J-. Tela, i. ; or where col- 
 lected into a number of bundles, to 
 each of which a weight (pondus) was 
 fastened, as here shown, for the pur- 
 pose of keeping the warp steady and 
 extended while the woof was driven 
 home. The loom being thus pre- 
 pared, the weaver decussated the warp 
 by pulling forward the leash rod, 
 which separated one alternate set of 
 yams from the other, and produced a 
 "shed" or "tram" (trama), that is 
 an opening through which the woof 
 (subtemen) was conveyed across the 
 warp by the instrumentality of a 
 rodlikealargenetting-needle(r(T(/«j'), 
 or by a shuttle (alveolus). The cross- 
 
 thread of the woof became thus inter- 
 laced between each alternate thread 
 of the warp, and was then rendered 
 tight and compact by driving it toge- 
 therwitha flatwooden batten {spatha), 
 or by the teeth of a comb (pecten) 
 inserted between the yarns, and pro- 
 ducing the same effect as the " reed " 
 or " lay " of a modem weaver. Ov. 
 Met. vi. 55—58. Schneider, Index. 
 R. R. Script, s. Tela. 
 
 TEXTRI'NA {icTd>v). A room 
 for weaving. Vitruv. vi. 4. 2. 
 
 TEXTRIWUM. Cic. Verr. ii. 4. 
 2. Same as the preceding. 
 
 2. (vavTr-i]ywv). A dockyard, where 
 ships are built and repaired. Ennius 
 ap. Serv. ad Virg. ^^». xi. 326. 
 
 THALAME'GUS {eaAa/xvySs). A 
 state barge used by the kings of 
 Egypt upon the Nile. (Suet. C^s. 
 52.) It was fitted up with great 
 splendour, containing all the requi- 
 sites for a party . of pleasure, and 
 cabins (thalami) for a numerous suite, 
 from which it received the above name, 
 as well as the Latin paraphrase, iiavis 
 cubiculala (Senec. Ben. vii. 70.). 
 
 THAL'AMUS (eciAa^os). A word 
 adopted from the Greek, and bearing 
 a very general and similar significa- 
 tion in both languages, in which it 
 occurs in the sense of a bedchamber 
 (Dormitorium) ; but especially the 
 principal one, in which a msirried 
 couple reposed (wood-cut s. DoMUS, 
 2. p. 252. g.); a dwelling-room 
 (Cubiculum), especially amongst the 
 inner apartments of the house ; or 
 the entire dwelling-house itself. Virg. 
 JEn. vi. 623. Vitruv. vi. 10. 2. Ov. 
 Met ii. 738. Virg. ^n. vi. 280. 
 
 THALASSI'TES [6a\aaislTT]<). 
 Wine sunk under the sea in jars to 
 ripen it. (Plin. H. N. xiv. 10.) ; as 
 opposed to vinum viaris expers (Hor. 
 Sat. ii. 8. 15.), the oivos a6d\air(ros 
 of the Greeks. 
 
 THEA'TRUM. A t/ieatre, for 
 the representation of dramatic per- 
 formances and mimetic exhibitions. 
 The earliest theatres, both in Greece 
 and Italy, were nothing more than 
 
654 
 
 THE A TR UM. 
 
 temporary wooden scaffoldings erected 
 for the occasion, and afterwards pulled 
 down ; but subsequently they were 
 constructed in stone or brick, as per- 
 manent buildings, and with a consi- 
 derable display of architectural beauty 
 and magnificence of decoration ; alike 
 in both countries as far as regards the 
 general features of the plan, but dif- 
 fering materially in some of the inter- 
 nal arrangements and in the distribu- 
 tion of some essential parts. 
 
 I. The Roman theatre was usually 
 built upon a level space within the 
 town, and consisted externally of a 
 semicircular elevation at one end, 
 comprising one or more stories of 
 arcades, through which the spectators 
 entered, and passed by staircases 
 constructed within them to a number 
 of semicircular tiers of seats in the in- 
 terior of the building, which were en- 
 closed by the external wall described 
 and exhibited by the annexed illus- 
 tration, representing the circular end 
 
 of the theatre of Marcellus, as it now 
 exists in partial ruins at Rome. Two 
 stories only remain, the lower one, of 
 the Doric order, partly embedded in 
 the soil ; over this, the Ionic is more 
 perfect ; but there was originally a 
 third story, of the Corinthian order, 
 
 which has entirely disappeared. The 
 circular line of the plan is distinctly 
 apparent in the drawing ; as well 
 as the columns which decorated 
 each story, and the stonework of 
 the arches between them, which 
 formed so many open arcades, now 
 filled up by the wall and windows of 
 modern houses, into which the edifice 
 has been transformed. The opposite 
 extremity of the building, which con- 
 tained the stage, apartments appro- 
 priated for the use of the actors, 
 and conveniences for storing the pro- 
 perty, &c,, was straight, forming, as 
 it were, a chord or base to the semi- 
 circle, and was decorated externally 
 by a portico {porticus), sometimes of 
 considerable extent, containing nu- 
 merous colonnades, and open as well 
 as covered walks and corridors, 
 which formed a favourite place of 
 resort for the idle and fashionable 
 loungers of the city. A portion of 
 these appurtenances, sufficient, how- 
 ever, to give an accurate notion of 
 the entire structure, is exhibited by 
 the lowest part of the annexed illus- 
 
 tration, which represents the ground- 
 plan of Pompey's theatre, from the 
 marble map of Rome now preserved in 
 the Capitol. It shows the portico at 
 the bottom marked in black lines, then 
 the walls of the scene and stage, and, 
 beyond them, the circular seats for 
 the spectators, which were enclosed 
 externally by a wall similar to that 
 exhibited in the preceding illustra- 
 
THE A TR UM. 
 
 655 
 
 tion. The interior was open to the 
 sky, having no roof, and consisted of 
 the following essential parts, distri- 
 buted in the manner shown by the 
 annexed illustration, representing the 
 ground-plan of the theatre at Hercu- 
 
 laneum, which is constructed upon 
 the Roman model. The body of the 
 house {cavea) where the spectators 
 sat, consists of a number of semi- 
 circular rows of seats, formed by 
 deep steps (gradus) rising in concen- 
 
 eooo o oooQoo 
 
 trie lines one above the other, which 
 were subdivided horizontally into 
 tiers {mceniana), comprising several 
 rows each, by broad landing-places 
 (pracifictmies, A A, A A) ; and verti- 
 cally, into cuneiform compartments 
 {cunei, B B B B b) by a number of stair- 
 cases {scales, aaaad), down which 
 the spectators descended to the row 
 where their respective places were 
 situated, upon entering the house 
 through the open door-ways {vomito- 
 ria, bbbbb) at the head of each 
 staircase, which were reached by 
 means of passages and covered lob- 
 bies constructed in the shell of the 
 building, precisely in the same man- 
 ner as explained and illustrated by 
 the text and wood-cut s. Amphithe- 
 ATRUM, p. 29. At the bottom of the 
 
 cavea was the orchestra (c), an exact 
 half circle, and answering in use and 
 locahty to our fit, for it contained 
 the seats appropriated to the magis- 
 trates and persons of distinction ; and 
 was not used, like the Greek orches- 
 tra, for a chorus and musicians. A 
 little in advance of this was a low 
 wall, fulpitum, or proscenii pulpitum, 
 c, forming the front of the stage 
 {prosce}tium, dd) towards the spec- 
 tators, and separating it from the 
 orchestra. At the back of the stage, 
 there was a lofty wall of brick or 
 masonry {scena, eee), which formed 
 the permanent scene of the theatre, 
 with three grand entrances for 
 the chief actors ; and behind this, 
 the apartments for the actors and 
 property (fostsckniiim, E e), or 
 
656 
 
 THE A TR UM. 
 
 what we call the part ' ' behind the 
 scenes." The two divisions in ad- 
 vance of the stage, on each side of it, 
 like our stage-boxes (ff)-, are sup- 
 posed to have been reserved as places 
 of honour for the chief magistrates 
 of Herculaneum, for they have each 
 a private entrance from the portico 
 at the back of the house, by a sepa- 
 rate staircase [gg] ; but they consti- 
 tute exceptions to the general rule, and 
 do not appear to have had a perma- 
 nent place in eveiy theatre. 
 
 2. {6eaTpoi/. ) The Greek theatre 
 was usually formed at the foot of a 
 hill, the sloping sides of which, when 
 cut into steps, afforded accommoda- 
 tion for the spectators' seats, and the 
 level ground beyond, for the outbuild- 
 ings required for the stage, scenes, &c. 
 In such cases, the entire locality was 
 little more than an excavation, and 
 required no exterior elevation; but 
 when the nature of the site would not 
 afford such facilities, and it became 
 necessary to build on level ground, 
 the external construction would 
 present features of a similar cha- 
 racter to those described as usual in 
 the Roman practice. The interior con- 
 tained all the parts enumerated in 
 the preceding paragraphs, disposed 
 in the same manner, but differing in 
 some important particulars, as re- 
 spects the uses to which a portion of 
 them were applied, and the plan 
 upon which they were designed ; as 
 will be understood by comparing the 
 
 i-'St'^tsvA-X'*^ 
 
 j'lr^iii^^^iiiijT^ 
 
 present illustration, representing the 
 
 ground-plan of the great theatre at 
 Pompeii, which is constructed upon 
 the Greek model, with that of the 
 Roman theatre last inserted. The 
 part where the spectators sat {koIKqv^ 
 cavea) is, like that, open to the sky, 
 and subdivided in a similar manner 
 into tiers by broad landing-places 
 (5ici^a>/xaTa, prcEcinctiones)^ and com- 
 partments of a wedge-like foiTn (AAA, 
 Kep/ct'Ses, cunei), by converging lines 
 of staircases [a a a, KKifj-atces, scaitz) ; 
 but instead of being semicircular, it 
 consisted of a much larger segment 
 of a circle, and thus afforded accom- 
 modation for a greater concourse of 
 visitors. The orchestra {opx^o^'rpa), 
 in like manner, was much deeper 
 than in a Roman theatre, and was 
 not occupied by the spectators, but 
 appropriated solely to the chorus, 
 who required room to range them- 
 selves, and perform their e\ olutions. 
 In the centre of the orchestra stood 
 the altar of Bacchus {e, Bu^4Krt, thy- 
 mele), which, being formed of wood, 
 has perished, but is restored in the 
 illustration, to show its situation. 
 The stage and its adjuncts (irpotr/fTicioi/, 
 proscenium) was divided in the same 
 manner as the Roman, into two parts ; 
 the stage itself, from which the 
 actors spoke {b, \oye7ot>, oKpi^as, 
 ptlpitum), and the back part, with 
 its wall or permanent scene (c, a-Krivr], 
 scena). The name of the part be- 
 hind the scenes, corresponding with 
 the Roman postsceniuvi^ is doubtful : 
 some antiquarians think that it was 
 called vTro(7in]vLoi/, but others attribute 
 that term to the low wall which 
 separates the front of the stage from 
 the orchestra. 
 
 3. Theatrum tectum. A covered 
 theatre, which had a roof over head, 
 like the Odeum of Pericles at 
 Athens ; generally used as a concert- 
 room. (Stat. SytiJ, iii. 5. 91. Inscript. 
 op. Orelli. 3294.) The smallest of 
 the two theatres at Pompeii is be- 
 lieved to have been a covered theatre, 
 from an inscription found in it, 
 in commemoration of the person at 
 
THECA, 
 
 THERUM. 
 
 657 
 
 whose expense the roof was made. It is 
 constructed intemaUy upon the same 
 plan as other theatres ; but as the upper 
 part has fallen into decay, the nature 
 of the roof cannot be ascertained. 
 
 THE'CA (flVl). A case to put 
 anything in ; applied to any descrip- 
 tion of objects, "vvith an accompanying 
 epithet to designate the article in- 
 tended ; as, theca calamaria, a case 
 for pens ; theca nummaria, for money, 
 &c. Virg. Quint. Prop. Varro. 
 
 THECA'TUS. Depositedinacase; 
 applied to the bow (Sidon. Ep. i. 2.), 
 as shown in the wood-cut s. CoRYxns. 
 
 THERIS'TRUM {e^pi^rpov and 
 Bepiarpiov). A Greek word (iTheocr. 
 XV. 69.), adopted 
 into the Latin 
 language at a late 
 period. (TertuU. 
 
 I'all. 4. Hieron. '^»JLI| JJ-^'^^ 
 ii. in Isai. iii. "weJIB' 
 23.) In both lan- 
 guages, the pre- 
 cise meaning of '■'' 
 the term is somewhat uncertain, be- 
 yond the fact that it denoted some 
 part of the female attire which was 
 worn in summer as a protection 
 against the sun. It consisted of a 
 square piece of cloth {pallium, Isidor. 
 Orig. xix. 25. 6. ) ; and probably was 
 used as a covering for the head, like 
 the annexed example, from a. bas- 
 relief, which closely resembles in its 
 arrangement the manner still adopted 
 by the female peasantry in many 
 parts of Italy, who cover their heads 
 with a linen cloth in summer and a 
 woollen one in winter. The Greeks 
 also used different cloths for summer 
 and winter ; the summer cloth they 
 termed flepiVrpioc, the winter one, 
 
 X^'tid(TTpiOV. 
 
 THER'M^ (Sep/tai). Literally, 
 Jial springs ; thence, a bath of hot 
 water, whether warmed by natural 
 or artificial heat. From this, the 
 name was subsequently transferred to 
 the building which contained a set 
 of baths, including cold as well as 
 hot, and vapour as well as water 
 
 baths ; such, for instance, as those 
 bequeathed by Agrippa to the Ro- 
 man people, of which the noble 
 edifice, now called the Pantheon, at 
 Rome formed one of the apartments. 
 (Plin. II. N. xxxiv. 19. § 6. Id. 
 XXXV. 9. Id. xxxvi. 64.) In this 
 general sense, the name is conse- 
 quently nothing more than a new 
 term for B ALINED ; under which the 
 ancient method of constructing and 
 arranging a bathing estabUshment is 
 explained and illustrated. 
 
 2. But after the age of Augustus, 
 when the Romans had turned their 
 attention to the arts of peace, and 
 laid out some portion of the tributary 
 wealth collected from their exten- 
 sive dominions in the embellishment 
 of their capitol, the name Therms 
 was appropriated more particularly 
 to those magnificent establishments 
 modelled after the plan of a Greek 
 Gymnasium, but constructed upon a 
 still more sumptuous and extensive 
 scale, which, in addition to conveni- 
 ences for all kinds of bathing, hot 
 and cold, contained rooms for intel- 
 lectual conversation, and philoso- 
 phical discussions, libraries, picture- 
 galleries, apartments for games and 
 exercises, open and shaded walks, 
 covered corridors, and porticos for 
 running, leaping, racing, and other 
 gymnastics, as well as every ap- 
 purtenance which could conduce to 
 the intellectual or physical enjoy- 
 ment of a wealthy and luxurious 
 population. Suet. Cal. 37. Nero, 12. 
 Mart. V. 44. vii. 32. iii. 20. 25. vii. 
 34. ix. 76. xii. 83. Capitol. Gord. 
 32. Eutrop. vii. 9., in seven of 
 which passages, Therma are opposed 
 to Balnea. Very extensive remains, 
 which formerly belonged to three 
 public buildings of this description, 
 are still to be seen in Rome ; the 
 therma of Titus on the Esquiline 
 (Suet. Tit. "].), in which the well- 
 known statue of Laocoon was found ; 
 the thermcs of Caracalla, or Anto- 
 niana, on the Aventine (Spart. Cara- 
 call. 9. Eutrop. viii. II.), in which 
 2 T 
 
6s8 
 
 THERMM. 
 
 were found the statues of the Farnese 
 Hercules, the Flora Farnese, and 
 the group of Dirce, tied by Zethus 
 and Amphlon to a wild bull, all pre- 
 served in the Museum at Naples ; 
 and lastly the therma: of Diocletian, 
 covering parts of both the Viminal 
 and Quirinal hills, a single room of 
 which was converted by Michel An- 
 gelo into a church, Santa Maria degli 
 Angeli, the largest, after St. Peter's, 
 in Rome. The annexed illustration 
 
 shows the ground-plan of the ther^jKs 
 of Caracalla, from a survey made by 
 the Italian architect Pardini, with a 
 few slight alterations in the restored 
 portions, adopted in conformity with 
 the gymnasium at Ephesus, of which 
 a plan is inserted p. 324., and which, 
 by comparison with the present one, 
 will testify the general uniformity of 
 principle existing in the distribution 
 and design of these two classes of 
 buildings. The dark parts exhibit 
 
 the actual remains ; the light ones 
 are restorations, but sufficiently au- 
 thorized by corresponding portions 
 still existing, as will readily appear 
 upon an accurate inspection of the 
 opposite sides. The names and uses 
 assigned to each apartment, or divi- 
 sion of the edifice, must be under- 
 stood as being to a certain extent 
 uncertain and conjectural, excepting 
 where the traces left in the ruins are 
 
 sufficient to demonstrate of them- 
 selves the original intention ; but 
 still, by affixing names to them, the 
 object will be served of conveying to 
 the reader, in it concise form, a clear 
 and distinct notion of the magnifi- 
 cence of these edifices, and of the 
 number, variety, and general dispo- 
 sition of the dependencies contained 
 in them ; for the thermae of Diocle- 
 tian, though built upon a still larger 
 
THERiLS. 
 
 ^59 
 
 scale, are laid out upon a plan ex- 
 acdy similar to the present one in all 
 essential parts. 
 
 A A. A colonnade fronting the 
 street, an addition to the original 
 building commenced by Heliogabalus, 
 and completed by Alexander Severus. 
 (Lamprid. Heliog. 17. Id. Alex. Scv. 
 25.) The range of small apartments 
 behind this colonnade are supposed 
 to have been separate bathing-rooms, 
 with an undressing-room {apodyte- 
 riuni) attached to each for the use of 
 persons who did not wish to bathe 
 in public. E. The entrance. C c c. 
 Three single corridors round the 
 central pile of buildings, with a 
 double one, D D, on the south-west, 
 restored in conformity with the gym- 
 nasium at Ephesus : although no 
 traces of these are left, there would 
 clearly be a vacant space on the 
 ground-plan without them, which 
 requires to be filled up. E E. Exe- 
 dm, for philosophers and literary 
 characters to sit and converse in, 
 constructed with a semicircular absis, 
 remaining on the left side, round 
 which the seats were ranged. F F. 
 Corridors, like the Greek xysti, in 
 front of the exercising-grounds, and 
 having a separate apartment at each 
 end, which probably served for some 
 of the games or exercises adopted 
 from the Greeks. G G G G. Open 
 walks {hypizthra ambiilationes), plant- 
 ed with trees and shrubs, and laid 
 out mth vacant spaces between, for 
 active exercises. H. The stadium, 
 with seats round, for spectators to 
 view the racing and other exercises 
 performed in it ; hence also termed 
 theatridium. The works at the back 
 of this contain the water-tanks, and 
 furnaces below them, which heated 
 the water for the baths to a certain 
 temperature, before it was conveyed 
 by pipes into the coppers immedi- 
 ately adjoining the bath-rooms ; with 
 I, the general reservoir {castellum), and 
 J, a portion of the aqueduct which 
 supplied it. For the other apart- 
 ments at this extremity of the sti'uc- 
 
 ture, KK, LL, MM, no special use can \ 
 
 be authoritatively assigned, beyond 1 
 the inference dra'mi from their lo- | 
 cality near the exercising-gi'ounds, 
 that they were probably intended for 
 some purpose connected with bodily 
 activity. The central pile of build- 
 ing contained the bathing-apart- 
 ments, some of which still retain suf- 
 ficient traces for their uses to be 
 attributed with confidence. N. Na- 
 tatio, a large swimming-bath, flanked 
 by a suite of rooms on each side, 
 which served as undressing-rooms 
 (apodyterid), and chambers for the 
 slaves (capsarii), who took charge of 
 the clothes while their owners were 
 bathing • the inferiority of fittings 
 and decoration in these rooms indi- 
 cate that they were intended for me- 
 nials. O. The caldarium, with four 
 baths (l, 2, 3, 4) for warai water {al- 
 vei) in each of its angles, anAalabrum 
 (5, 6) on each flank. The steps still 
 remain which conducted into the 
 baths, and part of a pipe through 
 which the water was introduced into 
 one of them ; the roof over the cen- 
 tral part, as well as that of the prece- 
 ding one (n), was supported upon 
 eight immense columns. The apart- 
 ments farther on beyond these, which 
 are too much dilapidated to be re- 
 stored with any degree of certainty, 
 contained the laconicum, or vapour- 
 bath, for which the circular room 
 (p) has every appearance of having 
 served. Q Q are ascertained, from 
 remaining vestiges, to have been 
 cisterns for water near the bath- 
 rooms, and filled from the tanks at 
 the farther end of the edifice. The 
 two spacious apartments R R, within 
 the lateral corridors on each flank, 
 were covered rooms for exercise in 
 bad weather ; and seem well adapted 
 for the game of ball (sphceristeria) , to 
 which the Romans were much ad- 
 dicted. The remaining ones on the 
 farther side, under the double por- 
 tico, s s, were two cold plunging 
 baths {baptisteria), with an oiling- 
 room {dceothesiiim, IT), and a cold 
 
66o 7HERM0P0LWM. 
 
 THORAX. 
 
 chamber {frigidarium, UU) on each 
 side. The whole exterior occupies 
 one mile in circuit ; and the central 
 pile had an upper story, traces of 
 which remain, where the libraries 
 and picture-galleries were probably 
 situated. 
 
 THERMOPO'LIUM (Bepixowci- 
 hiov). A shop in which warm drinks 
 (calida) were sold (Plant. T7'in. iv. 
 3. 6. Id. Jiiid. ii. 6. 45.), like the 
 cafe of modern Europe. 
 
 THER'MULyE. Diminutive of 
 Thermae ; the diminutive, however, 
 not bearing a sense of inferiority or 
 disparagement, but, as is frequently 
 the case, intended to convey a notion 
 of extreme perfection. Mart. vi. 42. 
 
 THOL'US (9(i\os), A cupola or 
 dome for roofing over any circular 
 building (Vitruv. iv. 8. 7. Ov. Fast. 
 vi. 282. ) ; applied both to the interior, 
 or ceiling formed within it (Ov. Fast. 
 vi. 296. Virg. ALn. ix. 408.), and to 
 the exterior, or outside roof. (Mart, 
 ii. 59.) The illustration, from a 
 
 medal of Nero, establishes the genu- 
 ing meaning of the temr ; for it re- 
 presents the great market for ready- 
 dressed provisions (macellum mag- 
 num), which, we learn from Varro 
 (aj>. Non. p. 448.), was covered by a 
 cupola (iholum macelli),z.i, here repre- 
 sented. 
 
 THORACA'TUS (ec^paKSfopos). 
 Wearing a thorax, or cuirass. ]?lin. 
 H. N. xxxvii. 37. 
 
 THO'RAX (8«pa|). Property, a 
 Greek word, which corresponds with 
 the Latin one LORICA ; but the two 
 
 are opposed to each other in a passage 
 ofLivy (xlii. 61.), loricce thoracesque, 
 where the lorica is a corselet of lea- 
 ther, the thorax a cuirass of metal. 
 
 2. (irpoTOiU^.) A portrait in mar- 
 ble, bronze, or other material, repre- 
 senting the person as far as the breast 
 only, which we call a bust. (Tre- 
 bell. Claud. Goth. 2. Vitruv. Com- 
 pend. 2.) The example, from a bas- 
 
 relief, represents an artist in the act 
 of modelling a thorax, either in wax 
 or clay, as testified by the modelling 
 stick which he holds in his left hand, 
 and probably one of those small busts 
 which the Romans used to preserve 
 in their houses as family portraits, 
 under the title of ancestral images 
 (imagines majorum). It is to the 
 above custom, that the first design of 
 making busts, as a particular style in 
 art, is to be referred, the encourage- 
 ment subsequently given to it pro- 
 ceeding from the advantage it af- 
 forded to persons of small means, 
 who could not afford the expense of 
 a full-length statue. This will ac- 
 count for the circumstance, otherwise 
 singular, that the ancient name for a 
 bust is only met with in late writings ; 
 for it should be borne in mind that 
 the early works of Greek art, so 
 commonly classed under the name of 
 busts in our museums, were termed 
 Herma; by the ancients ; and that 
 they were not busts in reality, but 
 only heads without shoulders, in- 
 tended to be fixed on the top of a 
 square post, the pedestals on which 
 
THRAX. 
 
 THYRSIGER. 
 
 66l 
 
 they are now seen being entirely 
 modem. 
 
 THRAX, THR^X, or THREX. 
 A Thracian gladiator (Senec. Q. N. 
 iv. I.); so termed because Jie em- 
 ployed the same arms and accoutre- 
 ments as the natives of Thrace ; viz. 
 a knife with a curved blade and 
 sharp point {sica), and the small 
 Thracian shield (Eestus.j. v.), which 
 
 was square in outline, but convex lin 
 surface, as exhibited by the illustra- 
 tions, both from devices on ten-a- 
 cotta lamps. When fighting, he 
 often received his opponent in a 
 crouching or kneeling posture, ;as 
 
 here shown, which aptly illustrates 
 and explains the allusion of Seneca 
 (/. c. ), who designates a person of lowly 
 stature by assimilating him to the 
 figure of a Thracian gladiator await- 
 ing the attack. Compare Juv. vi. 263. 
 THRON'US {ep6voi). A throne 
 (Plin. H. N. XXXV. 36. § 2. Auct. 
 
 Pervigil. Ven. 7.) ; only an adopted 
 form of the Greek word, for which 
 the pure iatin term is SoxiUM. 
 
 THY'AS or THY'IAS (fli^ot or 
 fluioj). A bacchante (Ov. Fast. vi. 
 514. Catull. 64. 392. 'Virg. ^n. iv. 
 302. ) J a Greek form adopted by the 
 poets ; same as Baccha. 
 
 THYM'ELE ^or THYM'ELA 
 (flu/i6\7)). Properly, a Greek word, 
 meaning .literally; a, place for sacrifice, 
 such as .a temple or an altar ; but 
 expressly used to .designate the altar 
 of Bacchus in a. Greek theatre, which 
 was a square platform, with steps up 
 to it, situated in the centre of the or- 
 chestra (see the ground-plan s. The- 
 ATRUM, 2., on which it is marked B.). 
 It was used for various purposes ; to 
 serve as an altar, to represent a fune- 
 real monument, or any similar object 
 required in .the representation of the 
 piece; to conceal the prompter, who 
 was placed immediately behind it, 
 \while :the ipipe-player '{tibicen), and 
 occasionally the leader of the 
 chorus, took their station upon it. 
 In a Roman theatre there was no 
 thymele, because their orchestra was 
 entirely appropriated to the accom- 
 modation of spectators, like our pit. 
 
 THYMEL'ICI (evii^KiKoi). The 
 chorus of a Greek theatre, or the 
 musicians who sung and played upon 
 and around the altar of Bacchus (iAy- 
 mele) in the orchestra ; as opposed to 
 ■scenici {iTKr)viKoi)^ the regular actors, 
 who performed upon the stage. Vi- 
 truv. v. 7. 2. Isidor. Orig. xviii. 47. 
 
 THYRO'MA (fliipw/xa). The 
 Greek name for an entrance-door or 
 door- way. (Vitruv. iv. 6. I.) See 
 Tanua. 
 
 THYR'SIGER. Carrying the 
 thyrsus; an epithet descriptive of 
 Bacchus and his followers (Senec. 
 Med. no. Id. Hipp. 753.), who car- 
 ried that instrument on their shoul- 
 ders, when engaged in celebrating 
 the Bacchanalian rites, in the man- 
 ner exhibited by the figure subjoined, 
 which is copied from a painting 
 at Pompeii, representing several of 
 
662 
 
 THYRSITENENS. 
 
 TIARA. 
 
 the usages connected with a sacrifice 
 
 to Bacchus. 
 
 THYRSIT'ENENS. (Anthol. 
 Lat. i. p. II. Burm. ) Same as the 
 preceding. 
 
 THYR'SUS (eiptros). A thyrsus ; 
 that is, a long pole, with an orna- 
 mental head, formed by a fir cone, or 
 by ivy, or vine-leaves, which was 
 carried by Bacchus and his votaries 
 at the celebration of their rites (Hor. 
 Od. ii. 19. 8. Stat. Theb. ix. 614.). 
 It consisted originally of a spear, 
 with its point concealed by the above 
 device. (IMacrob. Sat. i. 19. Sen. 
 Here. Fur. 904.) The illustration 
 shows the three ways of decorating 
 the head of a thyrsus just described ; 
 
 with ivy leaves on the left, vine-leaves 
 on the right, and by a fir cone in the 
 centre, all from Pompeian paintings ; 
 but the complete instrument, with its 
 shaft, is exhibited by the preceding 
 wood-cut. 
 
 TIA'RA or -AS {rtapa or -as). 
 The tiara ; a cap or fez, which 
 formed the national head-covering of 
 the Parthians, Armenians, Persians, 
 and inhabitants generally of the 
 
 north-western districts of Asia. It 
 consisted of a small skull-cap, made 
 of cotton, and 
 without stiffen- 
 ing, which was 
 placed on the 
 top of the head, 
 so as to leave 
 the front hair 
 over the fore- 
 head uncover- 
 ed, and kept 
 from falling off by a narrow band 
 tied round the occiput (Hieron. £p. 
 64. n. 12. Val. Flacc. vi. 7oo-)> pre- 
 cisely as shown by the annexed ex- 
 ample, from a bas-relief of Persepo- 
 litan sculpture. 
 
 2. Tiara recta. Ktl upright tiara, 
 the use of whicli was confined to 
 kings only of 
 those nations 
 mentioned in 
 the last para- 
 graph (Senec. 
 Ben. vi. 31.) ; 
 and which, in- 
 stead of being 
 soft and flex- 
 ible, like that worn by the other 
 classes, was stiffened, so as to stand 
 up like the crown of a hat, above the 
 head, as exhibited by the annexed 
 example, representing Tigranes, king 
 of Armenia, from a Syrian medal. 
 In the Persian language, it was called 
 cidaris. 
 
 3. Tiara Phrygia. The Phrygian 
 tiara (Juv. vi. 5 1 6. Virg. Ain. vii. 
 254.) ; a term 
 used by the 
 Roman poets, 
 instead of tni- 
 tra, to desig- 
 nate the long 
 flexible cap, or 
 Phrygian bon- 
 net, as we call 
 it, which was 
 tied under the 
 chin by lappets (redimicula) covering 
 the side of the cheeks (Juv. /. c), as 
 in the annexed example, from a 
 
TIBIA. 
 
 663 
 
 Pompeian painting, representing Pa- 
 ris, the Phrygian shepherd. 
 
 TI'BIA {avKds). The name given 
 to several different wind-instruments 
 in very common use amongst the an- 
 cients, made of reed, cane, box-wood, 
 horn, metal, and the tibia or shin-bone 
 of some birds and animals, whence the 
 name originated ; all, however, be- 
 longing to a similar class, character- 
 ized by having holes or stops for the 
 fingers, and being sounded by a 
 mouth-piece inserted between the 
 lips. 
 
 1. (ii.6vm\os.) One of the earli- 
 est and simplest forms of the tibia 
 consisted of 
 a small box- 
 wood pipe, 
 something like the modern flageolet, 
 and precisely similar to the instru- 
 ment still used by the shepherds, or 
 "pifferari," of the mountains near 
 Rome ; as shown by the annexed 
 example, from a statue representing a 
 Faun. In this form, it was also ex- 
 pressly designated by the Greek name 
 monaulos. (Mart. xiv. 64.) 
 
 2. Tibia gingrina {■yi'^'jpa.i). A 
 very small and simple pipe, made out 
 of a fine quality of reed, and pro- 
 ducing a shrill and plaintive note, like 
 
 =l^= 
 
 that of our fife, which was much 
 used in PhcEnicia and Egypt. (So- 
 Un. 5. Festus j. v. Athen. iv. 76.) 
 Several specimens have been found in 
 the tombs of Egypt, varying in length 
 from nine to eighteen inches ; one of 
 which, nine inches long, is showm by 
 the annexed wood-cut, from Salt's 
 collection in the British Museum. 
 
 3. Tibia obliqaa (irKayiavKos). A 
 pipe something like our bassoon, with 
 a mouth-piece inserted on the side of 
 the tube, and when played, held in 
 an oblique position, so that the top 
 part came against the right ear {per 
 obliquum calamuin adaurem porredum 
 dextram, Apul. Met. xi. p. 245.), as 
 exhibited by the annexed example. 
 
 from a bas-relief in the Vatican, 
 which represents a number of genii 
 
 engaged in Bacchic festivities. It 
 was said to be invented by Midas 
 (Plin. H. N. vii. 57.), and was attri- 
 buted to the satyrs and followers of 
 Bacchus. Serv. ad. Virg. ^n. xi. 737. 
 4. Tibia vasca. Supposed to have 
 been a pipe of similar character to 
 the last, but of a more simple and 
 less powerful kind, which was em- 
 ployed for beginners to practise upon, 
 the form of the mouth-piece facilitating 
 the production and modulation of the 
 tones ; from which circumstance it is 
 thoughtthatthenameofz'aj-i'a, meaning 
 literally light or inferior, was attributed 
 to it. (Solin. 5. Salmas. ad Vopisc. 
 Cariii. 19. Gloss. Philox.) If this no- 
 tion be correct, an example is afforded 
 
 by the annexed figure, representing a 
 terminal statue of Pan in the British 
 Museum, in which the mouth-piece is 
 fixed on like the last specimen, but the 
 pipe is smaller, and consists of a sim- 
 ple reed or cane. The right arm and 
 
664 
 
 lower portion of the pipe are modem 
 restorations. 
 
 5. Tibia longa. The long pipe 
 which was employed in religious ce- 
 remonies, in the temples, and at the 
 sacrifice, to emit a loud and solemn 
 strain during libation. (Marius Vic- 
 torin. i. 2478.) The illustration is 
 
 t= 
 
 -O 
 
 from a bas-relief published by Casali 
 {Splend. Urb. Rom. iii. i. ), represent- 
 ing a sacrifice, in which four figures 
 are introduced with the same instru- 
 ments, all of which are nearly as long 
 as the height of the performers. 
 
 6. Tibia curva {e\vfi.os). The 
 Phrygian pipe (Athen. iv. 79.) ; espe- 
 cially employed in the ceremonials of 
 Cybele. (Pollux, iv. 74.) The 
 tube was made of box-wood, with a 
 bent end, like a horn, af&xed to its 
 farther extremity (Pollux, /. c), as 
 shown by the annexed example, Irom 
 
 C=!f 
 
 iSasai 
 
 a Roman bas-relief; whence it is 
 termed i:ama (Virg. yEn. xi. 737. 
 TibuU. ii. I. 86.), or iibia adunco cor- 
 nu (Ov. Met. iii. 533.). But it 
 was often made with a double branch 
 proceeding from the same stem, as 
 exhibited by the annexed figure, also 
 
 from a bas-rehef; and the strain 
 emitted by it is, in consequence, de- 
 scribed by the epithet biforis (Virg. 
 yEn. ix. 618. biforem dat tibia cantum; 
 Stat. Theb. iv. 668. biforem tmmd- 
 tum), 
 
 7. Tibia; pares (C^iyn)- A pair of 
 pipes, of equal length and bore, both 
 of which produced the same tone, viz. 
 both base or both treble ; inflated 
 also together by one musician, though 
 each pipe was a separate instrument. 
 
 and not, like the last example, 
 branching from a common stem. 
 The specimen introduced is from a 
 marble bas-relief of the Villa Mattel, 
 
 in which they are held by a muse. 
 The Hecyra of Terence was accom- 
 panied by pipes of this description, 
 as we learn from the notice prefixed 
 to the play ; — modes fecit Flaccus 
 Claudi, tibiis paribus. 
 
 8. Tibiiz impares. A pair of un- 
 equal pipes played by a single per- 
 former, but each of which had a dif- 
 ferent pitch, or produced a different 
 sound, the one base and the other 
 treble, believed to result from in- 
 equality in the relative length of each 
 pipe, and of the intervals between 
 the stops, as the figures in the an- 
 nexed wood-cut, also from a bas-re- 
 lief, seem to indicate. The Phormio 
 of Terence was accompanied by pipes 
 
 of this kind, as mentioned by the no- 
 tice prefixed to the play ; — modes 
 fecit Flaccus Claudi, tibiis imparibus. 
 
 9. Tibia dextra (av\hs avSpT)'ios). 
 That one of a pair of pipes which 
 was held in the right hand when play- 
 
 ing (Festus s. v.), as shown by the 
 annexed figure, from a painting at 
 
TIBIA. 
 
 ■IIBICEN. 
 
 66s 
 
 Herculaneum. It was made from 
 the upper part of the reed or cane 
 (Theophrast. H. P. iv. 12. PUn. 
 H. N. xvi. 66.), and produced the 
 deep or base notes (gravi bom'oo, Apul. 
 Flor. 1. 3. 2.), whence it is termed 
 the " manly pipe " by Herodotus (i. 
 17.) The Eunuch of Terence was 
 accompanied by a pair of base pipes 
 — tibiis duabus dextris; the Andria 
 by a double set of pipes, one pair of 
 which were both base, the other both 
 treble — tibiis paribus dextris et sinis- 
 tris. 
 
 10. Tibia sinistra or IcEva (a\j\6s 
 yvvaMiiCos). That one of a pair of 
 pipes which was held in the left hand, 
 as shown by the last illustration. It 
 was made of the lower part of the 
 reed or cane near the roots (Theo- 
 phrast. H. P. iv. 12. Plin. H.N. xvi. 
 66.), and produced the sharp or treble 
 notes (acuta tinnitu, Apul. Flor. i. 3. 
 2.); whence it is termed the "wo- 
 manly pipe" by Herodotus (i. 17.). 
 
 11. Tibia incentiva. The leading, 
 or base pipe ; another name for tibia 
 dextra (Varro, R. R. i. 2. 15.), be- 
 cause the right-hand pipe was the 
 one which commenced the strain. 
 
 1 2. Tibia succentiva. The second, 
 or treble pipe ; another name for 
 tibia sinistra (Varro, R. R. i. 2. 15.), 
 because the strain, just commenced 
 by the base, was taken up and fol- 
 lowed by the treble, or left-hand 
 pipe. 
 
 13. Tibia Sarrana. A pair of 
 pipes, of equal length and bore, like 
 the tibia pares, so that both of them 
 were attuned to the same pitch. 
 (Serv. fli/Virg. ^n. ix. 618.) The 
 Adelphi of Terence was accompanied 
 by this instrument, which is supposed 
 to have received its designation from 
 Sarra, the ancient name for Tyre ; 
 but nothing really authentic is known 
 respecting the origin of the name, nor 
 of the characteristic properties of the 
 instrument. 
 
 14. Tibice milvince. Pipes which 
 emitted a peculiarly sharp and shrill 
 tone (Solin. S- Festus J. £'.);the form 
 
 and distinctive characteristics of which 
 are not otherwise ascertained. 
 
 TIBIA'LE (irepmvrjiufs) A legging 
 or long gaiter, which went round the 
 shin (tibia) from the 
 knee to the ankle ; not 
 commonly worn by the 
 Romans, but occasion- 
 ally adopted under the 
 Empire by persons of 
 delicate constitution like 
 Augustus (Suet. Aug. 
 82.) ; or by those whose 
 employments rendered such a protec- 
 tion advantageous, such as soldiers 
 (Paul. Di^. 49. 16. 14.) ; or by hunts- 
 men, for which usage the illustration 
 affords an authority, being worn by 
 a horseman in a Roman bas-relief, 
 at a hunt of wild beasts. 
 
 TIBI'CEN (avXtiriis). A musician 
 who plays on the pipes (tibiis). The 
 pipers iormed a corporation at Rome 
 (Inscript. ap. Grut. 175. 10. Val. 
 Max. ii. 5. 4.), where they were 
 held in estimation (Ov. Past. vi. 6. 
 57.), and extensively employed in 
 
 religious festivals and solemnities 
 (Ov. /. <:. Cic.Agr.n.34. Plin.^.iV. 
 xxviii. 3.), at funerals (Id. x. 60.), 
 and on the stage. (Hor. A. P. 215.) 
 The illustration, from a painting at 
 Pompeii, represents a piper at the 
 theatre, sitting upon the raised altar 
 (thymele) in the orchestra, beating 
 time with his left foot, and draped in 
 the long vest, as described by Horace 
 (/. c). 
 
666 
 
 TIBICINA. 
 
 TINTINNA B UL UM. 
 
 TIBI'CINA [m,Ki\-rfk). A female 
 player on the pipes {tiiice), as repre- 
 
 sented by the annexed figure from 
 a painting of Herculaneum. (Mart, 
 xiv. 64. ) These were generally girls 
 who went about playing for hire at 
 dinner parties and festive entertain- 
 ments. Plaut. AiiL ii. 4. 2. Afosi. iv. 
 3. 2. Sfic/i. ii. 3. 56. 
 
 TIGILLUM. Diminutive of 
 TiGNUM. 
 
 T I G N A' R I U S sc. faier. A 
 timber worker ; meaning strictly one 
 who hews and puts together the 
 timbers and beams (tigna) of a roof 
 (Cic. Brut. 73.); this constituted a 
 trade by itself amongst the Romans, 
 whose members were associated in a 
 distinct corporation. (Inscript. ap. 
 Grut. 360. 2. ) But in the language 
 of the law books the term was applied 
 in a more general signification, like 
 our builder, and included all those 
 who were engaged in any description 
 of building operations. Cajus. Dig. 
 50. 16. 235. 
 
 TIGNUM. Generally, a beam or 
 timber for building ; but the term is 
 more specially used to designate the 
 tiebeams in the timber work of a roof 
 (Vitruv. iv. 2. i . ) ; which are placed 
 across the architrave or main beam 
 (Irabs) ; as shown by the plan j. 
 Materiatio, on which they are 
 marked Jdddd. These form the 
 principal beams of the soffit in the 
 interior of a building ; and in stone 
 edifices of the Doric order, their ex- 
 tremities are represented externally 
 by the triglyphs ; but in Ionic and 
 
 Corinthian elevations, they are not 
 accounted for externally, being en- 
 tirely concealed by the slabs of the 
 continuous frieze (zophorus) which 
 covers them. 
 
 TINA. A vessel in which wine 
 was brought into the eating-room in 
 early times. (Varro, ap. Non. s. v. 
 p. 544. ) Nothing is known respect- 
 ing its peculiar properties ; but we 
 may infer that it was of considerable 
 size, since VaiTO speaks of it as a sub- 
 stitute for the skin {uter^ ; and No- 
 nius associates it with the cask (cupa). 
 The modem Italians retain the word 
 in nearly its old form, il titw, and use 
 it to designate the vat in which 
 grapes are trod out at the vintage. 
 
 TINTINNABULA'TUS. Carry- 
 ing a bell, especially with reference 
 to animals (Sidon. Ep. ii. 2.), round 
 whose necks they were attached 
 amongst the ancients for the same 
 
 purposes as amongst ourselves. The 
 example is from a small bronze cast. 
 
 TINTINNA'BULUM (KiiSuv). A 
 fe// (Plaut. T?-in. iv. 2. 162.); made 
 in similar shapes, and used for much 
 
 & 
 
 the same purposes as at the present 
 day ; viz. , at the door of a house 
 (Suet. Aug. 91. Compare Sen. Ira. 
 iii. 35.), for calling the servants; at 
 the baths, to give notice when the 
 water was ready (Mart, xiv. 163.); 
 
TINTINNA C UL US. 
 
 TOGA. 
 
 667 
 
 at the sacrifice (Plaut. Pseud, i. 3. 
 112.); and for fastening round the 
 necks of animals, both as an object of 
 ornament and use. The illustration 
 represents five bells of different forms 
 from ancient originals ; the two on 
 the left side at the top are common 
 shop-bells ; the two below them, 
 attached to a flat band, were used for 
 a horse's breast-belt ; the other two 
 are hand-bells of a larger description. 
 
 TINTINNA'CULUS. One who 
 makes another's ears tingle (Plaut. 
 Tnic. iv. 3. 8. ) ; a nickname given to 
 the LoRARius, in allusion to the effect 
 produced by the blows dealt upon the 
 slave whom he punished. 
 
 TIT'ULUS. A placard or board 
 attached to a long pole, and carried 
 by the soldiery 
 in triumphal pro- 
 cessions, to re- 
 cord the num- 
 ber of prisoners, 
 amount of booty, 
 and names of the 
 towns or coun- 
 tries captured ; 
 all which details 
 were inscribed 
 upon it in large 
 characters, for 
 the information of the populace. (Ov. 
 Trist. iv. 2. 20.) The illustration 
 represents one of the boards carried 
 at the triumph of the Emperor Titus, 
 after the conquest of Jerusalem, from 
 the arch erected in commemoration 
 of that event. 
 
 2. The title or lettering-piece of a 
 book (Plin. Ep. v. 13. 3. Senec. 
 Tranq. 9.) Same as Index, under 
 which term the object is explained 
 and illustrated. .J 
 
 3. A notice or bill put up against a 
 house to announce that it was to be 
 let or sold (Plin. Ep. vii. 27. 7.); 
 hence the expression mittere lares sub 
 titulo (Ov. Rem. 302. Compare Ti- 
 bull. ii. 4. 54.) means to advertise a 
 house for sale. The notice of sale 
 declared the price and particulars 
 (Plin. I. c); the form for letting was 
 
 comprised in the words Est Lo- 
 CANDA, which is commonly retained 
 at the present day in modem Rome. 
 
 4. An epitaph (Plin. Ep. vi. 10. 
 3.); and any kind of inscription 
 upon monuments, buildings, ves- 
 sels, &c. 
 
 TOG'A (T^iSewa). A toga ; the 
 principal outer garment of the Ro- 
 mans, which formed the distinctive 
 national costume of that people, as 
 the pallium did of the Greeks. It 
 was usually made of white wool, ex- 
 cepting in cases of private mourning, 
 or amongst the very poorest classes, 
 who could not afford the expense of 
 frequent cleaning ; in both which 
 cases dark wool of the natural colour 
 was employed. 
 
 As the size and manner of adjust- 
 ing this garment was not always the 
 same, but partook of several modi- 
 fications at different epochs, much 
 doubt and difficulty has been ex- 
 perienced by scholars and antiquarians 
 in determining the precise form and 
 measure of the drapery which com- 
 posed it ; for although a great num- 
 ber of figures clothed in the toga still 
 remain, both in bas-reliefs and as 
 single statues, yet they belong, almost 
 without exception, to the Imperial 
 period, and only represent the latest 
 and most ostentatious fashion in 
 which it was adjusted. It is, conse- 
 quently, to the works of Etriiscan art, 
 from which nation, either directly or 
 indirectly, the toga descended to the 
 Romans, that we must look for the 
 earliest specimens of its style ; and in 
 them we find demonstrative evidence 
 that it was made of a lunated or 
 semicircular piece of cloth, as Diony- 
 sius states (iii. 61.), and that it was 
 of moderate dimensions, so as not 
 to form any bend or sinus across the 
 chest, agreeably to the account of 
 Quintilian (xi. 3. 137.) The first of 
 these properties is exemplified by the 
 figure in the next page, from a small 
 Etruscan bronze, in which the cres- 
 cent-like shape of the cloth is mani- 
 festly indicated by the numerous pa- 
 
668 
 
 TOGA. 
 
 pro- 
 
 rallel folds at its extremities, 
 duced by dramng the 
 hollow edge into a 
 straight Une, or tight 
 across thcback, which 
 constitutes the first 
 process in adjusting 
 the drapery to the 
 person, as exhibited 
 by the figure, After 
 the centre of the small- 
 est or upper curve 
 had been raised against 
 the back of the neck, 
 both ends were dra^vn 
 shoulders, so as to hang down per- 
 pendicularly in front, like the Greek 
 pallium (see wood-cut j. Pallium, 
 I. ), but without any brooch under the 
 chin ; the right one was then taken 
 up and drawn tight under the chin, 
 so as not to produce any sinus, and 
 then cast over the left shoulder, so 
 that the extremity fell like a lappet 
 down the back, in which case both 
 the arms would be 
 completely covered 
 by the drapery, as 
 shown by the annexed 
 example from an en- 
 graved gem, also of 
 Etruscau workman- 
 ship ; or, if the wearer 
 wished to leave his 
 right arm free for ac- 
 tion, instead of draw- 
 ing the right side over the top of the 
 shoulder, he passed it under the arm- 
 
 pit (see the first figure), and then 
 threw it over the opposite shoulder, 
 in the manner exhibited by the 
 third example from an Etruscan 
 statue of bronze. Moreover, in all 
 these instances the restricted size of 
 the drapery, as compared with the 
 later styles of the same garment, 
 satisfactorily explains why a toga of 
 this kind is termed toga restricta. 
 Suet. Aug. 73. 
 
 The first alteration introduced, as 
 it is .reasonable to conclude, under 
 the republic, consisted in increasing 
 the size of the drapery, without alter- 
 ing thecharacter of its outline, which 
 still retained the lunated form, when 
 spread out, but consisted of a larger 
 segment than the original semicircle, 
 and thus produced a garment of in- 
 termediate size, betAveen the first and 
 early style just explained, and the 
 last fashion described in the next 
 paragraph ; such as was usually worn 
 by Augustus, and is distinguished by 
 the expression, neque restricta, neque 
 fusa (Suet. Atig. 73), that is, neither 
 scanty nor profuse. But these en- 
 larged dimensions made it necessary 
 to adopt some alteration in the manner 
 of adjusting it upon the person, and 
 led to the formation of a very short 
 sinus (perquam brevis. Quint, xi. 
 3. 137.), which first came into use 
 during the age which succeeded to 
 the primitive one (Quint. /. <r. ) ; its 
 object being to carry off the additional 
 length given to the drapery, by de- 
 pressing a certain por- 
 tion of it in front of the 
 person, in order that the 
 end cast over the shoul- 
 der might not hang too 
 low behind. The ar- 
 rangement is distinctly 
 exhibited on the annexed 
 figure, firom a statue in 
 the library of St. Mark, 
 at Venice ; in which it 
 will be perceived, upon 
 a comparison with the 
 preceding examples, that 
 the right side, crossing 
 
TOGA. 
 
 669 
 
 the chest, instead of being drawn 
 close under the chin, or tight under 
 the arm-pit, is depressed a Httle in 
 front, so as to form the short simis 
 above mentioned, and thus create a 
 bed for the arm to rest in, which is 
 itself completely covered, leaving 
 nothing but the hand and a small 
 part of the chest exposed. This is 
 the attitude intended by the expres- 
 sion brachiuin veste continere (Quint. 
 /. c); and was the one commonly 
 adopted by the orators of the republic, 
 who in this respect imitated the style 
 of the Greeks. (Quint. /. c. ) Indeed, 
 all the examples hitherto, produced 
 present a very close resemblance to 
 the figures draped in the Greek 
 pallium (see the wood-cuts i. v.); the 
 principal difference consisting in the 
 greater number and amplitude of the 
 folds exhibited on the toga, and which 
 naturally result from the curved out- 
 line of the drapery, whereas those of 
 'Ca.^ pallium are fewer and more scanty, 
 and sit closer to the body, as would 
 be a natural consequence from the 
 rectangular form of the cloth which 
 composed it. The distinction here 
 pointed out has not been lost sight of 
 in the wood-cuts ; for it is sufficiently 
 indicated by the different character 
 of the markings upon them, as will 
 appear by comparing them together, 
 and observing them narrowly ; but it 
 would be at once self-evident if they 
 could have been executed upon a 
 larger scale, to give room for more 
 perfect and minute details, or to those 
 who may have an opportunity of in- 
 specting the originals. 
 
