3.11. 11. But if stucco has to be made on “wattle and daub,” where there must be cracks at the uprights and cross-sticks, because they must take in moisture when they are daubed with the mud, and cause cracks in the stucco when they dry and shrink, the following method will prevent this from happening. After the whole wall has been smeared with the mud, nail rows of reeds to it by means of “fly-nails,” then spread on the mud a second time, and, if the first rows have been nailed with the shafts transverse, nail on a second set with the shafts vertical, and then, as above described, spread on the sand mortar, the marble, and the whole mass of stucco. Thus, the double series of reeds with their shafts crossing on the walls will prevent any chipping or cracking from taking place.
3.11. Sin autem in craticiis tectoria erunt facienda, quibus necesse est in arrectariis et transversariis rimas fieri, ideo quod, luto cum linuntur, necessario recipiunt umorem, cum autem arescunt, extenuati in tectoriis faciunt rimas, id ut non fiat, haec erit ratio. cum paries totus luto inquinatus fuerit, tunc in eo opere cannae clavis muscariis perpetuae figantur, deinde iterum luto inducto, si priores transversariis harundinibus fixae sunt, secundae erectis figantur, et ita, uti supra scriptum est, harenatum et marmor et omne tectorium inducatur. ita cannarum duplex in parietibus harundinibus transversis fixa perpetuitas nec segmina nec rimam ullam fieri patietur.
4.1. 1. HAVING spoken of the method by which stucco work should be done in dry situations, I shall next explain how the polished finish is to be accomplished in places that are damp, in such a way that it can last without defects. First, in apartments which are level with the ground, apply a rendering coat of mortar, mixed with burnt brick instead of sand, to a height of about three feet above the floor, and then lay on the stucco so that those portions of it may not be injured by the dampness. But if a wall is in a state of dampness all over, construct a second thin wall a little way from it on the inside, at a distance suited to circumstances, and in the space between these two walls run a channel, at a lower level than that of the apartment, with vents to the open air. Similarly, when the wall is brought up to the top, leave airholes there. For if the moisture has no means of getting out by vents at the bottom and at the top, it will not fail to spread all over the new wall. This done, apply a rendering coat of mortar made with burnt brick to this wall, spread on the layer of stucco, and polish it.
4.1. Quibus rationibus siccis locis tectoria oporteat fieri, dixi; nunc, quemadmodum umidis locis politiones expediantur, ut permanere possint sine vitiis, exponam. et primum conclavibus, quae plano pede fuerint, in imo pavimento alte circiter pedibus tribus pro harenato testa trullissetur et dirigatur, uti eae partes tectoriorum ab umore ne vitientur. sin autem aliqui paries perpetuos habuerit umores, paululum ab eo recedatur et struatur alter tenuis distans ab eo, quantum res patietur, et inter duos parietes canalis ducatur inferior, quam libramentum conclavis fuerit, habens nares ad locum patentem. item, cum in altitudinem perstructus fuerit, relinquantur spiramenta; si enim non per nares umor et in imo et in summo habuerit exitus, non minus in nova structura se dissipabit. his perfectis paries testa trullissetur et dirigatur et tunc tectorio poliatur.
4.2. 2. But if there is not room enough for the construction of a wall, make channels with their vents extending to the open air. Then lay two-foot tiles resting on the margin of the channel on one side, and on the other side construct a foundation of pillars for them, made of eight-inch bricks, on top of each of which the edges of two tiles may be supported, each pillar being not more than a hand's breadth distant from the wall. Then, above, set hooked tiles fastened to the wall from bottom to top, carefully covering the inner sides of them with pitch so that they will reject moisture. Both at the bottom and at the top above the vaulting they should have airholes.
