[1151] “Crustarius.” Of this artist nothing further is known.
[1152] Yellow or brown Ochre, probably. Ajasson thinks that under this name may be included peroxide of iron, hydroxide of iron in a stalactitic and mamillary form, and compact peroxide of iron, imparting a colour to argillaceous earth.
[1153] “Scaly and ochrey brown iron ore are decomposed earthy varieties, often soft like chalk; yellow ochre is here included.”—Dana, Syst. Mineral, p. 436.
[1154] “Marmorosum.”
[1155] “Lucidum.”
[1156] “Abacos.” Small compartments or partitions in a square form on the walls of rooms.
[1157] See B. vii. c. 57, where he is called an Athenian, whereas he was a native of Thasos. He was one of the most eminent painters of antiquity, and flourished in the age of Pericles. See a further account of him in B. xxxv. c. [35].
[1158] Son of Phanochus, and contemporary of Polygnotus. See B. xxxv. c. [25], where it is stated that in conjunction with Polygnotus, he either invented some new colours, or employed them in his paintings on a better plan than that previously adopted.
[1159] “It is possible that the ‘cæruleum’ of the ancients may in some cases have been real ultramarine, but properly and in general, it was only copper ochre.”—Beckmann’s Hist. Inv. Vol. I. p. 472. Bohn’s Edition. Delafosse identifies it with blue carbonate and hydrocarbonate of copper, one of the two azurites.
[1160] “Candidiorem nigrioremve, et crassiorem tenuioremve.”