 The ample toga, toga fusa (Suet. 
 ^"S- 73- Compare Hor. Epod. 4. 8. 
 Ov. Rem. Am. 680.), or last style, 
 which prevailed in the age of Augustus 
 and the succeeding emperors, though 
 presenting a very different appearance 
 to the eye, was only produced by still 
 further enlarging the size of the dra- 
 pery, until its outer circumference 
 would form a complete circle (ro- 
 tunda. Quint, xi. 3. 139.) when 
 spread out upon the ground, like 
 
 an Italian or Spanish cloak ; the inner 
 edge being likewise hollowed out, like 
 the preceding instances, but in such a 
 manner as would produce a greater 
 breadth of fold when wound round 
 the person, which Quintilian indi- 
 cated by the expression " well cut" 
 (apte ccBsa, I. c). This increase of 
 dimension, like the last one, produced 
 a new fashion of adjustment, in which 
 all resemblance to the Greek pallium 
 is lost,, and the drapery itself appears 
 an entirely distinct dress. It was 
 first put on to the left shoulder, in 
 such a manner that about one-third 
 of its entire length covered the left 
 side, and fell down in front of the 
 wearer to the ground between the 
 feet, as shown by the parts marked i. 
 in both the front and back views of 
 the annexed examples. The rest was 
 passed behind the back, and under 
 the right arm ; then turned down or 
 doubled together at about the middle 
 
 of its breadth, carried across the front 
 of the body, and thrown over the left 
 shoulder, so that it hung down to the 
 heels, as shown by the back view in 
 the illustration. The portion thus 
 folded dovm produces a double sinus, 
 as mentioned by Quintilian (/. c. 103.) ; 
 one formed by the outer edge of the 
 drapery folded over, which in the 
 present example falls to the level of 
 the knees (2. ), in other statues reaches 
 still lower, so as to set a little above 
 the under edge of the drapery {im,a 
 toga, 3.), which Quintilian considers 
 
670 
 
 TOGA. 
 
 TOGATA. 
 
 the most becoming {decentissimus) ; 
 the other produced by the double 
 part of the fold {4), and procceeding, 
 as above mentioned, from under the 
 right arm to the top of the left 
 shoulder, so as to present the appear- 
 ance of a shoulder-belt {balteus. Quint. 
 /.<:.); but which, it is directed, should 
 lie, as it here does, easily across the 
 breast, and not to be drawn so straight 
 and tight as in the earliest manner, 
 exemplified by the third illustration 
 to this article, nor yet so loose as the 
 Greek style, exhibited by the fourth 
 figure— ?;(?<: straiigulet, 7iec Jiuat. 
 (Quint. /. f. ) Lastly, as the end of 
 that side which was first put over the 
 left shoulder would have trailed upon 
 the ground and impeded the motion 
 of the wearer (Suet. Cal. 35.), in con- 
 sequence of the great length of the 
 entire piece of drapery, a part of it 
 was drawn up from underneath this 
 belt or upper slnits (4. ), and turned 
 over it in a small round fold (5.), 
 termed twibo (TertuU. de Pall. 5.), 
 which thus kept it at a proper level. 
 The illustration, presenting a front 
 view, is from a statue of the Villa 
 Pamfili ; the other, with the back 
 turned, from a statue of the Villa 
 Medici. 
 
 Another method of adjusting the 
 toga, termed CinctusGabinus, is ex- 
 plained and illustratedunder that term. 
 
 2. Toga prcEtexta. A toga orna- 
 mented with a broad border of pur- 
 ple, originally derived from the 
 Etruscans, and worn with the bulla 
 by freeborn children of both sexes, 
 as well as the chief magistrates, dic- 
 tators, consuls, praetors, and sediles, 
 the kings, and some priests, both at 
 Rome and in the colonies. (Prop, 
 iv. I. 131. Liv. xxxiv. 7. Festus 
 s. V. Cic. Phil. ii. 43. Plin. H.N. ix. 
 63. Eutrop. i. 17.) It differed in 
 no other respect than the addition of 
 the border (which would not be re- 
 presented by sculptors) from the ex- 
 amples above introduced, as is testi- 
 fied by numerous statues still existing 
 of young persons wearing the toga 
 
 with the bulla round their necks 
 (Bartoli, Sep. 27. Mus. Borb. vii. 49. 
 Mus. Pio-Clem. iii. 24. Villa Bor- 
 ghese V. 3. and 4. ) ; in all which, and 
 many other instances, the prcetexta is 
 adjusted in the same manner as ex- 
 hibited by the two last figures. 
 
 3. Toga pura, ax virilis. The com- 
 mon toga usually worn by men, made 
 of white wool, without ornament or 
 colour. Q\z.Att.\. 20. Id./%/7. ii. 18. 
 
 4. Toga pkta. A toga ornamented 
 with embroidery {acu plcta] ; origi- 
 nally worn together with the tunica 
 palmaia by the ^ ^ 
 consul at his ^( 
 triumph ; but, 
 under the Em- 
 pire, by the 
 consuls, and 
 also by the 
 prsetors, when 
 they celebrated 
 the Circensian 
 games ; whence 
 it is often to be 
 seen on the 
 consular diptychs of a late period, 
 from one of which the annexed figure 
 is copied, representing the consul in 
 his character of president of the 
 games, holding up a handkerchief 
 (mappa) as a signal for the races to 
 commence. Liv. x. 7. Lamprid. Alex. 
 Sev. 40. 
 
 5. Toga palmata. Sometimes used 
 in the same sense as toga picta (Mart, 
 vii. 2. Serv. adN'ixg. j^n. xi. 334.); 
 but the epithet palmata is more com- 
 monly given to the tunic worn under 
 it. 
 
 6. A wrapper for books. Mart. 
 X. 93. Same as Membrana, 2. 
 
 TOGA'TA. Literally, a woman 
 clothed with the toga ; for in early 
 times the Roman females wore the 
 toga as well as the men (Varro, de 
 Vit. P. R. ap. Non. s. v. p. 541.), as 
 those of Greece also wore \}\e palliiim. 
 But when the stola had been adopted 
 as the distinguishing dress of the 
 Roman matrons, the use of the toga 
 amongst females was confined to 
 
TOGA TARIUS. 
 
 TOMACVLVM. 
 
 671 
 
 women of pleasure {merarkes), or to 
 wives who had been divorced on the 
 ground of adultery (Mart. ii. 39. Juv. 
 ii. 70. ) ; whence the term togata came 
 to have the more usual signification 
 oi 3. prostitute (Hor. Sat. i. 2. 63.), or 
 an adulteress (Mart. vi. 64. ). 
 
 2. Togata fabula. A play in which 
 the incidents and characters were 
 selected from Roman life, and con- 
 sequently represented by actors in the 
 toga or national costume. Cic. Sext. 
 55. Sen. Ep. 8. 
 
 TOGATA'RIUS. An actor in a 
 play representing events of Roman 
 life, who consequently wore the toga, 
 or national costume. Suet. Aug. 45. 
 
 TOGA'TULUS. Diminutive of 
 TOGATUS ; and indicative of a very 
 poor or humble person, who wore a 
 coarse, shabby, or scanty toga {togu- 
 la). Mart. x. 74. 
 
 TOGA'TUS. In a general sense, 
 wearing the toga as described and 
 illustrated under that word ; but as 
 that article of attire formed the dis- 
 tinguishing portion of the national 
 costume, the word is often used in 
 the special sense of a Roman, as 
 opposed to palliatus, a Greek, whose 
 national costume was the pallium. 
 (Virg. yEn. i. 286. Cic. liosc. Am. 
 46. Id. /%//. V. 5. Suet. Claud. 15.) 
 And as the toga was a civic costume, 
 for which the sagum or the paluda- 
 mentum was substituted in times of 
 war, or during active service in the 
 army, the term is often applied 
 specially, to designate a civilian, as 
 contradistinguished from a military 
 man. (Cic. Sidl. 30. Id. Or. i. 24. ) 
 Also, as the toga completed what we 
 should call the full-dress costume of 
 the people, which the lower classes 
 only put on upon holidays, but laid 
 aside when engaged in working, the 
 term togatus is opposed to tunicatus, 
 and implies that the person so de- 
 scribed does not belong to the work- 
 ing classes (Juv. iii. 127. i. 96. vii. 
 142.), which constitutes the biting 
 satire in the passages just cited. 
 
 TOG'ULA. Diminutive of Toga ; 
 
 the diminutive sometimes denoting 
 fineness of texture, and consequently 
 increased value, as in Cicero {Alt i. 
 18.), where it is applied to the toga 
 picta ; at others, inferiority of size or 
 material, as in Cic. Pis. 23. Mart. 
 ix. 101., and consequently conveying 
 a sentiment of depreciation. 
 
 TOLLE'NO (KlJAac, -uvnov). A 
 sxvipe ; a very simple machine for 
 raising water from a well, still com- 
 monly used in many parts of Europe. 
 It consists of a long pole, with a bucket 
 and rope at one of its ends, and aweight 
 at the other, poised at the centre of 
 gravity across a strong upright ; or, 
 when of very great length, as in the 
 annexed example, working on a per- 
 
 manent structure made for the purpose. 
 (Festus s. V. Plant. Fragm. ap. Fest. j-. 
 Reciprocare. Plin. H. N. xix. 20. ) 
 The illustration is from a Pompeian 
 painting, which represents an Egyp- 
 tian landscape. It shows the well, 
 with the bucket [situld) suspended over 
 it ; the beam is worked by two men, 
 and has precisely the bent form de- 
 scribed by Martial, ix. 19. antlia curva. 
 
 2. A machine of similar construc- 
 tion, used in military and naval ope- 
 rations for raising up a body of men 
 to a level with the enemy's ramparts, 
 c&c. Liv. xxiv. 34. xxxviii. 5- Veg. 
 Mil. iv. 21. 
 
 TOMA'CINA (rsMox'"")- (Var- 
 ro, R. R. ii. 4. 10.) Same as 
 
 T O M A' C U L U M. A minced 
 meat pudding, or sort of sausage, 
 made of the internal parts of a pig 
 (Juv. X. 355.), or other animals, the 
 brains, liver, &c., dressed upon the 
 gridiron, and eaten hot (Pet. Sat. 31. 
 
672 
 
 TOMENTUU. 
 
 TONS US. 
 
 1 1. ) ; on v/hich account it was carried 
 about the streets for sale in small tin 
 ovens. (Mart. i. 42. 9.). 
 
 TOMEN'TUM (KV€<\,a\\ov). A 
 flock of wool torn off in fulling cloth, 
 and employed as wadding for stuffing 
 cushions, bolsters, mattresses, &c. ; 
 whence the word came to designate 
 the stuffing itself, even without refer- 
 ence to the materials of which it was 
 composed, whether wool, feathers, 
 straw, chopped sedge, or tow, all of 
 which were employed for the purpose. 
 PUn. H. N. viii. 73. Mart. xiv. 159, 
 160, i6i, 162. Senec. V.B. 25. Suet. 
 Tib. 54. 
 
 TO'MIX or THO'M.IX (eSA"!)- 
 A rope made of tow, rush, or the 
 fibrous parts of the Spanish broom. 
 Vitruv. vii. 3. 2. Columell. xii. 32. 
 
 T O N- S A. An oar ; a term em- 
 ployed by the poets, and mostly in 
 the plural number. Ennius ap. Test. 
 J. V. Virg. Eucan. Sil. Itai. 
 
 TONSILLA. A hont-pick ; a 
 wooden pole sharpened' at the end 
 and shod with iron, which was stuck 
 into the ground in order to fasten' the 
 boat to the shore, or to bring it up in 
 shallow water. Verrius, Pacuvius, andi 
 Accius ap. Fest. j. v. 
 
 TOWSOR (Kouperis).. A barher ; 
 whose occupation amongst the Ro- 
 mans as well as Greeks consisted' in 
 cutting and dressing the hair, shaving 
 the beard, paring the nails, and pull- 
 ing out stray hairs with the tweezers 
 (volsdla. Mart", viii. 47. Plant. Aul. ii. 
 4. 33. Juv. vi. 25. Theophrast. Char. 
 xxvi. Alciphr. Ep. iii. 66). Wealthy 
 persons kept a barber in their own 
 houses amongst their slaves ; but the 
 people at large had recourse to the 
 barber's shop (tonstrma) ; for the Ro- 
 man rarely shaved himself, at least 
 after the year B.C. 454, when the first 
 barber was introduced from Sicily ; 
 and previously to that period the hair 
 and beard were worn long. Plin. 
 H. N. vii. 59. 
 
 TONSTRI'CULA. Cic. Tusc. 
 V. 20. Diminutive of TONSTRIX. 
 
 TONSTRI'NA(Kovpf?oi'). A 
 
 barber's shop (Plin. H. N. xxxvi. 
 47. ) ; a favourite place of resort both 
 amongst the Greeks and Romans, 
 where the customers congregated to 
 gossip over the news of the day. 
 Plant. Ep. ii. 2. 16. Id. As. ii. 2. 76. 
 Polyb. iii. 20. 5. 
 
 TONSTRIX (KoupeuTpm). A 
 female who practised the trade of a 
 barber ; which appears from numerous 
 inscriptions and other passages, not 
 to have been an uncommon employ- 
 ment for women amongst the ancients. 
 Plant. True. ii. 4. 54. iv. 2. 63. iv. 4. 
 3. Mart. ii. 17. Inscriptt. ap. Grut. 
 ap. Fabretti. 
 
 TONSUS {Kovpnios). Cropped or 
 clipped, with reference to the hair of the 
 head or beard (Mart. vi. 64. xi. 39.); 
 and indicating that the natural growth 
 was merely shortened by cutting 
 with the scissors {for/ex) as contradis- 
 tinguished from rasus, which means 
 shaved close with a 
 \iiZox(novaculd). The 
 Greeks wore their 
 hair cut close in 
 grief and mourning, 
 both women, as re- 
 presented by the 
 annexed figure of 
 Electra from a fic- 
 tile vase, and men, 
 as exemplified by the 
 figure of Agamem- 
 non introduced s. 
 Catagrapha ; but the Romans let 
 their hair and beard grow under simi- 
 lar circumstances, until the danger or 
 distress had passed, when they had 
 the superfluous length cut off ; whence 
 the expression tonsus reus (Mart. ii. 
 74- )j applied to a criminal, is equiva- 
 lent to acguitted. In other respects, 
 the free Roman of the republican 
 and imperial period, wore his hair of 
 a moderate length, not close cut, with 
 the exception of the rural population 
 (Mart. X. 98.), which is obliged to 
 study convenience more than appear- 
 ance ; hence the term tonsus often 
 means rustic, or countrified, especially 
 when applied to the slaves who waited 
 
TO PI A. 
 
 TORCULAR. 
 
 673 
 
 at table (Mart. xi. 12.), because it 
 was usual for people of fashion to 
 have their waiters extremely well 
 dressed, and set off with long flowing 
 hair (wood-cuts j. Acersecomes and 
 Pincerna), though some conceited 
 or effeminate youths, and women of 
 easy virtue, also affected to wear a 
 crop. Suet. Aug. 45. Nero, 44. 
 Cic. Pis. 8. 
 
 T O P ' I A. Landscape paintings ; 
 introduced in later times as a decora- 
 tion for the walls of a dwelling-room, 
 and consisting of imaginary views of 
 country scenery, ports, temples, &c., 
 &c. (Vitruv. vii. 5. 2.) Many of 
 these topia have been found in the 
 houses at Pompeii, agreeing perfectly 
 with the description of Vitruvius ; 
 
 being for the most part fanciful com- 
 positions, with little of nature in them, 
 but free in the handling, and not 
 unpleasing to the eye. A specimen 
 is introduced in order to afford an 
 idea of the usual style exhibited in 
 this branch of art amongst the an- 
 cients. 
 
 TOFIA'RIUS. A fancy gardener; 
 a slave whose particular province it 
 was to attend to the opus topiarium 
 (Cic. Q. Fr. iii. I. 2. Plin. H.N. xv. 
 39. ), which comprised the culture and 
 training of trees and shrubs, the de- 
 coration of arbours and bowers, and 
 the forming of evergreens by pruning 
 and clipping into a variety of incon- 
 gruous and fanciful shapes, represent- 
 ing birds, beasts, &c., like those so 
 prevalent in the Dutch gardens of the 
 last century. Cic. Par. v. 2. Plin. 
 Ep. iii. 19. 3. 
 
 TOR'AL and TORA'LE. A 
 
 valance, attached in front to the lowei 
 part of a dining couch, between the 
 mattress {torus) and the floor (Varro, 
 L.L. vi. 167. Pet. Sat. 40. i. Hor. 
 Ep. i. 5. 22.), as in the annexed ex- 
 ample from a painting discovered at 
 Resina ; thus contradistinguished from 
 the stragulum and peristroma, which 
 were laid, like a sheet, entirely over 
 the mattress, for the occupant to re- 
 pose upon, as shown by the illustra- 
 tion to the last of those words. It was 
 usually composed of white drapery, or 
 at least of some washing material for 
 the sake of cleanliness (Hor. Sat. ii. 4. 
 84. ) ; but gold tissue or embroidery is 
 mentioned (Lamprid. Elag. 19.) ; and 
 the ridiculous Trimalchio has a va- 
 
 lance, with a hunting scene em- 
 broidered upon it, brought in and 
 fastened under the mattresses, upon 
 which guests were actually reposing 
 at dinner, just before a wild-boar was 
 served up. Pet. /. c. 
 
 TOR'CULAR and -UM {Knv6%). 
 A press employed in the maniifacture 
 of oil and wine (Vitruv. vi. 6. 3. 
 Plin. H. N. xviii. 74. Varro, ap. Non. 
 s. V. p. 47.) ; the object of which was 
 to extract by violent pressure all the 
 juice remaining in the skins and 
 stalks of the grapes {pes vinaceorum) 
 after they had been trodden out by 
 the feet, or the oil from the olive 
 pulps {samsa) after they had been 
 bruised in the mill (trapelum, mold). 
 
 The earUest contrivance employed 
 for this purpose was of a very simple 
 2 U 
 
674 
 
 TORCULAR, 
 
 description ; consisting merely of a 
 heavy block of stone, raised up by 
 the aid of a lever beam, under which 
 block the bunches of gi-apes enclosed 
 in a basket (fiscina, Columell. xii. 
 39. 3.), or between laths [regula. Id. 
 xii. 52. 10.), to prevent the mass from 
 bulging out at the sides, were placed, 
 
 as represented by the annexed illus- 
 tration, from a Greek bas-relief of 
 the Neapolitan Museum. The two 
 figures on the left steady the stone, 
 whilst the three at the opposite ex- 
 tremity of the lever are occupied in 
 raising it up to give room for placing 
 the basket of grapes underneath it. 
 
 It is probable, that after the stone 
 had been lowered on to the fruit, the 
 lever was removed to over the top, 
 and made to perform the duties of a 
 press-beam {prehim), by fixing one 
 end in a socket, so that the pressmen 
 at the opposite end could increase the 
 natural weight of the stone by forcing 
 the beam upon it. 
 
 The next change produced a regular 
 machine, described in detail by Cato 
 (R. R. 18.), which operated by the 
 pressure of a beam (prelum), drawn 
 down upon the object to be squeezed 
 by means of ropes attached to one 
 end of the beam, and worked by a 
 capstan (siicula, Plin. H. IV. xviii. 
 74.). Very considerable vestiges of 
 one of these presses have been disco- 
 vered in an ancient press-room at 
 Gragnano (formerly StaiicE), after 
 which the annexed diagram is de- 
 signed, with the object of explaining 
 the character of the machine, the 
 parts of which it was composed, and 
 the nomenclature attached to them. 
 I, I. Two strong uprights or tranks 
 (arbores), firmly planted and wedged 
 into sockets constructed under the 
 flooring of the press-room (see the 
 
 wood-cut,j. ToRCULARlUM,No.4. i.], 
 which served to hold down the 
 tongue (lingula, 2.) of the press-beam 
 [prehtm, 3.), and iorcci a point of re- 
 sistance when it was in operatio/i. 
 
 S- 
 
 Lu 
 
 & 
 
 
 As the entire stress consequent upon 
 the upward action of the press-beam 
 came against this part of the appara- 
 tus, when its opposite extremity was 
 forced down, Cato recommends that 
 two tnmks should be used, as being 
 more solid, and less likely to be 
 forced out of their sockets than a 
 single one would be ; consequently, 
 two are represented in the plan ; but 
 in the example at Gragnano, only 
 one was employed, and that had an 
 eye [foramen) cut in it, to receive 
 the tongue of the beam. 4, 4. Two 
 posts (stipites), also planted in sockets 
 of a similar kind under the flooring 
 (see the wood-cut, s. Torcularium, 
 No. 3., g, h), which held the ends 
 
TORCULAR. 
 
 67r 
 
 of the capstan \sucula, 5, 5) that 
 worked down the beam. The heads 
 of these posts were tied together by a 
 cross-beam at the top, on which was 
 fixed a pulley, with a cord running 
 through it from the end of the 
 press-beam ; by means of which the 
 beam was raised, to make room for 
 the baskets of fruit or pulp, when 
 placed underneath it, upon the bed 
 (area, 6.), where they were squeezed. 
 The method of working it is easily 
 understood. When the grapes or 
 olives had been trodden out by the 
 feet or bruised in the mill, the re- 
 sidue was put into a basket and 
 placed on the area. Over them was 
 then laid a very strong flat board 
 {prbis olearius, Cato, R. R. 18.), in 
 order to equalize the pressure upon 
 all parts of the surface. The long 
 end of the press-beam was then 
 lowered from above on to the orbls, 
 and there strained down by the cap- 
 stan until all the juice had been 
 squeezed out. 
 
 Another kind of wine-press, of 
 undoubted authority, although not 
 actually described by any of the 
 writers now extant, is represented 
 by the annexed illustration, from a 
 painting at Her- 
 culaneum. It 
 consists of two 
 uprights firmly 
 fixed in the 
 ground, and 
 strengthened by 
 a cross-beam at 
 the top, and an- 
 other at the bot- 
 tom which served as an area upon 
 which the basket of fruit was placed. 
 Over this there are a number of solid 
 boards (tympana, Plin. H. N. xviii. 
 74.), which perform the office of a 
 press-beam, having their heads fitted 
 into perpendicular channels running 
 down each side of the uprights, and 
 being forced down upon the mass of 
 grapes by means of large blocks, 
 driven in as wedges between them 
 by blows of a mallet. 
 
 f-^^-^l 
 
 
 1 
 
 
 
 
 1 J 
 
 \. 
 
 1 
 
 ■^ HTlTTfiTmTlhiHF 
 
 1 
 
 Presses like the two described con- 
 tinued in common use amongst the 
 Romans, until within a century of the 
 age of Pliny, when a simple improve- 
 ment was first introduced, of working 
 the beam down by means of a screw 
 (cochlea) instead of the capstan or 
 wedges (Plin. H. N. xviii. 74.) ; 
 but this eventually led to a great 
 change during his lifetime, which 
 very materially altered the form and 
 character of the original machine. 
 The great length of a lever press- 
 beam was very inconvenient, as it 
 required so large a building for the 
 room where it was worked, and the 
 last machine is but a clumsy con- 
 trivance. But a remedy was found by 
 the invention of the 
 screw-press, with 
 mast (mahis) for the ' 
 male screw placed 
 in its centre, as 
 shown by the an- 
 nexed illustration, 
 from a painting at 
 Pompeii ; in which 
 solid boards (tympana), instead of 
 the long beam, are placed over the 
 mass, and screwed down upon it ; so 
 that the machine is much smaller, 
 though equally powerful, and re- 
 quires less room. (Plin. /. c.) The 
 illustration, in reality, is intended for 
 a clothes-press (pressormm) ; but as 
 the constructive principle is the same, 
 it viall equally serve to illustrate the 
 present subject. 
 
 2. (Krivos.) (Plin. H. JV. xviii. 
 62. Columell. xi. 2. 71.) In these 
 passages, which speak of washing and 
 cleaning the torculum, the word is 
 generally taken to mean a vat in 
 which the grapes were crushed by 
 the feet ; but there is no substantial 
 reason for the distinction, since the 
 old lever-press was composed of 
 several pieces, which were put toge- 
 ther, or set up, at the time of the 
 vintage and oil-making, and after- 
 wards taken dovim and stowed out of 
 the way, to leave the room they occu- 
 pied at liberty for other purposes 
 
676 
 
 TORCULARIUM. 
 
 (Varro, ap. Non. j. v, vineis iM 
 ampla cella torculum reponant). Pliny 
 and Columella only enjoin the neces- 
 sity of cleaning and washing these 
 parts before they were put by. 
 
 3. (Vitmv. vi. 6. 2.) The press- 
 room, or building in which the torcu- 
 lar was worked. Same as 
 
 TORCULA'RIUM {Knviiiiv). A 
 press-room; which comprises the 
 whole fabric where oil is made, and 
 in which the mill, presses, reservoirs, 
 and vessels used in the process, were 
 set up or contained. (Cato, R, R. 
 xii. xiii. xviii. Columell. xii. 18. 3.) 
 The same name was also given to I 
 
 No. 
 
 the building in which the wine-press 
 was placed, though that is otherwise 
 designated by a special term of its 
 own {vinarium) ; but it was con- 
 structed upon the same general plan, 
 and contained similar machinery and 
 conveniences to those employed in 
 the manufacture of oil, differing only 
 in some minor details, adapted for the 
 different nature of the article to be 
 produced. This may be collected in 
 part from the passages of Cato and 
 Columella where such structures are 
 described ; but it is fully confirmed 
 by an excavation made on the site of 
 the ancient Stabise, during the latter 
 
 part of the last century, which ex- 
 posed to view several different press- 
 rooms, some for wine, and others for 
 oil, all of which were arranged upon 
 
 a general principle, closelycorrespond- 
 ing one vrith the other. The illustra- 
 tion annexed exhibits the ground- 
 plan of one of these buildings, used 
 
TORCULARIUM. 
 
 TOREUMA. 
 
 677 
 
 for making oil, with a section of 
 its underground appurtenances, the 
 whole agreeing in mo^ of the essen- 
 tial features with the particulars de- 
 scribed by Cato ; and thus, whilst it 
 materially assists a correct under- 
 standing of that author, will convey a 
 complete idea of the method and pro- 
 cess adopted by the Romans in the 
 manufacture of this important article 
 of their agricultural produce. No. I. 
 represents the ground-floor of the 
 room, which has an open gangway 
 completely through it, and contains 
 one mill for bruising the fruit to a 
 pair of presses, one mill being amply 
 sufficient for supplying two presses, 
 as the process of bruising is effected 
 with much greater celerity than that 
 of squeezing. No. 2. is a section of 
 the same, on the Une A B. No. 3. a 
 section of one side, on the line c D. 
 No. 4. a section of the same side, on 
 the line E F. The same letters refer 
 to the same objects on all the four. 
 G is the bruising machine (trapetum), 
 a full description and view of which 
 is given under that word. H, H. Each 
 a large basin (possibly termed forum, 
 vT!ol5\viov), constructed in the fabric, 
 and enclosed on the side where there 
 is no wall by a raised margin [a, a). 
 The floors of these basins incline 
 towards the points 6,6, at each of 
 which there is a leaden conduit open- 
 ing respectively into two large earth- 
 enware jars {cc), partly sunk below 
 the level of the floor (No. 2.), and 
 partly raised above it (No. 3. ). By 
 the side of each jar there is a low 
 pedestal (//), raised as high as the 
 lip of the jar, but inclined towards it, 
 and covered at the top with a tile 
 formed with raised edges. On the 
 opposite side of the room are a double 
 set of three square holes (^, /;, i), sunk 
 in the fabric to a considerable depth 
 below the level of the floor (Nos. 3. 
 and 4.), which were intended as 
 sockets for receiving the masts and 
 uprights of the press (torcular) ; the 
 one at i for the trunk {arbor), in 
 which the tongue {linsula) of the 
 
 press-beam {prelum) was fixed ; the 
 other two {g, K) for the posts {stipites) 
 of the capstan {siiculd), by which the 
 beam was worked down, as explained 
 by the text and wood-cut at p. 674. 
 As the whole stress of the machinery 
 fell upon these trunks and posts, 
 which rendered them liable to be 
 forced out of their sockets, when the 
 beam was pressed down, they were 
 made fast under the flooring by cross- 
 pieces or foot-bolts {pedicini, Cato, 
 R.R. xviii. 3.), for the reception of 
 which a small chamber {kk, Nos. 3, 
 and 4.) is formed under them, with a 
 staircase (/,/,/, Nos. 1. and 4.), for 
 the workmen to descend into it. The 
 mode of operating, and the use of the 
 different parts, may now be easily 
 conceived. The wide gangway in 
 centre was intended for the beasts and 
 labourers to bring in the olives, which 
 were placed in the trapetum (g), and 
 bruised. The pulp was then put into 
 baskets, and transferred to the presses 
 {i,g,h), which squeezed out the juice 
 into the basins (hh), from which it 
 flowed along the sloping pavement, and 
 through the leaden conduit, into the 
 large jars (<r, c), whence it was ladled 
 out by the capulator, and finally re- 
 moved into the storehouse or cellar 
 {cdla olearid). The small pedestal, 
 with its inclined tile at top (/ No. 3, ) , 
 by the side of the large jar {c), was 
 intended to rest another vessel upon, 
 whilst it was being filled out of the 
 larger one; and the raised edges, as 
 well as the inclination given to the 
 tile, was to prevent waste, as all the 
 epillings or drippings would thus flow 
 back into the large jar. 
 
 TORCULA'RIUS, as an adjec- 
 tive, is applied generally to any one 
 of the instruments, vessels, &c., em- 
 ployed in or about a wine or oil press 
 and press-room (Varro, R- R. i. 22. 
 Columell. i. 6.) ; but, absolutely, the 
 torcularii are the labourers who 
 worked the press (Columell. xii. 52. 
 3.), as seen in the first illustration s. 
 
 TORCULAR. 
 
 TOREU'MA(T((pcuMa)- Probably, 
 
678 
 
 TORMENTUM. 
 
 TORQUATUS. 
 
 an ivory carving, executed by a sharp- 
 pointed instrument (calum, torniis), 
 worked by a lathe or wheel ; though 
 it must be confessed, that much dif- 
 ference exists respecting the accurate 
 meaning of the word. It is derived, 
 without doubt, from the Greek to- 
 p^vw, to bore ; which is often applied 
 in the same sense as ropy^va, to turn, 
 or work with a lathe ; and as both 
 the Greek and Latin languages supply 
 distinct terms for the various pro- 
 cesses of carving, casting, chasing, 
 engraving in intaglio, inlaying, beat- 
 ing out, and into moulds^ as well as- 
 every other style now known or 
 practised, except that of working by 
 the point and wheel, which operates 
 upon the principle of boring, it does 
 seem reasonable to believe that the 
 term was employed to designate a 
 class of works executed in the man- 
 ner described, whether in ivory, very 
 hard stone, or silver. One thing 
 quite certain is, that the (oreuma was 
 regarded as a highly choice and 
 valuable production (Cic. jPis. 27. 
 Sail. Cat. 21.); and that it is gene- 
 rally referred to small objects, mostly 
 articles of use, employed as drinking 
 vessels (Suet. .Ju/. 47. Cic. Verr. ii. 
 4. 18.), and ornamented with figures 
 or other devices in relief. (Mart. x. 
 87. ) The same term is also given to 
 a drinking-cup of fictile manufacture 
 (luteimi rotis toreunia. Mart. iv. 46. 
 Compare xiv. I02. ); where the name 
 toreicma can only acquire its meaning 
 from the turning of a potter's wheel. 
 
 TORMEN'TUM. A general 
 term for any kind of military engine 
 which discharged missiles (Cic. Cces. 
 Liv. ) by an impetus produced through 
 the means of any elastic and twisted 
 substance (from tai-quendd) ; including, 
 therefore, the specific denominations 
 Ballista, Catapulta, Scorpio, and 
 others enumerated in the Classed 
 Index. 
 
 2. ((TTpe^KioT-fjptov). Also, a gene- 
 ral term for an instrument of tor- 
 ture (Plin. H. N. xxxiv. 19. § 32. 
 Curt. vi. II.) ; no doubt, because the 
 
 rack was one of the commonest and 
 earliest in use. 
 
 3. (iJ7r(!f»|Ua). A strong cable girt 
 round the hull of a ship from stem to 
 stem, for the purpose of strengthen- 
 ing her timbers in heavy weather 
 (Isidor. Orig. xix. 4. 4. ) ; to which 
 Horace certainly seems to allude, and 
 not to the cable of an anchor, when 
 he says sine funibus Vix durare carince 
 Possunt imperiositis y^quor. {Carm. 
 i. 14. 6.). A number of these were 
 kept in the arsenal, taken on board 
 when a vessel was ordered out to 
 sea, and put on as occasion required. 
 
 TORNUS (T^pyos). A lathe, or 
 turner's wheel (Virg. Georg. ii. 449. 
 Plin. H. N. vii. 57) ; also, a sharp- 
 pointed carving or graving-tool, 
 turned by a lathe. Virg. Eel. iii. 38. 
 
 TORQUA'TUS (aTpiTrTo<p6pos). 
 Wearing a twisted collar [torquis) 
 round the neck, as was customary 
 with the Gauls (see the wood-cut s. 
 COMATUS), the Persians, and other 
 races, in the manner shown by the 
 annexed figure, representing one of 
 
 the Persian soldiers in the famous 
 mosaic of Pompeii. Hence, miles 
 torquatus amongst the Romans is a 
 soldier who had been presented with 
 an ornament of this description as a 
 reward of valour (Veg. Mil. ii. 7. 
 Compare Plin. H.N. xxxiii. 10.); 
 which he did not wear round his 
 neck, like the Orientals, but affixed 
 to his breast in the same manner as a 
 modem decoration. This is clearly 
 demonstrated by the following exam- 
 
TORQUIS. 
 
 TORULUS. 
 
 679 
 
 pie, which exhibits the portrait of a 
 centurion on a sepulchral bas-relief, 
 who wears the following decorations ; 
 —z. lemniscus streaming from the back 
 
 of the head, two torques on his breast, 
 and a phalera showing under them. 
 
 TORQUIS and TORQUES {arp^- 
 WTcis). A circular ornament, made 
 
 with a number of gold threads 
 twisted spirally together, and worn 
 as a collar or neck-chain by the 
 Gauls, Persians, and other races of 
 the north and east. (Isidor. Orig. 
 xix. 31. II. Cic. Off. iii. 21.) The 
 illustration is from an original, and 
 fastens itself by two bent ends, which 
 clasp into one another, the torquis 
 unca of Propert. iv. 10. 44. 
 
 2. Torquis brachialis. (Vopisc. 
 Aurel. 7.) An ornament made of 
 
 the last example, but forming many 
 spiral coils instead of a single circle, 
 and worn round the lower part of the 
 ai-m (brachiutii), between the wrist 
 and elbow, instead of on the neck. 
 The illustration is from an original. 
 3. A coupling collar, made of 
 
 twisted gold, in the same manner as 
 
 twisted rope, passed round the necks 
 of a pair of oxen (Virg. Georg. iii. 
 168.), when they were not attached 
 by a yoke {jtigum), as in the annexed 
 example, from a marble bas-relief 
 
 4. Poetically, for a wreath of 
 flowers twined round an altar. Virg. 
 Georg. iv. 276. 
 
 TOR'TOR (/3ao-ari(rT77s). One 
 who inflicts the torture. Cic. Phil. 
 xi. 3. Sen. Ep. 14. 
 
 T O R' U L U S. Diminutive of 
 Torus ; but specially used to desig- 
 nate a sort of fillet twined round the 
 head {torulo capiti circumflexo, Am- 
 mian. xix. i. 31.), and presenting 
 full or swelling contours, like those 
 
 produced by the stuffing in a mattress 
 (Varro, L. L.v. 167. Torus, 2.); or 
 the strands of a rope (ToRUS, I.) ; 
 or the protuberances of a festoon or 
 chaplet between its ties (TORUS, 4.); 
 as represented by the annexed ex- 
 ample from a Pompeian painting. It 
 was also worn by women (Varro, I.e.), 
 and in the Amphitryo of Plautus, 
 Jupiter is furnished with a torulus of 
 
68o 
 
 TORUS. 
 
 TRABS. 
 
 gold twist {Amph. Prol. 144.), which 
 he wore under his hat [petasus], in 
 order that he might be distinguished 
 from Amphitryon when he uncovered 
 his head. 
 
 TOR'US. Any full and swelling 
 protuberance, like the convexity of a 
 muscle (Cic. Tusc. ii. 9.), of an over- 
 charged vein (Cels. vii. 18.) ; or the 
 strand of a rope (Cato, R. R. 135. 4. 
 Columell. xi. 3. 6. ) ; whence the fol- 
 lowing more special applications ac- 
 quire their meaning. 
 
 2. A mattress or stuffed bed for 
 lying and sleeping upon ( Plin. H. N. 
 viii. 73. Ov. Fast. ii. 795. ) ; so termed 
 from the swelling undulations pro- 
 duced in it by the stitches of the 
 
 quilting, as represented by the ex- 
 ample, which is copied from a marble 
 bas-relief 
 
 3. In architecture, a swelling mould- 
 ing, similar in form to the astragal, 
 but of larger dimensions, which was 
 employed in the bases of columns, 
 where it presents the appearance of a 
 
 swollen vein, or of a round cushion 
 swelling out from the superincumbent 
 weight. When more than one torus 
 was applied, as in the annexed ex- 
 ample of an Attic base, a hollow 
 moulding or scotiawas placed between 
 them, the upper and lower one being 
 distinguished from each other by the 
 respective names of torus superior 
 and inferior. Vitruv. iv. 7. 3. iii. 5. 2. 
 4. A swelling protuberance in the 
 
 circle of a festoon [sertum) or of a 
 chaplet (eorona), produced by ribands 
 tied round it at intervals, which break 
 up the even outline into a number of 
 
 separate and undulating parts, as 
 shown by the annexed example from 
 a marble bas-relief. Hence Cicero 
 applies the term figuratively to cer- 
 tain oratorical ornaments in speaking, 
 which interrupt and diversify the even 
 tenor of a discourse. Cic. Or. 6. 
 
 TRAB'EA. A toga, either en- 
 tirely of pjirple, or ornamented with 
 one or more horizontal stripes of that 
 colour ; the former forming the sacred 
 drapery of a deity, the latter a royal 
 robe, adopted by Romulus and the 
 early kings, from whom it descended 
 to the consuls, who wore it upon cer- 
 tain public solemnities, and to the 
 equites or knights, who wore it at 
 their review before the Censor. (Serv. 
 adNSxg. Ain. vi. 612. Plin. H. N. 
 •mx. 74. Val. Max. ii. 2. 9.) The 
 method of adjusting it was the same 
 as that described under the article 
 Toga ; more especially as regards 
 the earliest styles, when the drapery 
 was less profuse in its folds and dimen- 
 sions, whence it is distinguished by the 
 epithet /a^T'a. Virg. ^n. vii. 187. 
 
 TRABEA'TUS. Clothed in the 
 trabea. Val. Max. ii. 2, 9. Ov. Fast. 
 
 i-37- 
 
 TRABEC'ULA. (Cato, R. R. 
 viii. 5.) Diminutive of 
 
 TRABS (rpaTTT)!). Generally, any 
 large wooden beam, such as the rib 
 of a ship, the beam of a battering- 
 ram, c&c. ; whence, in a more special 
 sense, by architects, a woodeji archi- 
 trave, or large beam laid horizontally 
 on a row of columns in order to form 
 
TRACTATOR. 
 
 TRAIHA. 
 
 68i 
 
 a continuous bed for the other timbers 
 of the roof to rest upon (Vitruv. iv. 
 2. I.), like that marked A in the an- 
 nexed plan. In the Etruscan temples 
 
 and other edifices where the space 
 between column and column exceeded 
 the width of three and a half diame- 
 ters, the architrave was always of 
 timber, even though the rest of the 
 building was constructed in masonry, 
 because stone or marble would not 
 support a superincumbent weight 
 over a void of such extent ; but 
 when the intercolumniation was not 
 so great, the architrave was made of 
 the same materials as the other parts 
 of the structure, and is then more 
 usually styled epistylium, forming the 
 lowest of the three principal members 
 into which the entablature of an order 
 is divided on its exterior. 
 
 TRACTA'TOR. K shavipooer ; a 
 slave whose business it was to mani- 
 pulate the body and supple the joints 
 after the bath, as still commonly 
 practised in the East. Sen. Ep. 66. 
 
 TRACT' ATRIX. A female slave, 
 who performed the same office as the 
 tractator. Mart. iii. 82. 
 
 TRACTUM and TRACTA 
 (Karay/ia). A flock of wool drawn 
 out by the process of combing or 
 carding. Varro ap. Non. j. <y. p. 228. 
 TibuU. i. 6. 80. 
 
 2. {xir/avov.) A flake of dough 
 pulled out like a flock of wool in the 
 process of kneading. Cato, R. R. 76. 
 I. Plin. H. N. xviii. 27. Athen. 
 xiv. 57. 
 
 TRA'GULA. A sort of missile 
 discharged by machinery, but of 
 which the distinctive peculiarities are 
 not ascertained. Varro, L. L. v. 115. 
 Festus s. V. Lucil. Liv. Cess. Sail. 
 
 2. A drag net, or troUing-net, 
 
 furnished with corks to float its upper 
 edge. Plin. H. N. xvi. 13. 
 
 3. (Varro, L. L. v. 1 39.) Same 
 as Traha. 
 
 TRAGULA'RII. A class of 
 soldiers whose duty it was to place 
 and level the missiles, tenned tra- 
 gula, to be discharged from a military 
 engine. Veg. Mil. ii. 15. 
 
 TRAHA, or TRAHEA. A drag 
 without wheels, employed by the 
 ancients in 
 
 purpose 
 
 was sometimes drawn behind the tri- 
 bula, to complete what had been 
 left imperfectly threshed. (Columell. 
 ii. 21. 4. Virg. Georg. I. 164.) The 
 example is from an Egyptian tomb, 
 
 TRA'MA. Originally and accu- 
 rately, this word seems to have indi- 
 cated the threads of a warp when 
 opened into a shed, or decussated by 
 the leashes {licia), as seen in the 
 centre of the annexed illustration. 
 
 and thus opposed to stamen, which 
 signifies the warp before the leashes 
 are put on, and while all its yarns 
 hung straight and close upon the 
 loom, as represented by the wood-cut 
 under that word (Sen. Ep. 90. 
 Schneider. Index. R. R. Script, s. Te- 
 la. ) Hence it is applied to the open 
 work of a spider's web (Plin. H. N. 
 xi. 28.), and to a very lean person 
 (Pers. vi. 73.), as if to imply that one 
 might see through his skin and bones, 
 as through the shed of a warp. But 
 
682 
 
 TRAMES. 
 
 TRAPETUM. 
 
 latterly, or at least in the language of 
 the common people, the term trama 
 was confounded with subtemen ( Serv. 
 ad \\rg. ALn. iii. 43. Isidor. Orig. 
 xix. 29. 7.), in which sense it is re- 
 tained to this day by the weavers of 
 Italy, who call the woof " la trama." 
 
 TRA'MES. A crosspath, forming 
 a byeway or short cut, by which per- 
 sons can move from one place to 
 another without being exposed to 
 public observation. Varro, L. L. vii. 
 62. Cic. Phil. xiii. 9. Sail. Cat. 59. 
 
 TRANSEN'NA. A trap for 
 snaring birds, constructed upon a 
 principle very similar to that of our 
 "man-trap." It was formed of net- 
 work strained 
 upon a frame 
 which was 
 made in two 
 pieces at- 
 tached to a common axis, extended 
 between them. When the trap was 
 set, the two flaps lay flat out upon the 
 ground ; but the moment the bird 
 alighted upon the bait, which was 
 placed upon the cross-bar in the 
 centre, its weight slipped the spring, 
 and the two sides closed together 
 and secured the bird. (Plaut. Bacch. 
 iv. 5. 22. Rud. iv. 7. 10. and 13. 
 Compare also Pers. iv. 3. 13.) The 
 illustration represents an Egyptian 
 trap of the kind described from paint- 
 ings at Beni-Hassan; on the left side, 
 open, and set ; on the right after it 
 has closed with the bird caught in it ; 
 the network only has been restored 
 to the right figure, from which it had 
 faded in the original. 
 
 2. A lattice of cross-bars before a 
 window, or other aperture, as in the 
 illustration 5. Prothyrum ; hence, 
 quasi per transennam adspiceis (Cic. 
 Orat. i. 35-), "to look in a cursory 
 or imperfect manner, as if through a 
 lattice." 
 
 3. A rope extended across any 
 place or opening from side to side 
 (Serv. adYrg. ALn. v. 488. Isidor. 
 Orig. xix. li. 24. Sail. ap. Non. s. v. 
 p. 1 80. ) ; such, for example, as was 
 
 stretched across the race-course for 
 the purpose of compelling all the 
 horses to start together (Linea, 4.); 
 whence the expression e transenna 
 (Ammian. xxv. 6. 14.), "all toge- 
 ther." 
 
 TRANSTILLUM. (Vitruv. v. 
 12.) Diminutive of 
 
 TRANSTRUM. In a general 
 sense, any beam or plank laid hori- 
 zontally over a void from wall to 
 wall, to support a weight above, sus- 
 pend other objects from, or as a tie- 
 beam for strengthening the side 
 rafters of a timber roof, when the 
 space covered by it is of large dimen- 
 sions. Festus J. V. Plin. H. N. 
 xxxiv. 32. Vitruv. iv. 2. i. 
 
 3. Transtra, plural (ra a-eX/xaTa). 
 The cross-benches upon which the 
 i rowers sat in large vessels where 
 more than one man was employed at 
 the same oar, stretching from the 
 ribs of the vessel to another support 
 within her waist, so that the requisite 
 number could be accommodated on 
 the same bench ; but their length, 
 position, and exact arrangement can- 
 not be ascertained, with any pretence 
 to authority, for no sufficient testi- 
 mony remains, either of authors or 
 artists, to illustrate the internal con- 
 struction of the ancient ships. Festus 
 J. V. Virg. ^^«. iv. 573. 
 
 TRAPE'TUM, TRAPE'TUS, or 
 TRAP'ES. An olive mill ; or ma- 
 chine for bruising the fleshy part of 
 the olive, and separating it from the 
 stone (Virg. Georg. ii. 519. Varro, 
 L. L. V. 13S. ), before it was submit- 
 ted to the action of the press (torcu- 
 lar). A machine of this kind is de- 
 scribed at length by Cato [R. R. xx. 
 — xxii. and cxxxv. ), and an ancient 
 original has been discovered at Gra- 
 gnano (formerly Stabice), so closely 
 resembling that description as to 
 leave no question respecting its name 
 and use. A drawing of this is inserted 
 in the next page, both in elevation and 
 section, with the different members 
 properly put together, which were 
 found partly in fragments, and partly 
 
TRAPETVM. 
 
 TRAPEZITA. 
 
 683 
 
 entire, upon the spot. The names 
 ascribed to each are in accordance 
 with the nomenclature of Cato, and 
 the same references apply to the 
 similar parts in the elevation and the 
 
 section. The lower member forms a 
 circular basin (mortarium, I), of hard 
 volcanic stone, the sides of which 
 were termed labra. (Cato, cxxxv. 
 6, 7. ) From the centre of the basin 
 there rises a thick short column 
 {miliarium, 2), serving to support the 
 axles of the bruising-wheels (orbes, 
 3, 3), which are flat on the inside, 
 and convex without. On the top of 
 the column is placed an oblong square 
 wooden box or nave {cupa, 5), which 
 received at each end one of the two 
 poles (6, 6), passing through the 
 wheels as an axle, and affording a 
 handle to turn them by, while at the 
 same time it kept the inner surfaces 
 of the wheels at a fixed distance 
 from the sides of the miliariiim, so as 
 to prevent them from rubbing against 
 it, when in action. The nave is 
 fixed on to the top of the column by 
 a strong iron pivot {columella ferrea, 
 4), round which it turned with the 
 wheels, having a pin {fistula ferrea) 
 run through its head, to prevent the 
 whole apparatus from being forced 
 upwards, if the wheels should meet 
 with any serious obstruction under- 
 neath. Upon the poles, just outside 
 the wheels, is fixed a cap {armilla, 8, 
 8), riveted by a nail {clavtis) run 
 through it, the object of which was 
 to prevent the wheels from swaying 
 under the influence of any lateral 
 obstiTiction, which might cause them 
 to grind against the /«?;■«, or concave 
 sides of the basin. The under part of 
 the nave was also covered with an 
 
 iron plate {tabella ferrea), to prevent 
 friction. The manner in which the 
 machine acted may now be easily 
 understood. Two men, one at each 
 end of the long poles (6, 6) on which 
 a wheel is fixed, pushed the pair simul- 
 taneously round the sides of the basin, 
 previously supplied with a sufficient 
 quantity of olive-berries. Whilst 
 thus driven in a circuit, the resist- 
 ance produced by the fruit compelled 
 the wheels at the same time to re- 
 volve upon the poles by which they 
 were driven, as upon their own 
 axles. This action had the effect of 
 bruising the skins and flesh without 
 crushing the stones; for it will not 
 fail to be observed that the wheels 
 are suspended in such a manner as 
 to worli entirely clear of the basin, 
 without touching any part of it, both 
 on their flat sides against the central 
 column (2), and on their convex sur- 
 faces towards the lips of the basin, as 
 well as at their circumferences. It 
 was, in fact, to procure this gentle, 
 equable, and regular action, that so 
 much care and attention was required 
 in constructing and putting together 
 the machine, and all the individual 
 parts are designed for the sole pur- 
 pose of k&ping the wheels exactly 
 set at a proper distance from the 
 surfaces of the basin ; for if the 
 stones were crushed with the skins, 
 the flavour and quality of the oil 
 would be deteriorated. Columell. 
 xii. 52. 6. 
 
 It might be inferred that the tra- 
 petum was originally employed for 
 crushing grapes, as the term seems 
 to be derived from the Greek -rfomia, 
 "to tread grapes," whence come 
 Tpa-wriT6s and TpaTrririis. But there is 
 no passage extant which speaks of its 
 use at the vintage ; so that it would, 
 perhaps, be more correctly referred 
 to the Ionic form, Tpdira for Tpiirw, 
 "to turn round," whence comes the 
 verbal adjective Tpa-wqTeoir. 
 
 TRAPEZI'TA {rpaireClrvs). A 
 money changer (Plaut. Capt. 1. 2. 
 84.); merely a. Greek word Latin- 
 
684 TRAPEZOPHORVM. 
 
 TRIBOS. 
 
 ized, for which the Romans use 
 Mensarius. 
 
 TRAPEZOPH'ORUM (rpaTcfo- 
 i^ifiov). A leg or support for the 
 slab of a table, or a sideboard. (Cic. 
 Fani. vii. 23. Paul. Dig. 33. 10. 3.) 
 These were frequently designed by 
 good artists, and sold by themselves 
 to private individuals, who could 
 have a top fitted to them, which ac- 
 counts for so many objects of this 
 nature having been found in various 
 excavations. They are sometimes 
 composed of a single figure, amongst 
 which the Sphynx frequently occurs ; 
 or of a bracket leg, composed from 
 the head and legs of different birds 
 and animals, as in the present ex- 
 
 ample, from the device on a terra- 
 cotta lamp, intended to be used for 
 .side-boards, and slabs placed against 
 a wall, or for what we now call con- 
 sole tables. 
 
 TRECHEDIP'NUM. A word 
 coined or adopted from the Greek 
 (Juv. iii. 67.) ; the meaning of which 
 is very doubtful. Some suppose it to 
 designate the boots (ei/SpoMfSes) worn 
 by the victors at the Grecian games ; 
 others, a peculiar sort of costume 
 worn by the Greek parasites, by 
 virtue of which they gained ready 
 admission to the houses where their 
 company was sought or tolerated ; 
 but all attempts to arrive at a defini- 
 tive interpretation are purely con- 
 jectural. 
 