4.2. Sin autem locus non patietur structuram fieri, canales fiant et nares exeant ad locum patentem. deinde tegulae bipedales ex una parte supra marginem canalis inponantur, ex altera parte besalibus ⟨laterculis⟩pilae substruantur, in quibus duarum tegularum anguli sedere possint, et ita a pariete eae distent, ut ne plus pateant palmum. deinde insuper erectae mammatae tegulae ab imo ad summum ad parietem figantur, quarum interiores partes curiosius picentur, ut ab se respuant liquorem; item in imo et in summo supra camaram habeant spiramenta.
4.3. 3. Then, whitewash them with lime and water so that they will not reject the rendering coat of burnt brick. For, as they are dry from the loss of water burnt out in the kiln, they can neither take nor hold the rendering coat unless lime has been applied beneath it to stick the two substances together, and make them unite. After spreading the rendering coat upon this, apply layers of burnt brick mortar instead of sand mortar, and finish up all the rest in the manner described above for stucco work.
4.3. tum autem calce ex aqua liquida dealbentur, uti trullissationem testaceam ceam non respuant; namque propter ieiunitatem quae est a fornacibus excocta non possunt recipere nec sustinere, nisi calx subiecta utrasque res inter se conglutinet et cogat coire. trullissatione inducta pro harenato testa dirigatur, et cetera omnia, uti supra scripta sunt in tectorii rationibus, perficiantur.
4.4. 4. The decorations of the polished surfaces of the walls ought to be treated with due regard to propriety, so as to be adapted to their situations, and not out of keeping with differences in kind. In winter dining rooms, neither paintings on grand subjects nor delicacy of decoration in the cornice work of the vaultings is a serviceable kind of design, because they are spoiled by the smoke from the fire and the constant soot from the lamps. In these rooms there should be panels above the dadoes, worked in black, and polished, with yellow ochre or vermilion blocks interposed between them. After the vaulting has been treated in the flat style, and polished, the Greek method of making floors for use in winter dining rooms may not be unworthy of one's notice, as being very inexpensive and yet serviceable.
4.4. Ipsi autem … politionibus eorum ornatus proprios debent habere ad decoris rationes, uti et ex locis aptas et generum discriminibus non alienas habeant dignitates. tricliniis hibernis non est utilis compositione nec megalographia nec camerarum coronario opere subtilis ornatus, quod ea et ab ignis fumo et ab luminum crebris fuliginibus corrumpuntur. in his vero supra podia abaci ex atramento sunt subigendi et poliendi cuneis silaceis seu miniaceis interpositis, ⟨et⟩ explicandae camerae pure politae. etiam pavimentorum non erit displicens, si qui animadvertere voluerit Graecorum hibernaculorum usum, minime sumptuosus et utilis apparatus.
4.5. 5. An excavation is made below the level of the dining room to a depth of about two feet, and, after the ground has been rammed down, the mass of broken stones or the pounded burnt brick is spread on, at such an inclination that it can find vents in the drain. Next, having filled in with charcoal compactly trodden down, a mortar mixed of gravel, lime, and ashes is spread on to a depth of half a foot. The surface having been made true torule and level, and smoothed off with whetstone, gives the look of a black pavement. Hence, at their dinner parties, whatever is poured out of the cups, or spirted from the mouth, no sooner falls than it dries up, and the servants who wait there do not catch cold from that kind of floor, although they may go barefoot.
4.5. Foditur enim infra libramentum triclinii altitudo circiter pedum binûm, et solo festucato inducitur aut rudus aut testaceum pavimentum ita fastigatum, ut in canali habeat nares. deinde congestis et spisse calcatis carbonibus inducitur e sabulone et calce et favilla mixta materies crassitudine semipedali. ad regulam et libellam summo libramento cote despumato redditur species nigri pavimenti. ita conviviis eorum et, quod poculis et pytismatis effunditur, simul cadit siccescitque, quique versantur ibi ministrantes, etsi nudis pedibus fuerint, non recipiunt frigus ab eius modi genere pavimenti.
