I have now given at considerable length an account of the nature of metals, which constitute our wealth, and of the substances that are derived from them; so connecting my various subjects, as, at the same time, to describe an immense number of medicinal compositions which they furnish, the mysteries[1787] thrown upon them by the druggists, and the tedious minutiæ of the arts of chasing,[1788] and statuary,[1789] and of dyeing.[1790] It remains for me to describe the various kinds of earths and stones; a still more extensive series of subjects, each of which has been treated of, by the Greeks more particularly, in a great number of volumes. For my own part, I propose to employ a due degree of brevity, at the same time omitting nothing that is necessary or that is a product of Nature.
I shall begin then with what still remains to be said with reference to painting, an art which was formerly illustrious, when it was held in esteem both by kings and peoples, and ennobling those whom it deigned to transmit to posterity. But at the present day, it is completely banished in favour of marble, and even gold. For not only are whole walls now covered with marble, but the marble itself is carved out or else marqueted so as to represent objects and animals of various kinds. No longer now are we satisfied with formal compartitions of marble, or with slabs extended like so many mountains in our chambers, but we must begin to paint the very stone itself! This art was invented in the reign of Claudius, but it was in the time of Nero that we discovered the method of inserting in marble spots that do not belong to it, and so varying its uniformity; and this, for the purpose of representing the marble of Numidia[1791] variegated with ovals, and that of Synnada[1792] veined with purple; just, in fact, as luxury might have willed that Nature should produce them. Such are our resources when the quarries fail us, and luxury ceases not to busy itself, in order that as much as possible may be lost whenever a conflagration happens.
CHAP. 2. (2.)—THE HONOUR ATTACHED TO PORTRAITS.
Correct portraits of individuals were formerly transmitted to future ages by painting; but this has now completely fallen into desuetude. Brazen shields are now set up, and silver faces, with only some obscure traces of the countenance;[1793] the very heads, too, of statues are changed,[1794] a thing that has given rise before now to many a current sarcastic line; so true it is that people prefer showing off the valuable material, to having a faithful likeness. And yet, at the same time, we tapestry the walls of our galleries with old pictures, and we prize the portraits of strangers; while as to those made in honour of ourselves, we esteem them only for the value of the material, for some heir to break up and melt, and so forestall the noose and slip-knot of the thief.[1795] Thus it is that we possess the portraits of no living individuals, and leave behind us the pictures of our wealth, not of our persons.
And yet the very same persons adorn the palæstra and the anointing-room[1796] with portraits of athletes, and both hang up in their chamber and carry about them a likeness of Epicurus.[1797] On the twentieth day of each moon they celebrate his birthday[1798] by a sacrifice, and keep his festival, known as the “Icas,”[1799] every month: and these too, people who wish to live without being known![1800] So it is, most assuredly, our indolence has lost sight of the arts, and since our minds are destitute of any characteristic features, those of our bodies are neglected also.
But on the contrary, in the days of our ancestors, it was these that were to be seen in their halls, and not statues made by foreign artists, or works in bronze or marble: portraits modelled in wax[1801] were arranged, each in its separate niche, to be always in readiness to accompany the funeral processions of the family;[1802] occasions on which every member of the family that had ever existed was always present. The pedigree, too, of the individual was traced in lines upon each of these coloured portraits. Their muniment-rooms,[1803] too, were filled with archives and memoirs, stating what each had done when holding the magistracy. On the outside, again, of their houses, and around the thresholds of their doors, were placed other statues of those mighty spirits, in the spoils of the enemy there affixed, memorials which a purchaser even was not allowed to displace; so that the very house continued to triumph even after it had changed its master. A powerful stimulus to emulation this, when the walls each day reproached an unwarlike owner for having thus intruded upon the triumphs of another! There is still extant an address by the orator Messala, full of indignation, in which he forbids that there should be inserted among the images of his family any of those of the stranger race of the Lævini.[1804] It was the same feeling, too, that extorted from old Messala those compilations of his “On the Families of Rome;” when, upon passing through the hall of Scipio Pomponianus,[1805] he observed that, in consequence of a testamentary adoption, the Salvittos[1806]—for that had been their surname—to the disgrace of the Africani, had surreptitiously contrived to assume the name of the Scipios. But the Messalas must pardon me if I remark, that to lay a claim, though an untruthful one, to the statues of illustrious men, shows some love for their virtues, and is much more honourable than to have such a character as to merit that no one should wish to claim them.
There is a new invention too, which we must not omit to notice. Not only do we consecrate in our libraries, in gold or silver, or at all events, in bronze, those whose immortal spirits hold converse with us in those places, but we even go so far as to reproduce the ideal of features, all remembrance of which has ceased to exist; and our regrets give existence to likenesses that have not been transmitted to us, as in the case of Homer, for example.[1807] And indeed, it is my opinion, that nothing can be a greater proof of having achieved success in life, than a lasting desire on the part of one’s fellow-men, to know what one’s features were. This practice of grouping portraits was first introduced at Rome by Asinius Pollio, who was also the first to establish a public library, and so make the works of genius the property of the public. Whether the kings of Alexandria and of Pergamus, who had so energetically rivalled each other in forming libraries, had previously introduced this practice, I cannot so easily say.
That a strong passion for portraits formerly existed, is attested both by Atticus, the friend of Cicero, who wrote a work on this subject,[1808] and by M. Varro, who conceived the very liberal idea of inserting, by some means[1809] or other, in his numerous volumes, the portraits of seven hundred individuals; as he could not bear the idea that all traces of their features should be lost, or that the lapse of centuries should get the better of mankind. Thus was he the inventor of a benefit to his fellow-men, that might have been envied by the gods themselves; for not only did he confer upon them immortality, but he transmitted them, too, to all parts of the earth; so that everywhere it might be possible for them to be present, and for each to occupy his niche. This service, too, Varro conferred upon persons who were no members of his own family.
CHAP. 3. (3.)—WHEN SHIELDS WERE FIRST INVENTED WITH PORTRAITS UPON THEM; AND WHEN THEY WERE FIRST ERECTED IN PUBLIC.
So far as I can learn, Appius Claudius, who was consul with P. Servilius, in the year of the City, 259, was the first to dedicate shields[1810] in honour of his own family in a sacred or public place.[1811] For he placed representations of his ancestors in the Temple of Bellona, and desired that they might be erected in an elevated spot, so as to be seen, and the inscriptions reciting their honours read. A truly graceful device; more particularly when a multitude of children, represented by so many tiny figures, displays those germs, as it were, which are destined to continue the line: shields such as these, no one can look at without a feeling of pleasure and lively interest.