 TRIA'KII. A body of heavy, 
 armed infantiy soldiers, who formed 
 the third division of a Roman legion. 
 They were originally distinguished 
 
 by the name of Pilani from tlic 
 heavy javelin {pilmti) vrith which 
 they were equipped ; but when that 
 weapon was also distributed to the 
 other two divisions, comprising the 
 Hasiati and the Principes, the old 
 name was changed for that of Triarii, 
 either on account of the position they 
 occupied in the order of battle, viz. 
 the third line, which is the reason 
 assigned by Livy, or because then- 
 corps consisted of picked men se- 
 lected from each of the three heavy- 
 armed classes, which is the reason 
 assigned by Niebuhr. Their armour 
 consisted of a bronze helmet, with a 
 high crest, a cuirass, large shield, 
 a short and pointed sword, and the 
 heavy javelin or pilnm; but no au- 
 thentic monument representing these 
 details with sufficient precision is 
 known to exist. (Varro, L. L. v. 
 89. Liv. viii. 8.) Towards the latter 
 end of the republic, the original dis- 
 tinction between the men styled re- 
 spectively Hastati, Principes, and 
 Triarii was abandoned, in conse- 
 quence of the new system adopted of 
 drawing up the army by lines in 
 cohorts. 
 
 TRIB'ON (rpiPav). A Greek 
 word, signifying literally an old gar- 
 ment worn threadbare ; whence the 
 term was given more specially to a 
 very coarse, common, and scanty 
 kind of cloak {pallium), worn by the 
 people of Sparta, and adopted by other 
 
 persons, who affected to ape Spartan 
 manners ; more especially by the 
 Cynics, as an outward sign of poverty. 
 
TRIBULUM. 
 
 TRIBUNVS. 
 
 685 
 
 austerity, and simplicity. (Auson. Ep. 
 53. Demosth. Contra Cation. 2. p. 
 306. Schseffer. Aristoph. Plut. 882.) 
 The illustration, from a statue of the 
 Villa Borghese, represents a Greek 
 philosopher exactly as the Cynic is 
 described by Alciphron {Ep. iii. 40), 
 half-naked in his iribon. In the 
 original, the scantiness of the gar- 
 ment, and the coarseness of its tex- 
 ture, are distinctly marked by the 
 form and quality of its folds ; but 
 this character, though not altogether 
 lost in our engraving, is rendered 
 less forcibly, from want of decision in 
 the drawing, consequent, in some 
 degree, upon the minute scale to 
 which it has been reduced. 
 
 TRI'BULUM and TRI'BULA 
 (to TpifioAa). A machine employed 
 in threshing corn ; consisting of a 
 wooden platform, having its under 
 surface studded with sharp pieces of 
 flint or iron teeth. It was drawn 
 over the grain by an animal attached 
 
 ground, one of them would always 
 stand upright, as in the annexed 
 example, from an original. It was 
 employed in ancient warfare for the 
 purpose of impeding a charge of 
 cavalry, being thrown on the ground 
 to wound the horses' feet. Veg. 
 Mi/, iii. 24. 
 
 TRIBU'NAL (Si/catTT'/ipioj'). The 
 tribunal; a raised platform at one 
 extremity of a law court, upon which 
 the curule seats of the judges and 
 other' persons of distinction who 
 wished to attend the proceedings were 
 placed. (Cic. Verr. ii. 2. 38. Id. 
 Orai. i. 37. Suet. Tib. 33.) It was 
 
 to it, and often weighted by objects 
 placed on the top, or by the driver 
 himself standing upon it. (Varro, 
 i?. Ji. i. 52. I. Plin. If. N. xviii. 72. 
 Virg. Georg. i. 164.) The practice 
 is retained in the East, where the 
 machine exhibited by the illustration 
 still continues in use. 
 
 TRIB'ULUS {rpi^oXos). A cal- 
 trop; that is, a contrivance consisting 
 of four strong iron spikes projecting 
 from the sides of a ball of the same 
 metal, and arranged in such a man- 
 
 ner, that yhen thrown upon the ! 
 
 sometimes of a square form, and 
 constructed within the external walls 
 of the building, as shown by the 
 abutment on the right side of the 
 annexed engraving, which represents 
 the ground-plan of the Basilica at 
 Pompeii ; at others, it consisted of a 
 semicircular absis or alcove {Jiemicy- 
 clium, Vitniv. v. i. 8.), projecting 
 beyond the external wall of the edi- 
 fice, as in the Basilica at Verona, of 
 which a restoration is exhibited at 
 p. 81. 
 
 2. In a camp, the tribunal was an 
 elevated platform upon which the 
 general sat to administer justice 
 (Tac. Hist. iv. 25. lb. iii. 10.) ; simi- 
 lar to the snggestum on p. 632. 
 
 3. In a Roman theatre, the tribunal 
 was an elevated seat in the pit (or- 
 chestra. Suet. Cto<^. 21.), generally 
 appropriated to the use of the praetor 
 (Id. Aug. 44.). 
 
 TRIBU'NUS. A tribune; a title 
 originally signifying an officer be- 
 longing to a tribe, either elected as 
 its president, or to perform certain 
 duties in its behalf; whence the 
 name was subsequently transferred 
 to several different kinds of officers 
 
6S6 
 
 TRIE UN us. 
 
 appointed for the performance of 
 various other duties. Of these the 
 most important are the following • — 
 
 1. Tribunus Celerztm. The tri- 
 bune who commanded the royal body 
 guard of calvary under the kings. 
 Liv. i. 59. Pomp. Dig. i. 2. 2. 
 Celeres. 
 
 2. Tribuni militum consulari potes- 
 tate. Tribunes of military rank 
 with consular power. They were 
 supreme magistrates possessing the 
 same rank and power as the consuls, 
 but varying in number from three to 
 six, and were first elected in the 
 year U.c. 310, instead of consuls, as 
 a sort of compromise between the 
 patricians and plebeians, in order to 
 avoid the necessity of appointing 
 members of the latter class to the 
 consulship. Their costume and in- 
 signia of office were the same as 
 those of the consuls. Liv. iv. 6. 
 and 7- 
 
 3. Tribuni militares or militum 
 (Xi/^iapx"')' Mihtary tribunes; offi- 
 cers in the Roman army who held a 
 rank below that of the legati, but 
 superior to that of the ccnturiones. 
 (Varro, L. L. v. 81. Cic. Cluent. 36.) 
 
 S^ 5^ (?% 
 
 The numbers of these officers ap- 
 pointed to each legion varied at 
 different periods, as the number of 
 men composing its strength was in- 
 creased ; but they enjoyed an im- 
 portant command and high rank, 
 being often represented on the co- 
 lumns and arches in the immediate 
 staff of the impa-ator, and wearing 
 the same accoutrements with himself 
 
 TRICHILA. 
 
 and the legatus, as exhibited by the 
 annexed group, from the Column of 
 Trajan, which shows the emperor in 
 front, a legatus immediately behind 
 him, and the tribune in the rear. 
 
 4. Tribuni plebei or plebis (S-fj^ap- 
 X"'). Tribunes of the people ; ma- 
 gistrates elected by the plebeians 
 from amongst their own order, to 
 defend the rights and interests of the 
 poorer and weaker classes against the 
 power of the patrician aristocracy. 
 Their numbers varied from two at 
 first to ten finally ; but they enjoyed 
 immense power, and were attended 
 by runners (matores) instead of lie- 
 tors, whence the emblems attributed to 
 them on coins are the long bench [sub- 
 sellium) and a wand (virga) ; though 
 as mere civilians, they have no distin- 
 guishing costume but wear the national 
 toga. Liv. ii. 32. Cic. Leg. iii. 7. 
 
 TRICH'ILA, TRICH'ILUM, 
 TRIC'LA and TRIC'LIA. A 
 bower, or a summer-house, con- 
 structed in the pleasure-grounds of a , 
 villa, or other locality, to afford a 
 shady retreat for dining in during 
 genial weather. (Virg. Copa. 8. 
 
 Inscriptt. ap. Orelli, 4517. 4456. 
 Gees. B. C. iii. 96. Compare Prop, 
 iv. 8. 35. seqq. ) It was frequently 
 formed of wood and trellis- work, 
 over which vines, gourds, and other 
 
TRICHOR UM. 
 
 TRICLINIUM. 
 
 687 
 
 parasitical plants were trained (Co- 
 lumell. X. 378.); but sometimes as a 
 permanent building, decorated with 
 columns and other objects of art (In- 
 script. ap. Orelli, 2909,), like our 
 summer-houses; as shown by the 
 illustration, which exhibits a view of 
 one of these retreats, with its dining- 
 table, bases of. masonry intended for 
 receiving the mattresses of three tri- 
 cliniary couches, and fountain in 
 front, all as they exist in a perfect 
 state of preservation iu the house of 
 Actaeon at Pompeii. 
 
 TRICHO'RUM (rpfx^po")- A 
 term employed to designate some 
 particular kind of apartment in 
 houses or other buildings (Stat. Sylv. 
 i. 3. 58. Spart. Pesc. 12. Inscript. ap. 
 Orelli, 1395. ap. Fabretti, p. 740. n. 
 505.); supposed to mean a room 
 divided into three compartments, or 
 perhaps aisles, by rows of columns. 
 
 TRICLINIAR'CHES. A chief 
 servant, to whose care the arrange- 
 ments of the dinner-table and dining- 
 room [triclinium) were confided, and 
 the direction of the waiters and sub- 
 ordinate servants committed. Pet. 
 Sat. 22. 6. Inscript. ap. Orelli, 794. 
 
 TRICLINIA'RIS. Characterizes 
 any article, utensil, or object con- 
 nected with the service and furniture 
 of a dinner-table and dining-room 
 (triclinium) ; as, lectus tricliniaris 
 (Plin. H. N. xxxvi. 6.), the dining- 
 couch (Lectus, 4. ) ; gradiis triclini- 
 aris (Varro, L. L. viii. 32.), the steps 
 by which the couch was ascended 
 (Gradus, I.); mappa tricliniaris 
 (Varro, L. L. ix. 47. ), a table napkin 
 (Mappa, i.); and, absolutely, in the 
 plural, tricliniaria (Plin. H. N. viii. 
 74.), the coverlets and hangings used 
 upon and about the couch (Peri- 
 
 STROMA, StRAGULUM, ToRALE) ; or 
 
 the dining-rooms themselves (Varro, 
 ' R. R. i. 13. 7. Triclinium, 2.). 
 TRICLI'NIUM {rpUKiPov). Does 
 not imply a single tricliniary couch 
 {lectus tricliniaris), but the conjunc- 
 tion of i/irec dining couches arranged 
 together (Varro, 2. Z. ix. 9. Id. 
 
 R. R. iii. 13. 2. Macrob. Sat. ii. 9.), 
 so as to form three sides of a square, 
 leaving a vacant space in the centre 
 ioT the dining-table, and the fourth 
 side open for the servants to enter and 
 place the trays upon it. A tricliniavi 
 
 thus constituted was in general in- 
 tended for the reception of nine per- 
 sons, three on each couch; but that 
 precise number was not rigorously 
 enjoined, for sometimes the places 
 were not all filled ; at others, the 
 couches were only adapted to receive 
 a single person (see the wood-cut s. 
 AccUBiTUM), so that the party would 
 not consist of more than three ; and 
 in the example here introduced, 
 though the two sides accommodate 
 three each, no less than seven indi- 
 viduals repose upon the cross end. 
 The original bas-relief from which 
 the illustration is taken, was found 
 at Padua (formerly Patavium), a good 
 deal corroded, but still retaining suffi- 
 cient details to afford an accurate 
 notion of the exact manner in 
 which the three couches of a tricli- 
 nium were disposed with the company 
 upon them; though in this instance 
 they are not absolutely couches 
 (lecli), but permanent bases of ma- 
 sonry, of the same character as those 
 shovm in the preceding illustration, 
 upon each of which a mattress 
 was laid, as seen under the bodies 
 of the recumbent figures. If a 
 table like that of the last cut were 
 placed in the centre the whole scene 
 would be complete. The figures on 
 the left side are still reclining as at 
 dinner; those on the right, already 
 replete, have turned on their backs to 
 
688 
 
 TRIDENS. 
 
 TRIG A. 
 
 take a siesta (Juv. i. 56. Ov. A?n. 
 ii. 5. 13.), while the rest of the party, 
 at the farther end of the triclinium, 
 are enjoying their cups. The scene 
 may possibly represent a funeral feast 
 (silicernium) ; or, more probably, a 
 drinking party after a feast [comis- 
 satio, symposium), to which it was 
 customary to invite other companions 
 besides the dinner guests ; and thus 
 the extra numbers crowded upon the 
 farthest mattress would be accounted 
 for. 
 
 2. A dining-room, in which the iri- 
 clinium was laid out. (Cic. Or. ii. 
 65. Phsedr. iv. 24. Pet. Sat. 22. 3. 
 Vitruv. vi. 6. 7. lb. 7. 4.) Several 
 apartments of this kind have been 
 exposed to view in the houses of 
 Pompeii, mostly small, and with 
 fixed basements, instead of movable 
 couches, for the occupants to recline 
 upon, as shown by the two preceding 
 wood-cuts ; but it will be understood 
 that other dining-rooms, originally 
 fitted with regular couches, have lost 
 their characteristic featui-es by the 
 removal or decay of the furniture be- 
 longing to them. 
 
 TRID'ENS (Tfiilom, Tplatva). 
 Literally furnished with three teeth, 
 i. e. prongs ; whence applied abso- 
 lutely in the same 
 sense as fuscina; a 
 three-pronged fork 
 for spearing fish 
 (Plin. H. N. ix. 20. 
 Wood-cut s. Fus- 
 cina, I.) ; a similar 
 weapon used by the 
 gladiators called re- 
 tiarii or netmen (Juv. 
 viii. 203. wood-cut 
 s. Fuscina, 2. ) ; the 
 trident of Neptune, 
 appropriately attri- 
 buted by poets and 
 artists to the sea-god 
 in lieu of a sceptre. 
 13. Id. Ain. ii. 610. 
 
 TRIDEN'TIFERand TRIDEN'- 
 TIGER. Bearing the trident or 
 sceptre of the seas ; an epithet and 
 
 emblem especially characteristic of 
 the god Neptune, who is thus repre- 
 sented in the last illustration, from a 
 miniature in the Vatican Virgil. Ov. 
 Met. viii. 595. Id. xi. 202. 
 
 TRIENS. A copper coin, equal 
 in value to one-tliird of an As. and 
 weighing four ounces. 
 (Plin. H. N. xxxiii. 
 13.) It has four balls 
 stamped upon it to de- 
 note the value, as in- 
 the annexed example 
 from an original drawn on a scale of 
 two-thirds the actual size. 
 
 TRIERAR'CHUS {rpi^papxos). 
 Properly, the commander of a Greek 
 trireme, whence the title was trans- 
 ferred into the Roman navy. Tac. 
 Ann. xiv. 8. Id. Jlist. ii. 16. 
 
 TRIE'RIS (Tptiip-ns). A Greek 
 word, for which the Romans more 
 commonly use Triremis. 
 
 TRI'FAX. A missile of four and 
 a half cubits long, which was dis- 
 charged from the catapUta (Festus 
 
 s. V. Ennius a/. Fest. /. t. Aul. Gell. 
 X. 25. I.); probably a sort of spear, 
 so denominated from having three 
 barbs, as in the example, which is 
 copied from the column of Trajan. 
 
 TRIGA. A three-horsed car, and 
 a team of three horses yoked abreast 
 
 Isidor, 
 
 Ulp. Dig. 
 
TRIGARIUM. 
 
 21. I. 38.) ; two of which drew from 
 the pole, the third being attached as 
 an outrigger by a brace (simplici vin- 
 culo. Isidor. Orig. xviii. 35.) to its 
 neighbour, or possibly to ropes such 
 as are seen to pass on each side of 
 the middle horse round the forepart 
 of the car, in the annexed example, 
 engraved by Ginzrot from an Etrus- 
 can vase in the Museum at Vienna. 
 
 TRIGA'RIUM. A place or en- 
 closure for the exercise of tri^t?, or 
 of horses and cars in general. (Plin. 
 H. N. xxxvii. 77.) There were seve- 
 ral driving courses of this description 
 in the city of Rome, which are enu- 
 merated by P. Victor. 
 
 TRIGA'RIUS. One who drives 
 a team of three horses yoked to a car 
 (triga). Plin. ff. N. xxviii. 42. 
 
 TRI'GLYPHUS (-rpiyXvi^oi). A 
 triglyph; a member of the frieze in a 
 Doric entablature, consisting of three 
 parallel channels with drops (guttce) 
 underneath, arranged at regular in- 
 tervals throughout the frieze, and 
 intended to represent on the external 
 face of the building the ends of the 
 
 TRIGONUM. 
 
 689 
 
 tie-beams [tigna] as they are ranged 
 above the architrave. (Vitruv. iv. 2. ) 
 The literal meaning of the word is 
 thrice slit or grooved ; and it is sup- 
 posed that the ends of the tie-beams in 
 the old wooden buildings were ac- 
 tually cut into three parallel channels, 
 either for the purpose of conducting 
 the rain-water from the cornice above 
 them, or to prevent the beams from 
 
 splitting. Others are of opinion that 
 these grooves were not positively cut 
 out on the beam heads, but naturally 
 produced by the gradual effects of 
 the rain-water trickling over them ; 
 but in either case the sculptured slab 
 or triglyph would represent correctly a 
 real or artificial feature in the original 
 timber roof The illustration shows 
 a part of the frieze now remaining 
 on the theatre of Marcellus at Rome. 
 
 TRIGON. A small ball, hard 
 stuffed, and covered with leather, for 
 playing a game designated 
 by the same name. (Mart, 
 iv. 19. xii. 83.) The 
 , example is from an Etrus- 
 can bronze ; the stitching 
 of the leather is plainly 
 indicated, and the size of the ball 
 may be imagined from the size of the 
 hand, that of a child, which holds it. 
 
 2. The game played with a ball or 
 balls of the kind just described. (Hor. 
 Sat. i. 6. 126.) It is supposed that 
 three persons were required to make 
 out the game, who stood in the rela- 
 tive positions occupied by the three 
 points of a triangle, so that each 
 would have an opponent in front of 
 him, on his right and left ; and as 
 expertness in the use of the left hand 
 is mentioned as essential to a good 
 player (Mart. xiv. 46.), it is further 
 inferred that each one was furnished 
 with two balls, which he had to de- 
 liver right and left, and catch in the 
 same manner. But this account de- 
 pends more upon conjecture than 
 positive evidence, as no representation 
 of the game, sufficiently decisive to 
 establish the fact, has yet been dis- 
 covered. 
 
 TRIGO'NUM (Tpiywvov). A tri- 
 angular piece of marble, tile, or some 
 
 artificial composition, used for in- 
 laying patterns in a mosaic pavement 
 2 X 
 
690 
 
 TRILIX. 
 
 TRIPUS. 
 
 of the class termed sectUe (Vitruv. 
 vii. I. 4. Pavimentum, 2.), as shown 
 by the border round the four sides of 
 the illustration, which represents a 
 piece of pavement on the threshold of 
 the principal entrance to one of the 
 houses at Pompeii. 
 
 2. A musical instrument of trian- 
 gular form, with all its strings of the 
 same thickness, but of unequal lengths 
 (Plat. Rep. 399. c. Soph. Fragm. 
 361. Athen. iv. 77. lb. 80.), and 
 which, it is to be inferred from the 
 figure on the left side of the illustra- 
 tion, copied from a Pompeian paint- 
 ing, was caiTied on the shoulder 
 when played. The word does not 
 occur in the present sense in any of 
 the extant Latin authors ; nor is it 
 clear whether they, or the Greeks, 
 
 made use of the same term to desig- 
 nate our triangle^ which seems pro- 
 bable, since that instrument was not 
 unknown to them, as is proved by 
 the figure on the right side of the 
 engraving, copied from a marble 
 bas-relief formerly belonging to the 
 Giustiniani family at Rome, upon 
 which a party of several females 
 are represented playing upon differ- 
 ent musical instruments — the triangle 
 here introduced, the rattle termed cro- 
 taluni^ t\i^ tynipajium, or tambourine, 
 and the double pipes, or iibice pares. 
 
 TRIL'IX (rpi'/iiTo?). Twilled of 
 three threads thick ; that is, in which 
 each thread of the weft (snhtemen) is 
 passed in the weaving over one and 
 then under three threads of the warp 
 [stamen], which requires three sets of 
 leashes [licia], and produces a ribbed 
 pattern. Mart. xiv. 143. 
 
 TRILO'RIS. A hybrid word, 
 
 half Greek and half Latin, which 
 means, literally, furnished with three 
 thongs ; but it is used to designate a 
 garment brocaded with a triple set of 
 oniainental stripes or other pattern, 
 ttn'atAparagund(Z, as explained under 
 that word. Aurel. Vopisc. 46. 
 
 TRIMOD'IA and -UM. A basket 
 or other vessel containing the measure 
 of three Roman pecks {modii). Colu- 
 mell. ii. 99. Plant. Men. Prol. 44. 
 
 TRIOB'OLUS {rpi6&o\os). A 
 silver coin of the Greek currency 
 (Plaut. Bacch. ii. 3. 26. ) ; containing 
 three oboli, or half a drachma. It 
 was coined, however, of two stan- 
 dards ; the Attic, worth about i^d. of 
 our money, and the TEginetan, which 
 was nearly equal to 5|^. 
 
 TRIPET'IA. A term used in the 
 patois of the Gauls, signifying a three- 
 legs;ed stool. Sulp. Sever. Dial. ii. 
 
 TRIPUD'IUM. A term used in 
 divination to indicate that the food 
 was so greedily eaten by the sacred 
 chickens, that part of it fell from 
 their beaks and struck the gi'ound, 
 which was regarded as a sign of good 
 omen. Cic. Div. ii. 34. 
 
 TRIP'US {t/)iVous). Generally, 
 any thing supported on three feet or 
 legs ; whence the following charac- 
 teristic senses : — 
 
 1. A cauldron or vessel for boiling 
 eatables of any 
 description, which 
 stood upon three 
 legs over the fire, 
 as exhibited by 
 the annexed illus- 
 tration from a 
 
 picture represent- 
 ing a scene in the 
 market-place of 
 Herculaneum. Isi- 
 dor. Orig. xx. 8. 
 5. Hom. //. xxiii. 
 702. Tpiirous ifi- 
 TTupt^riTTis. 
 
 2. A common three-legged 
 such as poor people used to sit 
 Isidor. Orig. xx II. 12. Sulp. 
 Dial. II. 
 
 stool, 
 
 upon. 
 
 Sev. 
 
TRIREMIS. 
 
 7RITURA. 
 
 691 
 
 3. The tripod, or stool of the 
 Pythian priestess, upon which she 
 sat to deliver her 
 responses at Delphi 
 (Cic. Virg. Ov.); 
 of which the an- 
 nexed figure is 
 given in the 
 plates of Muller's 
 Hatidbtcch der Ar- 
 chdologie der Kunst, 
 as an accurately- 
 detailed represen- 
 tation ; and a fictile 
 vase of Sir W. 
 Hamilton's collection exhibits a tripod 
 of very similar character, with Apollo 
 sitting upon it. 
 
 4. An article made of bronze, 
 marble, or precious metals, in imita- 
 tion of the sacred rr:^. 
 tripod, either for 
 ornament or use ; 
 often dedicated as 
 an offering in the 
 temples, or given 
 as an honorary 
 prize and reward 
 of valour (Virg. 
 j^n. V. 110.); or 
 used as an altar for sacrifice, like the 
 annexed example from the arch erected 
 by the Roman goldsmiths in honour 
 of Septimius Severas. 
 
 TRIRE'MIS (Tpijfp7)s). A trireme 
 or war-galley furnished with three 
 banks (ordines) of oars on each side, 
 disposed diagonally one over the 
 
 other (Plin. H. N. vii. 57. Virg. ^11. 
 
 V. 119. Ascon. in Verr.ii. I. 20.), as 
 exhibited by the annexed figure, from 
 an ancient fresco-painting, represent- 
 ing the flight of Paris and Helen, dis- 
 covered in the early part of the past 
 century amongst some ruins in the Far- 
 nese gardens at Rome, but which is 
 no longer in existence, as the colours 
 evaporated shortly after it was ex- 
 posed. (Tumbull, Treatise ofi Ancietit 
 Painting, &c. fol. 1 740. ) A similar 
 arrangement of the three banks of 
 oars is also indicated in some of the 
 sculptures on Trajan's column. In a 
 trireme each rower plied a single oar, 
 and sat upon a separate seat (sedile), 
 fixed against the sides of the vessel 
 in the directions indicated by the oar- 
 ports, and not upon a long thwart 
 {transtruni) , as was the case when 
 several worked upon the same oar. 
 Those on the top bank had the longest 
 oars, the most labour, and conse- 
 quently the largest pay : they were 
 termed Bpavtrai by the Greeks, the 
 oar they used Kdirri BpavirTis, and the 
 thowl on which it rested aKa\/j.6s Opa- 
 v'tTTis. Those on the lowest rank had 
 the shortest oars, least work, and 
 lowest pay : they were termed 8a\a- 
 IxItul. Thosewho occupied the middle 
 bank were termed (evyhai, and had 
 their oars of a medium length, and 
 their pay regulated accordingly. 
 
 TRISPAS'TOS (Tpio-Tfao-Tos). A 
 mechanical contrivance employed for 
 the purpose of raising heavy 
 weights, consisting of three 
 puUies (oriicuii) set in a sin- ( » 
 gle frame or case {trochlea^ 
 in the manner exhibited by ( « | 
 the annexed figure, which re- 
 presents a similar machine 
 still in common use at the 
 present day. Vitruv. x. 2. 3. 
 
 TRITU'RA (aA(())cris). The act 
 of threshing out com, which was 
 done in three several ways ; by beat- 
 ing out the grain with a rod or a flail 
 {pertiea,fustis) ; byrubbing it out with 
 a machine drawn over it by cattle (tribu- 
 lum, and wood-cut J-, v.); or by tread- 
 ing it out with oxen or horses driven 
 
692 
 
 TRIUMPHALIA. 
 
 TRIVMPHUS. 
 
 round the threshing-floor in tlie man- 
 ner exliibited in the annexed en- 
 
 graving from an Egyptian painting, 
 a practice whicli is still customary in 
 many parts of Italy and the East. 
 Varro, Z. Z. v. 21. Id. R. R. i. 52. 
 2. Columell. ii. 20. 4. Id. i. 6. 23. 
 
 TRIUMPHA'LIA. The orna- 
 ments and insignia conferred upon a 
 general at his triumpli ; consisting of 
 an embroidered toga and tunic (Toga, 
 \.,picta, and Tunica, 1^., falmaia), 
 a sceptre with the image of an eagle 
 on its top (ScEPTRUM, 4.), a chaplet 
 of laurel leaves and a crown of gold 
 (Corona, i.), and a car decorated 
 with ivory carving (CuRRUS, 4.). 
 Tac. Hist iv. 4. Liv. x. 7- 
 
 TRIUiM'PHUS (ep'iafiHos). A 
 triumph, or grand military procession, 
 in which a victorious general and his 
 troops entered the city after the suc- 
 cessful termination of an important 
 war, commencing at the porta trhivt- 
 phalis, then passing through the Vela- 
 hriiin and Cirnis Maximus, along the 
 Via Sacra and Forum up to the temple 
 of Jupiter Capitolinus on the Capi- 
 toline hill. It was headed by the 
 entire body of the senate, who went 
 out to meet the troops and conduct 
 them into the city. Next followed 
 the brass band, playing upon trumpets 
 and horns (wood-cuts s. Cornicen 
 and TUBICEN) ; they preceded a file 
 of carriages laden with the spoils taken 
 from the enemy, intermixed with 
 portable stages, on which articles 
 most remarkable for value or beauty 
 of workmanship were prominently dis- 
 
 played (wood-cut .r. Ferculum, 2.), 
 to attract the observation of the 
 public, whilst the quantity and value 
 of the booty and the names of the 
 conquered provinces were placarded 
 upon boards affixed to tall poles 
 (wood-cut J-. TiTULUS, I.), and car- 
 ried by the side of the objects de- 
 scribed upon them. Then came a, 
 band of pipers (Tibicines) in advance 
 of the victim intended for sacrifice — 
 a white bull decorated with fillets of 
 wool round the head (wood-cut s. 
 Infulatus), and a broad band of 
 richly-dyed cloth across its back 
 (wood-cut s. Dorsualia). Behind the 
 victim walked a body of priests and 
 their attendants with the sacrificial 
 implements. After them the arms, 
 standards, and other insignia of the 
 conquered nations were displayed, 
 immediately in advance of the princes, 
 leaders, and their kindred taken cap- 
 tives in the war, followed by the 
 entire number of ordinary prisoners 
 in fetters. Next came the lictors of 
 the general, in their civic costume, the 
 toga, and with their brows and fasces 
 wreathed with laurel (wood-cuts j-. Lic- 
 TOR and Fasces, 4. ) ; they formed a 
 body immediately in advance of the 
 triumphant general, who was dressed 
 in his triiunphalia, and standing in a 
 circularcardrawn by four horses (wood- 
 cut s. CuRRUS, 4.). On his brow he 
 wore a wreath of laurel, and behind 
 him in the car stood a public servant, 
 who held over his head a massive 
 crown of gold studded with jewels 
 (wood-cut s. Corona, i.). His 
 youngest children were placed in the 
 car with him ; whilst those who had 
 attained to manhood rode on horse- 
 back beside the car, or upon the 
 horses which drew it. Behind the 
 general marched the superior officers, 
 the Lc'gati^ Trihuni, and the Equites, 
 all on horseback ; and the procession 
 was finally closed by the entire body 
 of the legions, carrying branches of lau- 
 rel in their hands, and having chaplets 
 of the same shrub round their heads, 
 alternately singing songs in praise of 
 
TRIVIUM. 
 
 TROPMUM. 
 
 693 
 
 their general, and cutting jokes at his 
 expense. During the course of the 
 route the procession passed under a 
 temporary arch designed for the pur- 
 pose and erected across the street, 
 which in early times was taken dorni 
 after the fete ; but latterly it was re- 
 placed by a permanent structure of 
 marble or stone (wood-cut s. Ar- 
 cus, 5.). 
 
 2. Triumplms navalis. A public 
 procession in celebration of a great 
 naval victory, the arrangements of 
 which are not represented in any 
 works of art, nor detailed in writings. 
 Liv. xvii. Epit. 
 
 TRIVIUM {Tp(oSos). A spot 
 where three streets or roads meet 
 from opposite directions. Cic. Div. 
 i. 54.) When strictly applied, the 
 term has a more especial reference to 
 
 the streets of a town (Virg. Ain. iv. 
 609. Justin, xxi. 5.), as opposed to 
 conipitum (Cic. Agr. i. 3.), which re- 
 fers to the convergence of cross-roads 
 in the country. But this distinction 
 is not rigorously observed ; for trivmm 
 is often used in both senses, of a 
 public and much-frequented highway, 
 either in a town or country ; whence 
 the Latin word irivialis, and our own 
 " trivial," acquire their secondary 
 meanings of vulgar or common-place ; 
 that is, literally, which may be met 
 with in any public and thronged 
 thoroughfare. The illustration af- 
 fords a view in the city of Pompeii, 
 with three streets, in the second dis- 
 tance, converging to a point. 
 
 TROCH'ILUS {TfoxiKos]. Same 
 as Scotia. Vitruv. iii. 5. 2. and 3. 
 
 TROCH'LEA (rpoxiAea). A 
 contrivance for the multiplication of 
 mechanical power in raising weights, 
 consisting of a case with a set of 
 blocks or puUies {orbiculi) fitted into 
 it. (Vitruv. 1.. 2. I. Cato, R.R. iii. 
 5. Lucret. iv. 903.) See the illustra- 
 tion s. Trispastos, which exhibits a 
 case furnished with three puUies. 
 
 TROCH'US (rpoxos)- A boy's 
 Jioop; made of iron or bronze, and 
 trundled by a crooked-necked key 
 (clavis), as exhibited by the annexed 
 illustration, from an engi-aved gem. 
 
 (Hor. Od. iii. 24, 57. Id. A.P. 380. 
 Prop. iii. 14. 6.) It frequently had 
 a number of small rings set round its 
 rim (Mart. xiv. 169., and wood-cut 
 s. Anulus, 4.), to make a jingling 
 noise as it rolled on ; and sometimes 
 small bells {thitinnabuld) are seen 
 instead of rings. 
 
 TROP^'UM {rpiiraiov). A 
 trophy ; a monument erected on the 
 spot where a victoiy had been ob- 
 tained ; or, in the case of naval war- 
 fare, upon the nearest point of land 
 to where the action had taken place. 
 It was originally formed mth the 
 trunk of a tree, upon which and its 
 branches some arms belonging to the 
 defeated party were suspended, as in 
 the illustration, from an Imperial 
 coin ; but latterly trophies were de- 
 signed as elaborate works of art, in 
 marble or bronze, and erected apart 
 from the battle-field, as permanent 
 
694 
 
 TRUA 
 
 TR ULLA. 
 
 mementoes of the contest. Cic. 
 
 Inv. ii. 23. Virg. jtEji. xi. 5 — II. 
 Suet. Cal. 45. Claud, i. 
 
 TRUA {rpvrjXa, Topvvt]). A large 
 flat ladle employed for skimming the 
 surface of liquids, for stirring and 
 moving vegetables or meats when 
 boiling (Titin. ap, Non. j-. v. p. 19. 
 Festus, s, Antroare), or for removing 
 them from the pot, without taking up 
 the water at the same time. With 
 
 this object, it was perforated by a 
 number of small holes at the bottom, 
 as represented by the annexed ex- 
 ample, from an original of bronze 
 found at Pompeii ; and this property, 
 as well as the manner of using it, 
 accounts fully for the Greek names 
 it received, with which the Latin one 
 is connected, viz. rpvoj, to rub or stir, 
 and Top€w, to bore ; one or the other 
 of which notions is found to per- 
 vade, and to convey a characteristic 
 meaning to the other special senses 
 of the word Irua, as well as its dimi- 
 nutive trtdla. 
 
 2. A perforated cap or plate cover- 
 ing the mouth of a sink in a kitchen, 
 &c., in order to prevent the refuse 
 from choking the pipe, while it per- 
 mits the liquid to drain through it. 
 Varro, L. L. v. 118. 
 
 TRULLA {jpovKXlov). Diminu- 
 tive of Trua. a small perforated 
 
 ladle of the same use and character 
 as the last described. Varro, L. L. 
 V. 118. Hero, de Spirit, p. loi. 
 
 2, (Tpu/SAioi/. ) Either used sepa- 
 rately, or with the epithet vinaria, 
 A drinking-cup, or table utensil em- 
 ployed for taking the wine out of a 
 larger recipient, which contained a 
 quantity mixed with snow. It was a 
 species of cyathus of an improved 
 character, being furnished with an 
 inner case perforated as a strainer, 
 and fitting into the hollow bowl of the 
 cup, so that when adjusted together 
 the two would form but one body, 
 which might be convehiently dipped 
 into the large vessel, and filled ; 
 then, by removing the perforated 
 case, any sediment or impurity depo- 
 sited by the snow would be removed 
 with it from the pure liquid left in 
 the bowl. (Cic. Verr. ii. 4. 27. 
 Varro, L. L. v. 118. Plin. H. N. 
 xxxvii. 7. Scaev. Dig. 34. 2. 37.) 
 The illustration represents an ori- 
 ginal found at Pompeii, with a section 
 of the perforated case in its bowl on 
 
 the right. The material is bronze ; 
 but the same utensil was also made 
 in common earthenware (Hor. Sat. 
 ii. 3. 144.), as well as porcelain 
 (Plin. /. c. ) and pietre dure {Cic. 
 I.e.). 
 
 3. The pan of a night-chair (Juv. 
 ill. 108.) j probably so termed when 
 consisting of a double case, con- 
 structed upon the same principle as 
 the vessel last described. 
 
 4. A fire-basket made of iron 
 (Liv. xxxvii. n.), in which ignited 
 matter could be transferred from 
 place to place ; and so termed from 
 the perforations drilled in its sides to 
 create a draught of air, like the ex- 
 ample on the next page, representing 
 an earthenware ti-ulla, discovered in an 
 
TRULLEUM. 
 
 TUBICEN. 
 
 69s 
 
 excavation near Rome, -which, when 
 
 found, had a lamp inside it. 
 
 5. A trowel used by bricklayers 
 for laying the mortar between bricks 
 (Isidor. Orig. xix. 18. 3.), and by plas- 
 terers for laying on and smoothing 
 the stucco upon walls (Pallad. i. 15. 
 lb. 13. 2.). The illustration repre- 
 
 sents an original found amongst other 
 building implements in a house at 
 Pompeii. This sense of the word 
 trulla arises from the Greek rpuw, in 
 allusion to the manner of using the 
 instrument ; connected, perhaps, with 
 its resemblance to a ladle (Trua, i) ; 
 for it will be observed that the an- 
 cient trowel, as exhibited by the 
 example, has a form veiy different 
 from our own, having a flat blade 
 otherwise shaped like a spoon, pre- 
 cisely like the plasterer's trowel now 
 used at Naples, which is called a 
 plasterer's spoon — cucckiaja da fab- 
 bricatore. 
 
 TRULL'EUM or TRULL'IUM. 
 A slop-pail ; used by the ancients to 
 receive the dirty water in places 
 where several persons washed their 
 hands at the same time. The object 
 is repeatedly mentioned by Cato, and 
 always in conjunction with other 
 vessels employed in washing, such as 
 hand and foot-basins, &c. ; and 
 doubtless resembled in constructive 
 principle the pails commonly used in 
 our dressing-rooms, which have a 
 perforated plate at the top, through 
 which the dirty water is poured mth- 
 out splashing, while it serves, at the 
 same time, to conceal the unsightly 
 
 appearance of the contents from the 
 person using it. Varro, L. L. v. 
 118. Id. de Vit. P. R. ap. Xon. 0. v. 
 p. 547. Cato, R. R. X. 2. xi. 2. 
 
 TRULLISSA'TIO. A plastering 
 of cement laid on with the trowel 
 {trulla). Vitmv. vii. 3. 5. Trulla, 5. 
 
 TRtfT'INA {rpv-rapTi). A general 
 term for any kind of balance used 
 for weighing ; sometimes indicating 
 the steel-yard (Vitruv. x. 3, 4. Sta- 
 tera) ; at others, a pair of scales 
 (Juv. vi. 437. Libra). 
 
 TRYB'LIUM(Tpt;;8Aiop). Atable 
 utensil (Varro, Z. Z. v. 120. Plaut. 
 Stie/i. V. 4. 9.), the precise character 
 of which is not ascertained. 
 
 TUB'A {a-iWiyO. A wind in- 
 strument made of bronze, v.-ith a fun- 
 nel or bell-shaped mouth, and straight 
 tube (Ov. Met. 1. 98. Juv. ii. 118. 
 
 !?il5s=--*' 
 
 Veg. A/il. iii. 5.), like our triimpet, 
 giving out very loud and interrupted 
 notes ( fractos sonitus, Virg. Georg. iv. 
 72. terribili sonitu taratantara dixit. 
 Ennius ap. Prise, viii. 842.). The 
 example is from the arch of Titus. 
 
 T U BT C E N ((7-aA«7KT^s). A 
 trtmifeter who blows the tuba (Varro, 
 Z. Z. V. 91. Ov. 
 ilet. iii. 705.), as 
 exhibited by the an- 
 nexed figure, from 
 a bas-relief on the 
 arch of Constantine. 
 Trumpeters were al- 
 ways included in 
 the brass band of 
 the army (Liv. ii. 
 64.) ; amongst the 
 musicians who per- 
 formed at religious 
 ceremonies (Varro, 
 L. Z. V. 117.); and at funeral so- 
 lemnities (Pers. iii. 103. ) ; whence 
 the expression ad tubicines mittere 
 (Pet. Sat. 129. 7.) means to prepare 
 for death. 
 
696 
 
 TUCETUM. 
 
 TUMULUS. 
 
 TUCE'TUM. A savouiy dish 
 composed of beef, or pork, and lard 
 potted down. Pers. ii. 42. Schol. 
 Vet. ad I. 
 
 TUD'ES and -IS. An antiquated 
 name for a mallet. Festus s. v. Se- 
 ver. .'Eti:. 559. M.VLLEUS. 
 
 TUDIC'ULA. Diminutive of 
 Tubes ; a machine for bruising 
 olives, and separating the fleshy part of 
 the berries from their stones, previous 
 to placing them under the press (tor- 
 cular), by which the oil was squeezed 
 out. Its action was similar to that of 
 a Tribulum, working in an upright, 
 instead of horizontal direction (Colu- 
 mell. xii. 52. 7.); but the machine is 
 objected to by Columella, as liable to 
 get out of order, or to have its action 
 impeded by very trifling circum- 
 stances ; such as that of throwing in 
 only a few berries over the proper 
 quantity. At Mongres, in France, 
 olives are bruised by instruments 
 called battoirs; the name and opera- 
 tion of which are believed to exhibit 
 genuine traces of the Roman tudicula. 
 Schneider, ad Columell. /. c. Id. de 
 trapeto Catoiiis, p. 617. 
 
 TUGUR'IUM. A coUiei^s hut; 
 forming an abode for the poorest 
 
 i^^a^^c-cs,^;^/*'';^ ■ 
 
 classes of the rural population. They 
 were made of wood, with peaked 
 roofs of turf, the bark of trees, hur- 
 dles, or other materials of the same 
 common description, and apparently 
 without windows (Plin. H. N. xvi. 
 
 14. Virg. Ed. i. 69. Columell. xii. 
 
 15. I. Festus J-. v.], as exhibited by 
 the illustration from one of the 
 Pompeian paintings. 
 
 TULLIA'NUM. An under- 
 ground dungeon belonging to the 
 state-prisons at Rome ; so termed 
 after the name of Servius TuUius, by 
 whose orders it was made. (Sail. 
 Cat. 58. Varro, L. L. v. 151. Liv. 
 xxix. 22. xxxiv. 44. Festus, s. v.) 
 The TuUianum is still in existence, 
 retaining all the features minutely 
 described by Sallust, and is exhibited 
 by the annexed engraving. It con- 
 
 ^< 
 
 
 v^-; 
 
 *^ p — f I 
 
 -"-J 
 
 sists of an elliptical chamber, nineteen 
 feet by nine, and six and a half high ; 
 but the original height may have been 
 greater, as the present pavement is 
 modern. The masonry is rude, but 
 the blocks are large, and the roof 
 possesses a slight curve. The only 
 entrance to it is through a square 
 opening of three feet five inches 
 by three feet four, formed in the 
 roof of the dungeon, which also 
 serves as the flooring to another cell 
 immediately over-head (see the wood- 
 cut s. Carcer, I.); hence the ex- 
 pression in Ttdlianuvi demittere (Sail. 
 Cat. 55.) and delegare (Liv. xxix. 22). 
 
 TUMULA'TUS. Buried in the 
 soil, with a mound of earth and stones 
 {tiiviuhts) piled over the grave. Ov. 
 Font. i. 6. 49. CatuU. Ixiv. 193. 
 
 TUM'ULUS {Tijx^os, Ko\<ii'n). A 
 mound of earthorroughmassesofstones 
 (Hom. //. xxiv. 798.) piled up into a 
 pyramidal form, in order to form a 
 cairn or barrow over the grave. (Cic. 
 Arch. 10.) On its summit n. tall 
 
TUNICA. 
 
 697 
 
 column (stele) was usually erected 
 for a monument 
 (Horn. //. xi. 
 371) ; as exhi- 
 bited by the an- 
 nexed Illustration, 
 representing the 
 tuimtlus of Adonis 
 in a painting at 
 Pompeii. Hence 
 the word is often 
 used in a general 
 sense for a gi'ave, 
 or a tomb. Pedo. 
 Albin. El. i. 69. lb. 73 — 74. Virg. 
 Ed. V. 42. Ov. Trist. iii. 3. 72. 
 
 TUN'ICA (x'Ttii*'). A tunic ; the 
 principal under-garment of the 
 Greeks and Romans of both sexes ; 
 correspondmg very nearly in its 
 general form, use, and character, 
 with the shirt, the chemise, the/rock, 
 and House of modem times. It was 
 made, however, in various fashions, 
 to suit the sex or the habits of dif- 
 ferent ages and classes of the popula- 
 tion ; each of which, in the copious 
 language of the Greeks, was distin- 
 guished by a separate name or epi- 
 thet descriptive of the peculiar form 
 to which it was refeiTed. But all 
 these varieties, which are severally 
 enumerated in the follomng para- 
 graphs, preserve the same general 
 characteristics in regard to the use of 
 the garment, its place upon the per- 
 son, and the manner of adjusting it ; 
 so that they are all properly classed 
 under the common name of tunics. 
 
 I. (xirivctpifJi/uairx'^'") Colobium.) 
 The ordinary tu- 
 nic of the male 
 Greek and Ro- 
 man consisted of 
 a plain woollen 
 shirt, girded 
 round the loins, 
 and reached to 
 the knees, or 
 thereabout, with 
 two short sleeves, 
 which just co- 
 vered the deltoid 
 
 muscle, or upper portion of the arms, 
 as far as the arm-pit (/jairxaAT;), as 
 exhibited by the first illustration, 
 from one of the figures on Trajan's 
 column. (JuL Pollux, vii. 47. 
 Aristoph. Eq. 8S2. Serv. ad Virg. 
 Ain. ix. 616.) The industrious part 
 of the free population, whilst engaged 
 in their daily pursuits, wore it, in the 
 manner there represented, without 
 any other covering ; but the upper 
 ranks, and the others likemse upon 
 festivals and holidays, when they 
 were dressed in full attire, had al- 
 ways some loose outside drapery dis- 
 posed over the tunic, which would 
 of course conceal the greater portion 
 of the under vest, in the manner 
 shown by the armexed figin-es, repre- 
 
 senting on the left side the statue of 
 Aristides, with the f allium over his 
 tunic, and on the right, a Roman 
 with his toga outside, from a bas- 
 relief of the imperial age. These 
 two articles thus constitute the com- 
 plete attire usually worn by the great 
 mass of the free population in ancient 
 Greece and Italy, and are as inti- 
 mately connected with each other as 
 the shirt and coat of modem times. 
 
 2. (xiTwi' erepofido'xa^os.) A tunic 
 made with only one short sleeve 
 covering the deltoid muscle of the 
 left arm as far as the arm-pit, in the 
 maimer represented by the next 
 figure, from a small marble statue of 
 the Villa Albani. The Latin lan- 
 guage does not afford any distinct 
 
698 
 
 TUNICA. 
 
 name for a tunic of this fashion, which 
 renders it probable that it was not 
 ■ adopted by the 
 Romans ; and 
 amongst the 
 Greeks it was 
 esteemed a ser- 
 vile garb (Jul. 
 Pollux, vii. 47. ), 
 not befitting the 
 free population, 
 though it is worn 
 by Dcedalus in 
 one of the paint- 
 ings at Pompeii. 
 The example 
 here given is 
 clearly intended 
 to represent a 
 young slave going to market, with a 
 purse in one hand and a basket in 
 the other. 
 
 3. {i\ijii)Xs, exomis.) A tunic which 
 only covered the left shoulder {^y-oi), 
 leaving the right ^J 
 
 one entirely ex- 'is^ 
 
 in the ^ 
 
 manner repre- 
 sented by the 
 annexed figure 
 from the Vatican 
 Virgil. It is 
 there fastened by 
 a knot on the 
 top of the shoul- 
 der ; but the ex- 
 omis was also made with a single 
 sleeve, when it was termed by the 
 Greeks e|a)nls fTspofia<rxa^os (Pollux, 
 vii. 47. ), of which the preceding figure 
 affords an example. On works of 
 art it is often made of fur, and is 
 commonly worn on the stage, by the 
 labouring population, slaves, artists, 
 and even females addicted to the 
 chase and war ; by Daedalus, Diana, 
 and the Amazons. Aul. Gell. vii. 
 12. I. Festus s. V. Aristoph. Vesp. 
 ^'\'\ Schol. Vet. ad I. 
 
 4. (eVmyiiis.) A tunic worn by the 
 females of Greece (Jul. Pollux, vii. 
 49.), which received the name from 
 being fastened with brooches on the 
 
 top of each shoulder at the point 
 where it joins the collar-bone, as im- 
 plied by the primary 
 sense of the Greek \ 
 word, and shown 
 by the annexed 
 figure of Diana 
 from a statue of the 
 Villa Pamfili. This 
 is the old tunic of 
 the Doric races, 
 which was made 
 of woollen, entirely 
 without sleeves, 
 fastened by a girdle 
 worn low upon the 
 hips, like a man's, 
 never reaching be- 
 low the knees, and in many examples 
 not much farther than midway down 
 the thigh. 
 
 5. ((Txi.iT'''hs xiTiiv.) The J-AV tunic ; 
 which was only sewed close up from 
 the bottom on the left side, leaving a 
 long slit on the 
 right, for the pur- 
 pose of allowing 
 free action to the 
 limbs, and through 
 which the greater 
 part of the thigh 
 would be seen in 
 active exercise. It 
 was usually fast- 
 ened by brooches 
 on the shoulders 
 (Jul. Pollux, vii. 
 54 — 55. ), in the same manner asshown 
 bythe last figure ; but oneof them may 
 be supposed to have come undone in 
 the present example, or to have been 
 studiously omitted by the Pompeian 
 artist who designed it, in order to 
 indicate the natural restlessness and 
 carelessness of boyhood. It was the 
 characteristic tunic of the young 
 Spartan damsels (Pollux. /. c); but 
 in works of art it is frequently given 
 to the Amazons and children, and it 
 is also worn by the Dacians on the 
 column of Trajan. 
 
 6. Tunica nianicata or viamdeata 
 (XiTwi' x^i^ittjorhs or Kapn-curfis). A 
 
TUNICA. 
 
 699 
 
 tunic with long sleeves reaching down 
 to the hands or %vrists, like the French 
 blouse. In the 
 early ages long 
 sleeves were not 
 worn by the 
 male population, 
 either of Greece 
 or Italy, nor 
 generally by fe- 
 males; but they 
 were afterwards 
 adopted as a lux- 
 ury from the 
 foreigner, and 
 during the im- 
 perial ages be- 
 came very com- 
 mon amongst both sexes, as may be 
 seen by many specimens in the course 
 of these pages. The present example 
 is taken from one of the figures be- 
 longing to the celebrated group of 
 Niobe, and is supposed to represent 
 the children's tutor or attendant 
 (padagogus) ; consequently, a slave 
 and foreigner. Cic. Cat ii. 10. 
 Plant. J'seud. ii. 4. 4S. Aul. Gell. vii. 
 12. I. Virg. ygn. ix. 616. 
 
 7. Tunica talaris (x""i»' iro5iip7?s). 
 A tunic with long skirts reaching 
 down to the ankle joints ; commonly 
 worn in early times by both sexes 
 of the Ionian races, whence it 
 
 was introduced at Athens, where it 
 continued in use until the age of 
 Pericles. It was made of linen and 
 fastened by a girdle, and always had 
 
 sleeves, sometimes very full and 
 hanging loose over the arms, as 
 shown by the female figure, from a 
 statue of Euterpe, and sometimes 
 reaching down to the wrists, as shown 
 by the example on the right, repre- 
 senting a tragic actor in the character 
 of Hercules, from a marble bas-relief. 
 The Romans esteemed such a dress 
 as unmanly in the extreme, and never 
 adopted it as part of their malenational 
 costume. Cic. Verr. ii. 5. 13. Id. 
 Cat. ii. 10. 
 
 8. Tunica muliebris. A woman's 
 tunic (Aul. Gell. vi. 10. 2.); gene- 
 rally made longer and looser than 
 those worn by men, and fastened by 
 a girdle immediately under the bosom, 
 instead of round the loins. The 
 tunic of the Dorian females, which 
 forms an exception to the usual style, 
 is shown by the figure No. 4, ; that 
 of the Ionian women, with long 
 sleeves, by the left-hand figure in the 
 last illustration ; and the annexed 
 example, from a marble bas-relief, 
 exhibits the same article of female 
 attire, with a half sleeve, reaching 
 nearly to the elbow, and having a 
 long slit on the outside, the edges of 
 which are connected at intervals by a 
 set of studs or brooches, so as to leave 
 a series of open loops between them. 
 This style appears from numerous 
 
 works of art to have been one of 
 tho.se most generally adopted by 
 females of the better classes both in 
 Italy and Greece. It is mentioned by 
 
700 
 
 TUNICA. 
 