5.1. 1. FOR the other apartments, that is, those intended to be used in Spring, Autumn, and Summer, as well as for atriums and peristyles, the ancients required realistic pictures of real things. A picture is, in fact, a representation of a thing which really exists or which can exist: for example, a man, a house, a ship, or anything else from whose definite and actual structure copies resembling it can be taken. Consequently the ancients who introduced polished finishings began by representing different kinds of marble slabs in different positions, and then cornices and blocks of yellow ochre arranged in various ways.
5.1. Ceteris conclavibus, id est vernis, autumnalibus, aestivis, etiam atriis et peristylis, constitutae sunt ab antiquis ex certis rebus certae rationes picturarum. namque pictura imago fit eius, quod est seu potest esse, uti homines, aedificia, naves, reliquarumque rerum, e quibus finitis certisque corporibus figurata similitudine sumuntur exempla. ex eo antiqui, qui initia expolitionibus instituerunt, imitati sunt primum crustarum marmorearum varietates et conlocationes, deinde coronarum, †siliculorum, cuneorum inter sese varias distributiones.
5.2. 2. Afterwards they made such progress as to represent the forms of buildings, and of columns, and projecting and overhanging pediments; in their open rooms, such as exedrae, on account of the size, they depicted the facades of scenes in the tragic, comic, or satyric style; and their walks, on account of the great length, they decorated with a variety of landscapes, copying the characteristics of definite spots. In these paintings there are harbours, promontories, seashores, rivers, fountains, straits, fanes, groves, mountains, flocks, shepherds; in some places there are also pictures designed in the grand style, with figures of the gods or detailed mythological episodes, or the battles at Troy, or the wanderings of Ulysses, with landscape backgrounds, and other subjects reproduced on similar principles from real life.
5.2. Postea ingressi sunt, ut etiam aedificiorum figuras, columnarum et fastigiorum eminentes proiecturas imitarentur, patentibus autem locis, uti exhedris, propter amplitudines parietum scaenarum frontes tragico more aut comico seu satyrico designarent, ambulationibus vero propter spatia longitudinis varietatibus topiorum ornarent ab certis locorum proprietatibus imagines exprimentes; pinguntur enim portus, promunturia, litora, flumina, fontes, euripi, fana, luci, montes, pecora, pastores. nonnulli loci item signorum megalographiam habent et deorum simulacra seu fabularum dispositas explicationes, non minus troianas pugnas seu Ulixis errationes per topia, ceteraque, quae sunt eorum similibus rationibus ab rerum natura procreata.
5.3. 3. But those subjects which were copied from actual realities are scorned in these days of bad taste. We now have fresco paintings of monstrosities, rather than truthful representations of definite things. For instance, reeds are put in the place of columns, fluted appendages with curly leaves and volutes, instead of pediments, candelabra supporting representations of shrines, and on top of their pediments numerous tender stalks and volutes growing up from the roots and having human figures senselessly seated upon them; sometimes stalks having only half-length figures, some with human heads, others with the heads of animals.
5.3. Sed haec, quae ex veris rebus exempla sumebantur, nunc iniquis moribus inprobantur. nam pinguntur tectoriis monstra potius quam ex rebus finitis imagines certae: pro columnis enim struuntur calami striati cum crispis foliis et volutis, pro fastigiis appagineculi, item candelabra aedicularum sustinentia figuras, supra fastigia eorum surgentes ex radicibus cum volutis teneri flores habentes in se sine ratione sedentia sigilla, non minus coliculi dimidiata habentes sigilla alia humanis, alia bestiarum capitibus.
5.4. 4. Such things do not exist and cannot exist and never have existed. Hence, it is the new taste that has caused bad judges of poor art to prevail over true artistic excellence. For how is it possible that a reed should really support a roof, or a candelabrum a pediment with its ornaments, or that such a slender, flexible thing as a stalk should support a figure perched upon it, or that roots and stalks should produce now flowers and now half-length figures? Yet when people see these frauds, they find no fault with them but on the contrary are delighted, and do not care whether any of them can exist or not. Their understanding is darkened by decadent critical principles, so that it is not capable of giving its approval authoritatively and on the principle of propriety to that which really can exist. The fact is that pictures which are unlike reality ought not to be approved, and even if they are technically fine, this is no reason why they should offhand be judged to be correct, if their subject is lacking in the principles of reality carried out with no violations.
