Varro had an apparatus of the same kind at his farm[671]. Within the building was a circle, in which the eight winds were represented, and an index, like that of a clock, pointed to that wind which was blowing at the time. Nothing therefore was necessary but to look at the ceiling to know from what quarter the wind came. I have seen an apparatus of the same kind on some exchange, either at Lubec or Rotterdam. Varro calls the tower of Andronicus horologium, a word which Salmasius wishes to change into aurologium. But it contained also a sun-dial, as we are assured by Pocock, who observed the necessary hour-lines; and therefore it is not improbable, that the people, who through the want of clocks would oftener look to the dial than to the weathercock, gave to the tower a name alluding to the former rather than to the latter.
Du Cange says, that a triton, by way of weathercock, was placed on the temple of Androgeus at Rome; but I am unacquainted with the source from which he derived this information, and of that temple I have not been able to obtain any account[672]. Whether the tritons placed on the temple of Saturn at Rome were indicators of the wind, or whether they had a learned signification, as Macrobius asserts, I will not venture to determine[673]. It is probable that the pillar, some remains of which were found at Gaeta (Cajeta), in the kingdom of Naples, and on which the names of the winds were cut out in Greek and Latin, served as a wind indicator also.
But it is more than probable that an apparatus for pointing out the wind, similar to that at Athens, was erected also at Constantinople. At least I consider as such what was called by some anemodulium, and by others anemoderium; the information respecting which has not, as I conceive, been hitherto understood, not even by Banduri. In my opinion it was not a building or tower, but a column furnished with a vane, somewhat similar to what is still seen in many places on the sea coast, where a high pole is erected with a flag. This pillar, if I may be allowed the expression, consisted entirely of copper; it was square, and in height not inferior to the loftiest columns in the city. Its summit formed a pyramid, and, as I conjecture, an octagonal one, upon which stood a female figure that turned round with every wind, and consequently was a vane, only not a triton, as at Athens. Below it, on each side of the pyramid, were seen a great many figures, which I will venture to assert were attributes or images of the winds, to which the female figure pointed. Nicetas says, that there were observed among them birds, agricultural implements, the sea with shipping, fishing-boats, and naked cupids sporting with apples, which in my opinion denoted the different seasons in which each wind was accustomed to blow[674].
It is not improbable that the whole pillar was constructed of different pieces of copper, cast singly and then joined together; and it appears that neither Nicetas, nor Cedrenus, nor the Latins, who in the thirteenth century pulled down and melted the numerous objects of art, plundered from various cities by the emperor Constantine to ornament his capital, were acquainted with the purpose for which this pillar was originally destined, or the meaning of the emblematical figures represented upon it. Nay, there is even reason to think that the Greeks themselves, at this time, were so ignorant as to believe such objects to be the productions of magic. According to Cedrenus, this costly wind indicator was erected by Theodosius the Great, and according to others by Leo Isauricus. Were the first assertion true, it would belong to the fourth century, and in the second case to the eighth; but I cannot help suspecting that it was constructed before the time of Theodosius. The female figure which indicated the wind, was, according to Nicetas, called anemodoulon, but according to Cedrenus anemoderion. The former denotes a person who belongs to the wind; the latter one who contends with the wind; and both these appellations are well suited to a vane or wind indicator. If my explanation be correct, this work of art at Constantinople had nothing in common with the statue of Jupiter constructed by Lysippus at Tarentum[675]. The latter was forty cubits in height; and what excited great astonishment was, that though it would shake when pushed with the hand, it withstood the force of the most violent storms. I should rather compare the statue of Lysippus to those moveable masses of rock which are mentioned by various authors, both ancient and modern.
It is not improbable that there may have been wind indicators of this kind in other places, and that more passages alluding to them, not hitherto remarked, may be found in different authors. Professor Michaelis, who was desirous to assist me in my researches, pointed out to me an account, undoubtedly written before the year 1151[676], in which it is stated that there was at Hems, in Syria, formerly called Emessa, a high tower, on the summit of which was a copper statue of a horseman that turned with every wind. It is worthy of remark, that under the vane there were figures, among which was that of a scorpion; in all probability the emblem of some season.
In Europe, the custom of placing vanes on the summits of the church-steeples is very old; and as these vanes were made in the figure of a cock, they have thence been denominated weathercocks. In the Latin, therefore, of the middle ages, we meet with the words gallus and ventilogium. The latter is used by Radulphus, who wrote about the year 1270[677]. Mention of weathercocks occurs in the ninth[678], eleventh, twelfth and thirteenth[679] centuries. There is no doubt that the cock was intended as an emblem of clerical vigilance. In the ages of ignorance the clergy frequently styled themselves the cocks of the Almighty, whose duty it was, like the cock which roused Peter, to call the people to repentance, or at any rate to church[680]. The English, therefore, are mistaken when they suppose that the figure of a cock was first made choice of for vanes in the fourteenth century, under the reign of Edward III., in order to ridicule the French, with whom they were then at war; and that the custom of cock-throwing, that is to say, of throwing sticks at a cock exposed with his wings tied, as then practised, took its rise at the same time.
In France, in the twelfth century, none but noblemen were allowed to have vanes on their houses; nay, at one time this was the privilege of those who, at the storming of a town, first planted their standards on the ramparts. These vanes were painted with the knights’ arms, or the arms were cut out in them, and in that case they were called panonceaux[681].
Flags or vanes on ships occur very early, but they are always mentioned on account of their use in making signals. They were of various forms and colours; were sometimes drawn up, and sometimes taken down; placed sometimes on the right and sometimes on the left side of the ship, and were changed in various other ways, directions for which may be seen in the Tactics of the emperor Leo. They were named vexilla, flammulæ, also flammula and banda, and the last two appellations occur in the works of the younger Greek writers[682].
But though the oldest writers on the art of naval warfare, such as Vegetius, recommend a knowledge of the winds, I have not yet met with any certain account of apparatus for determining the direction of them on board a ship. Before the discovery of the magnetic needle, such accuracy as is necessary at present would have been superfluous; yet naval commanders must long before have had some means of distinguishing at least the twelve winds then defined, though no traces of them are to be found in the works which have been accidentally preserved to us.
Scheffer[683], who, as is well-known, collected from the works of the ancients all the terms of art applicable to navigation, thinks that the band, tænia, affixed to a pole at the stern of the ship[684], did not serve so much for an ornament as to indicate the course of the wind. He is, however, able to produce no other authority for this opinion than a passage in one of Cicero’s letters, which has been changed and amended, till it at length seems to say that Cicero had resolved to embark, because the vanes had announced a favourable wind[685].