 TUNICA TUS. 
 
 TElian {V. H. i. i8) as one of gi'eat 
 antiquity, and instanced as an example 
 of female extravagance in dress. I'he 
 principal tunic of the Roman matron 
 and lady of rank is exhibited under 
 the article Stola, by which name it 
 was specially designated. 
 
 9. Tunica intei-ior and int'mia. The 
 under and undermost tunic. Both 
 sexes were in the habit of wearing 
 two tunics (Aul. Gell. a. 15. 3. Cal- 
 purn. Ed. iii. 29. ) ; and persons of 
 delicate constitutions would sometimes 
 put on as many as four, one over the 
 other (Suet. Aug. 82.), in which case 
 the outer one is the tunic, tunica, and 
 the under one tunica tntcrior or in- 
 tinia. The annexed illustration from 
 u, marble bas-relief exliibits a figure 
 
 %^ 
 
 in two tunics, very distinctly marked, 
 the under one with long sleeves, and 
 a skirt which reaches half-way be- 
 tween the knee and ankle ; the outer 
 one with short sleeves, and a skirt 
 which terminates at the middle of the 
 thigh, and a girdle round the waist 
 which compresses both. But the or- 
 dinary kind of tunic worn next the 
 skin by women was made with short 
 sleeves, and rather loose round the 
 neck, very much like a modern che- 
 
 mise, as snown oy tne annexeu exam- 
 
 ple, from a Roman bas-relief, which 
 may be compared with the figure in- 
 troduced s. INDUTUS, representing a 
 Greek female taking off her chemise, 
 from a fictile vase. 
 
 10. Tunica recta. See ReCTA. 
 
 11. Tunica angusliclama. See 
 Clavus, 9. 
 
 12. Tunica laticlavia. See Cla- 
 vus, 8. 
 
 13. Tunica patagiata. See Pata- 
 GIUM. 
 
 14. Tunica palmata. A flowered 
 tunic worn with the toga ficta (Liv. 
 x. 7. XXX. 15. ) ; supposed to have 
 been ornamented with embroidery 
 representing palm branches, as it was 
 the one worn by a general at his 
 triumph. 
 
 15. Tunica picta. An embroidered 
 tunic worn by the Salii. Liv. i. 20. 
 
 16. Tunica aseina. A plain tunic 
 without any ornament upon it (Lam- 
 prid. Alex. Sev. 33.); like any of 
 chose shown from Nos. i. to 10. ; all 
 the rest, from 11. to 15., receiving 
 their designations not from any pecu- 
 liarity of form, but from the ornaments 
 interwoven, embroidered, or sewed 
 upon them. 
 
 TUNICA'TUS (MOTOxiToij/, oioxi- 
 Toiv). In a general sense, wearing a 
 tunic ; but the word is more com- 
 monly opposed in an express manner 
 to togatus, and means wearing only 
 the tunic, as corresponding with our 
 expression "in his shirt," or "with- 
 out his coat." (Suet. Aug. 24. lb. 
 100. A^ero, 48.) The term, when 
 applied to persons of the better classes, 
 sometimes conveys a notion of being 
 at their ease in the country, or in 
 dishabille, as they were in the habit 
 of taking off the toga when at home 
 or out of town, whence tunicata quies 
 (Mart. X. 51. ) expresses the ease and 
 independence of home or the country ; 
 but it is more frequently applied in a 
 sense exactly contrary to this, indi- 
 cating that the person is occupied in 
 active exercise or labour (Cic. CcbI. 
 5.), because it was necessary to lay 
 aside the cumbrous and embarrassing 
 
TUNICOPALLIUM. 
 
 TURIBULUM. 
 
 toga upon such occasions ; and in this 
 sense it is commonly used to charac- 
 terize the lower or labouring classes 
 (Hor. Ep. i. 7. 65.), whose daily 
 occupations compelled them to wear 
 a tunic only, without the toga. The 
 illustrations s. TONICA, i. exhibit 
 a figure in the tunic alone contrasted 
 with another in the tunic and toga ; 
 and thus distinctly illustrate the diffe- 
 rent images called to the mind by the 
 several terms tunicatus and togatus. 
 
 TUNICOPALL'IUM. A garment 
 possessing the double properties of 
 the tunica and pallium, not a written 
 term used in the language, but a word 
 invented by the grammarians as a 
 definition of the pecuhar properties 
 of the garment termed Palla. Non. 
 s. Palla, p. 537. Serv. ad Virg. 
 jEn. i. 648. 
 
 TUNIC'ULA (xiTwi'/irKos, x"'^' 
 vmv). In a general sense diminutive 
 of Tunica ; the diminutive some- 
 times indicating inferiority of quality 
 (Plant. Rud. ii. 6. 53. Varro ap. 
 Non. s. Tractus, p. 228. ) ; some- 
 times smallnessof size(Turpil. n/.Non. 
 i. Strophium, p. 538.) ; but in a spe- 
 cial sense, an under-garment such as 
 we should call a shirt or a chemise ac- 
 cording to the sex by which it vvas 
 worn. It was put on next the skin, 
 and by women was fastened under 
 the bosom by a girdle. In Alciphron 
 (Ep. i. 39. ) a Greek courtesan relates 
 a contest between 
 two of her class as 
 to which of them 
 possessed the finest- 
 formed back. To 
 decide the question 
 one unties her gir- 
 dle, and, lifting up 
 her chemise (x"'^- 
 viov), turns her head 
 back to examine and 
 admire herself be- 
 hind ; the other 
 takes off her che- 
 mise, and then 
 stood completely 
 naked. These cha- 
 
 racteristics are distinctly exhibited in 
 the illustration from a statue in the Mu- 
 seum at Naples, which without doubt 
 commemorates the first of these two 
 rivals in the act of lifting up her che- 
 mise. The Romans applied the word 
 tunicula both to the male and female 
 vest ; but the Greeks, in the opinion 
 of some scholars, made a distinction, 
 using x'"''""'^"""^ ™ regard to men 
 (Demosth. in Mid . p. 370. Sch^ffer), 
 and x'Ttiii'ioj' with reference to women. 
 (Lucian. Lexiph. 25. Eustath. //. 
 xviii. 416.) But this rule, if true, 
 does not appear to have been strictly 
 observed. In the above passage from 
 Alciphron, for instance, x'''''^"'"" '^ 
 applied to female apparel, but to 
 male attire by the same author (iii. 
 57.) ; while Athenseus (xdi. 59.) uses 
 X'TavlffKOi for females ; and j^^lian 
 the same word for both (women, 
 F. H. vii. 9. ; men, ib. xiii. 36. ). 
 
 TURBO (iSe^/3i{, /S<(;U/3os,<rTpd|Uj3os). 
 A boy's whipping-top (Virg. ALn. vii. 
 378. TibuU. i. 5. 3.), similar to those 
 now in use. 
 
 2. The whorl or whirl of a spindle 
 (Catull. 64. 315. Auct. Consol. ad 
 Liv. 164.), technically termed Ver- 
 TICILLUM ; which see. 
 
 TURIB'ULUM or THURIB'U- 
 LUM (euyiiioT^jpioj'). A censer, or 
 vessel in which incense was burnt 
 (Liv. xxix. 14.), as contradistin- 
 guished from acerra, the box in which 
 it was cai'ried to the temple, and 
 
 thence taken out to be put into the 
 
702 
 
 TURICREMUS. 
 
 TURRIS. 
 
 censer, or sprinkled upon the burning 
 altar. It was often carried in the 
 hand by a chain, and swung to and 
 fro for the purpose of diffusing the 
 odoriferous vapour along the streets 
 (Curt. viii. 9.) or through the temples 
 (Virg. Ain. xi. 481.), in the same 
 manner as still practised in the Roman 
 Catholic churches. The illustration 
 represents an original of bronze found 
 at Pompeii. One of the three chains 
 by which it was suspended from the 
 hand is attached to the top of the lid, 
 which would be raised a little, and 
 the vapour thus permitted to escape, 
 every time the vessel was swung 
 backwards or forwards. 
 
 TURICREMUS or THURIC- 
 REMUS. On which incense is burnt ; 
 as ara turicrema (Lucret. ii. 353. 
 Virg. ALii. iv. 453.), an altar for 
 burning incense (wood-cut s. Ara, 
 6.) ; focus tttricremics (Ov. Hey. ii. 
 18.), a brazier for the same. Wood- 
 cut s. Focus, 3. 
 
 TURMA (iK-r\). A troop or com- 
 pany of cavalry, originally consisting 
 of thirty men and three officers (de- 
 citriones). Varro, L. L. v. 91. 
 
 TURRIC'ULA {jvfy'C&wv). Dimi- 
 nutive of TURRIS. Vitruv. x. 13. 6. 
 
 2, A dice-box, formed in the shape 
 of a tower (Mart. xiv. 16.); whence 
 it is also termed /j'?;^;*^ (Sidon. Ep. 
 viii. 12.), from the Greek word 
 meaning a tower. The precise differ- 
 ence between the common dice-box, 
 fritilhis, and the turricula, is not suffi- 
 ciently ascertained, some thinking 
 that the former term designated only 
 a. box of circular form, like the ex- 
 ample introduced at p. 302. ; and the 
 latter one a box with square sides, of 
 which an example occurs in an old 
 almanack supposed to have been exe- 
 cuted in the time of Constantine 
 (Lambecc. Biblioihec. Ciss. torn. 4. 
 Col. 1665.), where it is represented 
 standing upon a table with a couple 
 of dice by its side. But as the an- 
 cient towers were made both circular 
 and angular, the name would be 
 equally applicable to either form. 
 
 Other scholars have thence concluded 
 that the turricula, though probably 
 similar in form, was an entirely dis- 
 tinct instrument from i\iefritillus, and 
 employed together with it as an addi- 
 tional means of preventing unfairness 
 at play. According to them it was 
 fixed to the board (tabula), and the 
 dice, instead of being cast directly 
 from the fritillus on to the board, 
 were thrown from it into the turric7tla, 
 through which they fell on to the 
 board, after acquiring additional rota- 
 tion in their descent down its gradu- 
 ated sides. But this opinion is to be 
 regarded as one collected from infer- 
 ential reasoning, rather than proved 
 by positive evidence. 
 
 TURR'IGER. Bearing towers. 
 
 See TURRITUS. 
 
 TURRIS {rvpa-is, TTvpyos). In a 
 general sense, any very lofty building 
 or pile of buildings ; whence the term 
 is applied indiscriminately to objects 
 of civil or military architecture, a 
 palatial residence, or a fortified place. 
 Liv. xxxiii. 48. Sail. ^ii^. 103. Suet. 
 Nero, 38. Ov. A. Am. iii. 416. 
 
 2. A tower of fortification, disposed 
 at intervals in the walls of a city, 
 stationary camp, or any other fortified 
 enclosure. (Cic. Cees. Liv. &c. ) 
 They were built both round and 
 square, were run up to several stories 
 high, with turrets (pinnce) on the top, 
 loop-holes (fenestrts) on the face, and 
 frequently a sally-port (fornix) be- 
 low, and in general were situated 
 at short distances from one another, 
 
 so that an attacking party would be 
 exposed to a discharge of missiles on 
 
TURRIS. 
 
 TUS. 
 
 703 
 
 both flanks at the same moment. 
 The illustration exhibits three towers, 
 two round and one square, now stand- 
 ing by the side of the Porta Asinarla, 
 in the walls of Rome. 
 
 3. Turris jnobtlis, or ambulatoria. 
 A movable tower used in sieges, 
 made of wood, covered with iron, 
 raw hides, or stuffed mattresses, to 
 break the force of the blows directed 
 against it, and placed upon wheels, 
 by means of which it could be driven 
 close up to the enemy's walls. It 
 was divided into several stories or 
 platforms, the lower one con- 
 taining the battering-ram (aries), the 
 upper ones, various kinds of draw- 
 bridges and other contrivances for 
 raising and lowering the besiegers on 
 to the walls {pons, sambuca, tolleno], 
 the highest of all being filled 
 with light troops who cleared the 
 opposite ramparts of their defenders 
 before the bridges were let down for 
 the assault. Liv. xxi. II. Vitruv. x. 
 13. Veg. Mil. iv. 17. 
 
 4. A tower erected upon the deck 
 of a ship of war, into which the troops 
 
 ascended to annoy the crew of an 
 enemy's vessel with their missiles, 
 or to scale a fortress from the sea- 
 board. (Liv. xxiv. 34. Ammian. xxi. 
 12. 9—10.) The illustration is taken 
 from a marble bas-relief 
 
 5. A tower fastened on the back 
 
 of an elephant, in which armed men 
 were stationed on the battle-field. 
 (Liv. xxxvii. 40.) The illustration 
 is copied from an engraved gem. 
 
 6. A particular kind of battle- 
 array, in which the army was dis- 
 posed in the figure of an oblong-square 
 column. Cato ap. Fest. s. Serra 
 prseliari. Aul. Gell. x. 9. 
 
 TURRI'TUS. Furnished with a 
 tower or towers ; of city walls (Ov. 
 Am. iii. 8. 47.), TURRIS, 2. ; of ships 
 (Virg. ^n. viii. 693), TuRRls, 4. ; 
 of elephants (Plin. H. AC viii. 7. 7.), 
 Turris, 5. 
 
 TURUN'DA. A pellet, made of 
 bran, meal, paste, &c., for fattening 
 poultry. Cato, R. K. 89. Varro, 
 R. R. iii. 9. 20. 
 
 2. A sort of cake, made of similar 
 materials to the last, as an offering 
 to the gods. Varro ap. Non. s. v. 
 p. 552. 
 
 3. A strip or roll of lint inserted 
 into a wound. Cato, R. R. clvii. 14. 
 
 TUS or THUS (\i;3aj'a.T<(s. 
 Franki7ieense ; an odoriferous gum 
 from a tree of Arabian growth, much 
 employed by the ancients at the 
 sacrifice, in the service of the tem- 
 ples, and other ceremonials. It was 
 carried to the altar by a minister 
 {camillus), in a small square case 
 {acerra), from which a few grains 
 were taken out, and sprinkled over 
 the burning altar {ara turicrenia) ; 
 or it was made up into pastiles, which 
 
 mM^m=d^ 
 
 were carried in a deep dish {caiinus), 
 and thence dropped upon a lighted 
 
704 
 
 TUTELA. 
 
 TYMPANISTA. 
 
 brazier (fiats turicreimis), both which 
 customs are exemplified by the 
 illustration, from an ancient fresco 
 painting; or, finally, it was kin- 
 dled in a censer (turibiilum), which 
 was carried in the hand, and swung 
 backwards and forwards to give out 
 and diffuse its vapour, in the manner 
 now practised at the ceremonies of 
 the Roman Catholic Church. Hor. 
 Od. iii. 8. 2. Pers. v. I20. Ov. Met. 
 vii. 589. Id. Po7it. ii. I. 32. 
 
 TUTE'LA. The tutelary genius 
 of a ship, under whose protection the 
 crew and vessel were supposed to 
 sail (Ov. Trisl. i. 10. i. Pet. Sal. 
 105. 4.), as the vessels of Catholic 
 countries are now put under the 
 guardianship of some patron saint. 
 The tiUela, or image of the protecting 
 genius, was placed in tlie after-part 
 of the ship (Sil. Ital. xiv. 410. ) ; 
 whereas the insigne was tlie figure- 
 head upon the prow. It sometimes 
 consisted of a small statue on the 
 deck (Pet. Sat. 108. 13.); sometimes 
 of a portrait, either carved or painted 
 upon the quarter (Sen. Ep. 76.); as 
 in the annexed example, from a 
 
 marble bas-relief, in which it appears 
 on a small square projection under the 
 tower. The substructions of the island 
 in the Tiber, designed to represent the 
 ship that brought the serpent of ^scu- 
 lapius from Epidaurus to Rome, afford 
 another instance of the same practice 
 in the masonry forming the quarters 
 of the vessel, on which a bust of yEscu- 
 lapius is carved for a tutela, and may 
 be seen, when the waters are low. 
 
 under the garden-wall of the convent 
 of Saint Bartholomew, or in an en- 
 graving of Gamucci (Antichita di 
 Roma, p. 174. Venez. 1588.). 
 
 TUTULA'TUS. In a general 
 sense, wearing the hair dressed in a 
 conical form (TUTULUS, I.); or the 
 priest's cap of the same name (Tu- 
 TULUS, 2.), whence, in a special 
 sense, a priest who wore it. Varro, 
 L. L. vii. 44. Ennius ap. Varro, /. c. 
 TUT'ULUS. A particular style 
 of head-dress, originally confined to 
 
 ' the Fla7ninica, or 
 wife of the Flamen 
 
 I Dialis (Festus j'.r. ), 
 
 : but subsequently 
 
 , adopted by other 
 females. (Inscript. 
 ap. Grut. 579. 5.) 
 It was formed by 
 piling up the hair // 
 with the aid of a ' ^ 
 purple ribbon, to a considerable 
 height on the top of the head, so as 
 to have the appearance of a goal 
 (meta, Varro, L. L. vii. 44. Festus 
 J. v.), as in the illustration, from 
 a painting of Herculaneum. This 
 fashion is also alluded to in the 
 expressions, suggestum coirKz (Stat. 
 Sylv. i. 2. 114.); and tot compagibus 
 alttim ^dificat caput ( Juv. vi. 502. ). 
 2. A high cap, made of wool, in 
 the form of a cone or goal {meta, 
 Serv. ad Virg. 
 JEn. ii. 683. ), 
 but without 
 the ol ive 
 point {apex) 
 at the top, 
 which was 
 worn by some 
 orders of/ 
 the priest- 
 hood (Servius, /. c.) ; hke the an- 
 nexed example, from a bronze medal, 
 representing the Genius of Augustus 
 performing sacrifice. 
 
 TYMPANIS'TA (T^ixnaviar^s). 
 A man who plays the tympatiiivi, 
 or tambourine (Apul. Deo Socrat. 
 p. 685. ), as exhibited by the annexed 
 
TYMPANISTRIA. 
 
 TYMPANUM. 
 
 70s 
 
 figure, from a mosaic by Dioscorides 
 
 of Samos, discovered at Pompeii, re- 
 presenting a concert by four mu- 
 sicians ; a boy with the monaulos, a 
 young female with the tibia fares, 
 an elder one with the cyvibala, and 
 the present figure. 
 
 TYMPANIS'TRIA (Ti;^7raW(r- 
 Tpm). A female who plays the tym- 
 panum, or tambourine (Sidon. Ep. 
 i. 2. Inscript. ap. Donat. CI. 8. 
 No. I. ), as exhibited by the annexed 
 
 figure, from a painting of Pompeii. 
 
 TYMPAN'IUM (Tv/iwdviou). 
 Diminutive of Tympanum ; a pearl 
 with one surface flat and the other 
 round (Plin. If. N. ix. 44.), like a 
 kettle-drum, from which resemblance 
 it is believed that the name arose. 
 
 TYMPANOT'RIBA (Tv/iiravoTpi- 
 $ris). (Plaut. Trttc. ii. 7. 60.) Same 
 as Tympanista ; both words con- 
 
 veying a notion of contempt or ridi- 
 cule, and indicating an effeminate 
 man, like the priests of Cybele, who 
 employed the tympanum at their fes- 
 tivals, though an instrument other- 
 wise more appropriate for females. 
 
 TYM'PANUM {jifLTavov, kvk- 
 Xatfia ^vpffdrov), A tambourine ; con- 
 sisting of a wooden hoop, covered 
 on one side with hide, like a sieve 
 (Isidor. Orig. iii. 21. 10. 
 Eur. Bacch. 124.), and 
 set round with small bells 
 or jingles, like the an- 
 nexed example, from an 
 engraved gem. It was 
 sounded by beating with 
 the hand (Ov. Fast. iv. 
 324. Lucret. ii. 618. Catull. 64. 261. 
 wood-cut s. Tympanistria), or run- 
 ning the forefinger round the edge 
 (Suet. Aug. 61., wood-cut .r. Tympa- 
 nista), and sometimes also with a 
 stick, as is stated by Isidorus (/. c), 
 and may be inferred from the joke of 
 Phaedrus (iii. 20.) respecting the 
 poor ass who suffered as much cud- 
 gelling after death as during life, be- 
 cause his skin was used to cover a 
 tympanum. This instrument is dis- 
 tinguished from the larger and more 
 ponderous kettle-drum by the epithet 
 leve (Catull. 63. 6.) or inane (Ov. 
 Met. iii. 533.) ; and it is clear, from 
 its frequent occurrence in the works of 
 art representing the ceremonials of 
 Bacchus and Cybele, that it, and not 
 the drum, is intended when the term 
 is used with reference to the wor- 
 ship of those deities. 
 
 2. The same word is supposed to 
 have likewise designated an instru- 
 ment like our kettle-drum, with one 
 flat surface of skin strained over a 
 metal basing, because a pearl, with 
 one surface flat and the other round, 
 was designated by a diminutive form 
 of the same word, tympanium; and 
 ApoUodorus {Bibl. i. 9. 7.) describes 
 a contrivance employed by Salmoneus 
 to produce a loud noise, like thunder, 
 which closely resembles the kettle- 
 drum, being formed by a copper 
 2 Y 
 
7o6 
 
 TYMPANUM. 
 
 kettle (Jehes), with a skin strained 
 over its rims. If such a notion be 
 correct, it is probably this instrument 
 which Justin intends to particularize 
 (xli. 2.), as employed by the Par- 
 thians to give the signal of battle ; for 
 they also employed the long drum 
 {symphonid) upon similar occasions. 
 Plaut. Crass. 23. 
 
 3. A vfheel made of solid wood 
 
 without spokes (radii), such as was 
 used for wagons (plaustra), as ex- 
 hibited by the annexed example, 
 from a Roman bas-relief. Virg. 
 Gearg. ii. 444. 
 
 4. Tympanum dentaUim. A wheel 
 of solid wood, with teeth or 
 cogs round its edges. Vitruv. x. 
 5- 
 
 5- A tread-wheel for raising heavy 
 weights, worked by human labour. 
 (Lucret. iv. 907.) The illustration 
 is from a marble preserved at Capua, 
 with an inscription commemorating 
 the building or repairing the theatre 
 of the ancient city. It represents the 
 method adopted by the Roman archi- 
 tects for raising a column. The head 
 of the shaft is encased in ropes. 
 
 which pass through a block sus- 
 pended from the top of a triangle or 
 shears {vara, Vitruv. x. 13. 2.), like 
 those employed for erectingmasts, and 
 
 they raise the pillar by twining them- 
 selves round the wheel as it revolves 
 under the weight of the men upon it. 
 The capital is seen on the gi-ound ready 
 to be put into its place when the 
 column has been erected. The ex- 
 ecution is rough and imperfect in 
 details, and the wheel is a radiated 
 one (rota), instead of a solid tympa- 
 num, which may have been intention- 
 ally designed by the artist, in order 
 to exhibit the men at work ; but the 
 relic is valuable, as it explains an 
 operation in ancient mechanics which 
 has been regarded as extremely diffi- 
 cult to understand ; — how the enor- 
 mous columns of one solid block of 
 marble could be raised, when they 
 were placed at close intervals, often 
 not more than 2j diameters apart, as 
 in the portico of the Pantheon, for 
 instance, where the contiguity to 
 each other does not seem to afford 
 space for the requisite machinery. 
 
 6. A solid tread-wheel for raising 
 water from ponds or stagnant pools, 
 where there is no current to move 
 the wheel. Several of these contriv- 
 ances are described by Vitruvius x. 
 4. The simplest resembled the plan 
 of the common water-wheel, de- 
 scribed and illustrated s. Rota, 4., 
 except that the wheel itself was sohd, 
 and the motive power given by the 
 tread of men, instead of the action 
 of a current. Another contrivance 
 of a more complicated character con- 
 sisted of a wheel furnished with a 
 certain number of apertures (aper- 
 turce), instead of buckets or scoops 
 (modioli, haustra), on the circum- 
 ference of the drum, through which 
 the water entered, as the wheel was 
 worked round by the labourers upon 
 it, and fell upon boards (tabula:), 
 radiating in the interior of the wheel 
 from its circumference to the centre 
 of the axle. This was fonned out of 
 a hollow cyHnder, and had likewise 
 a number of cavities (columia?-ia) in 
 its circumference, through which the 
 water penetrated the cylinder, and 
 was thence discharged from its ex- 
 
TYROPATINA. 
 
 UMBILICUS. 
 
 707 
 
 tremity into the receiving trough 
 (labrum /igneum) aadthe channel (ca- 
 nalis) which conducted it tlirough 
 the land. Lastly, when the water 
 to be raised was situated at a great 
 depth from the surface where the 
 tympanumyfas placed, a double chain, 
 furnished with buckets, like our chain 
 pumps, was attached to the axle, so 
 that one set were let down and the 
 other drawn up by the revolutions of 
 the machine, each bucket, as it turned 
 over the centre, emptying itself into a 
 receiver constructed for the purpose. 
 
 7. A flat and naked triangular 
 face, marked A m the annexed ex- 
 
 ample, included within the converg- 
 ing and horizontal cornices which 
 terminate the gable end of a building 
 (Vitruv. iii. 5. 12. and 13.); so termed 
 from its resemblance to the skin 
 strained over a tambourine 01 a 
 dnim-head. 
 
 8. The panel of a door (Vitruv. 
 iv. 6. 4. and 5.); so termed from a 
 similar resemblance to the last men- 
 tioned. See Janua. 
 
 9. A large flat salver, or plate with 
 raised margins, like a tambourine. 
 Plin. H. A'', xxxiii. 52. 
 
 TYROPAT'INA. A large flat 
 cake made of cheese and honey 
 (Apic. vii. II.); a spurious word, 
 from the Greek, Tvp6s, cheese, and 
 the 'Ls.tin patitta. 
 
 TYROTARI'CHUS. A dish 
 composed of salted fish (Greek Tcipi- 
 Xos), cheese (Greek Tvp6i), and hard 
 eggs, seasoned with pepper and 
 spice, and stewed in wine and oil. 
 Apic. iv. 2. Cic. Ati. iv. 8. Id. 
 Fam. ix. 16. 
 
 U. 
 
 U'DO {otti^v). A kind ot sock 
 made of goat-skin with the fur on 
 
 (Mart. xiv. 140.), but respecting 
 which nothing more characteristic is 
 known. 
 
 UMBELLA and UMBRA'CU- 
 LUM ((TKidSeioi/). A parasol (Mart, 
 xiv. 28.); and an umbrella (Juv. ix. 
 50.), made, like our own, to open and 
 shut (Aristoph. Eq. 1348. ) by being 
 strained upon a number of converg- 
 
 ing ribs {virgce, Ov. A. Am. ii. 209.), 
 and usually carried by a female slave 
 over her mistress (Mart. xi. 73.), in 
 the manner shown by tlie illustra- 
 tion, from a fictile vase. 
 
 UMBILI'CUS (o^</)aA<is). Lite- 
 rally, the navel ; whence applied to 
 other objects which have some ex- 
 ternal resemblance to the appearance 
 of the navel, or to its position as the 
 central part of the body ; as — 
 
 I. The extreme end of the cylin- 
 der upon which an ancient book was 
 rolled, and which, with the sheet 
 folded round it, presents considerable 
 resemblance to the human navel, as 
 exhibited by 
 the extremity 
 on the left 
 side of the an- 
 nexed exam- 
 ple, represent- 
 ing a book 
 half unrolled, 
 from a painting at Herculaneum. 
 Many writers consider that the am- 
 hihci and cornua were the same 
 thing, only designated by different 
 terms ; but there is good reason 
 for believing that they were not pre- 
 cisely so. When a sheet was com- 
 pletely filled with writing, a stick 
 was attached to the end of the sheet. 
 
7o8 
 
 UMBO. 
 
 UMBRM. 
 
 round which the entire length was 
 rolled. In the MSS. found at Her- 
 culaneum, these sticks do not project 
 beyond the edges of the sheet on 
 either side, but have their extremities 
 in the same plane with it, as repre- 
 sented by the illustration. In ordi- 
 nary libraries, or for volumes in- 
 tended to be placed in a capsa, where 
 any addition to the length would 
 have been inconvenient, it seems 
 probable that the roll was complete 
 in this state, with the exception of 
 merely having the end of the stick 
 painted (Mart. iii. 2. v. 6.), which 
 suggested the resemblance to a navel, 
 and accurately received the name of 
 umbiluus. But persons who were 
 particular about the ornamental ap- 
 pearance of their books, added bosses 
 {bulla) to the ends of the stick, which 
 projected beyond the roll on each 
 side, like the bursting horns of a 
 heifer ; then the iimbilici so adorned 
 would receive the name of cornua. 
 Thus the two terms may be con- 
 sidered to a certain extent, or in some 
 senses, as convertible ones ; especially 
 where they are used figuratively to 
 designate the end of a book (Hor. 
 Epod. xiv. 6. Mart. iv. 91. xi. 107.), 
 where the cylinder, whose extremities 
 they formed, was affixed. 
 
 2. The pin or index in the centre 
 of a sun-dial (Plin. H. N. vi. 39.); 
 otherwise termed Gnomon, whichsee. 
 
 UMBO {i.ii.&av). In a general 
 sense, applied to anything rising or 
 projecting from another surface, more 
 especially when such projection pos- 
 sesses a rounder conicalfigure; whence 
 the following distinctive meanings : 
 
 I. (o;U(6a\ds. ) A knob or boss 
 projecting from the centre of a shield 
 (Virg. ./^H. ii. 544. ), 
 which served to 
 turn off missiles dis- 
 charged from a dis- 
 tance, or as a sort of 
 offensive weapon at 
 close quarters (Liv. 
 iv. 19.) ; but the 
 term is also fre- 
 
 quently used by a figure of speech for 
 the entire shield itself. The example 
 is from the Vatican Virgil. 
 
 2. A prominent bunch of folds in 
 front of the chest, produced by draw- 
 ing up a portion of the left side of the 
 toga from the feet, and fixing it in 
 place by turning it over the belt 
 formed across the breast by the upper 
 sinus, where it forms 
 a thick round mass 
 of folds, standing 
 out from the rest of 
 the drapery like the 
 boss from a shield, 
 as exhibited by the 
 part marked 5. 
 the annexed illus- '' 
 tration from a statue 
 of the Villa Pamfili 
 at Rome. TertuU. 
 Pall. 5. Pers. v. 33. ■; 
 but in the last 
 passage the term is 
 applied in a figurative sense to the 
 toga itself. 
 
 3. The kerb stone, which forms a 
 raised margin to the trottoir or foot- 
 pavement, on each side of a road or 
 street, as shown by the annexed illus- 
 
 tration representing part of the road- 
 way near the entrance to Pompeii 
 from Herculaneum.- 
 
 UMBRA'CULUM. Same as 
 Umbella. 
 
 UMBR^. The shades or spirits 
 of departed beings in the nether 
 world. The ancients believed that 
 the spirit of the human body de- 
 scended into subterranean regions 
 after life was extinct, and there re- 
 tained the same figure and appearance 
 it had possessed during life, so as to 
 
VSCIA. 
 
 be recognizable by the relatives and 
 friends who followed it, but without 
 any real corporeal substance ; or, in 
 other words, that it was visible but 
 impalpable. Those who had passed 
 a life of virtue were 
 removed to Elysium, 
 where they continued 
 in the enjoyment of 
 perpetual youth, par- 
 taking the intercourse 
 of such friends and 
 relatives as had ob- 
 tained the same lot ; 
 those, on the contrary, 
 who had lived in vice 
 were removed to Tar- 
 tarus, where they wore 
 out an existence of perpetual punish- 
 ment. (Serv. ad Virg. ^n. iv. 654. 
 Tibull. iii. 2. 9. Lucret. i. 120. lior. 
 Od. iv. 7. 14.) Hence the poets and 
 artists always invest the shades with 
 a corporeal form, and with the same 
 appearances which the body presented 
 duringlife, as is exemplified by the illus- 
 tration, which represents the shade of 
 Deiphobus, in the Vatican Virgil, mu- 
 tilated as he was by the Greeks at the 
 taking of Troy. 
 
 UN'CIA (oiyKfa). An oa«ir£' ; the 
 twelfth part of any whole ; hence a 
 copper coin of 
 the Romans, \ a 
 equal in value 
 to one-twelfth 
 ofan^j. (Varro, Z. Z. V. 171.) Its 
 value was denoted by a single ball, as 
 in the annexed example, from an origi- 
 nal, reduced to one-third of the real size. 
 
 UN C TOR. (Quint, xi. 3. 26. 
 Mart. vii. 32. ) Same as Aliptes ; 
 which see. 
 
 U N C T O' R I U M. A chamber 
 where the unguents were kept, in a 
 set of baths, and in which the bathers 
 were anointed. (Plin. Ep. ii. 17. 11., 
 but the reading is doubtful.) See 
 
 ELffiOTHESIUM. 
 
 UNCUS (07K0J). Literally, abend 
 or curve ; whence applied to objects 
 formed in that figure ; especially a 
 hook with which the executioner 
 
 UNG UENTARJUS. 
 
 705 
 
 in the Museum at Naples. It was 
 customary to bury these in the tombs 
 vrith the dead, and for that purpose 
 the Greeks frequently decorated them 
 vrith some illustrative design (Aris- 
 toph. Eccl. 996.), of which practice 
 numerous examples have been dis- 
 covered in their original places of 
 deposit. It may also be mentioned 
 that vessels of this kind have long 
 been erroneously termed "lachryma- 
 tories," or tear -bottles, a fanciftil 
 
 dragged up the corpse of a malefactor 
 from the subterranean dungeon (car- 
 nificind) in which he was put to 
 death, on to the Gemonian stairs, 
 or into the Tiber. Cic. R. Perd. 5. 
 Juv. X. 66. Ov. Jbis. 166. 
 
 2. The fluke of an anchor. Val. 
 Flacc. ii. 428. Ancora. Dens, i. 
 
 3. A surgical mstrument employed 
 by accoucheurs. Cels. vii. 29. 
 
 UNGUENTA'RIUS (fivpoTT(i\7,s). 
 A maker and vendor of scents and 
 unguents. Cic. Ofll i. 42. Hor. Sai. 
 it 3. 228. 
 
 2. Unguentaria taberna {/ivpo- '] 
 TvdiKiov). A perfumer's shop. Varro, 1 
 L. L. viii. 55. Suet. Aug. 4. I 
 
 3. Unguentarium sc. vas. {\'^kv0o5 j 
 Ijivpnpa, Poll. vi. 105. vii. 177. Aris- j 
 itoph. Er. 8. ) A scent-bottle or vase 
 for holding fine unguents and perfumes 
 {Plin. H. N. xxxvi. 12.). They were 
 small narrow-necked vessels made 
 of alabaster, fietre dure, baked clay, 
 and glass, of which latter material 
 several specimens in different forms 
 and sizes are exhibited by the illus- 
 itrations, all from originals preserved 
 
yio 
 
 URCEOLUS. 
 
 VRNARIUM. 
 
 notion which originated with some of 
 the modem Italian antiquaries, but 
 without any authority to support it. 
 
 UR'CEOLUS. (Juv. iii. 203.) 
 Diminutive of 
 
 URCEUS. A vessel with handles 
 (Mart. xiv. 106.), generally made of 
 earthenware (Hor. A. P. 31. Mart. 
 I. c. ), and chiefly used as an ewer for 
 filling other vesselswith water. (Vano 
 ap. Non. J-. Trulleum, p. 547. 
 Paul. Dig. 33. 7. 18.) It is probably 
 allied to fpx" and Oi-cha ; but there 
 are no sufficient data by which to de- 
 termine its precise form. 
 
 URINA'TOR {Ka\vfifiriTris, api/iv- 
 T-hp). A diver, trained to swim under 
 water, for the purpose of recovering 
 articles lost by shipwreck ; sometimes 
 taken on board ships to assist in rais- 
 ing the anchor, or to damage the hull 
 of an enemy's vessel in action. Liv. 
 xliv. 10. Callistrat. Dig. 14. 2. 4. 
 Compare Manil. v. 431 — 435. Lucan. 
 ill. 697 — 708, 
 
 U R' N A (icaXiris). An urn ; a 
 narrow-necked, full-bodied pitcher, in 
 which water was 
 fetched from the 
 fountain or river 
 (Juv. i. 164. 
 Senec. JJ. F. 
 757- )> whence 
 usually ascribed 
 by poets and 
 artists as an ap- 
 propriate em- 
 blem to the river 
 gods. (Virg. ALn. vii. 792. Sil. Ital. 
 i. 407. ) It was made of earthenware 
 or metal, and carried on the top of 
 the head (Ov. Fast. iii. 14.), or on 
 the shoulder (Prop. iv. 11. 28.), in 
 the manner still commonly practised 
 by the women of Italy and Egypt ; 
 for which purpose it was furnished 
 with three handles, as exhibited by 
 the annexed engraving from an ori- 
 ginal of earthenware, — two at the 
 sides, to assist in raising it, and one 
 at the neck, by which it was held 
 on the shoulder, or kept steady when 
 tilted for pouring out. 
 
 2. A vessel of similar form and 
 character, employed as a cinerary urn, 
 in which the ashes and 
 dust collected from the 
 funeral pile were en- 
 closed, when deposited 
 in the sepulchral chamber. 
 (Ov. Trist. iii. 3. 65. Id. 
 Her. xi. 124. Suet. Cal. 
 15. Wood-cut J-, Sepul- 
 CRUM, 2.) They were made of baked 
 earth, alabaster, marble, or glass; of 
 which last material the annexed ex- 
 ample affords a specimen, from an 
 original discovered at Pompeii, half 
 filled with a liquid in which the frag- 
 ments of bones and ashes are still 
 perceivable. 
 
 3. A vessel of similar form and 
 character, employed for drawing lots 
 at the Comitia, &c. (Val. Max. vi. 3. 
 4. Cic. Verr. ii. 2. 1 7. ), used for col- 
 lecting the votes or sentence pro- 
 nounced by the judges in a court of 
 law, &c. (Cic. Q. Fr. ii. 6. Hor. 
 Sat. ii. I. 47. Ov. Met. xv. 44.) 
 The lots or tablets were thrown into 
 the vessel filled with water, and then 
 shaken (urna versatur. Hor. Od. ii. 
 3. 26. Compare Virg. ^Sn. vi. 432. 
 Stat. Sylv. ii. i. 219.), and as the neck 
 of the urn was narrow, 
 only a single lot could 
 come to the surface, or be 
 drawn out at a time. The 
 illustration, which, it will 
 be observed, exhibits the same cha- 
 racteristic features in regard to form 
 as the other examples, is copied from 
 the device on a, coin of the Cassian 
 family. 
 
 4. A liquid measure containing 
 four congii or half an amphora ; also 
 the vessel which holds that quantity, 
 probably possessing the same charac- 
 teristic forms as those described above. 
 Cato, R. R. X. and xiii. Juv, xv. 25. 
 
 URNA'RIUM. A square slab or 
 table in a Roman kitchen and in the 
 baths, on which the water-cans and 
 pitchers {urnce) were disposed. (Var- 
 ro, L. L. V. 126. Id. ap. Non. s. t>. 
 p. 544.) In some parts of modem 
 
VRNULA. 
 
 V7'ER. 
 
 711 
 
 Italy, a similar convenience now goes 
 by the name oi secchiario, from secckia, 
 a water-pail, and is usually formed of 
 marble, with a hole through which 
 the drippings and spilled water drain 
 off, doubtless corresponding with 
 the Roman urnaritim, and our kitchen 
 sink. 
 
 UR'NULA {koXthhv). Diminutive 
 oiUrna.<Z\z.Par.\.'i,- Spart. &w. 24. 
 
 URPEX. See Irpex. 
 
 URVUMorURBUM. The curved 
 part of a plough, the plough-tail ; 
 more commonly termed Bura. Var- 
 ro, L. L. V. 135. Pompon. Dig. 50. 
 16. 239. 
 
 USTOR (veKpoKoutTTTis). One of 
 the undertaker's men, whose business 
 it was to lay out a corpse upon the 
 pyre, and bum it (Mart. iii. 93. ) ; 
 usually spoken of in terms of detrac- 
 
 tion, with such epithets as semirasus 
 (CatuU. 59. 4.), or sordidus (Lucan. 
 viii. 731.) ; thus indicating that the 
 employment was looked upon as mean 
 and derogatory. The illustration re- 
 presents a slave arranging the legs of 
 a corpse upoit the pyre, before setting 
 light to it, from a marble bas-relief. 
 
 USTRI'NA and -UM (KaiiTTpa). A 
 place where the dead body was burnt, 
 apart from the sepulchre in which the 
 ashes were to be deposited, as contra- 
 distinguished from Bustum, which 
 was contained within the sepulchral 
 enclosure. (Festus s. Bustum. In- 
 script. ap. Mur. 1345. 12. ap. OreUi. 
 4384, 4385.) Thus it would appear 
 that the uitrinum was a public burn- 
 ing-ground, to which the bodies of 
 
 persons not sufficiently wealthy to 
 acquire a piece of land for the pur- 
 pose contiguous to their own sepul- 
 chres were carried by their surviving 
 relatives, and burnt, their ashes being 
 afterwards transported to the family 
 tomb. In such cases a convenience 
 of this nature was absolutely neces- 
 sary, as the law prohibited the light- 
 ing of a pyre within a certain distance 
 of another man's monument. Con- 
 siderable remains are still extant of a 
 grand burning place on the Appian 
 Way, about five miles from Rome. 
 It was surrounded on two sides by 
 a high wall of masonry, constructed 
 in the Etruscan style of peperino 
 stone, and flagged with the same 
 material, which possesses particular 
 powers for resisting the action of fire. 
 One wall is 200 feet in length, the 
 other 350. On the side towards the 
 street, there were spacious porticos 
 for the shelter of spectators, or per- 
 sons attending the funeral procession ; 
 and at the back, several apartments 
 for those who had the custody of the 
 place, as well as magazines for storing 
 wood, and for keeping the various 
 instruments and utensils employed at 
 the conflagration. 
 
 U'TER (ao-Kiis). A large bag made 
 of goat-skin, pig-skin, or ox-hide, 
 sewed up at one side, and having the 
 sutures carefully stopped with a coat- 
 ing of pitch, so as to adapt it for 
 containing liquids, or to be inflated 
 with air. Plin. H. N. xxviii. 73. Ov. 
 Am. iii. 12. 29. Caes. B. C. i. 48. 
 2. Uter vini. A wine-skin (Plaut. 
 
 True. V. II.); mostly employed for 
 
712 
 
 UTRARII. 
 
 VALLUS. 
 
 transporting wine in body from place 
 to place, but in very early times the 
 H'ine was actually brought into the 
 dining-room in a skin (Varro ap. 
 Non. J-. Cupa, p. 544' )> ^"'i the cups 
 (vere filled out of it, in the manner 
 shown by the illustration, from a 
 painting at Pompeii, which represents 
 a female pouring wine out of a skin 
 into a cantharus held by Silenus. 
 
 3. Uterimctus. Agoat-skin, greased 
 on tlie outside and inflated with air, 
 which the rural population of Attica 
 used to dance or jump upon, for a 
 
 rustic sport, on the second day of the 
 festival of Bacchus, termed Ascolia 
 (^AcTKciXia), as represented by the 
 annexed illustration from an engrajved 
 gem. Virg. Georg. ii. 384. 
 
 UTRA'RII. Water carriers, who 
 supplied an army on its march with 
 water, which they carried in skins 
 (Utees). Liv. xliv. 33. 
 
 UTRICULA'RIUS (ao-KoiJAjis). 
 (Suet. Nei'o, 54.) A bag-piper. Same 
 as AscAULES, under which term an 
 illustration is given. 
 
 UTRIC'ULUS (a(rK(5ior). Dimi- 
 nutive of Uter. Celsus, ii. 17. 
 
 V. 
 
 VACERRA. A post for fastening 
 horses to (Festus s. v.'); whence, in 
 the plural, a strong fence made of up- 
 rights and cross-bars to confine cattle ; 
 an ox fence. Columell. vi. 19. 2. ix. 
 I. 3. ix. I. 9. 
 
 VAGI'NA (|i(j)oe7)K7), Ko\i6%). The 
 scabbard of a sword (Cic. Virg. Hor. 
 Ov. ) ; usually made of different kinds 
 
 of wood, box, elm, oak, ash, &c., and 
 sometimes, perhaps, of leather, as the 
 Greek name KoAe6s (Latin culeus) 
 
 tt^ 
 
 seems to imply. The illustration ex- 
 hibits an original sword found at 
 Pompeii, in its scabbard, which con- 
 sists of a wooden case, covered with 
 a thin plate of metal, studded with 
 knobs of bronze. 
 
 VALLA'TUS. Protected by a 
 vallum. Hirt. B. Alex. 27. 
 
 VALLUM (xaptt/cw/ia). A pali- 
 sade, made by the stocks of young 
 trees with their lateral branches short- 
 ened and sharpened at the point, so 
 as to form a sort of chevaux de/rise ; 
 usually planted by the Greeks and 
 Romans on the outer edge of the 
 mound of earth {agger) thrown up as 
 a rampart round their camps (Liv. 
 xxxiii. 5. Polyb. xvii. i. i.) ; whence 
 the term is frequently used to desig- 
 nate collectively the mound of earth 
 with the palisade upon it. In the 
 illustration at p. 16., from Trajan's 
 column, the vallum is formed by mere 
 straight poles sharpened at the top, 
 which must be regarded as a caprice 
 of the artist, or else the ancient prac- 
 tice had been departed from at the 
 period when those sculptures were 
 designed. 
 
 VALLUS (x'tpaf) KaMff). A single 
 stake with short-pointed branches left 
 on its stock, employed a-s a prop ; but 
 more especiallyfor formingthe»a//a?«, 
 or chevaux de/rise, upon the mound of 
 a camp, several of which, ready pre- 
 pared, were carried by every Roman 
 soldier in the field. Cic. Tusc. ii. 1 7. 
 Liv. Ivii. Epit. 
 
 2. Same as Vallum. Cass. B. C. 
 iii. 63. 
 
 3. A large wooden fork in the 
 shape of the letter V, set with teeth, 
 and attached to the front of a truck 
 [vehiculum.), which was employed as 
 a reaping-machine by the people of 
 Gaul. It was driven into the stand- 
 
VALVM. 
 
 VANNUS. 
 
 713 
 
 ing com by a single ox, harnessed to 
 a pair of shafts (amiUs) at the back, 
 so that it nicked off the ears between 
 the forks, and collected them in the 
 truck as it advanced. Plin. J/. JV. 
 xviii. 72. Compare Pallad. vii. 2. 2. 
 
 4. The tooth of a comb. Ov. Am. 
 i. 14, 15. Pecten. 
 
 5. {MKvdpiov.) In the feminine 
 gender, diminutive of Vannus ; a 
 small winnovring-basket. Varro, /?. R. 
 i. 23. 5. li. 52. 2. 
 
 VALVyE (fliJpai Siairpio-Toi). A 
 door or window-shutter which /olds 
 up (Cic. Div. i. 34. Juv. iv. 63. Plin. 
 .£/. ii. 17. 5.); that is, when made 
 in several leaves and joints, so that 
 when opened they fold back one 
 
 behind the other, like a screen, or the 
 shutters of a modem window, as 
 shown by the annexed example, from 
 a painting of Pompeii, in which the 
 door is formed of four pieces, two for 
 each leaf. (Varro «/■. Serv. ao'Virg. 
 jEn. i. 449. valva, qua revolvuntur, 
 a se velant. Isidor. Orig. xv. 7. 4.) 
 In one of the houses at Poinpeii a 
 door of the same description, in four 
 parts, was placed between the Atrium 
 and Peristylium, as has been ascer- 
 tained from the marks left by it on 
 the threshold. Mus. Eorb. vii. Tav. 
 A. B. Scavi, p. 7. 
 
 VALVA'TUS. Having doors or 
 window-shutters, comprised in several 
 pieces, which fold up behind each 
 other in the manner explained and 
 illustrated by the last example. Vi- 
 truv. iv. 6. 5. Id. vi. 3. 10. Varro, 
 L. L. viii. 29. 
 
 VANG A. (Pallad. i. 43. 3.) A 
 spade with a cross-bar above the 
 
 blade to rest the foot upon, in order 
 that it might be driven deep into the 
 ground ; still used in Italy, and re- 
 taining the same name, " la vanga." 
 It was also termed BiPALlUM, under 
 which an illustration is given. 
 
 VANNUS (AiKfof). Kwinncaving- 
 van (Columell. ii. 21. 5- Serv. ai/Virg. 
 Georg. i. 166.) ; a large and shallow 
 wicker-basket, employed for winnow- 
 ing com in still weather, for the 
 operation could not be conducted 
 with the/a/a ligiiea or the ventilabrum 
 when there was no -ivind blomng. 
 It is exhibited by the annexed ex- 
 
 ample, from a marble bas-relief, 
 and resembles the van still used in 
 Italy for the same purpose, which 
 is applied in the following manner. 
 When the basket has been filled with 
 grain from the threshing-floor, the 
 winnower, who holds it by the two 
 handles, with one end against his 
 belly, throws up the contents into the 
 air by means of a jerk of his arms, 
 and catches them again as they de- 
 scend in the van, some of the looser 
 and lighter particles of husk and re- 
 fuse falling ofi" at every toss, which 
 process is continued with rapidity 
 until the whole is perfectly cleansed. 
 Still weather is required, in order that 
 the grains may retum into the basket, 
 and not be blown over it mth the 
 chaff. 
 
 2. Vannus mystica. The mystic 
 van of Bacchus ; a basket of similar 
 description to the 
 last, in which the 
 sacrificial utensils 
 and first-fruit offer- 
 ings were carried 
 upon the head or 
 shoulder in the ce- 
 remonials of Bac- 
 chus, as shown by 
 the annexed figure 
 from a bas-relief in 
 terra-cotta (Soph. Fragm. 724. 
 
 Virg. 
 
714 
 
 VAPORARIUM. 
 
 VARA. 
 
 Gcorg. i. i66.). In the poetical 
 and dignified diction of Virgil, the 
 expression is used to designate the 
 agricultural winnowing-van last de- 
 scribed, which indicates that both 
 objects were of similar character and 
 materials. 
 
 3. The Greek term also signifies a 
 cradle, made out of a winnowing-van, 
 in which the ancients used to deposit 
 their infants, as an omen of future 
 wealth and prosperity. (Schol. Vet. 
 ad Callim. Jov. 48,) Jupiter and 
 Mercury are said to have been thus 
 cradled (Horn. Merc. 150. 254. Cal. 
 
 lim. /. c.) ; and the annexed illustra- 
 tion from a bas-relief in ten-a-cotta, 
 represents the infant Bacchus in a cra- 
 dle of this same character, which in the 
 original composition is borne between 
 a Faun and a Bacchante. 
 
 VAPOR A.'RIUM. A stove or 
 furnace for heating apartments by 
 flues (Cic. Q. Fr. iii. i. i.) ; same as 
 Hypocausis, under which an ex- 
 planation and illustration are given. 
 
 VAPPA. "Wine which has lost 
 its flavour and become quite insipid, 
 from having undergone excessive fer- 
 mentation and subsequent exposure 
 to the air (Plin. H. N. xiv. 25. Hor. 
 Sat. ii. 3. 144.) ; whence the term is 
 liliewise used to designate a spend- 
 thrift, who wastes his means in folly. 
 Hor. Sat. I. I. 104. Plin. /. c. 
 
 VA'RA (o-TaAis). A stake with a 
 fork or crutch at the top, employed 
 by huntsmen to set their nets upon, 
 when they had to enclose a tract of 
 country, in the maimer represented 
 
 by the annexed engraving from a 
 
 marble bas-relief. Lucan. iv. 439. 
 