5.4. Haec autem nec sunt nec fieri possunt nec fuerunt. quemadmodum enim potest calamus vere sustinere tectum aut candelabrûm ornamenta fastigii, seu coliculus tam tenuis et mollis sustinere sedens sigillum, aut de radicibus et coliculis ex parte flores dimidiataque sigilla procreari? at haec falsa videntes homines non reprehendunt sed delectantur, neque animadvertunt, si quid eorum fieri potest necne. ergo ita novi mores coegerunt, uti inertiae mali iudices convincerent artium virtutes; iudiciis autem infirmis obscuratae mentes non valent probare, quod potest esse cum auctoritate et ratione decoris. neque enim picturae probari debent, quae non sunt similes veritati, nec, si factae sunt elegantes ab arte, ideo de his statim debet 'recte' iudicari, nisi argumentationis certas rationes habuerint sine offensionibus explicatas.
5.5. 5. For instance, at Tralles, Apaturius of Alabanda designed with skilful hand the scaena of the little theatre which is there called the ἐκκλησιαστήριον representing columns in it and statues, Centaurs supporting the architraves, rotundas with round roofs on them, pediments with overhanging returns, and cornices ornamented with lions' heads, which are meant for nothing but the rainwater from the roofs,—and then on top of it all he made an episcaenium in which were painted rotundas, porticoes, half-pediments, and all the different kinds of decoration employed in a roof. The effect of high relief in this scaena was very attractive to all who beheld it, and they were ready to give their approval to the work, when Licymnius the mathematician came forward and said that (6.)
5.5. Etenim etiam Trallibus cum Apaturius Alabandeus eleganti manu finxisset scaenam in minusculo theatro, quod ἐκκλησιαστήριον apud eos vocitatur, in eaque fecisset columnas, signa, centauros sustinentes epistylia, tholorum rotunda tecta, fastigiorum prominentes versuras, coronasque capitibus leoninis ornatas, quae ora stillicidiorum e tectis habent rationem, praeterea supra ea nihilominus episcaenum, in qua tholi, pronai, semifastigia omnisque tecti varius picturis fuerat ornatus, itaque cum aspectus eius scaenae propter asperitatem eblandiretur omnium visus et iam id opus probare fuissent parati, tum Licymnius mathematicus prodiit et ait 'Alabandis satis acutos ad omnes res civiles haberi, sed propter non magnum vitium indecentiae insipientes eos esse iudicatos, quod in gymnasio eorum quae sunt statuae omnes sunt causas agentes, foro discos tenentes aut currentes seu pila ludentes.
5.6. the Alabandines were considered bright enough in all matters of politics, but that on account of one slight defect, the lack of the sense of propriety, they were believed to be unintelligent. “In their gymnasium the statues are all pleading causes, in their forum, throwing the discus, running, or playing ball. This disregard of propriety in the interchange of statues appropriate to different places has brought the state as a whole into disrepute. Let us then beware lest this scaena of Apaturius make Alabandines or Abderites of us. Which of you can have houses or columns or extensive pediments on top of his tiled roof? Such things are built above the floors, not above the tiled roofs. Therefore, if we give our approval to pictures of things which can have no reason for existence in actual fact, we shall be voluntarily associating ourselves with those communities which are believed to be unintelligent on account of just such defects.”
5.6. ita indecens inter locorum proprietates status signorum publice civitati vitium existimationis adiecit. videamus item nunc, ne Apaturii scaena efficiat et nos Alabandis aut Abderitas. qui enim vestrum domos supra tegularum tecta potest habere aut columnas seu fastigiorum explicationes? haec enim supra contignationes ponuntur, non supra tegularum tecta. si ergo, quae non possunt in veritate rationem habere facti, in picturis probaverimus, accedemus et nos his civitatibus, quae propter haec vitia insipientes sunt iudicatae.'