 2. (n:iA.Ai'/3tij. ) A horse ox trestle; 
 formed by two or more uprights con- 
 verging from below to a point at the 
 top, so far as to form a frame within 
 which any thing might be suspended 
 (Vitruv. X. 13. 2. ) ; or to make a 
 stand upon which a cross-piece (vibia) 
 might be supported (Columell. v. g. 
 2.), such as used by painters, plas- 
 terers, paper-hangers, and carpenters 
 for a sawing-jack which is represented 
 
 by the annexed engraving from a 
 painting found at Herculaneum. 
 
 3. An andiron, across which the 
 logs of wood are laid for a wood fire, 
 or a spit (veru) supported for roasting 
 meat. (Riddle's English-Latin Dic- 
 tionary.) There is no actual autho- 
 rity extant for this usage of the word, 
 but the annexed example, from an 
 original of iron, discovered in a tomb 
 
 J^ 
 
 at Psstum, proves that the ancients 
 made use of andirons in the same 
 manner as the moderns, while the 
 form and use of the article corre- 
 spond minutely with the other objects 
 comprised under the same name. 
 Two smaller specimens, believed to 
 have been used for supporting a spit, 
 have been excavated at Pompeii : 
 
yASCi/s. 
 
 VELA TUS. 
 
 71S 
 
 they are made of bronze, and more 
 ornamental in character, having the 
 head of an animal as a. termination 
 to the extremity. Mus. Borb. x. 64. 
 
 VASCUS. See Tibia, 4. 
 
 VECTIA'RIUS. The labourer 
 who works the capstan (sucttla) by 
 means of a capstan-bar [vectis), 
 which forces down the press-beam 
 ^prelum) in a wine or oil-press [ior- 
 cular). Vitruv. vi. 6. 3. 
 
 VECTIS {li-axUi). A strong and 
 heavy pole or bar of wood or iron, 
 employed for various purposes, as : 
 
 1 . A lever or ha7id-spike, for placing 
 under machines, or objects of very 
 great weight, to assist in moving and 
 turning them. Cses. B. C. ii. II. 
 
 2. A crow-bar, for forcing open or 
 beating down. Hor. Od. iii. 26. 7. 
 Cic. Verr. ii. 4. 43. 
 
 3. A bar for fastening a door. 
 Virg. ^n. vii. 609. 
 
 4. A pole for carrying burdens. 
 Claud, iv. Cons. Honor. 573. Wood- 
 cut s. Ferculum, 2. 
 
 5. A capstan-bar, by which the 
 cylinder is turned. Vitruv. vi. 6. 3. 
 
 VEHA or VEA. A rustic or 
 provincial pronunciation of Via. Ca- 
 to, R. R. i. 2. 14. 
 
 VEHE'LA. Said to be another 
 form of Veha, an Oscan word for 
 Plaustrum. Festus, s. v. Capitol. 
 Maxim. 13. 
 
 VEH'ES or VEHIS. A cart-load 
 of anything, as of dung (Columell. 
 xi. 2. 13.) ; hay (Plin. H. N. xxxvi. 
 24. § 3-) ; wood (Cato ap. Charis, 
 
 P- 55-)- 
 
 VEHIC'ULUM (ox7)M«)- A ve- 
 hicle ; as a general term, for any sort 
 of contrivance by which things are 
 transported by land (Suet. Aug. 49. 
 Cic Pis. 25.) or by water (Id. Att. x. 
 10. ) ; but this last reading is doubt- 
 ful. 
 
 2. Vehicjilum manibus actum. A 
 go-cart, or invalid's chair, drawn on 
 or pushed forward by the hands of 
 a slave. (Aurel. Med. i. 5. ii. I.) 
 Also termed Chiramaxium. 
 
 3. A threshing-truck used in Gaul. 
 
 Pallad. vi. 2. 2. See Vallum, 3., 
 where the machine is described. 
 
 VELA'MEN. A general term 
 for any loose covering or clothing, 
 which, as it were, veils the person. 
 Virg. Ov. Tac. &c. 
 
 VELAMEN'TUM. Same as Ve- 
 LAMEN. Senec. Cons, ad Marc. 
 
 IS- 
 
 2. Velamenta (iKETijpm). Objects 
 borne in the hands by suppliants as 
 a symbol of their condition ; amongst 
 which are included the olive-branch, 
 caduceus, and woollen fillets, &c. Liv. 
 xxiv. 30. Tac. Hist. i. 65. Ov. Mel. 
 xi. 278. 
 
 VELA'RIUM. An aTO«/«^ spread 
 over the uncovered part of a theatre 
 or amphitheatre (Juv. iv. 124.), where 
 the spectators sat, and which was 
 otherwise open to the sky. It was 
 made to draw by means of ropes and 
 puUies fixed to ? number of masts 
 (wood-cut s. JlALUS, 2.), planted 
 round the outside wall ; and it was 
 not always drawn, but only on certain 
 occasions, announced by an affiche 
 ! or notice (albmn) chalked up in pro- 
 minent parts of the town. Inscript. 
 J. Sparsio. 
 
 VELA'TUS. Veiled (Cic. N. D. 
 
 ii. 3. Sen. Octav. 702.) ; that is, wear- 
 
 I ingthe loose outer drapery, or o»?/<:n«, 
 
 ' arranged over the head likeaveil, in the 
 
 j mannerexhibitedbythetwo figures here 
 
 subjoined; the left one from a bas-relief, 
 
 the other from a painting of Pompeii. 
 
 It was usual for both sexes to arrange 
 
 their external drapery in this manner. 
 
7i6 
 
 VELITES. 
 
 VELUM. 
 
 more especially at religious cere- 
 monies and when in mourning. 
 
 2. Clothed or draped, in our sense 
 of dressed ; and applied indiscrimi- 
 nately to both sexes and to every 
 kind of dress, whether in the nature 
 of an amictus or an indumentum ; as 
 to the toga (Liv. iii. 26. ), the tunica 
 (Ov. Fast. iii. 645.), the stola (Hor- 
 Sat. i. 2. 71.). 
 
 3. Encircled round the brows with 
 a chaplet (Ov. Pont. iv. 14. 55. Coro- 
 na), riband (Id. Ulet. v. no. Vitta), 
 woollen fillet (Liv. i. 32. Infula), &c. 
 
 4. Hung with drapery {vela) or 
 festoons {serta), as applied to streets, 
 houses, temples, &c., which were 
 thus decorated upon days of solemn 
 festivity along the line of streets 
 where a procession passed. Ov. Am. 
 iii. 13. 12. 
 
 5. Bearing symbols of supplication 
 [velamenta) in the hands ; such as 
 branches of olive, woollen bands, &c. 
 Plant. Amph. I. I. 104. Virg. ^n. 
 xi. loi. Serviusarf/. 
 
 6. Velati, in the army, supernume- 
 raries who accompanied the troops in 
 order to fill up vacancies in the ranks 
 occasioned by death or wounds. 
 Amongst these were comprised the 
 Accensi, Ferentarii, and Rorarii, who 
 were all so termed, because they 
 were merelydraped in a tunic {velatus, 
 2.), without any body armour or 
 defensive weapons (Festus s. v. Id. 
 J'. Adscripticii), as exhibited by the 
 
 annexed figure from the column of 
 Trajan. 
 
 VE'LITES (ypo<r<potJi6.xo')- The 
 
 skirmishers or light-armed infantry of 
 the Roman armies, who did not form 
 part of the regular legion, nor occupy 
 a fixed position in the battle array, 
 but fought in scattered parties amongst 
 the cavalry or infantry, wherever 
 their services were 
 required. They 
 had no body ar- 
 mour beyond a 
 skuU-capof leather, 
 without a ridge- 
 piece '(^a/m, cudo), 
 but were provided 
 with a round shield 
 (parma), a short 
 Spanishsword(^/a- 
 dius Uispaniensis), 
 and several spears 
 with light shafts 
 and very long acu- 
 minated blades (hasta velitaris), in- 
 tended to be used as missiles, but not 
 fitted for stationary combat. (Liv. 
 xxxviii. 21. XXX. 33. Polyb. vi. 22.) 
 The example, from the arch of Sep- 
 timius Severus, combines all these 
 peculiarities with the exception of 
 the missile, an object frequently 
 omitted in sculpture on account of 
 the difficulty it presents in execution, 
 and its unpicturesque effect; but the 
 character of its blade may be seen 
 by referring to the illustration s. 
 Hasta, 4. 
 
 VE'LUM (iVtioj-). The sail of a 
 ship in general (Liv. Virg. Ov. ); 
 
 but especially the large square sail, 
 or mainsail, as contradistinguished 
 from the foresail (dolon), the topsail 
 
VELUM. 717 
 
 {supparum), and others which bore a 
 distinctive name from their forms or 
 position on the vessel. (Stat. Sylv. 
 iii. 2. 27. Virg. /En. i. 106.) Itvi'as 
 fixed to a yard {antenna) at the top, 
 and formed out of square pieces of 
 cloth sewed together, as represented 
 by the illustration on the opposite 
 page from the Vatican Virgil. 
 
 2. In foul weather, or upon arrival 
 in port, the yard was lowered half 
 mast high, and the sail reefed or 
 clewed up, in the manner represented 
 by the annexed wood-cut, from a 
 
 terra-cotta lamp ; which operations 
 were respectively expressed by the 
 phrases demittere antennas (Hirt. B. 
 Alex. 45-), to lower the yard; velum 
 subducere, or antennis subnectere (Hirt. 
 /. c. Ox. Met. xi. 483. ), to clew up 
 the sail ; velum legere (Virg. Georg. i. 
 373- )> to shorten sail. Compare Vi- 
 truv. x. 3. 5. and 6. 
 
 3. So, when the ship put out to 
 sea with fair weather, the yard was 
 raised up to the top of the mast, the 
 clew-lines were loosened from the 
 yard, and the comers of the sail 
 drawn down to the deck; as repre- 
 sented in actual operation by the 
 next wood-cut, from a sepulchral 
 bas-relief at Pompeii; and expressed 
 by such phrases as the following : vela 
 facere (Cic. Tusc. iv. 4.), to make 
 all sail; vela pandere (lb. iv. 5.), to 
 spread the sails; vela solvere and de- 
 ducere (Virg. yS«. iv. 574. Ov. Met. 
 
 iii. 663.), to unclew and let dovra the 
 
 sail from the yard^ 
 
 4. {■Ka.fo.nha.afia. ) A curtain sus- 
 pended before the street-door of a 
 house, to close the entrance when 
 the door itself stood open (Suet. 
 Claud. 10. Juv. vi. 228. ) ; in the 
 interior of a house instead of a door, 
 or for the purpose of making a par- 
 tition between diffe- 
 rent apartments, or 
 of dividing one large 
 one into separate 
 parts of smaller di- 
 mensions (Plin. Ep. 
 iv. 19. 3.); before 
 the image of a deity 
 in the temples, which 
 was only removed 
 upon occasions of \ 
 solemnity, as is still 
 the practice in Ro- 
 man Catholic churches (Apul. Met. 
 xi. pp. 251. 257.); and as a.window- 
 curtain to be drawn, like our o\vn, 
 over the shutters (foriculce), to ex- 
 clude the light more effectually (Juv. 
 ix. 104. Mart. i. 35.). They were 
 either made in one piece, to be drawn 
 up from the ground, which is implied 
 by the expression allevare velum (Sen. 
 Ep. 80. ), to raise the curtain ; or in 
 two breadths, to be opened in the 
 centre, like the example, representing 
 the entrance to Dido's palace in the 
 Vatican Virgil, which was expressed 
 by the phrase vela reducere (Apul. 
 //. cc. ), to draw back the curtains. 
 
 5. The drop-scene ai a theatre. 
 Ov. A. Am. i. 103. Prop. iv. I. 15. 
 AUL.€A, 4. 
 
 6. The canvas awning stretched 
 
7i8 
 
 VENABULUM. 
 
 VENA TIO. 
 
 over head in a theatre or amphi- 
 theatre as a protection against the 
 sun and weather. Plin. H. N. xix. 6. 
 Lucret. iv. 73. Velarium. 
 
 7. Like Velamen, a general term 
 for any Ivind of covering or drapery, 
 wlietlier applied to persons (Cic. 
 Cat. ii. 10.) or things. Id. Verr. ii. 
 5. 12. 
 
 VENA'BULUM. A hunting-spear 
 (Cic. Fam. vii. i.); a powerful 
 weapon, with a long and broad iron 
 head (Mart. xiv. 31. Virg. JEn. iv. 
 131.), generally of a lozenge shape, 
 and sometimes furnished with a cross- 
 tree [mora) to prevent the point from 
 penetrating too far (Grat. Cyneg. 
 108 — I to. ) The object itself is shown 
 by the annexed wood-cut, from a 
 fresco painting in the sepulchre of the 
 Nasonian family on the Flaminian 
 way, near Rome. It also exhibits 
 a singular method adopted by the 
 ancient huntsmen for entrapping wild 
 
 beasts by means of a mirror set up 
 over the front of a cage ; but the or- 
 dinary manner of using the hunting- 
 
 spear, which was rarely or never em- 
 ployed as a missile, is also shown 
 by the subsequent illustration. 
 
 VENA'TIO (evipa). A hunt, or 
 hunting of wild beasts. (Cic. Sen. i6.) 
 The illustration, from a painting ex- 
 cavated in 1673 at the foot of the 
 Coelian hill (Bellori Sep. Nason. 
 No. 29.), shows a wild-boar hunt, 
 which, from the numerous represent- 
 ations left of similar scenes, appears 
 to have been a very favourite sport 
 amongst the Romans. It likewise 
 exhibits all the objects usually men- 
 tioned in connexion with the sport 
 
 — the hunting-spear [venaOuliwi), the 
 bow (anus), three hounds [canes 
 venatici), one of which, on the right 
 side of the picture, is held back by a 
 leash or a slip {copula, lorum), the hunt- 
 er (eguus venator), and seven huntsmen 
 {venaiores], including the attendants. 
 
 2. A fight of wild beasts with men 
 (Cic. Fam. vii. I.), or with one another 
 (Suet. Claud. 21.) ; both of which 
 were commonly exhibited as a game 
 in the Roman amphitheatre and cir- 
 
VENATOR. 
 
 VENTILABRUM. 
 
 719 
 
 cus, and are exhibited by the illustra- 
 tions annexed ; the one on the left 
 hand representing a combat between 
 a gladiator and wild beast, from a 
 sepulchral bas-relief on a monument 
 
 in the street of the tombs at Pompeii ; 
 the other, a contest between a bear 
 and a rhinoceros, from a terra-cotta 
 lamp found amongst the ruins of 
 Labicum. 
 
 VENA'TOR (flTjpaT^S, KUI'7)7e'T-7)s). 
 
 A huntsman who follows the chase or 
 the sport of killing wild animals, such 
 as tigers, bulls, boars, deer, &c., with 
 dogs and spears, on foot or on horse- 
 back (Cic. Tusc. ii. 17.' Hor. Od. i. 
 I. 26.), as exhibited by the illus- 
 tration annexed, from a painting 
 at Pompeii, representing a hunts- 
 man with his dog, and a boar at 
 bay, wounded in the back by one 
 spear, and pierced through the fore- 
 head by another which is held by the 
 
 huntsman at close quarters. 
 
 2. (flrjpioMaxis-) A gladiator viho 
 fought in the amphitheatre with wild 
 beasts instead of men ( Apul. Met. iv. 
 p. 72. Cassiodor. Var. Ep. v. 52.), 
 as shown by the first wood-cut on 
 this column ; more usually termed 
 Bestiarius. 
 
 3. Venator equtis. A hunter, or 
 Iiorse trained for the chase. Stat. 
 Theb. ix. 685. Vj:natio, i. 
 
 4. Venator cants. A hound trained 
 for the chase. Virg. yEn. xii. 751. 
 Venatio, I., and last wood-cut. 
 . VENA'TRIX (Kvv-rryiTis). A 
 huntress, who follows the chase with 
 the bow and hounds (Virg. yEn. i. 
 319.); more especially used to de- 
 
 signate Diana, the goddess of the 
 chase (Ov. Met. ii. 454. Juv. xiii. 80.), 
 who is represented in that character 
 by the annexed figure, from a terra- 
 cotta lamp. 
 
 VENTILA'ERUM (Bp'iva^). A 
 winnowing-fork ; employed for sepa- 
 rating the grains of com, beans, and 
 other leguminous plants from the 
 straw and stalks, when the crop was 
 threshed out together with them ; 
 and, consequently, had been reaped 
 in the common manner, with a sickle 
 (falx), instead of having the ears or 
 pods only nicked off from the standing 
 plant by a comb (pecten), or a hand- 
 fork (merga), as was a frequent piac- 
 
720 
 
 VENTILATOR. 
 
 VEREDARIUS. 
 
 tice with the ancient farmers. (Colu- 
 mell. ii. lo. 14. Compare ii. 20. 3 
 —5.) The instrument was a fork 
 with three or four prongs, with which 
 the labourer raked out the straw, and 
 tossed it up to a considerable distance 
 from him through the air, so that the 
 breeze, which for the operation was 
 required to be tolerably strong, would 
 carry off the chaff and straw, while 
 the heavier grain fell back upon the 
 ground, and could be finally cleansed 
 by a wooden shovel {pala iignea) or a 
 winnowing-van [vanmis). The prac- 
 tice is still pursued in Spain, where 
 the instrument employed is designated 
 by a similar name, aventador, which, 
 liiie the Latin one, refers to the action 
 of the laind, so necessary for its effi- 
 cient use. Townsend's Itinerary, vol. 
 
 3- p. 3^4- 
 
 VENTILA'TOR. One who win- 
 nows with the ventilabrum, as ex- 
 plained in the last article. Columell. 
 ii. 10. 15. 
 
 2. A juggler, who tosses his balls 
 into the air, as the winnower does his 
 corn. Quint, x. 7. 11. 
 
 VENTRA'LE {Koi\i6Z^aix.os). A 
 helly-band, formed by an olDlong- 
 square piece of 
 cloth tied round 
 the loins, and 
 over the abdomen,, 
 as exhibited by 
 the annexed figure, 
 from a bas-relief 
 upon a marble 
 candelabrum. In 
 the present in- 
 stance, it is worn 
 over the tunic, 
 but its usual 
 place was next the skin, either under- 
 neath the tunic, or upon the body, 
 when in other respects entirely 
 naked, as seen upon the statue of a 
 fisherman (Visconti, Mus. Pio-Clem. 
 iii. tav. A, 6. ) ; which also proves 
 that it was not the same as the sub- 
 iigaculum, nor worn for the sake 
 of decency, for it there leaves the 
 person completely exposed, as indeed 
 
 would be the case with our example 
 if the tunic were removed. It was 
 sometimes used for medicinal pur- 
 poses (Plin. H. N. viii. 73. xxvii. 
 28.) ; and as a convenience for car- 
 rying money or other small articles 
 about the person (Ulp. Big. 48. 20. 
 6.), when otherwise divested of 
 clothing, and in the water (Lucil. 
 Sat. vi. I. cum bulga lavat). Hence 
 it is frequently seen on statues of 
 fishermen, as in the one already 
 quoted, and another of the Vatican 
 (Mus. Pio-Clem. iii.. 32.), erroneously 
 restored for Seneca, but having the 
 central part of the ventrale filled in 
 with plaster of Paris, in a manner 
 which entirely alters the genuine 
 character of the object. 
 
 VEN'US ('Aippo5£T7)). The Venus, 
 or best throw of the dice (lessens), or 
 dibs [tali) ; so called when all the 
 numbers, came up different. Prop, 
 iv. 8. 45.. Suet. Aug. 71. compared 
 with Mart. xiv. 14. 
 
 VERBER. The t/wng of a whip 
 for scourging slaves (Terent. Andr. 
 i. 2. 28. TibuU. i. 9. 22. Flagellum, 
 I. ) ; of a driving- whip (Virg. Georg. 
 iii. io5. Ov. Met. xiv. 821. Flagel- 
 lum, 2.) ; of a sling (Virg. Georg. 
 I. 309. FuNDA, r. ); of a machine 
 by which large stones or other mis- 
 siles are forcibly projected (Lucret. 
 iii. 469.). 
 
 VEREDA'RIUS. A government 
 messenger, who carried the public 
 dispatches in a light cart drawn by 
 swift horses (veredi), which were 
 stationed for relays along the public 
 roads (Sidoni £p. v. 7. Festus s. 
 Veredus. Suet. Aug. 49. ), believed to 
 
 be represented by the annexed ex- 
 
VEREDUS. 
 
 VER VTUM. 
 
 72] 
 
 ample, from a bas-relief on the monu- 
 ment at Igel. 
 
 VERE'DUS. A horse of fast 
 paces ; employed as a hunter (Mart. 
 xii. 14. xiv. 86.), and a post-horse 
 (Festus J'. V. Imp. Jul. Cod. 12. 51. 
 4. ). Compare Veredarius. 
 
 VERMICULA'TUS. See Pavi- 
 
 MENTUM, 4. 
 
 VERRIC'UI-UM. (Val. Max. iv. 
 I. Ext. 7.) Same as Everriculum. 
 
 VERRU'CULA. The wart or 
 wattle which grows on either side of 
 the throat in 
 some breeds ot 
 he-goats (Colu- 
 mell. vi. 6. 2.) ; 
 and which the 
 ancient artists in- 
 troduced into their representations of 
 Fauns, to indicate their goatish pro- 
 pensities, as exhibited by the annexed 
 example, from a marble statue. 
 
 VERSIPELL'IS. Literally, one 
 who changes his skin ; thence, one 
 who transforms himself, or is trans- 
 formed into another person's figure, as 
 of Jupiter into Amphitryon (Plant. 
 Amph. 121. Prol.); and so a wily, 
 dissembling fellow, who can assume 
 any character. (Id. Bacch. iv. 4. 12.) 
 But the term designates more espe- 
 cially a man transformed into a wolf, 
 pursuant to an ancient legend of 
 Arcadia, that every member of a cer- 
 tain family was changed into a wolf 
 for nine years, and after that period 
 resumed his original shape. Plin. 
 H. N. viii. 22. Pet. Sat. 62. 
 
 VERTICILLTJS 
 (a(i>6vtv'Kos). The 
 
 whorl or whirl of a 
 spindle (Plin. H. N. 
 xxxvii. II. § I.); 
 which consisted of a 
 small circular wheel 
 or plate of wood, 
 stone, or metal, through 
 which thQ lower end 
 of the spindle (fiisus) 
 was inserted, for the 
 purpose of giving it 
 rotation, and assisting by its weight to 
 
 twist the thread tight. It is seen on 
 the bottom part of the annexed wood- 
 cuts, representing an original Egpytian 
 spindle, on one side enveloped in the 
 spun thread, and simply by itseif on 
 the other. 
 
 VER'U (o$i\6s). A spit for roast- 
 ing meat (Varro, L. L. v. 127.); 
 often made of wood (Plin. H. N. 
 XXX. 37. Virg. Ceorg. ii. 396. Ov. 
 Fast. ii. 363.), sharpened at the 
 point, so as to be driven through the 
 meat (Sen. Thyest. 1063. Virg. ^n. 
 i. 212.), and placed over the fire (Id. 
 Ain. V. 103. ), and probably turned 
 by the hand upon dogs or andirons 
 {vam). Compare Veruculum. 
 
 2. {auinov.) A missile weapon 
 (Virg. ^n. vii. 665. TibuU. i. 6. 
 49.), adopted from the Samnites by 
 the light infantry of the Romans 
 
 (Festus, s. Samnites), which had a 
 sharp round iron point, like the spit 
 after which it was named, as exhi- 
 bited by the annexed example, from 
 an original found in Westphalia, and 
 published byAlstorp(fli-j%j-A p. 192.). 
 
 VERUCULA'TUS. SeeFALX, i. 
 
 VERU'CULUM or VERIC'U- 
 LUM (6/3f\(iTKos). Diminutive of 
 Veru ; the name given to the small- 
 est of the two javelins carried by 
 the regular Roman infantry, 
 which had a triangular-shaped 
 head of iron, five inches long, 
 and a wooden shaft of three . 
 feet and a half. (Veg. A/il. 
 ii. 15.) The annexed ex- 
 ample, from an ancient monu- 
 ment published by Alstorp, coincides 
 exactly with the above description ; 
 and also indicates that the ancient 
 spit [veru], after which the weapon 
 was named, had sometimes a flat tri- 
 angular head, like the modem ones, 
 instead of a plain long point. 
 
 VERUI'NA. Same as Verutum. 
 Fulgent. 33. Plaut. Bacch. iv. 7. 46. 
 
 VERU'TUM (aavviov). (Virg. 
 Georg. ii. 1 68. Sil. Ital. iii. 363'.) 
 Same as Veru 2. 
 
 2 Z 
 
722 
 
 VESICA. 
 
 VESTIBULUM. 
 
 R. iii. 17. 2. 
 lantern (Mart, 
 and as a cap 
 
 2. In the time of Vegetius, this 
 name was given to the weapon de- 
 scribed J. Veruculum. Veg. Mil. 
 ii. 15. 
 
 VESI'CA (Kiio-Tis). A bladder 
 (Ov. Rlct. V. 304.); employed for 
 a purse (Varro, R. ^ 
 Marsupium) ■ for a 
 xiv. 62. Laterna) ; 
 (Mart. viii. 33.), 
 with which females 
 were accustomed 
 to cover the whole 
 head, for the pur- 
 pose of confining 
 the hair, and keep- 
 ing it clean and 
 compact when not regularly dressed, 
 of which the annexed wood-cut af- 
 fords an example, from a fictile vase. 
 
 VESPILLO'NES. Undertakers' 
 men, who carried out the corpses of 
 poor people at night-time, or in the 
 dusk (from vesper), because they 
 could not afford the expense of a 
 funeral procession. Festus s. v. 
 Suet. Dom. 17. 
 
 VESTA'LES. Vestal virgins ; <Cas. 
 members of a sisterhood who dedi- 
 cated themselves, under a vow of 
 chastity, to the service of the goddess 
 Vesta, in whose temple they minis- 
 tered as priestesses, and watched by 
 day and night the sacred fire kept 
 burning upon her altar. Their cos- 
 tume consisted of the stola (Plin, Ep. 
 
 iv. II. 9.), with a short linen vest 
 (carbasus. Val. Max. i. I. 7. Prop, 
 iv. II. 54.), put on as an indtimentum 
 over it (Dionys. ii. 68.); and, when 
 
 engaged at the sacrifice, with the 
 addition of an amictus, formed by an 
 oblong-square sheet of white cloth 
 bordered round the edge, and termed 
 suffibulum, because it was put on the 
 head, and fastened by a brooch under 
 the throat (Festus, s. Suffibulum). 
 Beneath this the hair was confined 
 closely to the head by a fillet of white 
 wool (infula), tied by a riband 
 (villa). Most of these particulars are 
 observable in the figures introduced. 
 The right-hand one is from an en- 
 graved gem, representing the Vestal 
 Tuccia carrying water in a sieve 
 from the Tiber to the temple, as a 
 test of her chastity (Val. Max. viii. i. 
 5.). It exhibits the stola, the car- 
 basus or linen vest reaching to the 
 knee, and the suffibulum carried in 
 the left hand, and partially depending 
 from the right shoulder ; the naked- 
 ness of the other being referable 
 solely to artistic treatment. The left- 
 hand figure, from a terra-cotta lamp, 
 shows the Vestal as she appeared at 
 the sacrifice, with the suffibulum put 
 on. The brooch at the throat is 
 omitted, but its position and use will 
 be readily conceived, while the form 
 of the drapery and border round it 
 are distinctly apparent. 
 
 VESTIA'RIUM. A wardrobe; 
 as a general term, including any kind 
 of object employed for the purpose, 
 whether a closet, chest, box, or trunk. 
 Plin. H. N. XV. 8. compared with 
 Cato, R. R. 98. Arca, Arma- 
 rium, &c. 
 
 VESTIA'RIUS. A dealer in 
 clothes. Ulp. Dig. 14. 3. 5. Scffi- 
 vola. ib. 38. I. 45. 
 
 VESTIB'ULUM (Trpiiflupor). Not 
 our vestibule ; but an entra7ice-court, 
 or court-yard before a house (Aul. 
 Gell. xvi. 5. Vitruv. vi. 7. 5. Plant. 
 Most. iii. 2. 133.), or a temple (Cic. 
 Verr. ii. 2. 66.), or a set of baths (Id. 
 Co:l. 26.), or any other edifice, imme- 
 diately in front of the main entrance 
 (Cic. Ccecin. 12.), and produced by 
 running out the side-walls beyond 
 the facade of the building, as repre- 
 
VESriPLICA. 
 
 VEXILLUM. 
 
 723 
 
 sented by the illustration from an an- 
 cient Roman fresco painting. It was 
 not roofed in, but formed an area be- 
 tween the street and mansion, open in 
 front, and closed at the sides by a wall, 
 
 colonnade, or, as in the example, by a 
 range of apartments containing the 
 stabling and coach-houses, with other 
 conveniences for the household. { Vi- 
 truv. vi. 5> Juv. vii. 126.) The open 
 courts in front of some of the great 
 houses in London — the old British 
 Museum, for insta'nce, or Burlington 
 house, before they were pulled down 
 — would have afforded a complete ex- 
 ample of the Roman vesiibulum, 
 which was only an adjunct to grand 
 buildings (Vitruv. /. r. ), and conse- 
 quently is not once met with in the 
 small provincial town of Pompeii. 
 
 VESTIP'LICA. A female slave, 
 whose duty it was to fold tip and 
 take care of her mistress's clothes. 
 Quint. Decl. 363. 
 
 VESTIS'PICA. A female slave, 
 whose duty consisted in looking cn'er 
 and keeping in repair her mistress's 
 clothes. Plant. Trin. ii. I. 29. 
 
 VETERINA'RIUS. A caUle- 
 doctor; including all classes of the 
 profession — the horse-doctor, cow- 
 leech, &c. Columell. vi. 8. i. Id. 
 vii. 5. 14. 
 
 VEXILEA'RIUS. The soldier 
 who carried the vexillum, or colours 
 of his regiment (Liv. viii. 8. Tac. 
 Hist. I. 41.); more especially, though 
 not exclusively descriptive of the 
 cavalry troops, who used no other 
 ensign. The illustration is copied 
 from the Column of Antoninus. 
 
 2. Under the Empire, the name of 
 Vexillarii was given to a distinct 
 
 body of soldiers, supposed to have 
 been composed of veterans, who were 
 
 released from the military oath and 
 regular service, but kept embodied 
 under a separate flag [vexillum], to 
 render assistance to the army if re- 
 quired, guard the frontiers, and gar- 
 rison recently-conquered provinces ; 
 a certain number of these supernu- 
 meraries being attached to each 
 legion. Tac. Hist. ii. 83. lb. 100. 
 Compare Ami. i. 36. 
 
 VEXILLA'TIO. A body of 
 troops united under one flag (vexil- 
 lum) ; applied to the allies. Suet. 
 Galb. 20. 
 
 VEXILLUM. Aflag; consisting 
 of a square piece of cloth fixed on a 
 frame or cross-tree (Tertull. Apol. 
 16. ) ; as contradistinguished from the 
 standard [signum], which was simply 
 a pole, with the image of an eagle, 
 horse, or some other device, on the 
 top of it. The flag was always the 
 proper and only ensign of the Roman 
 cavalry. In very early times it was 
 also used by the infantry (Liv. viii. 
 8. ) ; but it was afterwards employed 
 for a distinctive banner of the allied 
 troops, as the standard was for the 
 legions ; whence the two are fre- 
 quently enumerated together when it 
 is intended to comprise the Roman 
 legions and the allies. (Liv. xxxix. 
 20. iMtt. Nero, 13. Vitell. II.) The 
 illustration represents the cross-tree 
 upon which the flag was extended. 
 
724 
 
 VICARWS. 
 
 from an original of bronze, with a 
 miniature drawing of the fiag and 
 
 which bound and consolidated the 
 whole mass. The illustration repre- 
 
 pole by its side. 
 
 VIA. A /as'fi/ road, said to be an 
 invention of the Carthaginians (Isi- 
 dor. Orig. xv. 1 6. 6.), for horses, 
 carriages, and foot-passengers (Varro, 
 L. L. V. 35.), both in town and coun- 
 try ; but more especially such as 
 formed the main channel of commu- 
 nication or high-way between one 
 district and another, as opposed to a 
 back-street or bye-lane. (Mart. vii. 
 61. Cic. Phil. xii. 9. Hor. Sat. i. 9. 
 I.) The Roman roads were con- 
 sti-ucted with the greatest regard to 
 convenience and durability ; consist- 
 ing of a carriage-way [agger) in the 
 centre, paved with large polygonal 
 blocks of basaltic lava [silex), im- 
 bedded in a substratum formed by 
 three layers of different materials 
 one under the other, the lowest of 
 small stones or gravel, the next of 
 nibble-work, i. e. broken stones and 
 lime; the upper one a bed of six 
 inches deep, composed of fragments of 
 brick and pottery, mixed with cement ; 
 and a raised foot-way [crepido] on 
 each side, flanked by a series of kerb- 
 stones (umbones), which in some cases 
 were interspersed at intervals by 
 large wedge-shaped trusses {gomphi), 
 
 sents a view of the main road from 
 Herculaneum to Pompeii, at the en- 
 trance into the latter city; showing 
 the carriage-way and foot-paths, with 
 their kerb-stones on each side. A 
 section, exhibiting the method of 
 setting the polygonal blocks, is given 
 s. Agger, 4, and illustrations of the 
 other parts in detail under their re- 
 spective terms bracketed above. 
 
 VIATO'RES. Runners, or offi- 
 cers attached to the service of the 
 Roman magistrates, and employed as 
 messengers to summon the senators 
 from the country, the people to the 
 comitia, or individuals to the presence 
 of a magistrate. They were especi- 
 ally assigned to those magistrates 
 who had no lictors, the tribunes of 
 the people and censors ; but in early 
 times, the consuls, dictator, and pr^- 
 tors had their runners as well as 
 lictors. Cic. Sen. 16. Varro ap. 
 Cell. xiii. 12. Liv. vi. 15. xxii. 11. 
 ii. 56. 
 
 VIB'IA. The cross-bar or plank 
 laid across the forked uprights (vam) 
 which form a jack or trestle for 
 mechanics to stand or work upon; 
 whence the adage, Vibia varam se- 
 quihtr (Auson. Idyll. 12.), the plank 
 falls with its props, is interpreted to 
 mean "One error follows another." 
 
 VICA'RIUS. Literally, a substi- 
 tute or deputy ; and, specially, a 
 slave kept by a fellow-slave as his 
 fag (Hor. Sat. ii. 7. 79. Mart. li. 
 18.); for the upper classes of these 
 servants, called ordinarii, kept slaves 
 
VIC TIM A. 
 
 VIGILES. 
 
 725 
 
 of their own, who were purchased by 
 themselves. 
 
 VIC'TIMA (repeloy). Strictly, a 
 victim sacrificed to the gods as an 
 offering of thanks, in return for be- 
 nefits received; as contradistin- 
 guished from hostia, a peace-offering 
 to avert or appease their anger : but 
 the distinction is not rigidly ob- 
 served. 
 
 VICTIMA'RII. Servants or 
 ministers employed at the sacrifice, 
 whose duty it was to kindle the fire, 
 prepare the requisite articles and 
 implements, and hold the victim 
 whilst it received the knock-down 
 
 blow from the Popa, as extiibited by 
 the annexed engraving, from a Ro- 
 man bas-rehef. Liy. xl. 29. Val. 
 Max. i. I. 12. Inscript. ap. Fabretti. 
 p. 450. n. 13. 
 
 VICTORIA'TUS, sc. nummus. 
 A Roman silver coin, in value half a 
 denarius, so termed because it had an 
 image of Victory on the reverse, as 
 shown by the annexed example, from 
 
 an originaL Varro, L. L. x. 41. Cic. 
 Font. 5. Plin. H. N. xxxiii. 13. 
 
 VI'CUS (Kajtir?). In the primary 
 notion, a habitation, taken in a col- 
 lective sense, as a number of houses 
 
 contiguous to each other; thence, a 
 street with houses on each side, both 
 in a country village or a city; and 
 so a division or quarter of a town, 
 consisting of a certain number of 
 streets and houses. Hor. Epist. ii. 
 I. 269. Ov. Fast. vi. 609. Cic. 
 Mil. 24. 
 
 VI'DULUS. A large wicker- 
 basket covered with leather, and 
 employed for holding a number of 
 minor articles within itself— m/f//rt?« 
 in vidulo (Plant. Rud. iv. 4. 88.), 
 viarsupiu7ii cum viatico in vidulo 
 (Id. Mett. V. 7. 49.); and as a fish- 
 basket (Id. kud. iv. 3. 54 — 72.), 
 which passage testifies that it was 
 covered with leather. 
 
 VIE'TOR (from vieo, to plat), A 
 maker of wicker-baskets ; the name 
 given by Plautus (Eud. iv. 3. 62.) 
 to one who makes a vidulus. 
 
 VIG'ILES. Sentinels, who per- 
 form the night watch of an army 
 
 (Virg. Ain. ix. 159.); as shown by 
 the illustration, from the Vatican 
 Virgil, which represents a bivouac 
 of soldiers outside the walls of a for- 
 tress; the time of night being indi- 
 cated by the blazing fire in the fore- 
 ground, and the moon and stars above. 
 2. Watchmen; of whom there 
 were seven cohorts in the city of 
 Rome, under the command of a prse- 
 fect (nyctostrategus), and whose duty 
 it was to preserve the peace at night, 
 and protect the citizens and tiieir 
 property from murder, plunder, or 
 
726 
 
 VIGILIARIUM. 
 
 fire. Plaut. Amph. i. I. 198. Cic. 
 lar. ii. 4. 43. 
 
 VIGILIA'RIUM. A watch- 
 tower, in which watcli is kept at 
 night. Senec. Ep. 57. 
 
 VILL'ICUS. A farm-bailiff; a 
 slave who had the superintendence 
 in chief of all the stock and business 
 of a farm, the surveillance of the 
 labouring slaves, the management and 
 direction of the farming operations, 
 the duty of attending the markets 
 and selling the produce of the estate, 
 as well as the custody of all the fixed 
 and movable capital upon it. Varro, 
 R. R. V. z. 14. Cato, R. R. 5. and 
 142. Columell. xi. I. 7. 
 
 VINA'RIUM. The press-room 
 or building containing the presses 
 (tomilaria) and other necessaries for 
 making wine. (Columell. xii. 18. 
 3.) See the article Torcularium, 
 under which a similar contrivance 
 for making oil is illustrated and 
 explained. 
 
 VIN'CULUM (BeiT/ios). Any 
 thing which binds % as — 
 
 1. A string or riband tied round 
 a letter, and over which the seal was 
 afaxed. Nep. Paus. 4. Ov. Trist. 
 iv. 7. 7. 
 
 2. A string by which the bung 
 of a wine-jar (cadus) or other vessel 
 was tied down, previous to being 
 sealed. TibuU. ii. I. 21., wood-cut 
 s. Pellichlatus. 
 
 3. A fillet and a chaplet for the 
 head. Sen. Thyest 544. Id. Med. 
 70. ViTTA. Corona' 
 
 4. A collar, and a leash for dogs. 
 TibuU. iv. 3. 15. Ov. Met. viii. 332. 
 CoLLARE, 2. Copula, i. 
 
 5. The thong by which a yoke 
 was fastened under the animal's neck. 
 TibuU. ii. i. 7. JuGUM. 
 
 6. The thong by which boxing- 
 gauntlets were fastened round the 
 wrist and arm. Virg. yS«. v. 408. 
 C^STUS. 
 
 7. The strap or lace by which 
 some kinds of shoes were fastened 
 round the feet and ankles. TibuU. i. 5. 
 66. Ov. Met.m. 16S. Amentum. 
 
 VINDICTA. 
 
 8. A manacle for the wrists. Sen. 
 Med. 463. Manica, 4. 
 
 9. A chain for the neck. Ov. 
 Met. X. 381. CoLLARE, I. 
 
 10. A fetter, for the feet. Tibull. 
 i. 6. 31. CoMPES. 
 
 VINDE'MIA(Tpi;7ijTos). Strictly, 
 a gathering of grapes at vintage 
 (Varro, Z. L. v. 37.), but also ap- 
 plied to other produce ; as, olives 
 (Plin. H. N. XV. 2.), frankincense 
 (Id. xii. 32.), and honey (ColumeU. 
 ix. 15. I.). The gathering of olives 
 by means of ladders raised against 
 the trees is shown by the annexed 
 illustration, from an engraved gem ; 
 
 and the gathering of grapes by simi- 
 lar means is represented on a bas- 
 relief amongst the collection at Ince- 
 Blundell, and on amosaicpavement dis- 
 covered at Rome. Pict. Crypt, tav. 24. 
 
 VINDEMIA'TOR (TpaynT^p). A 
 ■vintager, who gathers the grapes 
 (Varro, L. L. v. 94.) ; and who 
 dresses the vines (Hor. Sat. i. 8. 30.). 
 
 VINDICTA. A rod with which 
 the praetor, or the praetor's lictor, 
 tapped the head of a slave as a sign 
 that he was thus made free (Liv. ii. 
 5. Cic. Top. z. Pers. v. 88.) ; in the 
 same manner as penitents used to be 
 seen in St. Peter's at Rome, kneeling 
 down in front of the confessional and 
 i-eceiving the tap of a wand on their 
 heads as a token of absolution, -- 
 a custom which probably owed its 
 origin to the above practice of the 
 ancient Romans. 
 
VINE A. 
 
 VIRGA. 
 
 727 
 
 VI'NEA. A shed employed by 
 the Roman soldiers to protect them- 
 selves from the missiles of the enemy, 
 whilst occupied in undermining or 
 breaching the walls of a fortress. It 
 had a sloping roof of planks and 
 wicker-work supported upon up- 
 rights, and was closed on three of 
 its sides by similar materials, the 
 whole frame being covered outside 
 with raw hides or horse-hair cloth, 
 to prevent its being set on fire. 
 Each vinea, by itself, was about eight 
 feet high and sixteen in length ; but 
 a sufficient number of them were 
 joined together in a line, and run up 
 close to the walls, so that the ram 
 and other engines could be securely 
 plied against the foundations under- 
 neath them. Cebs. B. C. ii. 2. Liv. 
 xxxvii. 26. Veg. Mil. iv. 15. 
 
 VI'NITOR (i/iT€Aoup7(is). A 
 vine-dresser. Cic. Fin. v. 14. Cato, 
 R. R. iii. 3. 8. 
 
 VINITO'RIUS. See Falx, 5. 
 
 VIOLA'RIUS. One who dyes 
 cloth of a violet colour. Plaut. Aul. 
 iii. 5. 36. 
 
 VIRGA ipd^Sos). Literally, a 
 green bough (Varro, J?. R. i. 594.) ; 
 whence applied to various objects, 
 which are made from a long straight 
 branch cut off from the tree, cor- 
 responding with our terms a wand, 
 rod, switch, amongst which the most 
 characteristic are as follows : — 
 
 I. A switch for riding (Mart. ix. 
 23.) or driving (Juv. iii. 317.), thin 
 and tapering, without any thong, as in 
 the annexed example, from a fictile 
 
 amongst fashionable and well-dressed 
 
 vase. 
 
 2. A sT.uitch or cane for punishing 
 boys at school (Juv. vii. 2IO.); or for 
 carrying in the hand as a walking- 
 cane (Ov. Fast. ii. 706.), which 
 
 men, in Greece at least, was regarded 
 as a necessary accompaniment when 
 they went abroad (Athen. xii. 26.). 
 It was often richly decorated, and per- 
 haps more elegantly made than the 
 common waUcing-stick of which an ex- 
 ample is exhibited above, from a Pom- 
 peian painting representing Ulysses. 
 
 3. A stick which the lictor carried 
 in his right hand for the purpose of 
 
 clearing the way before the magis- 
 trate on whom he attended, and of 
 knocking at the doors of the houses 
 where the magistrate visited. (Liv. 
 vi. 34. Compare Mart. viii. 66.) 
 The example is from a sepulchral 
 bas-relief. 
 
 4. A wand, cairied as a mark of 
 distinction by persons of consequence, 
 such as poets or the principal actors 
 in a play ; or by those in authority, 
 such as the master or overseer of a 
 
728 VIRGA. 
 
 band of workmen, who in works of 
 art is always distinguished from his 
 men by this badge ; or the trainer of 
 
 a band of gladiators, always distin- 
 guished by the same emblem, and 
 one of whom is represented by the 
 annexed figure, from a Roman 
 mosaic. Serv. ad Virg. yEn. Iv. 
 242. 
 
 5. A magic wand, such as was 
 
 attributed to Mercury (Hor. Od. i. 
 10. 18.) and to Circe (Virg. y£n. 
 iv. 242. ), with which she transformed 
 the companions of Ulysses into swine, 
 as represented by the illustration, from 
 a marble bas-relief. 
 
 6. VirgcE (al l>d$Soi), in the plural ; 
 the rods of birch or elm which formed 
 a lictor's fasces, and with which a 
 criminal was beaten. Plin..^''. JV. xvi. 
 30. Cic. Verr. ii. 5. 62. Fascis, 2. 
 
 7. Plural. The ribs upon which 
 
 with twigs 
 Catull. 64. 
 
 VITICOMUS. 
 
 an umbrella or parasol is extended, 
 Ov. A. Am. ii. 209. Umbella. 
 
 VIRGA'TUS 
 (i5a^5a)T(ij). Striped, 
 like a tiger (Sil. Ital. 
 V. 148.); hence, of 
 drapery ornamented 
 with long stripes (vir- 
 gee) of gold or various 
 colours woven into 
 the pattern, as exhi- 
 bited on the tunic of 
 the annexed figure, 
 representing Priam, 
 in the Vatican Virgil. 
 Virg. ALn. viii. 660. 
 Sil. Ital. iv. 155. 
 
 2. Made or plaited 
 (virgce), like a basket. 
 319. 
 
 V I R' G U L A. Diminutive of 
 ViRGA; a sviall branch (Nepos. 
 Thras. 4. ) ; a magic wand (Cic. Off. 
 i. 44. ViRGA, 5.) ; a metal rod, form 
 ing the rattle of a sistrum (Apul 
 Met. xi. p. 240. Sistrum); a d->um- 
 stick. (Isidor. Orig. iii. 21. 14 
 Symphonia, 2.) 
 
 VI'RIA. An old name for Ar 
 MILLA. Isidor. Orig. xix. 31. l6, 
 Tertull. Pall. 4. 
 
 VIRIA'TUS. Same as Armil 
 LATUS ; applied to Hannibal. Lucil 
 Sat. xxvi. 24. 
 
 VIRIC'ULUM. Plin. H. N. xxxv 
 41. Same as Cestrum. 
 
 VIRIDA'RIUM or VIRIDIA'- 
 RIUM. A pleasure-garden ; or, pro- 
 bably, the shrubbery in a garden. 
 Suet. Tib. 60. Cic. Att. ii. 3. 
 
 VIRIDA'RIUS. a pleasure- 
 gardener. (Inscript. ap. Grut. 602. 
 2.) There does not appear to be 
 any positive distinction between the 
 occupation of the viridarius and the 
 topiarius. 
 
 VI'RIOLA. Diminutive of Viria. 
 Isidor. Orig. xix. 31. 16. Ulp. Dig. 
 18. I. 14. 
 
 VITICOMUS. Wearing a chaplet 
 of vine-leaves, especially applied as 
 an epithet of Bacchus. Avien. in 
 Aral. 70. Compare CORYMBUS, I. 
 
VITIS. 
 
 VITTA. 
 
 729 
 
 VI'TIS (k^Vo). Literally, a 
 vine; thence, the branch of a vine, 
 cut into a stick or baton, which 
 the Roman centurions 
 employed for punish- 
 ing any of the men 
 who had neglected 
 their military duties. 
 (Plin. H. N. xiv. 
 3. Ov. A. Am, iii. 
 527. Juv. viii. 247. 
 Plut. Galb. 26.) 
 The illustration re- 
 presents a centurion 
 with the vitis in his 
 right hand, from a 
 bas-relief. Compare the wood-cut s. 
 
 EVOCATI. 
 
 2. Same as Vinea. Lucil. Sat. 
 p. 89. 69. ed. Gerlach. ex Fast. , siib 
 vitem praliarii. 
 
 VITREA'RIUS (^a\oup7(($). A 
 glass-worker. Sen. Ep. 90. 
 
 VIT'REUS (vaKivos). Made of 
 glass ; whence Vilrea absolutely in 
 the plural, glass vessels (Mart. i. 42. 
 Stat. Sylv. i. 6. 74. ) ; in the manu- 
 facture of which the ancients were 
 exceedingly skilful, making excellent 
 imitations of precious stones, mixing 
 together a variety of colours, and 
 working the material with an exqui- 
 site finish after it had been blown. 
 The Portland vase in the British 
 Museum, which is made of glass, 
 affords an unrivalled specimen of this 
 branch of ancient art. 
 
 2. Pilavitrea. See PiLA, 3. 
 
 3. (uoAo€i57;s.) Like glass, trans- 
 parent; as toga vitrea, a toga made 
 of very fine texture, so that the tunic 
 could be seen through it. Varro ap. 
 Non. s. Vitreum, p. 448. 
 
 VITTA. A riband, or band, com- 
 monly worn round the forehead and 
 head by free-bom ladies 
 both before and after 
 marriage (Virg. jSn. ii. 
 168. Prop. iv. 3. 16.), 
 to confine the hair in a 
 neat and modest man- 
 ner. (Ov. Met. ii. 413. 
 Id. A. Am. i. 31.), and 
 
 to distinguish them from women of 
 easy virtue (Id. Rem. 386.), who 
 dressed so as to attract observa- 
 tion by their meretricious appearance. 
 The illustration represents Lepida, 
 the wife of the Emperor Galba, on a 
 Roman medal. 
 
 2. The sacred vitta, strictly speak- 
 ing, is the long riband which fastened 
 together the flocks of 
 wool forming an in- 
 fula, the two ends 
 of which, with their 
 fringed extremities 
 (tcenia), hung down 
 at the back of the 
 neck (Virg. Georg. 
 iii. 487. Id. ^n. x. I 
 538. Isidor. Orig. 
 xix. 30. 4. ) ; whence 
 the terra is frequently used, in a col- 
 lective sense, for the fillet itself, 
 formed of these three parts, and 
 which was worn by both sexes of the 
 priesthood (Virg. .^n. iL 221. lb. 
 vii. 418. Juv. iv. 9.), and especially 
 by those attached to the service of 
 Vesta (Ov. Fast. iii. 30.), as exhi- 
 bited by the illustration, which repre- 
 sents a Vestal Virgin on a medal, 
 beanng the inscription Bellici.^ 
 MODESTiE, V. V. 
 
 3. A riband of the same description 
 fastened round the infula, with which 
 the head of a victim was dressed at 
 the sacrifice (Serv. ad Virg. j^n. ii. 
 133. Ov. Pont. iii. 2. 75.) ; or round 
 the festoons (serta) with which altars, 
 temples, and houses were decorated 
 upon solemn occasions (Virg. Eel. 
 viii. 64. jEn. iii. 64. Prop. iv. 9. 
 27. Tac. Hist. iv. 53.), as in the 
 
730 
 
 VITTA TUS. 
 
 VOLUTA. 
 
 upon an altar. In this sense the term 
 is likewise applied collectively to the 
 whole ornament as well as the ligature 
 which bound it. 
 
 VITTA'TUS. Decorated with a 
 vitta, as described and exemplified by 
 the preceding article and illustrations ; 
 of women (Ov. Am. i. 7. 17.), vestals 
 (Lucan. i. 597. ), cattle at the sacrifice 
 (Ov. Met. xii. 151.), 
 
 VIVA'RIUM (fwypsW). A veiy 
 general term for any place in which 
 beasts, fowls, fish, or any kind of 
 animals were kept alive, either for 
 the purposes of gain or pleasure ; a 
 park for game, a warren, fish-pond, 
 decoy, preserve for oysters, &c. Aul. 
 Gell. ii. 20. Phn. H. N. viii. 50. lb. 
 78. Id. ix. 81. 
 
 VOL'GIOLUS. An implement 
 used in husbandry and horticulture 
 for making beds smooth and level. 
 PHn. H. N. xvii. 14. 
 
 VOLSELLA and VULSELLA 
 {rptxoXa^ts). A pair of tweezers, for 
 
 pulling hairs out by the roots. (Mart, 
 ix. 28.) The example is from an 
 original found in an excavation near 
 Rome. 
 
 2. A pair of small pincers employed 
 by dentists for removing any decayed 
 
 or broken fragments of a tooth which 
 might be left behind when the tooth 
 was extracted. (Celsus, vi. 12. i.) 
 The example is from an original found 
 amongst several other surgical instru- 
 ments at Pompeii. 
 
 3. A surgical instrument for taking 
 up the proud flesh or edge of a wound 
 to facilitate the operation of cutting 
 away any portions which require re- 
 moval. Celsus, vi. 18. 3. 
 
 4. A surgical instrument used for 
 replacing broken and protuding 
 bones, made like a smith's forceps. 
 Celsus, vii. 10. 7- 
 
 VOLU'MEN. A roll, or book, 
 which was written upon one long 
 sheet, made out of 
 a number of strips 
 of papyrus glued 
 together, and when 
 completed, rolled 
 round a cylinder, so 
 that the reader un- 
 rolled it as he read ; 
 whence the expression evolvere volu- 
 men means "to read a book." (Cic. 
 Att. x. 10. Hor. TibuU. Propert. 
 Mart.) The illustration represents 
 five rolls tied up together, from origi- 
 nals as they were discovered in a 
 house at Herculaneum. 
 
 2. A volume, in our sense of the 
 term, that is, a certain portion of a 
 work contained in one roll ; for when 
 the MSS. ran to any length, it was 
 customary to divide it into separate 
 parts or books, each of which was 
 rolled upon a separate stick. Ov. 
 Trist. iii, 14. 19. Plin. .£^. iii. 5.5. 
 Plin. H. N. vi. 34. 
 
 VOLU'TA [K6.Kxn. Hesych. and 
 Inscript. ). A volute; the spiral 
 scroll which con- 
 stitutes the distin- 
 guishing feature of \M(ln 
 an Ionic capital, 
 curling down under each angle of the 
 abacus, and which is said by Vitru- 
 vius to have been designed in imi- 
 tation of a bunch of curls on each 
 side of the female face ; but the Greek 
 name, which literally means the murex 
 or limpet, indicates that the idea was 
 suggested bythespirals of afish's shell. 
 Vitruv. iv. I. 7. Id. iii. 5. 5. 
 
 2. (eAi|.) The volute which curls 
 down under each of the four corners 
 of the abacus in a 
 Corinthian capital, 
 and which imitate 
 the stalks of a para- 
 sitical plant bent 
 down by a super- 
 incumbent obstacle. 
 The two small ones 
 which meet under the rosette (JU)s) 
 in the centre of each face are distin- 
 
VOMER. 
 
 VULVA. 
 
 731 
 
 guished by the term helices minores. 
 Vitruv. iv. I. 12. 
 
 VO'MER and VO'MIS (Swis or 
 vvis). A ploughshare (Varro, L. L. v. 
 135. Virg. Georg. i. 45. Cic. Phil. ii. 
 ip.), formed of a metal plate (c), 
 affixed to the share-beam (dentale), 
 as in the annexed example from a 
 bas-relief, which exhibits a specimen 
 of the share termed vomer resitpijius. 
 (Plin. // N. xviii. 48.) Other ex- 
 
 i=D 
 
 amples of simpler kinds, employed in 
 light soils (Plin. /. c. ), are represented 
 by the wood-cuts s. Dens, 4., and 
 Dentale ; and a share furnished 
 with a coulter, also described by 
 Pliny (/. c. ), is given under the word 
 CULTER, 7. 
 
 VOMITO'RIA. In theatres and 
 amphitheatres, the vomitories, or doors 
 of entrance from the internal lobbies, 
 which gave immediate admission to 
 the tiers of seats occupied by the 
 spectators. (Macrob. Sat. vi. 4.) 
 The illustration represents a portion 
 of the cavea in the great theatre at 
 Pompeii, comprising four vomitories, 
 shown by the four small doorways at 
 the top, two in each pmcinctio ; but 
 others were disposed at relative dis- 
 tances round both circular belts, 
 opening upon the head of every flight 
 of stairs (scaliz), down which the 
 spectators descended till they came to 
 the step or circle (gradus, sedile), 
 where every one's seat was marked 
 out and numbered (wood-cut j. Li- 
 NEA, 7.). Each of these vomitories 
 corresponded likewise with one or 
 more staircases formed in the shell of 
 the building, and communicating with 
 the exterior (see the wood-cut and 
 description s. Amphitheatrum, p. 
 29.), so that the whole company 
 could retire, almost at once, without 
 the least crowding or inconvenience. 
 It is calculated that the Flavian 
 
 amphitheatre was capable of con- 
 
 taining more than go, 000 spectators, 
 and was furnished with vomitories 
 and staircases sufficient for the whole 
 concourse to disperse in less than five 
 minutes. 
 
 VULGA'RES. A class of slaves 
 next in point of household rank to 
 the ordinarii. The title includes all 
 who had a specific occupation as in- 
 door or out-door servants, as well as 
 the entire body of those who prac- 
 tised any handicraft, art, or scientific 
 pursuit, in the service of their mas- 
 ters ; for instance, the house-porter 
 (ostiarhis), the groom of the chambers 
 [cubicularius), the valets and ladies' 
 maids {cosmeUe, ornatrices), the palan- 
 quin-bearers (lecticarii), the cook 
 (coquus], confectioner (didciarius), 
 barber (tonsor), &c., &c. Ulp. Dig. 
 47. 10. 15. Cic. Rose. Am. 46. 
 
 VULTU'RIUS. A term given to 
 one of the throws of the dice. (Plant. 
 Cuir. ii. 3. 77. ) It is not ascertained 
 what particular numbers came up to 
 make a "vulture ;" but it was not a 
 good throw, though not so bad as the 
 " dog " (catiis), which was the worst 
 of all. 
 
 VULVA (/i^Tpa). A favourite 
 dish with the Romans and Greeks, 
 consisting of the womb of a sow 
 which had miscarried at her first 
 farrow, or which was killed imme- 
 diately after farrowing. Plin. If. N. 
 xi. 84. Hor. Ep. i. 15. 41- Mart, 
 xiii. 56. Alciphr. £p. i. 20. Athen. 
 iii. 51. 
 
732 
 
 XENIA. 
 
 ZONA. 
 
 X. 
 
 XEN'IA (|eVia). Presents which 
 it was customary amongst the Greeks 
 and Romans for a host ' to give or 
 send to his guests, as a marli of hos- 
 pitality and friendship (Plin. £j>. vi. 
 31. 14.), consisting, for the most part, 
 of dehcacies for the table ; as may be 
 collected from the thirteenth book of 
 Martial, which is inscibed with the 
 title Xenia, and relates chiefly to 
 articles of consumption. 
 
 2. Pictures of still life, such as 
 dead game, poultry, fish, fruit, vege- 
 tables, &c. (Vitruv. vi. 7. 4. Philos- 
 trat. Itnag. i. 31. ii. 25.); so termed 
 
 because they represented such objects 
 as a host sent in presents to his 
 guests. Many pictures of this kind 
 have been found amongst the paint- 
 ings of Pompeii, one of which is 
 inserted as a specimen of the style. 
 It contains a fowl trussed in the 
 modem manner, a bundle of aspara- 
 gus, a loaf of bread, two oysters, and 
 several kinds of fish. 
 
 XYSTAR'CHA or -ES (ivffTip- 
 X'ns). An officer who superintended 
 the exercised of the xysttis ; the same 
 as, or very similar to, the Gymnasi- 
 ARCHUS. Ammian. xxi. i. 
 
 XYS'TICUS (fuo-TiKiis). An 
 athlete who practised his exercise in 
 a covered corridor or xystus. Suet 
 Aug. 45. Galb. 15. 
 
 XYS'TUS or -UM (|u<rTos ox-Sv). 
 Amongst the Greeks, a covered cor- 
 ridor in the gymnasium (see the plan 
 p. 324. tt) where the athletes ex- 
 ercised in winter. Vitruv. v. II. 4. 
 Id. vi. 7. 5. 
 
 2. Amongst the Romans, an open 
 walk or terrace in a garden, amidst 
 flower-beds edged with box. Plin. 
 Ep. ii. 17. 17. Id. V. 6. 19. Suet. 
 Aug. 72. Ph^dr. ii. 5. 
 
 z. 
 
 ZANCHA or ZANGA. A high 
 and close boot, made of soft black 
 leather (Schol. Acron. ad Hor. Sa/. 
 i. 6. 27.), worn by the Oriental races 
 under their trowsers {braces). Im.p. 
 Gall. ap. Treb. Claud. 17. Impp. 
 Arcad. et Honor. Cod. Theodos. 14. 
 10. 2. 
 
 ZEM'A (C^V")- -A- saucepan for 
 boiling. Apic. viii. i. 
 
 ZO'^DIACUS sc. circulus [ialMKis 
 kvk\os). The zodiac. Aul. Gell. xiii. 
 9. 3. See CiRCULUS, 4. 
 
 ZO'NA (iii>vr\). The zone; a flat 
 and broadish girdle worn by young 
 unmarried women round their hips 
 (Horn. Od. V. 231. Ov. Fast. ii. 231.); 
 whereas thecommon girdle (cingulum) 
 was placed immediately under the 
 bosom, as exemplified by the wood- 
 cuts annexed, which afford an example 
 of the two objects placed in juxta- 
 position. The left-hand one exhibits 
 a zone by itself, from a fictile vase. 
 
 and its place upon the person, 
 
ZONAE I us. 
 
 ZOTHECA. 
 
 733 
 
 from a group representing Electra 
 and Orestes ; while the right-hand 
 figure, which is copied firom a marble 
 Statue, wears a cingulum fastened 
 round tlie waist or under the breast. 
 The zone was not laid aside until after 
 the wedding, when the bridegroom 
 had unfastened it with his own hands ; 
 whence the expression zonam solvere 
 (Catull. ii. 13. Compare Ov. Her. 
 ii. 115.) means ' ' to enter the married 
 state." 
 
 2. A broad belt worn by men round 
 their loins (Horn. //. xi. 234. Plant. 
 Merc. V. 2. 84. ), and made double or 
 hollow like our shot-belts, for the 
 purpose of carrying money deposited 
 in it about the person (C. Gracch. 
 ap. Gell. XV. 12. Suet. Vit. 16.); 
 whence the expression zo7iam ferdere 
 (Hor. Ep. ii. 2. 40.) means "to lose 
 one's money." 
 
 3. The Greek writers also use the 
 term for a soldier's belt, worn round 
 the loins, to cover the juncture of the 
 cuirass and the kilt of leather straps 
 
 (TTTCfjuyes) attached to its rim {Hom. 
 //. V. 539.), as shown by the annexed 
 example, representing a Greek warrior 
 on a fictile vase ; but in this sense the 
 Romans adopt the word cinguhim. 
 
 ZONA'RIUS {iavMnUKOi). One 
 who makes zona. Cic. Place. 7. 
 
 ZO'NULA (fciciov). Diminutive 
 of Zona, (. (Catull. Ixi. 53.) ; of 
 Zona, 2. (Lamprid. Alex. Seu. 52.) 
 
 ZO'PHORUS (Cwo<f><ipos). The 
 frieze ; a member situated between 
 the architrave and cornice in the en- 
 
 tablature of an order. (Vitruv. iii. 
 5. 10.) It covers externally the 
 space occupied by the tiebeams(A;5-«a) 
 which form the timber-work of the 
 roof (see the wood-cut s. Materiatio, 
 ddddd), and which in the Doric 
 order are represented externally by 
 ornaments termed triglyphs carved 
 upon the face of the frieze itself 
 In the Ionic order it consists mostly, 
 though not always, of a plain marble 
 surface, as in the annexed ex- 
 ample from a temple of Bacchus at 
 
 Teos ; but in the Corinthian it is 
 more frequently enriched with sculp- 
 ture, representing sacrificial imple- 
 ments, war trophies, festoons of fruit 
 and flowers, or altars and candelabra 
 intermixed with fabulous animals, 
 especially griffins, as shown by the 
 annexed wood-cut from a slalj on the 
 frieze of the temple of Antoninus and 
 
 Faustina at Rome ; and this practice 
 of decorating the frieze with animals 
 carved in reUef is supposed to have 
 suggested its ancient name, which 
 means literally, bearing animals, or 
 figures. 
 
 ZOTHE'CA. A small private 
 chamber or cabinet, adjoining a 
 larger one, and affijrding privacy 
 for business or study. Plin. Ep. ii. 
 17. 21. 
 
734 
 
 ZOTHECA. 
 
 ZYTHUM. 
 
 2. A niche, for a statue or other 
 object (Inscript. af. Orelli. 1368. ap. 
 Murat. 690. 2.), like the central 
 recess in the annexed engraving 
 which represents one side of a sepul- 
 chral chamber, discovered by an exca- 
 vation in the neighbourhood of Rome. 
 
 ZOTHE'CULA. Diminutive of 
 ZoTHECA, I. Plin. Ep. V. 6. 38. 
 
 ZY'THUM (fuflos). A strong and 
 intoxicating beverage made from 
 barley and other grain ; a sort of ale 
 or beer. Columell. x. 116. Plin. 
 H. N. xxii. 82. Ulp. Dig. 33. 6. 9. 
 
 END OF THE DICTIONARY OF ANTIQUITIES. 
 
GEEEE MB LATIN INDEX, 
 
 CONTAINING 
 
 A LIST OF GREEK WORDS, WITH THfeIR LATIN SYNONYMES, UNDER 
 WHICH THE GREEK TERMS ARE EXPLAINED. 
 
 A. 
 
 a0aici(TKos, abaculus. 
 a;Sa|, abacus. 
 aya6oBai/xwv, agathodtC- 
 
 mon ; genius. 
 &ya\fia, signum, i. 
 &yKi(TTpov, hamus, i, 2. 
 ayKoiva, anquina. 
 ^jKos, ayKTi, ansa. 
 a.yKii\Tj, ansa, 3. 
 iyduArjTiif, ansatum te- 
 
 lum. 
 ayKvAiov, ancile. 
 ayKuXaiT6s, ansatus. 
 aynvpa, ancora. 
 ayKvpas a-rj^^7oy, anco- 
 
 rale, 2. 
 ayxdiv, ancon. 
 ayopa, forum, 2. 3. 
 ayuvoQ^TqSj agonotheta. 
 SSuToc, adytum. 
 SftocTTos, discinctus. 
 aeATjTai, athletae. 
 a€T((j, aieT<!r, aquila, 2. 
 acTQt/jLa, aquila, 2. 
 aiyeKdriis, caprarius. 
 alyis, segis. 
 aiTr6\os, caprarius. 
 alxt^Vi cuspis. 
 aliipa, oscillatio. 
 SKoiri/a, acapna. 
 oKaTioj/, acatium. 
 aK€p(reK6fnjs, acerseco- 
 
 raes ; intonsus, I. 
 aK€(TTTjy, sarcinator. 
 aKeVrpa, acus. 
 a/ceVrpia, sarcinatrix. 
 aKiuaKTis, acinaces. 
 (LKfuev, incus. 
 iK6\ov6os, comes. 
 
 aK6y7i, COS. 
 aKovpost intonsus, 2. 
 axpaTitriia, jentaculum. 
 &KpaTov, merum. 
 aicpaTo(p6pov, acratoplio- 
 
 rum. 
 axpoffaTCK-iifirjx-ni'Ti, scan- 
 
 soria machina. 
 a.Kp6-wo\is, arx. 
 aicparripia, acroteria. 
 axT is, radius, 2. 3. 
 a\d8a<TTpos, alabaster. 
 aKei-KTTjs, aliptes. 
 aKiKrpvovoTp6(poS) la- 
 
 nista avium. 
 a\i6i/s, piscator. 
 dWaj/TOTr(x}\ijs, botula- 
 
 rius. 
 aWas, botulus. 
 aK/j.aia Ta, salgama. 
 a\iJ.ivTiis, salgamarius. 
 aXSrjat^, tritura. 
 aKoTf^yioVj salinse. 
 aAoiTTiT'o't, salinator. 
 aXTTipii, halteres. 
 aXvaiZiTos, catenatus. 
 a.AvfflSioi', catella. 
 aKvfTis, catena. 
 aAciri, area, 4. 
 'A/xa^dv, Amazon. 
 &fMa\\a, manipulus. 
 afia^a, plaustrum. 
 
 , currus, 5. 
 
 a/ia^eis, plaustrarius, 2. 
 a/xa^is, plostellum. 
 a/iajoTr?)7(!s,plaustrarius, 
 
 I. 
 aiia^dtroSes, arbusculse. 
 Sm^'4. obba. 
 &ix8av, umbo. 
 a)i(t$oyTes, canterii. 
 
 S|U7), hama. 
 afi'qTTip, messor. 
 ctfiis, matula. 
 afi/j.a, amentum. 
 ap.oKyeis, mulctra. 
 afj.Tre\oupy6sj vinitor. 
 S/ijru|, frontale. 
 afj.(j)l$K7j0-Tpoif, funda, 2. 
 a/xtptSea, armilla, 2. 
 a/jLtpiSiaTpoy, amphithea- 
 
 trum. 
 cf.iKpl/j.aKXoi', amphimal- 
 
 lum. 
 &/j.cpiTnros, desultor. 
 aix(pnrp6<TTvKoSy amphi- 
 
 prostylos. 
 a/x'piTo.TTo?, amphitapus. 
 ificpoSos, ambivium. 
 afi(popeis, amphora. 
 di'a/SaSpoj/, anabathrum. 
 ava^txTTis, admissarius. 
 dva86\aLov, anabolium. 
 ava^oK^vs, strator. 
 ana^oXri, pallium, 2. 
 a.vayKvwTa, anaglypta, 
 avayi'w(TTT]S, anagnostes. 
 avaSrujia, anadema. 
 amB-nfia, anathema. 
 ai/a<chii/ rripioy, anaclinte- 
 
 rium. 
 aiiaATififia, substructio. 
 ava^upiSfS, braes, I. 
 avdtpopoi^, jugum, 2. 
 dvdpids, statua. 
 avhpwv, andron. 
 avtpwvlTts, andronitis. 
 avriov, insubulum. 
 df Ti(rTpaTr;'yos,legatus, I. 
 avrXia, antlia. 
 dvTKot, sentina. 
 dfiVi;, bipennis; dolabra. 
 
736 
 
 GREEK AND LATIN INDEX. 
 
 &^Q)Vf axis. 
 airo^ddpa, pons, 5' 
 airoSea/xSs, fascia, 3. 
 
 , mamlllare. 
 
 awoduTripioi/f apodyte- 
 
 rium. 
 aTroSfCiiiTis, apotheosis ; 
 
 consecratio. 
 anoBiiKTi, apotheca. 
 
 , horreum, 3. 
 
 aTroKp6T7]fj.a, crepitus. 
 aTro<T<ppdyia'fj.at apo- 
 
 spliragisma. 
 airotpSp-qTa, apophoreta. 
 apaiocTTv\os, areeostylos. 
 ap^vX-q, pei'O. 
 ap^ioQ^pa, forceps, 4. 
 ^pia-rov, prandium. 
 &pKV^, cassis. 
 apjxa, currus, 2. 
 app-a ^6(ir, tensa. 
 ap^ia.p.a^a, harmamaxa. 
 apuoyr], harmoge. 
 apvevri^p, urinator. 
 apoTT]p, arator. 
 tpoTpov, aratrum. 
 apirayri, harpago. 
 apTTafT-rivy harpastum. 
 apTn], falx ; harpe. 
 apjTTj Kapx^p^^ovSy falx 
 
 denticulata. 
 apTefjLiav, artemon. 
 aprod7}K7], panarium. 
 apToKayavoVy artolaga- 
 
 nus. 
 apxiJjrTTj, artopta. 
 &pTos, panis. 
 ixpxij-^tfi-osy archimimus. 
 aatWa, jugum, 2. 
 a(TKav\7i!, ascaules. 
 
 , utricularius. 
 
 aa-KiSiov, utriculus. 
 aa-KOTTrjpa, ascopera. 
 cuTKos, uter. 
 aaicu>p.a, foUiculare. 
 dfTTTaA-ieus, hamiota. 
 ain:i^-r](p6pos, clipeatus. 
 a.(TiriSiov, clipeolum. 
 'Xa-jris, clipeus. 
 afTTpa^7j\drijSy mulio, 2. 
 ':,o-Tpaya\i^ovriS, astra- 
 
 gaiizontes. 
 iurpdyaAos, astragalus. 
 
 affTsdyaKos, talus. 
 "ATXavTes, Telamones. 
 drpaKToSy fusus. 
 au96\|/7)r, authepsa. 
 auAata, aula^a. 
 aiXeios flupa, janua. 
 av\T), aula. 
 aiiKriT-fis, tibicen. 
 auAijTpis, tibicina. 
 av\6j, tibia. 
 aiiXhs aj'SpTji'oy, tibia dex- 
 
 tra. 
 au\hs yvvaiK-fi'toSy tibia 
 
 sinistra. 
 avA<fS6sy auloedus. 
 aijXiJiJwiSy galea, 7* 
 avT6Trvpoi autopyrus. 
 dipeaiSy see under Hippo- 
 
 dromus, and Stadium. 
 aij)7), haphe. 
 a(/)i6pcijTts, consecratio. 
 i.<pKa.aTov, aplustre. 
 &<ppaKTov, aphractum ; 
 
 navis aperta. 
 'AcppoSiTij, Venus. 
 
 B. 
 
 ffaKTripiov, bacillum. 
 0dKTpov, baculus. 
 Ba/cx'?, Baccha. 
 ^a.Kave7ov B7]p.6(riOVy bali- 
 
 neje. 
 iSiuTiK6yy bali- 
 
 neum. 
 BaXavevSy balneator. 
 ^aXdvTLOv, crumena. 
 Qdi^avcroi, sellularii. 
 pdpBiTos, barbitos. 
 0apis, baris. 
 Paa-avKTTTis, tortor. 
 ^avKaAiS, giilo. 
 Ba(p^'iov, bapbium. 
 B^\6vri, acus. 
 /3€V;Si|, turbo, I. 
 Btj\6s, limen. 
 ffijua, pulpitum, I. 
 fii^XiohriKT], bibliotheca. 
 /3l/3A/o^', libellus, I. 
 Pil3Xtoirii\Tfs, bibliopola. 
 fii^Kos, liber. 
 fli6s, arcus, i, 2, 3. 
 B6av\o!, bubile. 
 
 $o\ls, catapirates. 
 /SoTavio-fids, runcatio. 
 Bovk6\os, bubulcus. 
 BovTvpoVy butyrum. 
 ySpaySeioi', brabeum. 
 BpaBivT'fis, brabeuta. 
 Bp^fpoT po(pi7ov, brepho- 
 
 troplieum. 
 Bp6xos, laqueus. 
 BvKavri, bucina. 
 ^vtcaiir]riis, bucinator. 
 BoiKoKoTTiOy occatio. 
 SaiAoKdiros, occator. 
 $afi6s, ara. 
 
 yaKToUy gtcsum. 
 yd,uos, nuptiae. 
 ydpop, garum. 
 yavKos, gaulus, I. 
 yavKos, gaulus, 2. 
 
 , cupa, I. 
 
 yava-dir-qsy gausapa. 
 ytiaaov, projectura. 
 yip^iovy gerra;. 
 y€(pvpa, pons. 
 yecpvpoTTOtdsy pontifex. 
 yiyy\vp.os, ginglymus. 
 yiyypaSy tibia gingrina. 
 7\u(f)aco>', caelum. 
 yAuaaa, yXccTris, ligula, 
 
 y6ix(pos, gomphus. 
 yvwfLwfy gnomon, 
 
 , groma. 
 
 yvoipia^'xTay monumen- 
 
 ta, 3. 
 ypap.p.arivsy scriba. 
 ypap-ixaTiKus, literatus, 
 
 4- 
 ypafxij.aro(p6poSy tabel- 
 
 larius. 
 ypafxix^], linea, 4. 
 ypatpi], pictura. 
 yparp^vSy pictor. 
 ypa^piofy graphium. 
 ypcLcpisy stilus. 
 yp7TroSy yp7(po^, griphus. 
 ypo(T<poiJ.dxoi, velites. 
 yp6(T(f>os, hasta velitaris. 
 ypi<P, gryps. 
 yvaAoOupa^y lorica, I. 
 
GREEK AND LATIN INDEX. 
 
 737 
 
 yia}^ov, pectorale. 
 7tJ7)s, bura. 
 yu/ivafflapxo^! gymnasi- 
 
 arclius. 
 yvfivdffiov, gymnasium. 
 yu.uviSs, nudus. 
 ■yui'aiKiiov, gynseceum. 
 yvva.iKuiv~iTis, gyn^econi- 
 
 tis. 
 7»puT(is, coiytus. 
 
 A. 
 
 5o!5oCx<"' daduchus. 
 imiJi6utov, dsmonium. 
 Saljiav, dEemon. 
 ta'fs, tfeda. 
 SaKTvKTidpay digitale. 
 5aKTvKioSi]Kt], dactylio- 
 
 theca. 
 5aKTi(\ios, anulus. 
 Sacti, acapna, coctilia. 
 5aire5oj/, pavimentum. 
 5apeiK(fs, daricus. 
 hi'iiTVOVf coena. 
 SiKi)pris, decemremis. 
 Ss^L6creipQSf see under 
 
 Funalis equus. 
 Sefffiiis, vinculum. 
 Srifiapxas, demarchus, 
 
 tribunus plebis. 
 Sid^adpoi/, diabathrum. 
 SiaPijTTts, circinus. 
 SidSTjjia, diadema. 
 Sidi^iojia, cinctus, I. 
 
 , cingulum, 5. 
 
 , subligaculum. 
 
 , praecinctio. 
 
 SidBvpoy, prothyrum. 
 Sioira, diseta, I. 
 Siairacr/xa, diapasma. 
 Siao-TuA-os, diastylos. 
 dtaTOVOL, diatoni. 
 SidrpriTay diatreta. 
 SiSatTKaA-cTo//, ludus. 
 Siipaxf^oi', didrachmum. 
 Sldupos, biforis. 
 SiKaffT-fjpioif, tribunal. 
 SUeWa, bidens. 
 iixpavov, furca, I. 
 SiKpoTos, biremis, 2. 
 SiKTuSioc, reticulum, I. 
 SIktvov, rete. 
 
 S'tKanos, biremis, I. 
 Si/xdxa', dimachse. 
 Si/idxaipoi, dimachs3ri. 
 Si/ucTcDTros, bifrons. 
 Si'yutTos, bilix. 
 6i//u|os, bilychnis. 
 Sij/os, sinum. 
 SioTTTpa, dioptra. 
 Si'irA.a|, Siir^oi's, diplois. 
 diir\tiiij.a, diploma. 
 S'nrpapos, biprorus. 
 SiiTTtpos, dipteros. 
 SiTTTuxa, diptyclia. 
 Sia-Kol36\o9, discobolus. 
 SiaKos, discus. 
 
 , superficies, 2. 
 
 Si<p64pa, membrana, 2. 
 SL(ppi(rKos, sedecula. 
 di<ppoSf sella. 
 bi(ppos ayKvASiTovSt sella 
 
 curulis. 
 difppos KaTd(TTeyos, sella 
 gestatoria. 
 
 SixdAKoi/, dichalcon. 
 
 diciiTTi, diota. 
 
 d6\Q:v, dolon. 
 
 SdpiroVj coena. 
 
 dopvSp^Trayov, falx mura 
 lis. 
 
 Sopv(p6pos, doryphorus. 
 i Spdyfia, manipulus. 
 j ipaxii-il, drachma. 
 1 hp^T^dvov, falx. 
 
 SpeTrayqtpSpos, falcatus. 
 
 Spdfiav, dromon. 
 
 ^pv<paK7ov, cancelli. 
 
 Zwixdriov, dormitorium. 
 
 iyyvBiiKri, incitega. 
 ey/capTTo, encarpa. 
 ^yKavfTTLKTi, encaustica. 
 iyKet/rpls, calcar. 
 eyK6iJ.pa)ia, encomboma. 
 iyX^tpi^LOj^, pugio. 
 iyxos, hasta. 
 €Sa<pos, pavimentum. 
 €Sptt, sedes. 
 eiffTjAaffTiKSy, iselasti- 
 
 cum. 
 €KaTopTdpxv^> centurio. 
 iKixayCiov, mantele. 
 
 (KTvirus, ectypus. 
 eAoioSetnoy, el^otlie- 
 
 sium. 
 i\aTiip, clavis trochi. 
 lAeVoAis, helepolis. 
 ?A.iJ, cincinnus. 
 
 , helix. 
 
 , voluta, 2. 
 
 iWifj.^iJta-r-i]s, portiLor. 
 4\\6^iov, inauris. 
 iWixviov, ellychnium. 
 eKvfia, dentale. 
 e\vp.os, tibia curva. 
 ^fifi\rifia, emblema. 
 ip-fioXoi, rostrum, 2. 
 ifi^oXos, rostrum. 
 
 , embolus. 
 
 cuneus, 5. 
 
 ^Ix-niKia, impilia. 
 ep.Tr\eKroVj emplecton. 
 ilMirSpiov, emporium. 
 fti-Ropos, emporus. 
 ifSpofi.is, endromis, 3. 
 evSv/xa, indutus. 
 ive-rii, fibula. 
 4vi]KaToy, sponda. 
 ii/6Siov, plaga. 
 ivoTTTpov, speculum. 
 evcxiTioUy inauris. 
 e^e'Spa, exedra. 
 eieSpiof, exedrium. 
 e|7fp-(;s, hexeris. 
 f^ufxis, exomis, tunica- 
 
 3- 
 
 i^dxTTpa, exostra. 
 e7ri/3a6po, pons, 5. 
 i-TTt^dTai, classiarii. 
 
 , epibatas. 
 
 iTrlfiXriiia, amictus. 
 
 , pallium, I . 
 
 stragulum, 2. 
 
 eViScjTTi'is, epidipnis. 
 
 eirtSpofiOS, epidromus. 
 
 ividaXaiuov, epithala- 
 mium. 
 
 inlde/ia Aiix""", super- 
 ficies, 2. 
 
 TpfTToSos, cortina, 
 
 2. 
 
 iirtxpavov, capitulum. 
 
 iiriKpiov, antenna. 
 
 iirlKpoKov, epicrocum. 
 
 iiriKwiros, epicopus. 
 3 A 
 
738 
 
 GREEK AND LATIN INDEX, 
 
 iiriKWTTos, navis actuaria. 
 ^TTiovposy epiurus. 
 eVifrTrafTTTjp, ansa, 2. 
 eTTiffToA-TJ, epistola. 
 e-!ri(rT6fxiov, epistomium. 
 eTTicrTvAiop, epistylium. 
 €Tri(T^vpiou, luna. 
 4iriff(OTpoy, canthus. 
 eiriTOj/oi, instita^, 3. 
 eiriTovos (sc. i/J-ds), clia- 
 
 latorius funis. 
 iiriTupoi/, epitynim. 
 iirixvcriSy epichysis. 
 eVoxeiis, sufflamen. 
 €irr^pT]s, hepteris. 
 iwwfxis, tunica, 4. 
 ipycLffrripiov, officina. 
 €pydrr]s, ergata. 
 ipyo\d^os, redemptor. 
 4pei<Tixara, anterides. 
 ep^TTjs, remex. 
 eper/xos, remus. 
 'Ep/xai, HermEe. 
 eo-Tia, focus. 
 ecrrlaaLS, convivium. 
 iffcpaipwfx^vosy prsepila- 
 
 tus, I. 
 eo-xapa, focus. 
 4{Tx<i'P'-ov, foculus, 2. 
 eui/Tj, lectus genialis. 
 e^ffTvXoSt eustylos. 
 cyxwAtjUoioi, soldurii. 
 i<paiTris, sagum, 
 €<l>T}^€lot/, ephebeum. 
 4(p7}ij.epls, ephemeris. 
 4^iinnov, ephippium. 
 €(popoi, ephori. 
 itpvcpif), subtemen. 
 eX^'T-^T?, stiva. 
 ixti'os, echinus ; a7id see 
 
 tinder Lupatum 
 t'l/zTj^a, defrutum, sapa. 
 
 ^e'juo, zema. 
 X^vyrii tibiae pares. 
 ^vyios 'liTTTos, jugalis 
 
 equus. 
 (^vy'iTai, see under Tri- 
 
 remis. 
 Cu7{JSe(r/A0s, cohum. 
 
 Qi}y6vy jugum, 
 fu6o5, zyLhum. 
 ^(aypCtov^ vivarium. 
 ^divf], cingulum, 2 and 
 
 4 ; zona. 
 ^diVLov, zonula. 
 C,o>vot:\6kos, zonarius. 
 \fi3o<p6pQS^ zophorus. 
 \<iip6v, merum. 
 ^:<3(rT?Jp, cingulum, 3 & 4. 
 
 H. 
 
 T}dfx6s, colum, 
 7}\aKa.T7], colus. 
 ■^AiacTTrJpio*', solarium, 2. 
 TjKioKci/j,iuos, heliocami- 
 
 nus. 
 t^os, clavus. 
 T]fj.ep6KoiTos, dormitator. 
 ij/j-epoASyioy, calenda- 
 
 rium. 
 7jfj.i6ct}pdKiovt pectorale. 
 T/iuiKUKAioi'jhemicyclium. 
 rifxiva, hemina. 
 7}(xi6^oXosy hemiobolus. 
 r]fj.ioAia, liemiolia. 
 7}(xiov7)y6s, mulio, 2. 
 Vfiai, habena, i. 
 ■fjpioxos, agitator, 2 ; au- 
 
 riga. 
 7)TraT off kStt OS f extispex. 
 7ip<^ovy heroum. 
 
 0. 
 
 Bq-kos, forica. 
 6a\afX7iy6s, thalamegus. 
 QaXafxlraty s^e under 
 
 Triremis. 
 BdXafiosy thalamus. 
 da\affair7}s, thalassites. 
 OavfiaroTTOiosy praestigia- 
 
 tor. 
 dearpov, theatrum, 2. 
 QepiffT'/jSy messor. 
 SepiffTpLou and Q^piffrpov, 
 
 theristrum; palliolum, 
 
 2. 
 Oep/iaiy therms. 
 dipfjiOTTwhiov, thermopo- 
 
 lium. 
 
 6r]KT}, theca. 
 
 6-^pa, venatio. 
 
 67]par-^Sf venator, i. 
 
 Q'i]piop.dxf]Sy bestiarius ; 
 venator, 2. 
 
 66Kos, tholus. 
 
 Qpavirai, see under Tri- 
 remis. 
 
 6plafj.&os, triumphus. 
 
 6pi^, crinis. 
 
 Bpiva^y ventilabrum. 
 
 6p6uos, solium, thronus. 
 
 dpvaWls, ellychnium. 
 
 dvds, 6vids, thyas. 
 
 6v\aKos, bracse, 2. 
 
 OufiLaT^piopy turibulum. 
 
 Qv(A€K7], thymele. 
 
 BufxeAiKoiy thymelici. 
 
 Bvpay ostium. 
 
 dvpa aij\Eios, janua. 
 
 6vpat did-n-piffToi, valvar. 
 
 dupeos, scutum. 
 
 dvperpov, foris. 
 
 dvpisy fenestra. 
 
 dupls BiK\is, fenestra bi- 
 foris. 
 
 dvpcros, thyrsus. 
 
 Qvpo){xa, thyroma. 
 
 6vp(i}p6s, janitor. 
 
 , ostiarius. 
 
 Qvffavoi, fimbrise. 
 
 6v(Tav(,ir6s, fimbriatus. 
 
 6vr-qpcov, ara. 
 
 Ovrrjs, popa. 
 
 dwfjLi^, tomix. 
 
 dwpaKioVy loricula. 
 
 , pluteus, I. 
 
 , carchesium, 2. 
 
 6(M)paico(p6pos, thoracatus. 
 
 6a)pa^, lorica. 
 
 ffrdSios, lorica, 
 
 \eindQ)T6s, lorica, 
 
 3- 
 <po\i5iaTuSf lorica, 
 
 4- , 
 aiVydtScoTtSjlorica, 
 
 8. 
 xiveos, lorica, 9. 
 
 laTpaXeiTTTTjs, iatralipta. 
 iaTp6s, medicus. 
 
GREEK AND LATIN INDEX. 739 
 
 I^St), pila, I. 
 
 K(£5ou\os or -wAos, Ca- 
 
 KaTaK\ifofiaif accubo. 
 
 Upe7oyt hostw. 
 
 millus. 
 
 KaTa/cAiffij, accubitio. 
 
 , victima. 
 
 KaBeSpa, cathedra. 
 
 KaTawe\Tris, catapulta. 
 
 Uptis, hpeia, sacerdos. 
 
 KaBtTiip, catheter ; fis- 
 
 KaTaTTeATiKOS, catapulta- 
 
 itpov'iKris, hieronica. 
 
 tula, 4. 
 
 rius. 
 
 hpoa-K6iros, haruspex. 
 
 KcieiTos, perpendiculum. 
 
 KaTa^paKT-ns, rataracta. 
 
 icpo(f>aj'T7;s,hierophantes. 
 
 KaKicd$rj, caccabus. 
 
 KaTaffKOTTos, catascopus. 
 
 UpixpvKaKtov, sacrarium. 
 
 KaKaSos, calathus. 
 
 Ka^diTTpaixa, constratum 
 
 iepo<pv\a^, sedituus. 
 
 KaAafiis, calamarius. 
 
 navis. 
 
 iK6Ti5pia, velamenta. 
 
 , calamister. 
 
 KaTa(ppdKT7is, cataphrac- 
 
 i\7i, turma. 
 
 KaKa/ios, calamus. 
 
 ta. 
 
 L^di/Ttoy, copula, I. 
 
 /coActTTous, forma, 5* 
 
 Ka.rd4>paKTTt]s, cataphrac- ! 
 
 i/jLcis, loram. 
 
 
 ta. 
 
 
 , CKStUS. 
 
 KaX'iKws, calceus. 
 
 KaToTTTpov, speculum. 
 
 - — , corrigia. 
 
 KdWvfTpoy, scopas. 
 
 KarSpv^LS, humatio. 
 
 iVaTjoKAeTTTijSjbalnearis. 
 
 :ifc?|g-i^^'- 
 
 KaTox^^s, pessulus. 
 
 inaTtoipiiKai,, capsarius, 2. 
 
 KaTUfilCa, catomidio. 
 
 ifidrioy, amictus. 
 
 KctATTis, urna. 
 
 Kav\6s, scapus, 5. I 
 
 , pallium. 
 
 Kdhv/xfj-a, calyptra. 
 
 Kavffia, causia. , 
 
 l^evrlis, auceps. 
 
 KaKvvTi]p, imbrex. 
 
 Kava-Tpa, bustum. 
 
 lis, sagitta. 
 
 KaXvTzrpa, calyptra. 
 
 , ustrina. 
 
 lis X"'^""". serugo. 
 
 KaXxn, voluta, I. 
 
 KavTi]p -iipiov, cauter, : 
 
 l-n-yis, latema. 
 
 KaAtiSiOv, see under Hip- 
 
 -erium. 
 
 , furnus. 
 
 podromus, p. 337. 
 
 Ka^ihpiariov, sudarium. 
 
 lirTrayccyoi, hippagogi- 
 
 KdXas, rudens. 
 
 Kiipia, fascia, 6. 
 
 iJTTrcuj, eques, I. 
 
 Ka\tjc(np6(pos, restiarius. 
 
 K6Kpi</)a\os,reticulum, 2. 
 
 'nrmaTpos, equarius me- 
 
 Ko/ia|, hasta graminea. 
 
 KiKivc/xa, celeusma. 
 
 dicus. 
 
 , vallus. 
 
 K^Keva-Tiis, hortator. 
 
 iinr65pofioSj hippodro- 
 
 Ka^dpa, caraara. 
 
 K4Kris, celes, 1. j 
 
 mus, 2. 
 
 Kdjxivos, caminus. 
 
 Kivordfpioy, cenota- j 
 
 lirTTOKdfnros, hippocam- 
 
 , fomax. 
 
 phium. j 
 
 pus. 
 
 Ka/xTTT7]p, meta, I. 
 
 Kenravpos, centaurus. 
 
 hriroKivTavpos, hippocen- 
 
 lidviov, KtJvTjs.canistrum. 
 
 Kevrpov, stimulus. 
 
 taurus. 
 
 Kavr\'p6pos, canephora. 
 
 KevTpav, cento. 
 
 'ftnroK6/xos, agaso. 
 
 KdfSapos, cantharus. 
 
 K^pafjLGi/St figulus. 
 
 IwiroTTTipa, hippopera. 
 
 KavST]\ia, clitella;. 
 
 Kfpd/iiov, testa. 
 
 'nrir6aTaais, equile. 
 
 Kavovv, canum. 
 
 K^pajxoVy fictile. 
 
 iV?roTo|dT7js, hippotoxo- 
 
 Kavdiv, regula. 
 
 Kepafios, tegula. 
 
 ta. 
 
 KaTri)KeXov, caupona, 2. 
 
 Kepas, cornu. 
 
 laSioixos, isodomus. 
 
 Kan-nKls, caupona, 2. 
 
 Kepas 'A/iaAeEias, cornu 
 
 lariov, velum. 
 
 KapfidTiPai, carbatinse. 
 
 copiae. 
 
 ia-TO0oeis, temo, 2. 
 
 KapSio<pvKa^, pectorale. 
 
 KepaTav\r]S, comicen. 
 
 ta-ris, malus. 
 
 KupKupov, career. 
 
 Kepfi^pos, Cerberus. 
 
 , tela. 
 
 Kdpiraaos, carbasus. 
 
 Kepnis, radius, 5. 
 
 la-rdiv, textrina. 
 
 /capTr<J5€(r/no, manica, 5- 
 
 , cuneus, 3. 
 
 Ix^vorpofps'iovy piscina. 
 
 KapudriSis, Caryatides. 
 
 K^pKovpos, cercurus. 
 
 Ixvoypatpia, ichnogra- 
 
 Kapcpap-drtov, merga. 
 
 K^povxoiy ceruchi. 
 
 phia. 
 
 Kapxhinov, carchesium. 
 
 /ceo-TiJs (so. il^ds), cestus. 
 
 KdaavfLu, fulmenta. 
 
 K€(r-i}po(TfpivZ6vTit cestro- 
 
 K. 
 
 KdTay/xa, tractum, I. 
 
 sphendone. 
 
 
 Kardypacpa, catagrapha. 
 
 Kecrpoy, oestrum. 
 
 KayKava, coctilia. 
 
 KWTcuTvi,, cudo. 
 
 K7]Kciiv, ^viiov, tolleno. 
 
 KoSos, cadus. 
 
 KaTaKiifiai, accubo. 
 
 Kr]iJ.6s, nassa. 
 
740 
 
 GREEK AND LATIN INDEX. 
 
 K7}TroSi hortus. 
 K7}TroTd(piov, cepota- 
 
 phium. 
 K7}f}vK€iov, caduceus. 
 Kvpv^y ceryx. 
 Ki]p(aixa, ceroma. 
 Kt^capiQv, ciborium. 
 Ki^wTLov, arcula. 
 K£j8coT(fy, area. 
 KLjuXis, cancelli. 
 Kt^ajjis, cidaris. 
 Kiddpa, cithara. 
 Ki6apt<rT-f]s, citharista, 
 KidapKTTpia, citharistria. 
 KiOa.p(^^6s, citharoedus. 
 Ki\iKL0Vy cilicium. 
 iciWi0as, cilliba. 
 
 , vara, 2. 
 
 (ciVatSos, cinsedus. 
 K.iou6Kpa.vov, capitulum. 
 KipKos, Circus. 
 icKTcT-O^iov, cissybium. 
 KKXTT), cista. 
 
 ia(rTQ(p6pos, cistophorus. 
 Kiwv, columna. 
 /cAeiSoCxoy, claviger, 2. 
 ic\€i9pov, pessulus. 
 KKels, clavis. 
 K\€\pvBpay clepsydra, 
 KXyj/j.a, vitis. 
 KM^avLTis, clibanicius 
 
 panis. 
 KKiQavos, clibanus. 
 Kk^fjia^, scal^. 
 kX'ivt], lectica. 
 K\iv7j(p6poi, lecticarii. 
 KXiviSiov, lectulus. 
 kKivikSs, clinicus. 
 kKivo-kovs, clinopus. 
 KKi(TL<ksi foris. 
 kXoioI, boiEe. 
 K\v(TTT)p, clyster. 
 K\ci>0ca, neo. 
 Kvafpelov, fuUonica. 
 Kva<p€vs, fullo. 
 iiv4<pa\XoVy tomentum. 
 Kvi\i.n]j radius, 3 
 KfTju-is, ocrea. 
 fcfcoBa^, cnodax. 
 Ki^dodwy, mora, I. 
 K6yx7]> concha. 
 icSdopvos, cothurnus. 
 KoiXi) vavs, cavernse. 
 
 »coiA£(J5e(r«o?, ventrale. 
 KOi(iriTi]pioVf ccemete- 
 
 rium. 
 Koivo^iov, ccenobium. 
 Koirr], cubile. 
 KoXaTTTTip, scalprura. 
 KoXeds, vagina. 
 KoXXv&os, coUybus. 
 KoXXipa, collyra. 
 KoXXvpls, collyris. 
 KoXXvotoVy coUyrium. 
 KoXdfiiov, colobium. 
 KoXoKuvdr}, cucurbital. 
 
 K0\0(TtT6s, colossus. 
 
 kSXttos, sinus. 
 KoXvfifBT]r'os, urinator. 
 KoXd>v7], tumulus. 
 ic6/xT], coma, 
 KOfi-fiTTjs, comatus. 
 KOfia/j-a, albarium opus. 
 KopiarS';, dealbatus. 
 KovlffTpa, conisterium. 
 koutSs, contus. 
 KovTu<popui, contarii. 
 icSiravop, pilum, I. 
 hSttls, copis. 
 Koirplas, coprea. 
 KOTTTT), copta. 
 KOTTTOTT-XaKovSy coptopla- 
 
 centa. 
 nSpa^t corax ; corvus. 
 K(ip5a|, cordax. 
 Kdprj, pupa. 
 K6pv/x0os, corymbus. 
 Kopvvrjy pedum. 
 
 , clava, 4. 
 
 Kopvi/TjTTjs, claviger, i, 
 K6pvs, cassis ; galea. 
 Kopi^vT), ansa, 2. 
 KopwylSf corona. 
 kSo-kiuov, cribrum. 
 KOfffjL-nrijs, cosmeta. 
 KO(Tfxi]Tpia, cosmetria. 
 
 , ornatrix. 
 
 KSrTa&os, cottabus. 
 KOTvXy), cotyla. 
 Kovp€7ou, tonstrina. 
 KoupGvs, tonsor. 
 KovpevTpia, tonstrtx. 
 Kovpi/jLo^j tonsus. 
 K6(pivoSi cophinus. 
 KoxXidpiov, cochlear. 
 icoxXias, cochlea. 
 
 Kpd^aroSi grabatus. 
 Kpduos, galea. 
 KpaT7)p, crater. 
 Kpfdypa, creagra. 
 H:p€ovp'y6s, lanius. 
 KpeQ}T(x}XLov, laniarium. 
 Kp7)S€fj.vov, calantica. 
 Kp7)iris, crepida, 
 
 , crepido. 
 
 KptSs, aries. 
 icp6K7], subteraen. 
 KpoKiOT6if, crocota. 
 KpoKv^y lacinia. 
 Kpo(T(roi, fimbrife. 
 KpoTaXiof, crotalium. 
 Kp6raXoy, crotalum. 
 KpovTre^ai, sculponese. 
 KpovTTG^ia, scabellum, 3. 
 Kpovo-fj-ara, crusmata. • 
 KpinrTT}, crypta. 
 Kpu)$vXoSf (irobylus, 
 KTefy, pecten. 
 KT€pi(TT'f}$y libitinarius, 
 KTrfviarpoSt mulomedi- 
 
 cus. 
 K6aBos, cyathus. 
 Kv^epvfjTT^s, gubernator. 
 Kv^KTTririip, cernuus. 
 Kv$osy tessera. 
 KVK7)QpoVi rudicula. 
 rudi; 
 
 KVKXdsy cyclas, 
 
 kvkXos, circulus. 
 
 ■ , cortina, 2. 
 
 KVKXiii(xa. ^vpaoTovoi/f 
 tympanum, i. 
 
 KvXivhpos, cylindrus. 
 
 KvXi^, calix. 
 
 KvXixvf}, culigna. 
 
 Kufxariov, cymatium, 
 
 KvpL^aKiaTpLay cymbalis- 
 tria. 
 
 Kv/j&aXou, cymbalum. 
 
 K-ufx^r), cymba. 
 
 Kvfx&iov, cymbium. 
 
 Kvper), galerus, 
 
 KvvTjydryjs, venator, I. 
 j KuuTjy^ris, venatrix, 
 I KvvoK4(paXos, cynocepha- 
 I lus. 
 I KvpTT], nassa. 
 
 Kvo-Tis, vesica. 
 I K(x>dtt}i/, tintinnabulum. 
 
GREEK AND LATIN INDEX. 
 
 741 
 
 Ka/j.a(rT7}s, commissator. 
 Kd'fiT], vicus. 
 Koifios, commissatio. 
 Kufos, conus, apex, 2. 
 Kojt/MTreciiyt conopeiim. 
 KiiwTi, capulus, I. 
 
 , cupa, 2. 
 
 , remus. 
 
 Kto7^7^aT7;s, remex. 
 
 A. 
 
 Aa04 ansa, I. 
 Ka^upivBos, labyrinthus. 
 Xayavov, tractum, 2. 
 Kayrivos, lagena. 
 KayoTpotpiiov, lepora- 
 
 riura. 
 Ka'yu^6\oy, pedum. 
 \dKKos, lacus, 4. 
 Aa^[a/, lamice. 
 Xa^Tras, lampas. 
 Aa/xTVT-fip, candelabrum, 
 
 3- 
 Xapua^, conditorium, 2. 
 \diravoi', lasanum. 
 XaTofiia, lautumia. 
 Xdrpis, latro. 
 ?i6;8i7s, lebes. 
 Kenivr], patina. 
 AfKTpov, lectus. 
 Aefx0os, lembus. 
 AeTracTT^, lepesta. 
 Aeiri's, squama. 
 XsvKWfjLa, album. 
 A'fiKuBos, ampulla. 
 \'0Kv8os iXaiTjpd, ampulla 
 
 olearia. 
 Ki}nvi(TKos, lemniscus. 
 Xi\vi(iv, torcularium. 
 Ai/vo/SciTTys, calcator. 
 Xr\v6s, torcular. 
 \i^avttiT6si tus. 
 Ki^avtjorpisx accrra. 
 \L^vpvis, liburna. 
 \t6o^6xov, ballista. 
 Aieo^ios, lapidarius. 
 XiS6aTpu>Tov, lithostro- 
 
 tum. 
 Xieiivpy6s, lapidarius. 
 XiKPapiov, vallus, 5' 
 Xiicvov, vanuus. 
 
 Xifi-liv, portus. 
 XmoKijpv^, lintearius. 
 Xli/ov, linum. 
 Xirvov, lituus, 2. 
 Xoyitov, pulpitum, 2. 
 X6yxv> spiculum, I. 
 
 , lancea. 
 
 Xoyxi<l>opos, lancearius. 
 XovTp6v, lavacrum. 
 xSipos, crista. 
 XvBiuiv, ludio. 
 XvKos, lupus. 
 Xvpri, lyra. 
 XvpiffTqs, lyristes. 
 Xvxvos, lucema. 
 
 , lyclmus. 
 
 Xvxvovxos, candela- 
 brum, I and 2. 
 
 , lychnucus. 
 