5.7. 7. Apaturius did not venture to make any answer, but removed the scaena, altered it so that it conformed to reality, and gave satisfaction with it in its improved state. Would to God that Licymnius could come to life again and reform the present condition of folly and mistaken practices in fresco painting! However, it may not be out of place to explain why this false method prevails over the truth. The fact is that the artistic excellence which the ancients endeavoured to attain by working hard and taking pains, is now attempted by the use of colours and the brave show which they make, and expenditure by the employer prevents people from missing the artistic refinements that once lent authority to works.
5.7. Itaque Apaturius contra respondere non est ausus, sed sustulit scaenam et ad rationem veritatis commutatam postea correctam adprobavit. utinam dii inmortales fecissent, uti Licymnius revivisceret et corrigeret hanc amentiam tectoriorumque errantia instituta! sed quare vincat veritatem ratio falsa, non erit alienum exponere. quod enim antiqui insumentes laborem et industriam probare contendebant artibus, id nunc coloribus et eorum eleganti specie consecuntur, et quam subtilitas artificis adiciebat operibus auctoritatem, nunc dominicus sumptus efficit, ne desideretur.
5.8. 8. For example, which of the ancients can be found to have used vermilion otherwise than sparingly, like a drug? But today whole walls are commonly covered with it everywhere. Then, too, there is malachite green, purple, and Armenian blue. When these colours are laid on, they present a brilliant appearance to the eye even although they are inartistically applied, and as they are costly, they are made exceptions in contracts, to be furnished by the employer, not by the contractor. I have now sufficiently explained all that I could suggest for the avoidance of mistakes in stucco work. Next, I shall speak of the components as they occur to me, and first I shall treat of marble, since I spoke of lime at the beginning.
5.8. Quis enim antiquorum non uti medicamento minio parce videtur usus esse? at nunc passim plerumque toti parietes inducuntur. accedit huc chrysocolla, ostrum, armenium. haec vero cum inducuntur, etsi non ab arte sunt posita, fulgentes colorum reddunt visus, et ideo quod pretiosa sunt, legibus excipiuntur, ut ab domino, non a redemptore repraesententur. Quae commonefacere potui, ut ab errore discedatur in opere tectorio, satis exposui; nunc de apparitionibus, ut succurrere potuerit, dicam, et primum, quoniam de calce initio est dictum, nunc de marmore ponam.
6.1. MARBLE is not produced everywhere of the same kind. In some places the lumps are found to contain transparent grains like salt, and this kind when crushed and ground is extremely serviceable in stucco work. In places where this is not found, the broken bits of marble or “chips,” as they are called, which marble-workers throw down as they work, may be crushed and ground and used in stucco after being sifted. In still other places—for example, on the borderland of Magnesia and Ephesus—there are places where it can be dug out all ready to use, without the need of grinding or sifting, but as fine as any that is crushed and sifted by hand. As for colours, some are natural products found in fixed places, and dug up there, while others are artificial compounds of different substances treated and mixed in proper proportions so as to be equally serviceable.
6.1. Marmor non eodem genere omnibus regionibus procreatur, sed quibusdam locis glaebae ut salis micas perlucidas habentes nascuntur, quae contusae et molitae praestant operibus utilitatem. quibus autem locis eae copiae non sunt, caementa marmorea, sive assulae dicuntur, quae marmorarii ex operibus deiciunt, contunduntur et moluntur, ⟨et cum⟩ est subcretum, in operibus utuntur. aliis locis, ut inter Magnesiae et Ephesi fines, sunt loca, unde foditur ⟨farina⟩ parata, quam nec molere nec cernere opus est, sed sic est subtilis, quemadmodum si qua est manu contusa et subcreta. Colores vero alii sunt, qui per se certis locis procreantur et inde fodiuntur, nonnulli ex aliis rebus tractationibus aut mixtionum temperaturis compositi perficiuntur, uti praestent eandem in operibus utilitatem.