 AoiTToSuTTjs, balnearis. 
 
 M. 
 
 fxciyeipos, coquus. 
 fjt.a^ovoij.e^oy. mazono- 
 
 mum. 
 IjiaiavSpos, msean 
 fiaivds, msenas. 
 ILLaKeXXa, ligo. 
 /uoKeAAoc, macellum. 
 IxdKfXov, maceria. 
 fxaXXis a9Xr\rov, cirrus, 
 
 2. 
 /idvSaXos, pessulus 
 /xdvdpa, mandra. 
 
 , pala, 3. 
 
 fidfvos, monile. 
 IjaptrviTLov, marsupium. 
 ^aa-TiyoipopoSt maotigo- 
 
 phorus. 
 fidiTTi^, flagellum. 
 a(7TpayaXciiT'i-j, fla- 
 
 grum talis tessellatum. 
 ^arrva, mattya. 
 fxdx^'-pO't machsera. 
 
 , culter. 
 
 SittA^, forfex. 
 
 fiaxalp'ov, machEerium. 
 
 , cultellus. 
 
 fiaxaip6(popos, machgero- 
 
 pliorus. 
 
 fi4Sip.vos, medimnus. 
 lifXavS6x'riy atramentari- 
 
 um. 
 lifXiaadiv, apiarium. 
 ixiaa^ov, subjugium. 
 IxtadyKvXov, ansatum te- 
 
 lum. 
 lx4(ravXos, mesaulos. 
 IxeaoarvKiov, intercolum- 
 
 nium. 
 liiTa&aTijs, desultor. 
 ILLiTaXXoVj fodina. 
 )U€T(jTr7?, metopa. 
 fisrp'qr'fjs, metreta. 
 liVXi), specillum. 
 fJiTipis, femur. 
 fiiirpa, vulva. 
 /iTjxavT), machina. 
 
 OLKpo^artKri, scan- 
 
 soria machina. 
 (xiTos, licium. 
 /j-irpa, mitra. 
 
 , cingulum, 4. 
 
 fiiTpTt<p6pos, mitratus. 
 HiTpiov, mitella. 
 /j-viifxa, ] monumen- 
 ^vT]^e'LOVy J turn. 
 lj.oK6xivrit molochina. 
 /ioXvfiSis, glans. 
 IJ.6vavXos, monaulos. 
 li.ovhpf]5, moneris. 
 fiovdypafifjLO^f mono- 
 
 grammos. 
 fiov^KpoTos, moneris. 
 fiovSXiBos, monolithos. 
 fjLovo^dxot, gladiatores. 
 fiovofj.axoTp6ipos, lanista. 
 lxov6^vXos, monoxylus. 
 fioviinfpos, monopteros. 
 ^oi/ox^L'r^yi tunicatus. 
 ^ovoxpt^P-'^'^^t mono- 
 
 chromata. 
 fxopfj.oXvKe'ioVt larva, 2. 
 Mouo-eioj', Museum. 
 ljLov(rf7ov, musivum. 
 fioxXis, vectis. 
 pvKT-fjpt myxa. 
 /x^iXt}, mola. 
 /ivXiiy, pistrinum. 
 iuii|a, myxa. 
 liipiiT]^, caestus. 
 fivpoTTiiXrjs, unguenta- 
 
742 
 
 GREEK AND LATIN INDEX. 
 
 ^viTraywy6sy mystago- 
 
 gus. 
 ^v<TTT}Si mysta. 
 ixixrrpof/, mystrum. 
 Ij.vcv^, calcar. 
 
 N. 
 
 I nablia and 
 C naulia. 
 
 vavKa, 
 
 vdvvoi, nam. 
 vao<pvXa^, pedituus. 
 vdpdr}^, ferula. 
 vapOriKiov, narthecium, 
 vavapxos, navarchus. 
 vavKKripos, nauclerus. 
 vavXov, naulum. 
 vav/xax'ta, naumachia. 
 vavTri]'yiovy textrimim, 2. 
 vaZs, navis. 
 
 KaTd(ppaKT7j, navis 
 
 tecta. 
 
 ^ttffpa, navis longa. 
 
 (TTpoyyvhT}, navis 
 
 oner aria. 
 vavaradfjiov, navale, 2. 
 v€^pis, nebris. 
 v^KpoKavar-qs, ustor. 
 v€vpoQ6.Ti)s, neurobata. 
 vivpov, nervus. 
 vevp6(nra<Trov, neurospa- 
 
 ston. 
 few, neo. 
 
 veaKdpos, neocorus. 
 uecopiov, navale, I. 
 V7)da}, neo. 
 v7}(T(TOTpo^G7oVf ncssotro- 
 
 phium. 
 PiK7)T7}pioj/, niceterittm. 
 vofxevs, pastor. 
 Nufxcpaioif, NymphKum. 
 vvfx(p'f], nupta. 
 vv(T(ra, meta, I. 
 vwTO(p6pos, bajulits. 
 
 ^eVfa, xenia. 
 lei'oSo/ceToy, caupona, I. 
 
 ^€i/od6KoSy caupo. 
 ^g(tt6s> rasus. 
 ^KpodrfKTi, vagina. 
 ^i<pos> gladius. 
 
 eTTiKaixwes, sica. 
 
 IvKoKOTTia, fustuarium. 
 |uAo7re5T7, nervus, 4. 
 ^vp6u, novacula. 
 i^va'Ta.px'f)^, xystarcha. 
 |u(TTi/foy, xysticus. 
 lufTTis, palla. 
 ^v^tSv, hastile. 
 ^v<xt6s or -01/, xystus, 
 
 I. 
 ^vo-Tpis, strigilis, I, 
 — , stria. 
 
 o^eXlcKos, obeliscus. 
 
 , veruculum. 
 
 60e\6s) veru, i. 
 opoKos, obolus. 
 oyKos, superficies, I ; 
 
 uncus . 
 oBovrdypay dentarpaga. 
 
 , forceps, 3. 
 
 6BovT6yKv(pis, dentiscal- 
 
 piurn. 
 oSous, dens. 
 o(oSy nodus, 7. 
 odSvT}, linteum, 
 oOSuiov, linteolum. 
 ota.^, ansa, 5- 
 oiK'fjfj.ara, carceres. See 
 
 under Hippodromus, 
 .P-338. 
 oiKos, cecus. 
 
 , domus, 2. 
 
 ohetoj/, cella vinaria. 
 olvoTTtdXiou, cenopolium. 
 olvo<p6pov, cenophorum. 
 oiyo(p6pos, cenophorus. 
 olyox^os, pincema. 
 oioTr6\os, opilio. 
 o/oxiTwr, tunicatus. 
 oiffrSs, sagitta- 
 olci}i^osK6rru9, augur. 
 oKpipas, canteriolus. 
 
 , pulpitum, 2. 
 
 o/cTcifTTuAoy, octastylos. 
 
 oKfioSf cortina, 2. 
 
 , mortarium, i. 
 
 6fjLa\i<rri]p, rutellum. 
 6uipa\6s, umbilicus, 
 
 ' , umbo, 1. 
 
 6u7]Adr7}s, agitator, i. 
 iii/os, catillus, 2. 
 o^is, acetabulum. 
 6^v0a(pov, acetabulum. 
 d^vKparov, posca. 
 oirai, columbarium, 5. 
 oireaSf subula. 
 oTTTj, opa. 
 hiriffOSypafpos, opistho- 
 
 graphus. 
 6Trio-66Bo/j.os, opisthodo- 
 
 mus. 
 d7r\oBidaKTT]s, campi- 
 
 doctor. 
 6Tr\ofj.dxoSf hoploma- 
 
 chus. 
 oTTrdvLOUy cnlina. 
 opyavovy organum. 
 6p€OK6fj.os, mulio, i. 
 6pdoypa(pia, orthogra- 
 
 phia. 
 opdocTTaSias, recta. 
 opOoaTaTTjS, orthostata. 
 6pK7), orca. 
 op/xid^ linea, i. 
 opfxos, portus. 
 bpviOevr^s, auceps. 
 QpuiQdiv, ornithon. 
 ffpo9, orbis olearius. 
 bpTvyoTp6<pos, lanisla 
 
 avium. 
 hpvKr7)s, fossor, 
 opxvo'TOTrSKos, orchesto- 
 
 polarius. 
 opxv^^^^y saltatio. 
 upxt]crri]s, saltator. 
 opx^o'Tpdy orchestra. 
 opx^io-Tpia, saltatrix. 
 oarpaKiov, testa. 
 ovyKia, uncia. 
 ouBojf/, udo. 
 ouXos, manipulus. 
 ovpav6s, coelum. 
 ovpiaxoSf spiculum, 3. 
 bx^vSy see under Cudo. 
 oxr]!J.a, vehiculum. 
 uipoTr(o\e7op, popina. 
 d^orrteKrjs, macellaiius. 
 
GREEK AND LATIN INDEX. 
 
 743 
 
 II. 
 
 Trayitpa.Tioi', pancratium. 
 Trdyos, pagus. 
 TraiSaycoyos^ paedagogiis. 
 TiiKmana, lucta. 
 TvaKaiarpa, palaestra. 
 iraAaitTTpi/ctJs, palsestri- 
 
 cus. 
 TraAaKTTpf TTjs, palsestrita. 
 Tra\d/j.Ti, palma, I. 
 TraAfVTTis, iUix avis. 
 iraAr), lucta. 
 TTaKtyKtiinjKos, institor. 
 TroA(fn|/rjirToj, palimpse- 
 
 stus. 
 ■iraKKaKT], pellex. 
 TrafiiJ.cix'ov, pancratium. 
 iravSoKiTov, caupona, i. 
 
 , stabulum, 2. 
 
 TTttvSovfa, pandura. 
 TraxTOjui^ojjpantomimus. 
 
 , saltator. 
 
 irapayvaSis, buccula. 
 irapa^iii/io!', parazonium. 
 TrapaTr4Tacr/LLa, velum, 4. 
 Trapctffeipos.funalisequus. 
 rapda-ri/iov, insigne, 2. 
 'i^apda-TaSis, ant£e. 
 rrapaa-Tas, parastas. 
 
 ■ , postis. 
 
 irapaTlKrptoSy alipilus. 
 Trapiiopos, funalis equus. 
 irdp/iTi, parma. 
 irdpoxos, parochus. 
 vapo'f/is, paropsis. 
 irapvipit, limbus. 
 
 , clavus, 7. 
 
 Trapwrls, ancon, 2. 
 TTd(r(ra\os, palus. 
 
 , paxillus. 
 
 ■ira.(TTO<p6pos, pastopho- 
 
 rus. 
 ■naTayf'iov, patagium. 
 Te'57), pedica. 
 
 , compes. 
 
 TTf'SiAa, talaria. 
 ^f AcKu/oj, securicula, 2. 
 iriKiKvs, securis. 
 Sla-To/ios, bipen- 
 
 nis. 
 Tr4\is, pelvis. 
 Tf Atbitt^s, peltasta. 
 
 -ireKTij, pelta. 
 ireVTaflAoj/jquinquertium. 
 irecTaffiracrTos, pentaspa- 
 
 stos. 
 TTfvTfffvpiyyos, colum- 
 
 bar. 
 ireyrlipTis, quinqueremis. 
 iriirXov, peplum. 
 , palla. 
 
 !^'"'^,\'""'')pallium,3. 
 
 TTepl$o\os, sacellum. 
 
 Tr€pi$paxt6vtov, brachi- 
 ale. 
 
 TreplSeiirvov, silicemium. 
 
 TTepi^epaiop, collare. 
 
 irepi^ufia, cinctus ; cin- 
 gulum, 5. 
 
 TrepnjyTir-tis, mystagogus. 
 
 TrepiKapTTioi/, armilla, 2. 
 
 TreptKe^dXaLov, galea. 
 
 , An if, cudo. 
 
 irepiKVTi^iSy tibiale. 
 
 TTepiiTTfpos, peripteros. 
 
 TT€pippav<Tis, aspersio. 
 
 TT€pip^avT'f]pLov, labrum, 
 4; aspergillum. 
 
 Tr€pi(7Ke\ls, periscelis. 
 
 irepicTTspeuiv, columbari- 
 um. 
 
 'n-epl(7Tpa>iJ.a, peristroma. 
 
 TTcpio-TuAfoj/, peristylium. 
 
 'iTepiacf>vpiou, armilla, 2. 
 
 7r€p(Jy7;,acus, 3 ; fibula. 
 
 neiT(r6s, pila, 2. 
 
 7reTao"oy, petasus. 
 
 xeToupt(7TT7Sj petaurista. 
 
 irdTavpofj petaurum. 
 
 ■trrjyiia, pegma. 
 
 jTTjSaAioVjgubemaculum. 
 
 Trripa, pera. 
 
 iriSauATjs, pithaula. 
 
 irtffos, dolium. 
 
 vi\tjt6s, coactilis. 
 
 triXiSiov^ pileolus. 
 
 irlAoj, pileus. 
 
 iTiAo(p6pos, pileatus. 
 
 TTipuKiov, tabella. 
 
 , superficies, 2. 
 
 TTivaKoB'fiK'r) pinacotheca. 
 
 iriVaf, tabula. 
 
 , lanx quadrata. 
 
 TriffTpis, pistris. 
 
 iri-niRiov, pittacium. 
 irAayywv, planguncula. 
 7rAa7iouAos, tibia obli- 
 
 qua. 
 irAaKoCs, placenta. 
 TAt£|, tabula. 
 irAda-Trjs, plastes. 
 
 , fictor. 
 
 TrKda-riyt^, lanx, 3 
 ■wKartia, platea. 
 TrKrjKTpov, plectrum. 
 7rA<)|Uj'57, modiolus, I. 
 trKivQivos, latericius. 
 ttKIvSos, plinthus. 
 
 , later. 
 
 irXivQos oTTT-ri, later coc- 
 
 tus. 
 
 u;^4 later crudus. 
 
 ■nXoloVf navigium. 
 
 Ko;/Tw7-oj',ratis, 2. 
 
 (TtTay(tiy6v) cor- 
 
 bita. 
 
 ■ fpopTiKSfj navis 
 
 oneraria. 
 
 ■Ki'iyevs, pnigeus. 
 
 TvoSdypa, pedica dentata. 
 
 TToSai/iTTTjip, pelluvium. 
 
 TToSehi/, fascia, 5. 
 
 no5'fipT}s, talaris. 
 
 ■n-oSoiTTpdpTj, pedica den- 
 tata. 
 
 TToKvdvhpiov, polyan- 
 drium. 
 
 TToKifitTos, polymitus. 
 
 TToAvfiv^os, lucerna, 3. 
 
 voKvTruxa, polyptycha. 
 
 7roAuo"7ra(7Toy, polyspas- 
 ton. 
 
 nSirafoi', popanum. 
 
 nopvt], fibula. 
 
 TTOT^p, -iipiov, poculum. 
 
 TTOus, pes. 
 
 irpaKTopes, coactores. 
 
 irpeo'^euTTjs, legatus, 2. 
 
 ■wpi6viov, serrula. 
 
 Trpitrriip, prista. 
 
 ■wpiav, serra. 
 
 irpo7fi;ffTT)s,pr3egustator. 
 
 TrpSdvpov, vestibulum. 
 
 irpoKoiTiiv, procoeton. 
 
 irpoKSfjLioy, capronse. 
 
 irpo|i€T(WTrf 5ioj',frontale, 3. 
 
 irpivaos, pronaus. 
 
744 
 
 GREEK AND LATIN INDEX, 
 
 irpSTrXao-fxa, proplasma. 
 
 TTpoTTi'iyuoyypYgsfm'nmm. 
 
 TTpocryvadi^LOVi focale. 
 
 TrpoaKe<pd\aiOi', cervical. 
 
 ■Kpo(rKT)viov, proscenium. 
 
 Trpo(TKvvr}(ns, adoratio. 
 
 , adulatio. 
 
 ■jrp6(rTU7rov, prostypum. 
 
 ■7rp6(ra}Trou or -etor, per- 
 sona. 
 
 TTpoTo/xT], thorax, 2. 
 
 TTpSrvwov, protypum. 
 
 TTp6xoos, gutturnium. 
 
 TTpv/xva, pappis. 
 
 irpc^pa, prora. 
 
 Trpo)pa.TT]s, proreta. 
 
 TTTepd, aures. See under 
 Aratrum, 2. 
 
 irT€p6u, pinna. 
 
 TTTepdirovs, alipes. 
 
 TTTepvyesy see under 
 Lorica, 2. 
 
 TTTepv^, mora, i. 
 
 TTTepoj/xa, pteroma. 
 
 TrrepojTos, pterotus. 
 
 irrvov, pala, 2. 
 
 TTTtax^s, mendicus. 
 
 ■jrvy/xax'tf^; pugilatio. 
 
 TTveXis, funda. 4. 
 
 , pala, 3. 
 
 7ru€Tia, coagulum. 
 
 'jrvKv6crTv\os, pycnosty- 
 los. 
 
 TTVKT7)Sy pUgil. 
 
 TTvXri, porta. 
 irvXlsy portula. 
 TTv^iov, buxum, 4. 
 -rrv^is, pyxis. 
 
 , modiolus, 4. 
 
 TTu^os, buxum. 
 TTvpd, pyra. 
 
 , rogus. 
 
 ■jTvpdypa, forceps. 
 TTvpafxls, pyramis. 
 TTvpyos, turris. 
 •KvpiairiipioVy laconicum. 
 ■rrvppixVi pyrrhicha. 
 TTctiyafias, barbatus. 
 TTcoixa, operculum. 
 
 pafidioy, penicillum. 
 
 ^d$doi, fasces. 
 pd^Sos, radius, i. 
 
 , virga. 
 
 , stria. 
 
 ^aQ^ouxos, lictor. 
 ^d$Sco(ris, striatura. 
 ^a^SSajTos-, striatus. 
 virg&tus. 
 
 ^a/j.cpT], falx, 6. 
 pavTTffTpovy see under As- 
 
 pertio. 
 ^ttTTTTjy, sutor. 
 ^a<pis, acus, i. 
 pi^dypa, forceps, 2. 
 ^ivy), lima. 
 j5i7r/y, flabellum. 
 piffKos, riscus. 
 ^6fj.Bos, rhombus. 
 
 -, turbo, I. 
 
 pofKpaia, rhomphcea. 
 p6ira\ov, clava. 
 ft6TrrpoVf ansa, 2. 
 
 ~^vpaoTraye9, sym- 
 
 phonia, 2. 
 f>vyxoSt rostnam. 
 fivKavT), runcina. 
 ^D/xa, remulcus. 
 (tv/ji6s, temo, x. 
 ^y7rapo7pa^os,rhyparona . 
 
 graphus. 
 puTayojyevs, habena, 2. 
 ^vrisi ruga. 
 Pvt6uj rhytium. 
 
 2. 
 
 adlBavov, sabanum, 
 aayf)}/7}, sagena. 
 cdy/xa, sagma. 
 (rdyos, sagum. 
 (xaKKiofi sacculus. 
 (TaKKowfjpa, sacciperium. 
 (rdKKQS, saccus. 
 '2,a\ioL, Salii. 
 (TaKinyKTy]s, tubicen. 
 adK-my^, tuba. 
 
 ■ (TTpoyyvXTj, cor- 
 
 nu, 6. 
 j-afx^vKf}, sambuca. 
 craix^vKio-Tpia, sanibuci- 
 (racSaAfof, sandalium. 
 ffauiSiov, tabella. 
 (rauida/xa, coassatio. 
 
 (Tapis, tabula. 
 
 J foiis. 
 
 (rdTTcov, sapo. 
 aapd^aWa, saraballa. 
 o-dpawiSy sarapis. 
 (rdpi(T(ray sarissa. 
 capitrtro^tipoSjSarissopho* 
 
 rus. 
 (Tapico^ayoy^sarcophagus. 
 crdpwQpou, scopEe. 
 aarpditfiSy satrapa. 
 aavviov, veru, 2. 
 (TaupoiTTjp, spiculum, ■^. 
 (Teipa^tipos, funalisequus. 
 aelarpov, sistrum. 
 (Te\\d(TTpia(TiSi sellister- 
 
 nium. 
 (reA^aTa,Ta,transtrum,2. 
 (TTjicSsf cella, 7. 
 (rijKojfia, sequipondium. 
 (T7jfxato(p6pos, signifer. 
 o-r]/j.€7ou, signum. 
 
 dyKvpas, ancoralc, 
 
 (TL^vv-q, sibyna. 
 (riKtyyi(rT7)Sf sicinnistn. 
 (TLKva, cucurbita. 
 (tlKKv^os, index, i. 
 (ri/x^\o9j alveare. 
 (Tivddjv, sindon. 
 (Tipaiou, sapa. 
 
 ■, defrutum. 
 
 (Tta-vpu<popos, pellitus. 
 aiTeuTT}s, fartor. 
 criTO(pv\aKe7oyf horreum 
 
 publicum. 
 (tI^wv, sipho. 
 (TKahis, sarculum. 
 (TKaKp.6si scalmus. 
 (TKdix/xa, scamma. 
 (TKaiTos, scapus. 
 (TKd(p-q, scapha. 
 
 , cunabula. 
 
 (TKucpiov, scaphium. 
 (TK^irapyi^ct}, ascio. 
 (TKitrapvov, ascia, I. 
 (TKev-n, rd, impedimenta. 
 (JKrivq, scena. 
 
 , tentorium. 
 
 ■ -, diseta, 2. 
 
 aicr]poypa(pia, scenogra- 
 
 phia. 
 aKTrrrToOxos, sceptuchus. 
 aitTJirrpay, sceptrum. 
 
GREEK AND LATIN INDEX. 
 
 745 
 
 aK^&timv, umbella. 
 (TKidBripov, solarium, I. 
 (TKifvirdSiov, scimpodium. 
 (r/tiiroiv, scipio. 
 (TKoiTid, specula. 
 (rii6pTTios, Scorpio. 
 ffKoria, scotia, 
 (rKu\oSeij/?)s, coriarius. 
 aKvriXi], scytale. 
 
 , scutula. 
 
 iTKVTiiov, sutrina. 
 (TKuToSe'il/Tjj, coriarius. 
 a-Kv<po5, scyphus. 
 aiirivos, alveare. 
 irii.i]v(i>v, alvearium. 
 (TfiiKri, scalpmm. 
 aiuKlov, scalpellum. 
 (Tfii.v<lni, bidens. 
 irSprt, muscarium, i. 
 (TTraSciAioy, spathalium. 
 ffirdei), spatha. 
 
 , radius, 5- 
 
 a-irdpyava, crepundia. 
 (nreipa, spira. 
 — — , manipulus, 3. 
 fftreoSj specus. 
 (nrKayxvofficdTToSt exti- 
 
 spex. 
 airK'iii/tov, splenium. 
 OTTovSaiXTis, spondaules. 
 (Twpidwv, sportella,spor- 
 
 tula. 
 iTTaStivs, ■oSp6fios,airsor, 
 
 I ; stadiodromus. 
 (rTdSiov, stadium. 
 crdBij.-ii, linea, 3. 
 (TTaB/jioi, mansiones. 
 (TTofljudy, stabulum, I. 
 
 , pondus. 
 
 , libra. 
 
 , postis. 
 
 crrakls, vara, I. 
 ariyadTpov, segestre. 
 aTiyi], constratum navis. 
 (TT^nfia, stemma. 
 (TTefifMara, serta. 
 (rT€/npuAo, fraces. 
 aT(vwTT6s, angiportus. 
 (TT^tpavfiTTKoKost corona- 
 
 rius. 
 cni<pavri<pipos, coronatus. 
 aTetpavondjKTjs, corona- 
 
 rius. 
 
 areipavos, corona. 
 (TT^Ai), cippus. 
 (TrTiKlSiof, columella, 2. 
 a-rfifiwi/, stamen. 
 (TTripiy^, -eyiia, furca, 4. 
 ffTiYjuo, stigma. 
 ariynaTias, stigmatias. 
 arKiyyis, strigilis, I. 
 cTToa, porticus. 
 a-ToXi], stola, 2. 
 (TToX/Sej, tabula, 9. 
 <n6fitov irpioioiTov, lupa- 
 
 tum. 
 aTpaTfiyCiOv, prstorium. 
 urpaTT}yhs 6|a7reAeKu5, 
 
 praetor, i. 
 (TTpi^\a>Ti]ptov, tormen- 
 
 tum, 2. 
 (TTpeTTTcis, torquis. 
 (XTpiTnocpdpos, torquatus. 
 (rrp6fiffos, turbo, I. 
 aTpa<piis, I ^^^^ 
 (TTp6<t)iy^, ) 
 a-Tpoij/iy^, scapus cardi- 
 
 nalis. 
 arpdipiov, strophium. 
 arpufxa, stragulum, I. 
 (npaifj-VT], culcita. 
 cTTuAi's, columella. 
 (TTvAoPdrris, stylobata. 
 (TTiXos, coli'mna. 
 ffTvTToSj stipes. 
 (TTupal, spiculum, 3. 
 (TujStuTjjj, porcarius. 
 (TvyKviTTTis, capreolus, 2. 
 (Tv/xPoKov, tessera hospi- 
 
 talis. 
 (Tv/nroalapxos, magister, 
 
 4- 
 rrvinr6(riov, comissatio, 
 
 symposium. 
 tTv)nr6rii's, comissator. 
 aivieiwvov, convivium. 
 avvBeats, synthesis. 
 (Tui-flrijua.tesseramilitaris. 
 avfupi^f biga. 
 (Tupiyl, fistula, 2 ; syrinx. 
 avpfxa, syrma. 
 <rv<jKrtvia, contubernium. 
 aiijKifivoi, contubemales. 
 avaTdrai, canterii. 
 avaToKos, systylos. 
 (T(paipa, pila. 
 
 (T<piupia-Tiipiov, sphseriste- 
 rium. 
 
 acpaipuT^p, cqrrigia. 
 
 (r^aipa-rds, praspUatus, I . 
 
 cr<p(vS6vr], funda, I and 4. 
 
 , pala, 3 ; and 
 
 see under Stadium. 
 
 iT(pii/Sai/riTai, funditores. 
 
 (T^^c, cuneus. 
 
 "(piyKT-hp, spinther. 
 
 (r((i6vivXos, verticillus. 
 
 crrppayis, anulus. 
 
 a<pvpa, malleus. 
 
 (TXfSi'a, ratis, I. 
 
 trxi'Sal, scandula. 
 
 cX'St), scheda. 
 
 (Txoi-p'iov eiriyiioi', retina- 
 culum. 
 
 (TxoivoBaT-ns, funambu- 
 lus. 
 
 <^X<>^'h, schola. 
 
 <rai\iiv. fistula, I. 
 
 . canalis. 
 
 . imbrex. 
 
 Taijila, tsenia. 
 
 , fascia, 9. 
 
 cingulum, i. 
 
 rdXafToif, libra. 
 
 , lanx, 3. 
 
 TaXap'iSj quasillus. 
 TaAapos, qualus. 
 TOTTT/F, tapes. 
 rapixoiraXris, salsamen- 
 
 tarius. 
 -ra^filov, craticula. 
 Tap(r6Sf crates. 
 
 , palmula. 
 
 Td<pos, funus. 
 TfdpiwiTov dp/ia, quadriga. 
 redwpaKKT/xevQSt lorica- 
 
 tus. 
 Tf7xo5, murus. 
 reKTCitv, faber. 
 TiKaudy, balteus. 
 T^KdvTIs, publicanus. 
 T€ij.dxioii, tomaculum. 
 ripiTpov, terebra. 
 T^TpdSpaxfJ-ov, tetra- 
 
 drachmum. 
 
746 
 
 GREEK AND LATIN INDEX. 
 
 rerpdSwpoSf tetradonis. 
 
 rerpd-dvpos, quadriforis. 
 
 T^Tpa6hi'jVf quadrivium. 
 
 TerpatrTuAoy, tetrastylos. 
 
 rerpripyis, quadriremis. 
 
 T7]0(vvaj toga. 
 
 Ti]yavQv, sartago. 
 
 TTjAia, incerniculum. 
 
 Tidpa, tiara. 
 
 Ti^airo-euT^s, mansuetari- 
 us. 
 
 Tifj.7]T^s, censor. 
 
 TOixoy, paries. 
 
 ToKviTT}, glomus. 
 
 tSvoi;, instita, 3. 
 
 Td^evfxa, sagitta. 
 
 To|€u&), sagitto. 
 
 t6\ov, arcus, i, 2, 3. 
 
 T6pevfxa, toreuma. 
 
 rSpvos, tornus. 
 
 \Topvvi], trua. 
 
 rpd-rreCa, mensa. 
 
 TpaireQTTjs, mensarius. 
 
 Tpaire^oTToids, structor. 
 
 TpaTre^ofpSpoUj trapezo- 
 phorum. 
 
 rpd-rrri^, trabs. 
 
 Tpiaiva, fuscina, tridens. 
 
 Tpi^oAa, rd, tribulum. 
 
 Tpi^oAos, tribulus ; and 
 see under Lupatum. 
 
 Tpi^wj/j tribon. 
 
 TpiyXvcpos, triglyphus. 
 
 Tpiywvou, trigonum. 
 
 Tpi7]p7]s, triremis. 
 
 TpiKKivov, triclinium. 
 
 rpifxiros, trilix. 
 
 rpioBos, trivium. 
 
 Tpi6Bovs, tridens. 
 
 rpiwovs, tripus. 
 
 TpiTTT-^p, orbis olearius. 
 ! rpi<7iTa(TT0S, trispastos. 
 
 TpLTTva, suovetaurilia. 
 
 rpixoAa^is, volsella. 
 
 TpSwaioVj tropEeum. 
 I rpSivLs, carina. 
 
 I TpoTr6s> -coTTip, stmppus. 
 
 I TpovKXiov, truUa, I. 
 
 Tpox'X^a, trochilea. 
 I TpoxiXos, scotia. 
 
 ! Tpox^o'Kosy pastillus. 
 
 TpoxoireSr}, sufflamen. 
 I Tpox^s, trochus. 
 
 rpox^Sy rota. 
 
 , orbis, 4. 
 
 Tpv^Aiof, truUa, 2, 
 
 , tryblium. 
 
 Tpvy-qriip, vindemiator. 
 rpvyr]TO'iy vindemia. 
 Tpu-fjAa, trua. 
 rpv^, mustum. 
 Tpvirdviov, terebra, 3. 
 TpvTvdvovy terebra, 4. 
 rpvir-qpLaraj columba- 
 rium, 4. 
 Tpvrdvr], tiutina. 
 Tvicus or "XO^j ascia, 2. 
 tiJAt7, culcita. 
 Tv/j.^avXr)s, siticen. 
 Tu/^j8oSj tumulus. 
 , bustum. 
 
 Tvfj.-navi(TT7\s, tympanista. 
 rvfxTravio'TpLa, tympani- 
 
 stria. 
 rvfXTvavov, tympanum. 
 TvuTraforpi^Tjs, tympa- 
 
 notriba. 
 Tvwos, forma. 
 Tvp6s, caseus. 
 rupa-is, turns. 
 
 vdxiuos, vitreus. I. 
 uaXoetS-hs, vitreuS, 3. 
 v5payooy€7opf aquseduc- 
 
 tus. 
 uSoaAeVijs, hydraletes. 
 vbpav\r]Sf hydraula. 
 vSpav\os, hydraulos. 
 vSpia, hydria. 
 vSpo<p6pos, aquarius. 
 vvvis, vomer. 
 virayKwi/iof, cubital. 
 vjratdpos, hypsethros. 
 virapxos, legatus, I. 
 viraros, consul. 
 vTravx^^ioy, cervical. 
 vir€pat, opiferse. 
 vTripQvpou, hyperthyrum. 
 virepov, pistillum. 
 vTrepoiov, coenaculum. 
 vTTTiP'hrTjSy barbatus. 
 ■ TrpwToc, bar- 
 
 batulus. 
 
 vTvSy^iov, hypogeum. 
 vTroypa<pevs, amanuensis. 
 V7r6d7ifj.a ko7Kou, calceus. 
 viroB7}fj.dTtou, calceolus. 
 vTr6(co/jLa, tormentum, 3. 
 viTO^(iilj.ara rpijjpcoyj mi- 
 
 tra, 3. 
 vTTo^wviov, succingulum. 
 viro^w(TTos, succinctus. 
 vTrodu/j,ias, corona, 13. 
 virdKavtriSi hypocausis. 
 uirdKava-ToVf hypocaus- 
 
 tum. 
 vTroKpiT-{js, hypocrita. 
 vir6uo/j.os, cloaca. 
 
 , cuniculus. 
 
 vTToiToBiov, scabellum, 2. 
 v-KOTpax'hXioVf hypotra- 
 
 chelium. 
 vTTovpisy postilena. 
 vpx^) orca. 
 va-nKfii^, see tinder Hip- 
 
 podromus, p. 337. 
 virads, pilum, 2. 
 iKpdvTTjs, textor. 
 vipi^aifos, alticinctus. 
 
 (paiKatriov, phsecasium. 
 (paiuoKti^, psenula. 
 <pdKe\os, fascis. 
 fpd\ay^, phalanga. 
 (pdXapat, phalarse. 
 (paKos, see under Gcilea., 8 
 <pav6s, fax. 
 
 , latema. 
 
 <paperpa^ pharetra. 
 ^apfxaKo-K<^Kt]^, pharma- 
 
 copola. 
 (papos, pallium. 
 <pdpos, pharos. 
 (fyda-TjKos, faselus, 
 (pdiTKaAos, or -wAos, pas- 
 
 ceolus. 
 (pdrvT^y patena. 
 {paTt-c^ua, lacunar, I. 
 (paTPwToSy laqueatus. 
 <l)€\\65, cortex. 
 (f>€p€rpou, feretrum. 
 ^€T(aA€ts, fetiales. 
 (pid\7}, patera. 
 
GREEK AND LATIN INDEX. 
 
 747 
 
 tptdxri, lacunar, I . 
 (piXipa, philyra. 
 (pilJi.6s, fritillus. 
 
 , fiscella, 2. 
 
 <poivi^, palma, 2. 
 ijioKls, squama. 
 tpopPeid, capistrum. 
 <j>opeia(p6poi, lecticarii. 
 (j)opG'iov, lectica. 
 KaTdcTTeyoVf sel- 
 la gestatoria. 
 (poprriyiSs, bajulus. 
 <!>p4ap, puteus. 
 ^pvyavoVf cremium. 
 ^VKOS, fucus. 
 ipviTa, foUis, 4. 
 (fiiiTKTj, botulus. 
 (pavaaK6s, phonascus. 
 
 X. 
 
 XaKiv6s, frenum. 
 
 , orese. 
 
 X'l'XKflov, ahenum. 
 
 , calcarium, 2. 
 
 XaA.KeTa, rd, ahenum, 2. 
 Xa\KtStK6v, Chalcidi- 
 
 cum. 
 Xa\Ko\oyos, seruscator. 
 Xaiiov\K6s, chamulcus. 
 XapaKTiip, character. 
 Xapdicana, vallum. 
 Xdpa.^, vallus. 
 XaplcTTia, Charistia. 
 xdpTTj^t charta. 
 Xe'/idSia, hibema. 
 X^tp^f^d^toUt chiramax- 
 
 ium. 
 X€tpiSa}T6s (sc. x*"^^^)' 
 
 chiridota. 
 Xeip^S) manica. 
 
 XfipifiaKTpov, mantele. 
 
 X^ipoixiXi], mola manu- 
 aria. 
 
 X^ip^vtiTTpov, raalluvium. 
 
 X^ipoyofiia, chironomia. 
 
 X^tpov6iios, chironomos. 
 
 X('povpy6s, chirurgus. 
 
 X6 p (TiSripa, manus fer- 
 rea. 
 
 XeAus, -co^T), testudo- 
 
 X^XtoyioVj chelonium. 
 
 X^pvi^oVj labnim, 4. 
 
 XV^'fl, chele. 
 
 X'Tfi'TKos, cheniscus. 
 
 Xfivo^oCK^^ov, chenobos- 
 cion. 
 
 X'XiapXO't tribuni mill- 
 tares. 
 
 xl/^a'pa, chimfera. 
 
 XiTav, tunica. 
 
 aii(bi/id<rxaXos, tu- 
 nica, I, 
 
 ■ kr^poudirxuKoSy tu- 
 nica, 2. 
 
 • KapircijTus, tunica, 
 
 6. 
 
 TToS'^prjSj tunica, 7 
 
 (rxKTTifr, tunica, 5. 
 
 XiTccyiov, tunicula. 
 
 XLToiviaicoSy tunicula. 
 
 X^o-'^ya.y Isena. 
 
 XAauuSoiTifs, chlamyda- 
 tus. 
 
 X^a/uuj, chlamys. 
 
 X\'Siiv, armilla. 
 
 X'"^V> modiolus, I. 
 
 xio-vos, forma, 2. 
 XOivint), modiolus, I 
 
 and 5. 
 XopaiXi)S, choraules 
 Xopeia, chorea. 
 X^p^vtytSj saltatio. 
 
 Xopi)yiov, choragium. 
 Xofynyi^i choragus, 2. 
 Xopos, chorus. 
 X^pros, chors. 
 XpvaifSeTa, chrysendeta. 
 X^'iTpa, chytra. 
 XvTp6TravSy chytropus. 
 X'^t^'^, agger. 
 X""'); infundibulum. 
 
 if/aAfj, forfex. 
 >j/oA.Ti^pioj', psalterium. 
 iiiKrpia, psaltria. 
 ^ixXiov, armilla. 
 ■^eviitr6SoiJ.ov, pseudiso- 
 
 domum. 
 i|/eu5o5(TrTfpos, pseud 
 
 dipteros. 
 <fievS66vpoi', pseudothy- 
 
 rum. 
 ipeuSoTTepiTTTepo J, pseudo- 
 
 peripteros. 
 ^i)(poK\4irTT)s, ^T)(ponaiK- 
 
 TTis, see under Aceta- 
 bulum, 2. 
 iprjipos, calculus. 
 tfiiadov, matta. 
 rj/tKoKL8apL(TTiis, psilo- 
 
 citharista. 
 'f/iXaidpov, psilothrum. 
 
 n. 
 
 ^SeTov, odeum. 
 wpEioVf horreum. 
 wpo\6yioVy horologium. 
 Q)T67X"^'J'» strigilis, 2. 
 dToy\v(pis, auriscalpium. 
 
CLASSED INDEX, 
 
 CONTAINING 
 
 LISTS OF ALL THE WORDS RELATING TO EACH PARTICULAR CLASS OF 
 SUBJECTS INTERSPERSED ALPHABETICALLY IN THE BODY OF THE WORK. 
 
 If the terms collected in this Index are referred to consecutively in the order here set out, 
 they will convey to the reader a comprehensive knowledge of everything pertaining to 
 any given subject, of all the terms extant which are used in connexion with its various 
 parts, and of the distinctions or affinities between such of them as are allied in sense, but 
 not actually synonymous. 
 
 The Attire. 
 
 Outward Apparel. Amictus, pal- 
 lium, toga, sinus i, umbo 2, lacinia 2, 
 contabulatio, ruga, togatus, cinctus 
 Gabinus, chlamys, chlamydatus, sa- 
 gum, sagochlamys, alicula, paluda- 
 mentum, abolla, tribon, exomis 2, 
 endromis i, lacerna, caracalla, nebris, 
 reno, pellitus, casula 2, cucuUus, bar- 
 docucuUus, birrus, tegillum, palla, 
 tunicopallium, peplum, diplois, cyclas, 
 Coa vestis, flammeiun, caliptra, rica, 
 ricinium, suffibulum, anabolium, cata- 
 clista, cento, centunculus, synthesis, 
 trechedipnum, — Under- Clothing. Tu- 
 nica, tunicatus, nudus, tunicula, 
 colobiura, chiridota, exomis i, expa- 
 pillatus, indusiatus, dalmaticatus, p£e- 
 nula, sarapis, stola, recta, interula, 
 subucula, indusium, intusium, sup- 
 parum 2, cingillum. — Decorative 
 Parts. Clavus latus, clavus angustus, 
 patagium, limbus, instita, paragauda, 
 plumte 2, scutula 4, segmentum, vir- 
 gatus, plagula 3. — Cinctures. Cas- 
 tula, encomboma, limus, liniger, 
 cinctus I, semicinctium, campestre, 
 ventrale, subligaculum, subligatus, 
 cingulum, succingulum, zona, cestus, 
 nodus 2, balteus i, cinctus, succinc- 
 tus, alticinctus, discinctus, incinctus, 
 cinctutus. — Coverings for the Head. 
 Petasus, pileum, pileatus, pileolus, 
 causia, obbatus, albogalerus, apex, of- 
 fendix, tutulus 2, galerus I, 2, cidaris, 
 tiara, mitra, redimiculum, mitella, 
 caliendrum, calantica, reticulum 2, 
 vesica, theristrum. — Head-hands. Co- 
 rona, corolla, coronarius, lemniscus, 
 diadema, infula, tsenia, vitta, nimbus 
 3, spira 2, torulus, frontale 2. — The 
 Throat. Focale. — Ar^ns and Hands. 
 
 Manica 4, digitale. — The Bust. 
 Fascia pectoralis, tsenia 4, mamil- 
 lare, strophium, capitium. — Legs. 
 Brac^, saraballa, feminalia, fascia 4, 5; 
 tibiale, udo, impilia. — Feet. Calceus, 
 calceolus, crepida, solea, soleatus, 
 soccus, sandalium, baxa, sculponese, 
 gallicEe, diabathrum, phscasium, ta- 
 laria, carbatin^, cothurnus, en- 
 dromis 3, muUeus, pero, peronatus, 
 zancha, amentum 2, obstragulum, ob- 
 strigillum, corrigia, ansa 3, ansula, 
 luna, clavus caligaris, clavEttus 2, 
 ligula 4, fulmenta. — The Hair and 
 Beard. Coma, csesaries, capillus,crinis, 
 comatus, intonsus, tonsus, acersecomes, 
 antiae, capronte, cincinnus, cirrus, no- 
 dus 3, corymbus, crobylus, tutulus I, 
 anulus 5, capillamentum, galerus 3, 
 gausapa 2, barbatus, barbatulus, ton- 
 sor, tonstrix. — Ornaments for the Per- 
 son. Anulus, signum 2, funda 4, 
 condalium, fibula, inauris, fenestra 4, 
 crotalium, elenchus, stalagmium, ar- 
 milla, dextrale, dextrocherium, tor- 
 quis brachialis, spinther, spathalium, 
 periscelis, monile, torquis, bulla 3, 4, 
 iDuUatus, buUula, catena 2, catella, 
 phaleras, corona longa. — Sticks and 
 Wands. Bacillum, baculus, sceptrum, 
 scipio, radius I, virga, vitis, vindicta, 
 lituus 2, pedum. 
 
 The Toilet, and Utensils of 
 Females. 
 Speculum i, fucus, sapo, calamister, 
 crinale, pecten i, discerniculum, acus 
 comatoria, volsella, dentifricium, den- 
 tiscalpium, dactyliotheca, py.xis, ala- 
 baster, unguentarium, diapasma, epi- 
 limma, flabellum, umbella, acus, 
 axicia, forfex, oolus, fusus, calathus, 
 quasillus. 
 
CLASSED INDEX. 
 
 749 
 
 The Nursery, and Sports of 
 Children. 
 Cunabula, vannus 3, cunaria, 
 fascia I, serperastrum, crepundia, 
 pupa, plaguncula, neurospaston, ma- 
 nia, ocellata, turbo, trochus, tabula 4, 
 oscillatio, ludus literarius. 
 
 The Meals. 
 Jentaculum, merenda, prandium, 
 coena, mensa prima, mensa secunda, 
 promulsis, gustatio, epidipnis, accubo, 
 accumbo, discubitus, lectus triclini- 
 aris, triclinium, biclinium, accubitum, 
 hexaclinon, sigma, stibadium, cilliba, 
 cilibantum, mantele, mappa i, suda- 
 rium, ferculum I, repositorium, gus- 
 tatorium, promulsidiare, focus 4, 
 comissatio, comissator, symposium, 
 convivium, repotia, magister 4, scurra, 
 guttumium, lebes I, pollubrum. — 
 Table Utensils. Acetabulum, echi- 
 nus I, salinum, incitega, cochlear, 
 ligula 2, fuscinula. — Plates and Dishes. 
 Catinum i, circulus 3, mazonomum 2, 
 lanx I, lanx quadrata, paropsis, patina, 
 patella, calix 2, alveus 4, discus 2, 
 fabatarium, boletar, pultarius, scutella, 
 scutra. — WineVessels. Acratophorum, 
 galeola, lepesta, crater, mistarius, co- 
 lum nivarium, saccus nivarius, gillo, 
 capis, epichysis, sinum, uter, cupa,tina. 
 — Drinking Cups. Poculum, calix, 
 cyathus, patera, scaphium, truUa 2, 
 calathus 3, carchesium I, cantharus, 
 scj^hus, cymbium, comu 4, rhytium, 
 obba, cissybium, batiola. — Viands. 
 Sumen, vulva, coagulum, epityrum, 
 garum, salgama, succidia, tucetum, 
 tyrotarichus, botulus, farcimen, in- 
 sicia, tomaculum, artolaganus, coUyra, 
 copta, coptoplacenta, placenta, crus- 
 tulum, crustum, libum, scriblita, tyro- 
 patina, savillum, copadia, cupedia, 
 dulcia, butyrum. — Attendants. Tri- 
 cliniarches, lectistemiator, prasgus- 
 tator, structor, scissor, carptor, pin- 
 cerna, pocillator. — The Kitchen and 
 Cooking Utensils. Culina, camarium, 
 clibanus, authepsa, ahenum i, Cor- 
 tina I, tripus, lebes 2, cacabus, chytra, 
 chytropus, cucuma, formella, apalare, 
 craticula, veru, varse 3, sartago, hir- 
 
 nea, infundibulum, oUa i, trua, rudi- 
 cula, orca, pila, mortarium, pilum, 
 pistillum. 
 
 The Houses. 
 
 Domus, vestibulum, prothyrum, 
 atrium, atriolum, cavsedium, imphi- 
 vium, compluvium, ala 2, tablinum, 
 faux, peristylium, triclinium 2, oecus, 
 coenaculum, cubiculum, doi-mitorium, 
 conclave, thalamus, exedra, pinaco- 
 theca, trichorum, diasta i, hiberna- 
 cula I, lararium, sacrarium 2, culina, 
 latrina, solarium 3, msenianum i, 
 pergula, hypogeum, cella 4, cellatio, 
 fornix 3, crypta, cryptoporticus, por- 
 ticus, chalcidicum, chors, hemicy- 
 clium, scal^ 3, zotheca 2, pseudo- 
 urbana, casa, casula i, tugurium, 
 magalia, attegia, andronitis, andron, 
 gynasceum, mesaulos, aula i, 2. 
 Ceilings. — Coelum, camara i, 2, con- 
 cameratio, hemisphasrium 2, testu- 
 do 2, lacunar i, laquear, lacus 8, — 
 Floorings. Pavimentum, lithostro- 
 tum, tessellatum, vermiculatum, 
 scalpturatum, sectile, abaculus, favus, 
 scutula 3, trigonum i, spica testacea, 
 tessera, tessella, testaceum, opto- 
 strotum, Alexandrinum opus, suspen- 
 sura. — Doors. Janua, ostium, foris, 
 biforis, quadriforis, valvae, super- 
 cilium, limen, postis, antopagmeutum, 
 corsae, replum, tympanum 8, impages, 
 scapus 3, 4, cardo, ginglymus, ansa 
 ostii, velum 4, hyp^trum, hyperthy- 
 rum, pseudothyrum, cochlea 3. — 
 Locks and Fastenings. Claustrum, 
 sera, clavis, clostellum, pessulus, 
 repagula, obex. — Windows. Fenestra, 
 fenestella, luminar, clathri. — Internal 
 Fittings. Abacus 5, intestinum opus, 
 pluteus 6, podium I. — Lights and 
 Lighting. Fax, taeda, candela, cereus, 
 funale, lampas, lucema, acus 4, ellych- 
 nium, candelabrum, scapus 5, super- 
 ficies 2, lychnus, lychnuchus. — Fires 
 and Fuel. Focus I, camimis 3, 4, 
 fumarium, hypocausis, vaporarium, 
 foculus 2, acapna, coctilia, cremium, 
 vara 3, follis 4, 5, parma 3, ratabulum, 
 batillum, truUa 4. — Ovens and Kilns. 
 Fumus, fomax, fomacula, fortax, 
 
75° 
 
 CLASSED INDEX. 
 
 lacuna, prsefurnium, propnigeum. — 
 The Garden. Hortus, viridarium, 
 gestatio, hippodromus I, xystus 2, 
 pulvinus 4, specularia, casa 3, per- 
 gula 6, trichila, topiarius, viridarius, 
 hortulanus, olitor. 
 
 Domestic Furniture and 
 Utensils. 
 
 Chairs. Cathedra, solium, thronus, 
 ancon 4, bisellium, scimpodium. — 
 Slools and Settles. Sella, sellaria, 
 sedecula, tripus 2, 3, seliquastrum. 
 — Forms attd Benches. Subsellium, 
 [ scamnum 3, sedile, anabathrum, 
 transtra, suggestum. — Footstools. 
 Scabellum 2, scamnum 2, suppeda- 
 j neum. — Tables. Mensa, monopo- 
 dium, cilibantum, ciUiba, delphica, 
 cartibulum, abacus 4, urnarium, 
 anclabris, trapezophorum, vara 2, 
 vibia. — - Closets. Armarium, sedi- 
 cula, muscarium, pegma 2, forulus, 
 loculamentum. — Chests and Boxes. 
 Theca, area i, capsa, capsella, capsula, 
 scrinium, riscus, pyxis, arcula i, 
 loculus, 4, alveus i. — Beds and 
 t Couches. Lectus, sponda, pluteus 3, 4, 
 
 I anaclinterium, instita 3, fascia 6, cli- 
 ! nopus, pulvinar 2, lectulus, grabatus, 
 lectus tricliniaris, triclinium, bicli- 
 nium, accubitum, sigma, stibadium, 
 I hexaclinon, culcita, torulus 2, pulvi- 
 nar I, pulvinus I, cervical, cubital, 
 foUis 2, instragulum, toral, lodix', ac- 
 cubitalia, aulaaa 2, peristroma, stra- 
 gulum I, stroma, tapes, conopeum, 
 gradus I, scamnum I, scabellum i. — • 
 Scales and Weights. Trutina, libra, 
 statera, jugum 3, scapus 6, librile, 
 punctum 3, exameu, agina, ansa 4, 
 lanx 3, lancula, sequipondium, pon- 
 dus I, orbiculus 3. — Baskets. Cala- 
 thus, qualus, quasillus, canistrum, ca- 
 nura, sporta, sportella, sportula, cista, 
 corbis. cophinus, fiscina, flscella, fis- 
 cus, scirpea, scirpicula, nassa, vannus, 
 vidulus, panarium. — Miscellaneous. 
 Malluvia, matula, pelluvia, pelvis, 
 ampulla, arundo 8, muscarium i, pe- 
 niculus 2, scopse, scopula, cavea 2, 
 crates, mulctra, hama, cos, cumera, 
 alveare. — Dials and Time-Pieces. 
 
 Horologium, horarium, solarium i, 2, 
 sciotliericon, clepsydra, hemicyclium 
 2, hemisphajrium, scaphium 2, dis- 
 cus 3, arachne, lacunar 2, plinthium, 
 pelecinon, conus 2, pharetra 2, gno- 
 mon, linea 5. 
 
 Inns and Public-Houses. 
 
 Hospitium, stabulum, tabema 3. 
 caupona, popina, thermopolium, ceno- 
 polium, ganea, lupanar, deversorium, 
 mansiones, mutationes. 
 
 The Water Service. 
 