7.1. 1. We shall first set forth the natural colours that are dug up as such, like yellow ochre, which is termed ὤχρα in Greek. This is found in many places, including Italy, but Attic, which was the best, is not now to be had because in the times when there were slaves in the Athenian silver mines, they would dig galleries underground in order to find the silver. Whenever a vein of ochre was found there, they would follow it up like silver, and so the ancients had a fine supply of it to use in the polished finishings of their stucco work.
7.1. Primum autem exponemus, quae per se nascentia fodiuntur, uti sil, quod graece ὤχρα dicitur. haec vero multis locis, ut etiam in Italia, invenitur; sed quae fuerat optima, attica, ideo nunc non habetur, quod Athenis argentifodinae cum habuerunt familias, tunc specus sub terra fodiebantur ad argentum inveniendum. cum ibi vena forte inveniretur, nihilominus uti argentum persequebantur; itaque antiqui egregia copia silis ad politionem operum sunt usi.
7.2. 2. Red earths are found in abundance in many places, but the best in only a few, for instance at Sinope in Pontus, in Egypt, in the Balearic islands of Spain, as well as in Lemnos, an island the enjoyment of whose revenues the Senate and Roman people granted to the Athenians.
7.2. Item rubricae copiosae multis locis eximuntur, sed optimae paucis, uti Ponto Sinope, et Aegypto, in Hispania Balearibus, non minus etiam Lemno, cuius insulae vectigalia Atheniensibus senatus populusque Romanus concessit fruenda.
7.3. 3. Paraetonium white gets its name from the place where it is dug up. The same is the case with Melian white, because there is said to be a mine of it in Melos, one of the islands of the Cyclades.
7.3. Paraetonium vero ex ipsis locis, unde foditur, habet nomen. eadem ratione melinum, quod eius metallum in sola cycladi Melo dicitur esse.
7.4. 4. Green chalk is found in numerous places, but the best at Smyrna. The Greeks call it θεοδοτεῖον because this kind of chalk was first found on the estate of a person named Theodotus.
7.4. Creta viridis item pluribus locis nascitur, sed optima Zmyrnae; hanc autem Graeci θεοδοτεῖον vocant, quod Theodotus nomine fuerat, cuius in fundo id genus cretae primum est inventum.
7.5. 5. Orpiment, which is termed ἀρσενικόν in Greek, is dug up in Pontus. Sandarach, in many places, but the best is mined in Pontus close by the river Hypanis.
7.5. Auripigmentum, quod ἀρσενικόν graece dicitur, foditur Ponto. sandaraca item pluribus locis, sed optima Ponto proxime flumen Hypanim habet metallum.
8.1. 1. I SHALL now proceed to explain the nature of cinnabar. It is said that it was first found in the Cilbian country belonging to Ephesus, and both it and its properties are certainly very strange. First, before getting to the vermilion itself by methods of treatment, they dig out what is called the clod, an ore like iron, but rather of a reddish colour and covered with a red dust. During the digging it sheds, under the blows of the tools, tear after tear of quicksilver, which is at once gathered up by the diggers.
8.1. Ingrediar nunc minii rationes explicare. id autem agris Ephesiorum Cilbianis primum esse memoratur inventum. cuius et res et ratio satis magnas habet admirationes. foditur enim glaeba quae dicitur, antequam tractationibus ad minium perveniant, vena uti ferrum, magis subrufo colore, habens circa se rubrum pulverem. cum id foditur, ex plagis ferramentorum crebras emittit lacrimas argenti vivi, quae a fossoribus statim colliguntur.
8.2. 2. When these clods have been collected, they are so full of moisture that they are thrown into an oven in the laboratory to dry, and the fumes that are sent up from them by the heat of the fire settle down on the floor of the oven, and are found to be quicksilver. When the clods are taken out, the drops which remain are so small that they cannot be gathered up, but they are swept into a vessel of water, and there they run together and combine into one. Four pints of it, when measured and weighed, will be found to be one hundred pounds.
8.2. Hae glaebae, cum collectae sunt, in officina propter umoris plenitatem coiciuntur in fornacem, ut interarescant, et is qui ex his ab ignis vapore fumus suscitatur, cum resedit in solum furni, invenitur esse argentum vivum. exemptis glaebis guttae eae, quae residebunt, propter brevitates non possunt colligi, sed in vas aquae converruntur et ibi inter se congruunt et una confunduntur. id autem cum sint quattuor sextariorum mensurae, cum expenduntur, invenientur esse pondo centum.
8.3. 3. If the quicksilver is poured into a vessel, and a stone weighing one hundred pounds is laid upon it, the stone swims on the surface, and cannot depress the liquid, nor break through, nor separate it. If we remove the hundred pound weight, and put on a scruple of gold, it will not swim, but will sink to the bottom of its own accord. Hence, it is undeniable that the gravity of a substance depends not on the amount of its weight, but on its nature.
8.3. Cum in aliquo vase est confusum, si supra id lapideum centenarium pondus inponatur, natat in summo neque eum liquorem potest onere suo premere nec elidere nec dissipare. centenario sublato si ibi auri scripulum inponatur, non natabit, sed ad imum per se deprimetur. ita non amplitudine ponderis sed genere singularum rerum gravitatem esse non est negandum.
8.4. 4. Quicksilver is a useful thing for many purposes. For instance, neither silver nor copper can be gilded properly without it. And when gold has been woven into a garment, and the garment becomes worn out with age so that it is no longer respectable to use, the pieces of cloth are put into earthen pots, and burned up over a fire. The ashes are then thrown into water and quicksilver added thereto. This attracts all the bits of gold, and makes them combine with itself. The water is then poured off, and the rest emptied into a cloth and squeezed in the hands, whereupon the quicksilver, being a liquid, escapes through the loose texture of the cloth, but the gold, which has been brought together by the squeezing, is found inside in a pure state.
8.4. Id autem multis rebus est ad usum expeditum. neque enim argentum neque aes sine eo potest recte inaurari. cumque in veste intextum est aurum eaque vestis contrita propter vetustatem usum non habeat honestum, panni in fictilibus vasis inpositi supra ignem comburuntur. is cinis coicitur in aquam, et additur eo argentum vivum. id autem omnes micas auri corripit in se et cogit secum coire. aqua defusa cum id in pannum infunditur et ibi manibus premitur, argentum per panni raritates propter liquorem extra labitur compressione coactum, aurum intra purum invenitur.
9.1. 1. I WILL now return to the preparation of vermilion. When the lumps of ore are dry, they are crushed in iron mortars, and repeatedly washed and heated until the impurities are gone, and the colours come. When the cinnabar has given up its quicksilver, and thus lost the natural virtues that it previously had, it becomes soft in quality and its powers are feeble.
9.1. Revertar nunc ad minii temperaturam. ipsae enim glaebae, cum sunt aridae, contunduntur pilis ferreis, et lotionibus et cocturis crebris relictis stercoribus efficiuntur, ut adveniant, colores. cum ergo emissae sint ex minio per argenti vivi relictionem quas in se naturales habuerat virtutes, efficitur tenera natura et viribus inbecillis.
9.2. 2. Hence, though it keeps its colour perfectly when applied in the polished stucco finish of closed apartments, yet in open apartments, such as peristyles or exedrae or other places of the sort, where the bright rays of the sun and moon can penetrate, it is spoiled by contact with them, loses the strength of its colour, and turns black. Among many others, the secretary Faberius, who wished to have his house on the Aventine finished in elegant style, applied vermilion to all the walls of the peristyle; but after thirty days they turned to an ugly and mottled colour. He therefore made a contract to have other colours applied instead of vermilion.