 Aqueducts. Aquaeductus, castel- 
 lum 3, 4, 5, dividiculum, piscina li- 
 maria, coUuviarium, specus, puteus 3, 
 forma 6, circitores i, libratores 1, me- 
 titores, fistula i, plumbum i, epi- 
 stomium, assis2, calix3. — Pimipsand 
 
 Water-wheels. Antlia, girgillus, tol- 
 leno, cochlea 3, rota aquaria, haus- 
 trum, modiolus 2, pinna 3, tympa- 
 num 6, Ctesibica machina, sipho 3, 
 embolus, fundulus, modiolus 4. — 
 
 Wells^ Cisterns, and Fountains. Pu- 
 teus I, puteal I, immissarium, euri- 
 pus, lacus 2, saliens. — Water-courses. 
 Emissarium, cataracta 2, aquagium, 
 canalis i, 2, collicije 2, imbrex su- 
 pinus. — Sewers, Cloaca, cloacula, 
 cloacarium. 
 
 Roads and Streets. 
 
 Via, compitum, bivium, trivium, 
 quadrivium, semita, platea, trames, 
 angiportus, fundula, vicus, pagus, ag- 
 ger vice, crepido, umbo 3, gomphus, 
 area i, milliarium. 
 
 Riding, Driving, and Transport. 
 
 The Horse. Equus, capronas 2, 
 cirrus 3, 4, admissarius, canterius I, 
 desultorius, celes, asturco, veredus, 
 venator 3, sellaris, agminalis, dossua- 
 rius, clitellarius, sagmarius, sarcinalis, 
 tintinnabulatus, character. — The 
 Rider. Eques I, desultor, infrenatus, 
 calcar. — Saddles and Trappings. 
 Ephippium, sella equestris, scalie 4, 
 stapes, sella bajulatoria, cingula, anti- 
 lena, postilena, sagma.clitells, cento 2, 
 sagum 2, scordiscum, stragulum, tapes, 
 
CLASSED INDEX. 
 
 751 
 
 tegumentum, dorsualia.^5/ft-, Bridle, 
 Reins, and Harness. Orese, lupatum, 
 murex 2, postomis, frenum, habena I, 
 
 2, retinaculum 3, capistrum 1, jugum 
 
 1, cohum, statera 3, copula 2, torquis 
 
 3, funalis equus, jugalis equus, solea 
 spartea, solea ferrea. — Ornaments. 
 Frontale l, monile 3, balteus 4, pha- 
 lerse, phaleratus. — The Stable. Equi- 
 le, patena, loculus 3. — Grooms and 
 Drivers. Agaso, equiso, agitator, au- 
 riga, mulio. — Carriages. Birotus, 
 currus, biga, quadriga, decemjugis, 
 cisium, esseda, carpentum, pilentum, 
 tensa, arcera, benna, carruca, petori- 
 tum, rheda, harmamaxa, covinus, 
 chiramaxium. — Carts. Plaustrum, 
 vehela, plostellum, sarracum, arcuma, 
 carrus, epirrhedium, plaustrum majus, 
 clabulare, chamulcus, vehes, vehicu- 
 lura. — Component Parts. Capsus, 
 ploxemum, axis I, arbusculse, temo, 
 furca 4, amites I, rota, tympanum 3, 
 canthus, modiolus I, radius 3, suffla- 
 men. — Palanquins and Sedans. Lec- 
 tica, plagula 2, sella gestatoria, octo- 
 phoron, lecticarii, asser i, struppus 2, 
 succollatus, bastema. — Whips and 
 Goads. Scutica, flagellum 2, verber, 
 virga I, ferula, stimulus, agolura. 
 
 The Race-course and Races. 
 
 Circus, oppidum, career 2, linea 
 alba, calx, meta l, intermelium, spina, 
 delphlnorum, columnte, ovum, auriga 
 
 2, prasinus, prasiniani, russatus, alba- 
 tus, fascia 4, curriculum, biga, quad- 
 riga, quadrigarius, mappa 2, bra- 
 beum, palma 3, desultor, celes, celeti- 
 zontes, tensa, porta pompse, pulvinar 
 
 3, fala 2, hippodromus 2. 
 
 The Baths. 
 
 BalneJE, balneum, apodyterium, 
 baptisterium, natatio, piscina 2, tepi- 
 darium, frigidarium, caldarium, suda- 
 tio, alveus 5, solium 5, lavacrum, 
 laconicum, clipeus 5, labrum i, scho- 
 la 2, cella J, hypocausis, suspensura, 
 prsefurnium, propnigeum, ahenum, 
 miliarium, elEeothesium, unctorium, 
 lavatio, strigilis, ampulla olearia, gut- 
 tus, aliptes 2, jes thermarum, sella 
 
 balnearis, fomacarius, capsarius 2, 
 balneator, balneatrix, thermae. 
 
 The Gymnasium and Palestra. 
 
 Gymnasium, ephebeum, coniste- 
 rium, coryca:um, sphaeristerium, xys- 
 tus, athletae, quinquertium, discobolus, 
 discus I, pugil, caestus, lucta, luctator 
 scamma, pancratium, pancratias, cit- 
 rus 2, coliphium, ceroma, haphe, hal- 
 teres, endromis I, gymnasiarchus, 
 palaestrita, palaestricus, palaestra, sta- 
 dium, stadiodromus. 
 
 The Amphitheatre. 
 
 The Building and its Component 
 Parts. Amphitheatrum, arena, ca- 
 vea 3, podium 2, maenianum 2, pras- 
 cinctio, balteus 8, vomitoria, cuneus 
 3, gradus 3, linea 7, porticus 2. — 
 Gladiators. Gladiatores, lanista, re 
 tiarius, fuscina 2, jaculum 3, laquea- 
 tores, secutores, mirmillones, samnites, 
 thrax, parmularius, parma threicida, 
 hoplomachus, eques 10, cruppellarius. 
 bestiarius, arenarius I, provocatores. 
 catervarii, ordinarii 2, dimachaeri, me 
 ridionarii, postulaticii, suppostitii, an 
 dabatie, pegmares, rudiarius, rudis 2, 
 gladiatorium, munerarius, spoliarium, 
 venatio 2, velarium, malus 2, spar 
 siones. 
 
 The Theatre. 
 
 The Building, and Spectators' Seats. 
 — Theatrum, maenianum 2, cuneus 3, 
 gradus 3, praecinctio, vomitoria, or- 
 chestra, thymele, tribunal, tessera 
 theatralis, designator I, locarius. — 
 772^ Stage and Scenes. Scena, aula 
 regia, aulasa 3, siparium, pulpitum, 
 proscenium, postscenium, pegma i, 
 exostra. — The Chorus. Chorus 2, 
 choraules, choragus, choragium. — 
 Actors, Mimics,Dancers,and Dancing. 
 Histrio, hypocrita, cothurnatus, ex- 
 calceatus, mimus, pantomimus, chi- 
 ronomos, chironomia, persona, per- 
 sonatus, superficies I, manduchus, 
 planipes, sannio, ludius, India, embo- 
 liaria, saltatio, pyrrhicha, chorea, 
 cordax, sicinnium, sicinnista, saltator, 
 saltatrix, cinEcdus, catadromus, or- 
 chestopolarius. 
 
752 
 
 CLASSED INDEX. 
 
 Music. 
 Stringed Instruments. — Fides, ci- 
 thara, testudo I, chelys, lyra, cornu 
 7, stamen 3, plectram, pecten 6, pul- 
 sabulum, barbitos, psalterium, trigo- 
 num 2, harpa, sambuca, tetrachordon, 
 nablia, pandura. — Wind Instruments. 
 Bucina, concha 2, tuba, lituus I, cor- 
 nu 6, tibia, ligula i, monaulos. fistula, 
 calamus, arundo, syrinx, hydraulus. 
 — Instruments which are clashed or 
 beaten. Cymbalum, crotalum, crus- 
 mata, scabellum 3, crepitaculum, sis- 
 trum, tintinnabulum, tympanum I, 2, 
 symphonia. — Musicia7ts. Fidicen, 
 fidicina, citharista, cltharistria, psilo- 
 citharista, citharceda, lyristes, psaltria, 
 sambucina, bucinator, cornicen, liti- 
 cen, tubicen, siticen, teneator, classic! 
 2, tibicen, capistrum 5, tibicina, fistu- 
 lator, cicuticen, spondaules, ascaules, 
 utricularius, cymbalista, cymbalistria, 
 crotalistria, sistratus, tympanista, tym- 
 panistria, tympanotriba, choraules, 
 pithaula, corocitharista, mesochorus, 
 prfecentor, phonascus, symphoniaci, 
 aulcedus, ambubai^, sabulo, cano, 
 odeum. 
 
 Games and Sports. 
 
 Of Chance. Talus, tessera, fritillus, 
 turricula, abacus 2, alveus lusorius, 
 tabula 2, 3, mandra, latro 2, calculus, 
 jactus, canis, venus, basilicus, vultu- 
 rius, seniones, punctum, astragali- 
 zontes, tabula 4, micatio, navia aut 
 capita, cottabus. — cy Ball. FoUis 
 I, harpastum, paganica, pila, trigon, 
 pilicrepus, datatim ludere, dator, 
 factor, sphseromachia. — Feats of 
 Strength or Dexterity. Cemuus, cir- 
 culator, pilarius, funambulus, neuro- 
 bata, grallae, grallator, desultor, pr«- 
 stigiator, acetabulum 2, mansuetarius, 
 oscillatio, uter unctus, contomonobo- 
 lon, monobolon, petaurum, petauris- 
 13..— Hunting. Venatio 1, venator, 
 venatrix, copula i, lorum 2, millus, 
 melium, pedica dentata, venabulum, 
 pedum, plaga, rete, cassis, epidromus, 
 vara \.— Fowling. Auceps, amites 3, 
 anindo 4, cavea 2, illix, formido, In- 
 dago, pedica, transenna. — Fishing. 
 
 Hamiota, arundo 3, linea I, hamus, 
 piscator, funda, jaculum, everriculum, 
 sagena, limbus 4, nassa, cortex. 
 
 Marriage. 
 Matrimonium, nuptise, confarreatio, 
 coemptio, sponsa, nupta, pronuba, 
 flammeum, mustaceum, cumemm, 
 epithalamium, lectus genialis, lectus 
 adversus, concubina, pellex. 
 
 Funeral Rites and Burial. 
 
 Exsequia;, funus, decursio, conse- 
 cratio, apotheosis, sepultura, humatio, 
 tumulatus, capulus 3, feretrum i, area 
 3, sandapila, pyra, rogus, ara sepulcri, 
 bustum, ustrinum, area 3, forum I, 
 silicernium, libitinarius, pollinctor, 
 designator 2, praeficce, vespillones, 
 ustor, bustuarii. — Sepulchres. Tu- 
 mulus, sepulcrum, monumentum 2, 
 mausoleum, conditorium I, hypo- 
 geum, heroum, subgi-undarium, pyra- 
 mis, polyandrion, cepotaphium, ceno- 
 taphium, puticuli, cippus 2, stele, 
 mensa 14, cinerarium, oUarium, co- 
 lumbaria 3, oUa ossuaria, urna ossu- 
 aria, ossuarium, area 2,, 3, arcula 2, 
 loculus I, conditorium 2, sarcophagus, 
 solium 5- 
 
 The Prison, and Instruments of 
 Punishment. 
 
 Career, camificina, robur, ergastu- 
 lum, lautumia, camifex, ergastularius, 
 catena, catenatus, alligatus, compedi- 
 tus, catulus, coUare i, boi^, manica 5, 
 stigma, literatus 2, cruciarius, cruci- 
 fixus, patibulatus, crux, equuleus, 
 furca 5, 6, columbar, patibulum, ner- 
 vus 4, numella, cratis 3, catasta 3, 
 laqueus, lorum 6, lorarius, flagellum, 
 flagram, plumbum 3, fasces, securis 3, 
 uncus I, fustuarium. 
 
 Trades and Industrial Occu- 
 pations. 
 Taberna, of&cina, fabrica, tabema- 
 rius, institor, sellularii, cerdo, faber, 
 fabrilia. — Carpentry and Tools for 
 ■working in Wood. Materiarius, intes- 
 tinarius, intestinum opus, vara 2, 
 martiolus, malleus I, scalprum I, cla- 
 vus, serra, serrula, prista, serrarius, 
 
CLASSED INDEX. 
 
 753 
 
 ascia i, ascio i, dolatus, edolatus, 
 scobina, runcina, terebra I, perforacu- 
 lum, furfuraculum, norma, ancon I, re- 
 gula, linea 3, libella, circinus. — Black- 
 smiths. Ferrarius, caminus 2, incus, 
 malleus 3, marcus, marculus, lima, 
 forceps I, rutabulum, lacus 6, foUis 
 fabrilis. — Stone-masojis and Builders. 
 Lapicida, lapidarius, acisculus, ascia 
 2, 3, securis 5, perpendiculum, norma, 
 regula, linea 3, libella, amussis, scal- 
 prum I, circinus, fistuca, pavicula, 
 albarium opus, albarius, truUissatio, 
 dealbatus, trulla 5, fidelia. — Pottery 
 and Brickmaking. Fictile, figulus, 
 rota figularis, fomax I, lateraria, later, 
 lalerculus, tegula, imbrex. — Shoe- 
 makers and Leather-workers. Sutor, 
 calceolarius, caligarius, crepidarius, 
 solearius, diabathrarius, forma 5> ten- 
 tipellium, subula, scalprum 2, fistula 
 5, coriarius, ampullarius. — Provision 
 Dealers. Porcinarius, lanius, malleus 
 2, culter I, 2, mensa 9, 10, carnarium, 
 furca 2, macellarius, macellum, cupe- 
 dinarius, setarii, cybiarius, cybiosac- 
 tes, salinator, salsamentarius, salsa- 
 mentum, salgama, salgamarius, botu- 
 larius. — Bakei's and Bread-fnaking, 
 Coquus, pistor, fumarius, mola manu- 
 aria, mola asinaria, mola aquaria, mo- 
 lile, pistrinum, furnus, clibanus, ar- 
 topta, fistula farraria, cribrum, incemi- 
 culum, panis, artopticius, clibanicius, 
 fumaceus, testuaceum, autopyros, 
 mamphula, bucellatum. — Pastrycooks 
 and Confectioners. Dulciarius, lactu- 
 carius, crustularius, scriblitarius. 
 
 Manufacture of Oil and Wine. 
 
 Vindemia, linter 2, trapetum, cupa 
 2, miliarium 2, mortarium, orbis 2, 3, 
 factorium, tudicula, torcular, prelum, 
 torcularium, vinarium, calcatorium, 
 cortinale, lacus 3, 4, lacusculus, fis- 
 cina, regula 2, saccus vinarius, cal- 
 cator, vectiarius, capulator, labrum 3, 
 colum I, apotheca 2, cella i, 2, 3, 
 horreum 2, culeus, lura, uter, cupa, 
 gemellar, dolium, calpar, amphora, 
 diota, cadus, lagena, seria, pittacium, 
 circumcidaneus, pes vinaceorum, mus- 
 tum, defrutum, carenum. 
 
 Spinning, Weavixg, Fulling, and 
 Dealers in Cloth. 
 Spinning. Neo, colus, fusus, verti- 
 cillus, hamus 2, stamen, calathus, 
 qualus, glomus. — Weaving. Lanifica, 
 lanipendia, quasillariae, linteo, textor, 
 textrix, tela, jugum 4, insile, insu- 
 bulum, scapus 8, stamen 2, subtemen, 
 trama, pondus 2, arundo 7, licium, 
 liciamentum, liciatorium, alveolus, ra- 
 dius 5, spatha 1, pecten 2, 3, panucel- 
 lium, lanipendium, textrinum, pen- 
 sum. — Fulling. FuUonica, fullo, ful- 
 lonius, cavea 5, pressorium. — Cloth- 
 workers and Clothiers. Centonarii, 
 lintearius, sarcinator, sarcinatrix, sar- 
 tor, sartrix, psenularius, bracarius, 
 manulearius, limbularius, patagiarius, 
 plumarius, phrygio. — Different Fa- 
 brics. Sindon, gausapa, Isena, molo- 
 china, cilicium, amphimallum, amphi- 
 tapus, lodix, bilix, trilix, multicius, 
 polymitus, coactilis. 
 
 Books and Writing Materials. 
 Bibliopola, libellio, volumen, frons, 
 scapus 7, umbilicus I, comu 10, index 
 I, membranula, liber, libellus, pagina, 
 philyra, scheda, plagula 4, manuale, 
 membrana 2, glutinator, librarii, ama^ 
 nuensis, anagnostes, bibliotheca, ar. 
 marium 2, loculamentum, forulus, 
 capsa, scrinium, librarium. — liienio- 
 randu77i Books, dr=(r. Adversaria, co 
 dex 2, codicillus, epliemeris, fasti, 
 calendarium. — Paper and Writing 
 Materials. Charta, macrocolum, mem 
 brana I, opisthographus, palimpsestus, 
 atramentarium, calamarius, arundo 5, 
 fistula 3, calamus 5, fissipes, penna 2, 
 plumbum 4, scalpnim 4. — Tablets. 
 Cera 2, diptycha, polyptycha, pugil 
 lares, tabella I, tabula 5, stilus I, 
 graphium, epistola. 
 
 Medicine and Surgery. 
 Medicus, clinicus, aliptes, iatra- 
 liptes, mulomedicus, veterinarius, ocu- 
 larius, tractator, tractatrix, medica- 
 mentarii, seplasiarius. — Surgical Im- 
 plements, (s^c. Auriscalpium, catheter, 
 cauter i, clyster, forceps 2, 3, 4, vol- 
 sella 2, 3, 4, terebra 4, modiolus 3, 
 dentarpaga, dentiducum, corvus 2, 
 3B 
 
754 
 
 CLASSED INDEX. 
 
 cotula, cucuUus i, pastillus, coUyrium, 
 tiimnda 3, pittacium 2, splenium. 
 
 The Coinage. 
 Roman. As, semissis, quincunx, 
 triens, quadrans, sextans, uncia, de- 
 cussis, deunx, dextans, dodrans, bes, 
 septunx, denarius, quinarius, sester- 
 tius, liiiella 2, sembella, teruncius, 
 bigatus, quadrigatus, victoriatus : au- 
 reus, denarius 2, scripulum. — Greek. 
 Drachma, didrachma, tetradrachma, 
 triobolus, obolus, semiobolus, di- 
 chalcon. — Foreign. Cistophorus 2, 
 Darius. — Bankers, 6^0. Argentarius, 
 mensularii, mensa 11, I2, moneta, 
 forma 2. — Purses and Bags. Cru- 
 mena, funda 3, marsupium, sacculus, 
 saccus I, 2, bulga, pera, ascopera, 
 hippopera, averta, bisaccium, mantica, 
 follis 3, melina, pasceolus, reticulum 1. 
 
 Agriculture. 
 The Plough. Aratrum, bura, stiva, 
 manicula, vomer, dens 4, dentale, cul- 
 ter 7, aures, arator. — Reaping. Falx 
 stramerrtaria, falx denticulata, pecten 
 5, merga, vallus 3. — Threshing and 
 Winnowing. Pertica, tritura, tri- 
 bulum 3, traha, plostellum Punicum. 
 pala lignea, vannus, ventilabrum, ca- 
 pisterium. — Agricultural Implements. 
 Pala, bipalium, vanga, rutrum, rallum, 
 ciconia, ligo, sarculum, ascia 4, 
 bidens, marra, raster, runco, ca- 
 preolus, irpex, rastellus, pecten 4, 
 furca I, cylindrus, falx, falcastrum, 
 dolabella, dolabra, securis 5, pastinum. 
 — Agricultural Labourers. Arator, 
 messor, fceniseca, fossor, occator, 
 runcator, sarritor, pastinator, jugarius, 
 bubulcus, bubsequa, opilio, pedum, 
 caprarius, caprimulgus, mulctra, ar- 
 mentarius, saltuarius, villicus, pastor, 
 porcarius, porculator, suarius, asina- 
 rius, aviarius, fartor, ergastularius, 
 bajulus, phalangarii, tetraphori, furca 
 5, jugum 2, vectis 4, phalanga I. 
 
 Domestic Slaves. 
 
 Ordinarii, vulgares, mediastini, vi- 
 
 carius, insularii, janitor, ostiarius, 
 
 janitrix, silentiarius, atriensis, cubi- 
 
 cularius, scoparius, coquus, focarius, 
 
 arcarii 2, dispensator, promus, cella- 
 rius, pra;gustator, lectistemiator, 
 structor, carptor, scissor, pincema, 
 pocillator, cenophorus, nomenclator, 
 anteambulo, pedisequi, psedagogus, 
 psdagogiani, capsarius, salutigeruli, 
 lecticarii, latemarius, bastemarius, 
 numida, cistellatrix, vestisplica, ves- 
 tispica, cosmeta, cosmetria, omatrix, 
 cinerarius, flabellifer, sandaligerulaa, 
 coprea, fatui, moriones, nani, catasta, 
 mango. 
 
 Religion. 
 Places of Worship. Templum, 
 sacellum, fanum, delubrum, adytum, 
 cella 7, sedicula i, ala 3, pronaus, 
 opisthodomus, sacrarium, donarium, 
 lararium, pulvinarium, favissse, argei, 
 bidental, puteal 2. — Dei'otional Acts 
 and Ceremonies. Precatio, supplicatio, 
 adoratio, adulatio, aspersio, extispi- 
 cium, ignispicium, lectisternium, sel- 
 listemium, suovetaurilia, lustrum, 
 tripudium. — Implements of Worship 
 and Sacrifice. Ara, altare, foculus I, 
 acerra, turibulum, focus turicremis, 
 catinum 3, hostia, victima, immolatus, 
 anclabris, mensa sacra, pulvinar 2, 
 libum, popanum, cista 5, labrum 4, 
 cavea 3, malleus 2, dolabra pontifi- 
 calis, securis dolabrata, sacena, se- 
 cespita, clunabulum 2, capedo, capis, 
 guttus, patera, simpulum, simpuvium, 
 lituus, infula, infulatus, tsenia i, vitta 
 2, 3, serta, tripus 3, cortina 2, thyrsus, 
 thyrsiger, sistrum. — Priests. Sacer- 
 dos, pontifex, augur, flamen, fiaminica, 
 extispex, haruspex, haruspica, ves- 
 tales, salii, augustales, epulones, curio, 
 liniger, sistratus. — Ministers and At- 
 tendants. Camillus, popa, cultrarius, 
 victimarii, canephora, cistophorus, 
 spondaules, puUarius, sedituus, neo- 
 corus, mystica, prsecia, calator. — 
 Spiritital and Imaginary Beings. Aga- 
 thodsemon, genius, dfemon, junones, 
 lares, larvte, lemures, penates, manes, 
 umbrs, sceletus, lamise, versipellis. 
 
 The Army. 
 Troops. Hastati, principes, ante- 
 pilani, pUani, triarii, antesignani, 
 postsignani, legionarii, gregarii, ve- 
 
CLASSED INDEX. 
 
 755 
 
 lites, ferentarii, rorarii, accensi, velati, 
 funditores, sagittarii, arquites, jacula- 
 tores, tragularii, contarii, cunicularii, 
 emeriti, evocati, optiones, alarii, pra;- 
 toriani, scutarii, conterbunales, circi- 
 tores 2, coactores 2, conquisitores, 
 metatores, mensores 2, excubitores, 
 vigiles, speculatores, impeditus, expe- 
 ditus, mull Mariani, accinctus, dis- 
 cinctus 3, murcus, stigma 2, tessera 
 militaris, tesserarius, celeres, equites, 
 Mppotoxotas, cataphracti, clibanarii, 
 dimachse, agminalis. — Officers. Prre- 
 tor 2, legati, tribmii inilitares, prse- 
 fecti, centurio, subcenturio, primi- 
 pilus, primipilaris, decanus, corni- 
 cularius, decurio I, campidoctor. — 
 Servants and Camp-followers. Strator, 
 calones, clavator, apparitores 2, lixae. 
 — ■ The Corps d'Armee. Legio, cohors, 
 turma, ala 4, 5, manipulus 3, vexil- 
 latio, forfex 3, cuneus 5- — Military 
 Rewards, Badges, &=f. Corona, lem- 
 niscus, phalers, phaleratus, torquis, 
 torquatus, corniculum, vitis i, dona- 
 tivum, diarium, allocutio, campicursio, 
 decursio, tropeeum, triumphus. — 
 Standards and Ensigns. Signum 5> 
 signifer, aquila I, aquilifer, manipulus 
 2, draco, draconarius, imaginarii, vex- 
 illum, vexillarii, flammula, labarum; 
 supparum 2. — The Camp and Tents. 
 Castra, agger i, 2, porticus 3, vallum, 
 vallus, principia, prsetorium, taber- 
 naculum, tentorium,' papilio, contu- 
 bemium, hibernacula, hiberna. — 
 Fortification. Arx, castellum 1, 2, 
 mums, turris, loricula, pinna 2, porta, 
 fenestra 3, fornix 4, cataracta 3, eri- 
 cius, carrago, concEedes, cervi, specula, 
 excubitorium. — Machines and En- 
 gines of War. Tormentum I, ballista, 
 arcuballista, manuballista, scorpio, 
 carroballista, catapulta, catapultarius, 
 capitulum 7, chele, epitoxis, modi- 
 olus 3, manulea3, mensa 15, onager, 
 fundibalus, aries, lupus ferreus, asser 
 2, 3, falx muralis, harpago, manus 
 ferrea, corax, corvus, testudo, 3, 4, 
 vinea, musculus I, fala i, helepolis, 
 pluteus I, 2, pons 7, sambuca 2. — 
 Defensive Armour. Cassis, galea, 
 apex 2, conus I, crista, buccula, 
 
 projectura, cudo, galenas I, thorax I, 
 lorica, pectorale, cingulum 4, zona 3, 
 cataphracta, aegis, brachiale, manica 
 
 2, 3, cffistus, ocrea, ocreatus, fascia 4. 
 ■Shields. Clipeus, clipeatus, scu- 
 tum, scutatus, parma, parmatus, pelta, 
 peltasta, peltata, cetra, ancile, umbo 
 I. — Spears and Missiles. Ilasta, 
 curis, cuspis, spiculum, hastile, veru 2, 
 veruculum, venitum, lancea, contus 3, 
 sarissa, sicilis, venabulum, mora I, 
 sibina, framea, materis, rhomphsa, 
 pilum 2, runa, sparum, rumex, ja- 
 culum 1, soliferreum, amentum, no- 
 dus 5, amento, mesanculon, ansatus, 
 aclis, cateja, trifax, falarica, malleolus, 
 tragula i, g^sum, pr^pilatus. — 
 Bows, Slings, <&=(■. Arcus I, 2, 3, 
 arundo i, comu 8, sagitta, arundo 2, 
 corytus, pharetra, pharetratus, funda I, 
 cestrosphendone, fustibalus, glans, 
 plumbum 2, tribulus, murex ferreus. 
 — Swords. Ensis, gladius, capulus, 
 mora 2, mucro, vagina, balteus i, 
 cinctorium, spatha, semispatha, ligula 
 
 3, parazonium, harpe, falx 6, copis, 
 machsera, cluden. — Knives. Culter, 
 cultellus, sica, macliKrium, scalprum, 
 novacula. — Daggers. Pugio, pu- 
 giunculus, clunabulum i, acinaces. 
 — Other ]Veap07is. Clava 3, 4, cla- 
 viger I, phalanga 4, fuscina, bipennis, 
 securis. 
 
 The Marine. 
 
 Ships and Boats. Navigium, navl- 
 giolurn, navis oneraria, longa, turrita, 
 aperta, tecta, actuarius, actuariolum, 
 epicopus, moneris, biremis, dicrotus, 
 triremis, quadriremis, quinqueremis, 
 hexeris,hepteris, decemremis, libuma, 
 celes 2, celox, cercurus, hemiolia, 
 acatium, camara 3, musculus 2, 
 myoparo, corbita, cybcea, gaulus 2, 
 scapha, cymba, lembus, caupulus, 
 carabus, linter, monoxylus, alveus 2, 
 barca, ponto, ratis, faselus, baris, 
 thalamegus, caudicarius, caudicius, 
 biprorus, catascopium, dromo, pro- 
 sumia, rataria, stlata, hippagines. — 
 Parts and Ornaments of Vessels. 
 Carina, sentina, alveus, 3, cavemae, 
 constratum navis, stega, fori i, prora, 
 
7S6 
 
 CLASSED INDEX. 
 
 puppis, diaeta 2, rostrum I, pro- 
 pugiiaculum, turris 4, aplustre, che- 
 miscus, insigne 2, tiitela, parada, cu- 
 neus 2. — The Rigging. M.-.lus I, 
 modius 2, carchesium 2, 3, antenna, 
 cornu 9, anquina, ceruchi, chala- 
 torius funis, opiferje, pes veli, propes, 
 rudens, velum, dolon 3, ejjidromus 
 2, supparum I, artemon, acatium 
 2. — Ship's Gear. Ancora, dens i, 
 ancorale, ora, retinaculum, remulcum, 
 mitra3, tormentum3, catapirates, con- 
 tus 2, tonsilla, scate 2, pons 5, guber- 
 naculum, ansa 5, claYus 6, pinna I. 
 — Oarage and Sowers. Remus, tonsa, 
 palma i, palmula, foUiculare, scalmus, 
 struppus, interscalmium, columbaria 
 4, remigium, remex, ordo, transtrum2, 
 sedile, jugum 7, hortator, pausarius, 
 portisculus, celeusma, agea, contus i. 
 — Officers and Crew. Navarchus, 
 magister 2, gubemator, proreta, pro- 
 reus, classiarii, epibats, emporos, 
 nauclerus, navicularius, urinator. — 
 The Port, &=c. Portus, emporium, 
 naumachia, navale, casteria, pharos. 
 
 The Fine Arts. 
 
 Tainting. Pictor, rhyparographus, 
 monocromata, ichnographia, ortho- 
 graphia, incisura, catagrapha, pictura, 
 tabula 6, tabella 2, topia, xenia, en- 
 caustica, canteriolus, arcula i, peni- 
 cillum, peniculus. — Mosaic. IVtusi- 
 varius, musivum, vermiculatus, tessel- 
 latus, sectilis, emblema i, tessella, 
 abaculus. — Sculpture, &^c. Scalptor, 
 sculptor, fictor, figulus, plastes, gypso- 
 plastes, cestrum, scalpmm i, tomus, 
 forma i, proplasma, thorax 2, signum i, 
 statua, sigillum, sigillatus, crustfe, em- 
 blema 2 , encarpa, .anaglypta, ectypus, 
 prostypum, protypum, diatreta, to- 
 reuma, murrhina, vitrea, Eeruca, 
 serugo, eborarius, crustarius, ocularius. 
 ■^Architecture. Saxum quadratum, 
 
 silex, CKmentura, cjementicius,, dia- 
 micton, emplecton, fartura, ortho- 
 stata, isodomum, pseudisodomum, 
 paries, structura, maceria. — Tim- 
 ber-work and Roof. iVIateriatio, ma- 
 teriatus, trabs, tignum, intertignium, 
 columbarium 5, opa, columen, capre- 
 olus, canterii, columna 7, templa 5, 
 asseres, transtrum i, scandula, tegida, 
 imbrex, imbricatus, pavonaceum, 
 coUicia^. — The Pediment. Fastigium, 
 aquila 2, tympanum 7, acroteria, 
 corona 15, denticulus, mutulus, zo- 
 phorus, triglyphus, canaliculus 2, 
 femur, guttae, metopa, teenia 6, epi- 
 stylium. — The Colnmn. Columna, 
 scapus I, hypotrachelium, stria, co- 
 luria, capitulum, abacus 6, echinus 2, 
 astragalus 2, voluta, canalis 5, balteus 
 7, pulvinus 2, helix, cauliculi, anulus 6, 
 spira, torus 3, scotia, plinthus, quadra 
 2, caryatides, atlantes, telamones, pa- 
 rastas. — Mouldings, Ornaments, and 
 Baseme7it. Astragalus, cymatium, 
 sima, antefixa, clipeus 4, persona 5, 
 crepido 4, nifeander, encarpa, pteroma, 
 pluteus 5, podium 3, stylobata, anteri- 
 des, substructio. — Classes of Columnar 
 Edifices, Arrangement of Columns, and 
 Varietiesoflntei'columniation. HypEC- 
 thros, ant£e, prostyles, amphiprostylos, 
 peripteros, pseudoperipteros, dipteros, 
 pseudodipteros, monopteros, pronaus, 
 tetrastylos, hexastylos, octastylos, de- 
 castylos, arteostylos, diastylos, eu- 
 stylos, systylos, pycnostylos. 
 
 Public Places and Buildings., 
 Forum, basilica, capitolium, tabu- 
 larium, grsecostasis, curia, diribi- 
 toriura, asrarium, emporium, horreum 
 publicum, septizonium, nymphjeum, 
 brephotropheum, orphanotrophium, 
 theatrum, odeum, amphitheatrum, 
 circus, hippodromus, gymnasium, pa- 
 laestra, stadium, balinea:, thermae, 
 porticus, portus. 
 
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INDEX. 
 
 Abbey £f Ovcytons English Church History 15 
 
 'j Photography ir 
 
 /4c/o«'j Modern Cookery 21 
 
 Alpine Chib Map of Switzerland 18 
 
 Alpine Guide (The) 18 
 
 ^OTOj'i Jurisprudence 5 
 
 Primer of the Constitution 5 
 
 Fifty Years of the English Con- 
 stitution S 
 
 Anderson s Strength of Materials 11 
 
 ^;-w^/r(?;;^'j Organic Chemistry 11 
 
 Arnold's (Dr. ) Lectures onModem History 2 
 
 Miscellaneous Works 7 
 
 — — Sermons 15 
 
 (T.) English Literature 6 
 
 Arnott's Elements of Physics 10 
 
 Atelier (The) du Lys 19 
 
 Atherstone Priory 19 
 
 Autumn Holidays of a Coimtry Parson ... 7 
 
 ^j^rt''^ Treasury of Bible Knowledge 21 
 
 Bacon's Essays, by Whatcly 6 
 
 Life and Letters, by Spedding ... 5 
 
 Works 5 
 
 ^f^^i-Zzoi^'j Economic Studies 21 
 
 Literary Studies 6 
 
 /?t7?7(y'j Festus, a Poem ig 
 
 Bain's Mental and Moral Science 6 
 
 on the Senses and Intellect 6 
 
 Emotions and Will 6 
 
 Baiter's Two Works on Ceylon 17 
 
 i?a//'j Alpine Guides 18 
 
 /?a?-;7 on Railway Appliances 11 
 
 Beaconsfidd' s (Lord) Novels and Tales iB & ig 
 
 Becker's Charicles and Gallus 8 
 
 Beeslys Gracchi, Marius, and Sulla 3 
 
 i?/ac,^'j Treatise on Brewing 21 
 
 Blackley's German- English Dictionary 8 
 
 Blaifie's Rural Sports 20 
 
 Bloxams Metals 11 
 
 Bolland and Lang's Aristotle's Politics 6 
 
 Boultbee on 3g Articles 15 
 
 's History of the English Church... 15 
 
 Bourne's Works on the Steam Engine 14 
 
 Bowdler's Family Shakespeare ig 
 
 Bramley-Moore s Six Sisters of the Valleys . ig 
 Brande's Dictionary of Science, Literature, 
 
 and Art 12 
 
 Brassey's Stmshine and Storm in the East . 17 
 
 Voyage of the Sunbeam 17 
 
 Browne's Exposition of the 39 Articles 15 
 
 Brown ing's Modern England 3 
 
 Buckle's History of Civilisation 2 
 
 Posthumous Remains 7 
 
 Bucktons Food and Home Cookery 21 
 
 Health in the House 13 
 
 Town and Window Gardening... 12 
 
 Bull's Hints to Mothers 21 
 
 Maternal Management of Children . 21 
 
 Burgomaster's Family (The) 19 
 
 Burkes Vicissitudes of Families 4 
 
 Cabinet Lawyer 21 
 
 Capes' s Age of the Antonines 3 
 
 Early Roman Empire 3 
 
 Coy/g/'j Iliad of Homer ig 
 
 Cetshwayo's Dutchman, translated by 
 
 Bishop Colenso 7 
 
 Changed Aspects of Unchanged Truths ... 7 
 
 Ctew^y^ Indian Polity 2 
 
 Waterloo Campaign 2 
 
 Church's Beginning of the Middle Ages ... 3 
 
 Cotoijo on Moabite Stone &o 17 
 
 's Pentateuch and Book of Joshua. 17 
 
 Commonplace Philosopher 7 
 
 Comte's Positive Pohty S 
 
 CoKrt'sr'j Handbook to the Bible 15 
 
 C(7«^?-<;ot'j Politics of Aristotle 6 
 
 Conington s Translation of Virgil's .iEneid ig 
 
 Miscellaneous Writings 6 
 
 Conianseau s Two French Dictionaries ... 8 
 
 Conybeare and //owson' s St. Paul 16 
 
 Co()/^?-'i Tales from Euripides 18 
 
 Cordery's Struggle against Absolute Mon- 
 archy 3 
 
 Colla on Rocks, by Lawrence 12 
 
 Counsel and Comfort from a City Pulpit... 7 
 
 Cox's (G. W.) Athenian Empire 3 
 
 Crusades 3 
 
 a Greeks and Persians 3 
 
 Creightoii s Age of Elizabeth 3 
 
 England a Continental Power 3 
 
 Shilling History of England ... 3 
 
 Tudors and the Reformation 3 
 
 Cresy's Encyclopaedia of Civil Engineering 14 
 
 Critical Essays of a Country Parson 7 
 
 Crookes's Anthraeen 15 
 
 Chemical Analyses 13 
 
 Dyeing and Calico-printing 15 
 
 Culley's Handbook of Telegraphy 14 
 
 Curteis's Macedonian Empire 3 
 
 De Caisne and Le Maoiti's Botany 12 
 
 De Tocqueville' s Democracy in America... 5 
 
 Dixon s Rural Bird Life 12 
 
 Dobson on the Ox 20 
 
 Z?i7Z'f'j Law of Storms g 
 
 Doyle's (R.) Fairyland 13 
 
 Z>rw?K?;^i7?;ii?'j Jewish Messiah 16 
 
 Eastlake's Hints on Household Taste 14 
 
 Edwards's Nile 17 
 
 Ellicott's Scripture Commentaries 16 
 
 Lectures on Life of Christ 16 
 
 Elsa and her Vulture 19 
 
 Epochs of Ancient History 3 
 
 English History 3 
 
 Modem History 3 
 
 i?z£/a/rf J History of Israel 16 
 
 Antiquities of Israel 16 
 
 i^i?/?'^i;z>?z'j Applications of Iron 14 
 
 Information for Engineers 14 
 
 MiUs and Millwork 14 
 
 Farrar's Language and Languages 7 
 
 Francis's Fishing Book 20 
 
 Frolisher's IJA^hy Jones 4 
 
 Froude's Cassar 4 
 
 English in Ireland i 
 
 History of England i 
 
 Lectures on South Africa 7 
 
 Short Studies 6 
 
 Gairdner s Houses of Lancaster and York 3 
 
 ■ Richard III. & Perkin Warbeck 2 
 
 Ganot's Elementary Physics 10 
 
 ■ Natural Philosophy ' 10 
 
 Gi7r(/?';?^?-'j Buckingham and Charles 2 
 
WOIiKS published by LONG&IANS 6- CO. 23 
 
 Gardiner's Personal Government of Charles I. 2 
 
 First Two Stuarts 3 
 
 Thirty Years' War 3 
 
 German Home Life 7 
 
 Goodeve's Mechanics 11 
 
 Mechanism 11 
 
 Gore's Art of Scientific Discovery 14 
 
 Electro-Metallurgy .- ii 
 
 Gospel (The) for the Nineteenth Century . 16 
 
 Grant's Ethics of Aristotle 6 
 
 Graver Thoughts of a Country Parson 7 
 
 GrevilZe's ]ouma\ i 
 
 Griffins Algebra and Trigonometry 11 
 
 Griffith's A B C of Philosophy 5 
 
 Grove on Correlation of Physical Forces... 10 
 
 Gwili's Encyclopaedia of Architecture 14 
 
 .fiTa&'j Fall of the Stuarts 3 
 
 Hartwig's Works on Natural Histoi"y and 
 
 Popular Science 11 
 
 Hassall's Chmate of San Rerao 17 
 
 Haiigliton s Animal Mechanics 10 
 
 /TtzyOTfl/'t^'j Selected Essays 6 
 
 Heer's Primeval World of Switzerland 12 
 
 //i/we'^ Life and Works, by Stigand 4 
 
 Helm/wits on Tone 10 
 
 HelmhoUz s Scientific Lectures 10 
 
 Herschels OutUnes of Astronomy 9 
 
 Hillchrand's Lectures on German Thought 6 
 
 Hoisoit's Amateur Mechanic 14 
 
 //i7/.4/?^^'J Christ the Consoler i-y 
 
 Hoskold's Engineer's Valuing Assistant ... 14 
 
 HullaKs History of Modern Music 12 
 
 Transition Period 12 
 
 Hume' s 'E.ssa.ys 6 
 
 Treatise on Human Nature 6 
 
 lime's Rome to its Capture by the Gauls... 3 
 
 History of Rome 3 
 
 Jngelow's Voems 19 
 
 yaOT«ji7»'j Sacred and Legendaiy Art 13 
 
 Memoirs by Macpherson 4 
 
 'Jenkins Electricity and Magnetism 11 
 
 Jerrold's Life of Napoleon i 
 
 Johnson's Normans in Europe 3 
 
 Patentee's Manual 21 
 
 Johnston's Geographical Dictionary 8 
 
 Jukss's Types of Genesis 16 
 
 y«(to on Second Death i5 
 
 ia/wA'j Bible Studies ...^ 16 
 
 Commentary on the Bible 1 5 
 
 Path and Goal 5 
 
 Keller s Isik.e. Dvvelhngs of Switzerland.... 12 
 
 Kerts Metallurgy, by CrookeszxA Rohrig, 15 
 
 Jiri'«^ji;«'j- AlkaU Trade 13 
 
 Animal Chemistry 13 
 
 AVr^j/ and 6)!>«H«'j Entomology 12 
 
 Klein's Pastor's Narrative 7 
 
 Knatchbull-Hugessen s Fairy-Land 18 
 
 Higgledy-piggledy 18 
 
 Landscapes, Churches, &c 7 
 
 Lathams English Dictionaries 8 
 
 Handbook of English Language 8 
 
 Lecky's History of England I 
 
 • European Morals 3 
 
 . Rationalism 3 
 
 Leaders of Public Opinion 4 
 
 Leisure Hours in Town 7 
 
 Leslie's Essays in Political and Moral 
 
 Philosophy 6 
 
 Lessons of Middle Age 7 
 
 Lewes' s Biographical History of Philosophy 3 
 
 i«£iij on Authority g 
 
 LiddellsxA Scott's Greek-English Lexicons 8 
 
 Lindley and Moore's Treasury of Botany ... 21 
 
 Lloyd's Magnetism ia 
 
 Wave-Theory of Light 10 
 
 Longman's (F. W.) Chess Openings 21 
 
 — — ' German Dictionary ... 8 
 
 ( W. ) Edward the Third 2 
 
 Lectures on Histoiy of England 2 
 
 ; Old and New St. Paul's 13 
 
 Loudon's Encyclopaedia of Agriculture ... 15 
 
 — Gardening 15 
 
 — Plants 12 
 
 Lubbock's Origin of Civilisation 12 
 
 Ludlow's American War of Independence 3 
 
 Lyra Germanica 17 
 
 Macalister s Vertebrate Animals 11 
 
 Afacaa/ay J- (Lord) Essays i 
 
 History of England ... i 
 
 ■ Lays, Illustrated 13 
 
 ■ Cheap Edition... 19 
 
 Life and Letters 4 
 
 Miscellaneous Writings 7 
 
 Speeches 7 
 
 'Works I 
 
 ■ Writings, Selections from 7 
 
 McCulloch's Dictionary of Commerce 8 
 
 Macfarren on Musical Harmony 13 
 
 Maclcods Economical Philosophy 5 
 
 Economics for Beginners 21 
 
 Theory and Practice of Banking 21 
 
 Elements of Banking 21 
 
 Macnamara's Himalayan Districts of British 
 
 India iS 
 
 Mademoiselle Mori ig 
 
 Maiiaffys Classical Greek Literature 3 
 
 A-fij&Z'j Annals of the Road ig 
 
 Manning's Mission of the Holy Spirit 17 
 
 Afo?-j/iOT3;2'i Life of Havelock '. 4 
 
 Martineau s Christian Life 17 
 
 Hours of Thought 17 
 
 Hymns 17 
 
 Maunder s Popular Treasuries 20 
 
 Maxwells Theory of Heat n 
 
 May's History of Democracy 2 
 
 History of England 2 
 
 Melville's (Whyte) Novels and Tales 19 
 
 Mendelssohn s Letters 4 
 
 Merivale's Early Church History 15 
 
 Fall of the Roman Republic ... 2 
 
 General History of Rome 2 
 
 Roman Triumvirates 3 
 
 Romans under the Empire 2 
 
 Merrificld s Arithmetic and Mensuration... 11 
 
 Miles on Horse's Foot and Horse Shoeing 20 
 
 on Horse's Teeth and Stables 20 
 
 Mill{].) on the Mind 5 
 
 Mill's {J. S.) Autobiography 4 
 
 Dissertations & Discussions 5 
 
 Essays on Rehgion 16 
 
 '- — Hamilton's Philosophy 5 
 
 Liberty 5 
 
 ■ PoHtical Economy 5 
 
 Representative Government 5 
 
 Subjection of Women 5 
 
 System of Logic 5 
 
 . Unsettled Questions 5 
 
 UtiUtarianism 5 
 
2^ 
 
 WORKS published by LONGMANS 
 
 CO. 
 
 yl////«r'i Elements of Chemistry 13 
 
 Inorganic Chemistry 11 
 
 ^\'intering in the Riviera 17 
 
 Minto (Lord) in India 2 
 
 Alilchcll's Manual of Assaying 15 
 
 Modern Novelist's Library 18 & 19 
 
 ;i/o«j«//'j Spiritual Songs 17 
 
 Moore s Irish Melodies, Illustrated Edition 13 
 
 Lalla Rookh, Illustrated Edition.. 13 
 
 Morcll's Philosophical Fragments S 
 
 Morris s Ago of Anne 3 
 
 Mo:art's Life, by ^'olil 4 
 
 MiiUcrs Chips from a German Workshop. 7 
 
 Ilibbe/t Lectures on Religion ... i5 
 
 Science of Language 7 
 
 Science of Religion 16 
 
 Xeisoii on the Moon 9 
 
 A'VzvVc' J- Morses and Riding 20 
 
 Neiomaii's Apologia pro Vita Sua 4 
 
 Nkols's Puzzle of Life 12 
 
 Notri's Miiller & Philosophy of Language 7 
 
 Norihcott's Lathes & Turning 14 
 
 Ormsby's Poem of the Cid 19 
 
 Ox-Jcn's Comparative Anatomy and Phy- 
 siology of Vertebrate Animals II 
 
 /■ac/tc'j Guide to the Pyrenees 18 
 
 Pattison's Casaubon 4 
 
 /'.jjYw'j Industrial Chemistry 14 
 
 POT^wi;/.! Comprehensive Specifier 21 
 
 P/^iVZ/^iJ Civil War in AVales 2 
 
 /';«jt''j Art of Perfumery 15 
 
 Poles Game of Whist 21 
 
 Powell' s V.arly England 3 
 
 Precce & 5/j'fK'r/>/;;''i Telegraphy 11 
 
 Present-Day Thoughts 7 
 
 Proctor's Astronomical Works 9 
 
 . Scientific Essays (Two Series) ... 11 
 
 Prothero's Life of Simon de Montfort 4 
 
 Public Schools Atlases 8 
 
 Rawlinson's Parthia 3 
 
 Sassanians 3 
 
 Recreations of a Country Parson 7 
 
 jS'f;'«3;-^w«'i Down the Road 19 
 
 j?;VA'j Dictionary of Antiquities 8 
 
 Rivers' s Orchard House 12 
 
 Rose Amateur's Guide 12 
 
 Rogers's Eclipse of Faith 16 
 
 Defence of Echpse of Faith 16 
 
 /JiTt'c/j EngUsh Thesaurus 8 
 
 Ronalds Fly-Fisher's Entomology 20 
 
 A'ozu/fy'i Rise of the People 3 
 
 Settlement of the Constitution ... 3 
 
 Russia and England i 
 
 Russia Before and After the War i 
 
 Rutley's Study of Rocks 11 
 
 Sandars's Justinian's Institutes 6 
 
 5i/«,(vyj Sparta and Thebes 3 
 
 .S,;:'//6' on Apparitions 7 
 
 Schcllen ' s Spectrum Analysis g 
 
 Seaside Musings 7 
 
 Scott' s Farm Valuer 21 
 
 ■ Rents and Purchases 21 
 
 Seebohm's O.xford Reformers of 1498 2 
 
 Protestant Revolution '3 
 
 Seioell's History of France 2 
 
 5<:ra^//'j Passing Thoughts on Religion ... 1° 
 
 Preparation for Communion 16 
 
 Stories and Tales 18 
 
 ■ Thoughts for the Age 16 
 
 Shelley's Workshop Appliances 11 
 
 Sliort's Church History IS 
 
 Smi/h's (Sydney) Wit and Wisdom 6 
 
 (Dr. R. A.) Air and Rain 9 
 
 (R. B.) Carthage & the Carthaginians 3 
 
 Southey's Poetical Works 19 
 
 Stanley's History of British Birds 12 
 
 5fe/Ai;«'j Ecclesiastical Biography 4 
 
 67tfHi;/2«7^<?, Dog and Greyhound 20 
 
 52'OT/<y on Strains 14 
 
 ^te/'fo'j Early Plantagenets 3 
 
 Sunday Afternoons, by A. K. H.B 7 
 
 Supernatural Religion 16 
 
 Swiubotirne's Picture Logic 6 
 
 Tancock's England during the Wars, 
 
 1778-1820 3 
 
 7a_)//OT-',j History of India 2 
 
 ■ Ancient and Modern History ... 4 
 
 [Jeremy) Works, edited by Rden 17 
 
 Text-Books of Science 11 
 
 Thomi's Botany 11 
 
 Thomson's Laws of Thought 6 
 
 TVzo^y^^'j Quantitative Analysis 11 
 
 Thorpe and Muir's Qualitative Analysis ... 11 
 
 Thnd ichum' s Annals of Chemical Medicine 13 
 
 Tilden's Chemical Philosophy ir 
 
 Practical Chemistry 13 
 
 Todd on Parliamentary Government 2 
 
 Trench's Realities of Irish Life 7 
 
 Trollopc s Warden and Barchester Towers 18 
 
 Tw/.fj'j Law of Nations 5 
 
 Tyndall s (Professor) Scientific Works ... 10 
 
 Unawares 19 
 
 t/;/7C',^*/7',f Machine Design 11 
 
 f/re'j Arts, Manufactures, and Mines 14 
 
 Venn's Life, by Knight 4 
 
 Villc on Artificial Manures 15 
 
 Walker on Whist 21 
 
 Walpole's History of England i 
 
 [Fari«rto«'j Edward the Third 3 
 
 Watson's Geometery 11 
 
 Watts's Dictionary of Chemistry 13 
 
 Webb' s Civil War in Herefordshire 2 
 
 Wcinhold' s Experimental Physics 10 
 
 Wellington s Life, by Gleig 4 
 
 Whately's English Synonymes 8 
 
 Logic 6 
 
 Rhetoric 6 
 
 M^A/'/«'j Four Gospels in Greek 16 
 
 and Riddle's Latin Dictionaries ... 8 
 
 I'Fi'/fOc/J/i Sea-Fisherman 20 
 
 Williams's Aristotle's Ethics 6 
 
 Wilsons Resources of Modern Countries... 21 
 Wood's (J. G.) Popular Works on Natural 
 
 Ifistory II 
 
 Woodward' s Geology 12 
 
 Fow^s'i English-Greek Lexicons 8 
 
 Horace 19 
 
 Foa/a^if on the Dog 20 
 
 on the Horse 20 
 
 Ze//c/j Greek Philosophy 3 
 
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