9.2. Itaque cum est in expolitionibus conclavium tectis inductum, permanet sine vitiis suo colore; apertis vero, id est peristyliis aut exhedris aut ceteris eiusdem modi locis, quo sol et luna possit splendores et radios inmittere, cum ab his locus tangitur, vitiatur et amissa virtute coloris denigratur. itaque cum et alii multi tum etiam Faberius scriba, cum in Aventino voluisset habere domum eleganter expolitam, peristyliis parietes omnes induxit minio, qui post dies XXX facti sunt invenusto varioque colore. itaque primo locavit inducendos alios colores.
9.3. 3. But anybody who is more particular, and who wants a polished finish of vermilion that will keep its proper colour, should, after the wall has been polished and is dry, apply with a brush Pontic wax melted over a fire and mixed with a little oil; then after this he should bring the wax to a sweat by warming it and the wall at close quarters with charcoal enclosed in an iron vessel; and finally he should smooth it all off by rubbing it down with a wax candle and clean linen cloths, just as naked marble statues are treated.
9.3. At si qui subtilior fuerit et voluerit expolitionem miniaceam suum colorem retinere, cum paries expolitus et aridus fuerit, ceram ponticam igni liquefactam paulo oleo temperatam saeta inducat; deinde postea carbonibus in ferreo vase compositis eam ceram una cum pariete calfaciundo sudare cogat lietque, ut peraequetur; deinde tunc candela centunculisque puris subigat, uti signa marmorea nuda curantur (haec autem γάνωσις graece dicitur):
9.4. 4. This process is termed γάνωσις in Greek. The protecting coat of Pontic wax prevents the light of the moon and the rays of the sun from licking up and drawing the colour out of such polished finishing. The manufactories which were once at the mines of the Ephesians have now been transferred to Rome, because this kind of ore was later discovered in Spain. The clods are brought from the mines there, and treated in Rome by public contractors. These manufactories are between the temples of Flora and Quirinus.
9.4. ita obstans cerae ponticae lorica non patitur nec lunae splendorem nec solis radios lambendo eripere ex his politionibus colorem. quae autem in Ephesiorum metallis fuerunt officinae, nunc traiectae sunt ideo Romam, quod id genus venae postea est inventum Hispaniae regionibus, ⟨e⟩ quibus metallis glaebae portantur et per publicanos Romae curantur. eae autem officinae sunt inter aedem Florae et Quirini.
9.5. 5. Cinnabar is adulterated by mixing lime with it. Hence, one will have to proceed as follows, if one wishes to prove that it is unadulterated. Take an iron plate, put the cinnabar upon it, and lay it on the fire until the plate gets red hot. When the glowing heat makes the colour change and turn black, remove the plate from the fire, and if the cinnabar when cooled returns to its former colour, it will be proved to be unadulterated; but if it keeps the black colour, it will show that it has been adulterated.
9.5. Vitiatur minium admixta calce. itaque si qui velit experiri id sine vitio esse, sic erit faciendum. ferrea lamna sumatur, eo minium inponatur, ad ignem conlocetur, donec lamna candescat. cum e candore color mutatus fuerit eritque ater, tollatur lamna ab igni, et sic refrigeratum si restituatur in pristinum colorem, sine vitio esse probabitur; sin autem permanserit nigro colore, significabit se esse vitiatum.
9.6. 6. I have now said all that I could think of about cinnabar. Malachite green is brought from Macedonia, and is dug up in the neighbourhood of copper mines. The names Armenian blue and India ink show in what places these substances are found.
9.6. Quae succurrere potuerunt mihi de minio, dixi. chrysocolla adportatur a Macedonia; foditur autem ex îs locis, qui sunt proximi aerariis metallis. armenium et indicum nominibus ipsis indicatur, quibus in locis procreatur.
10.1. 1. I SHALL now pass to those substances which by artificial treatment are made to change their composition, and to take on the properties of colours; and first I shall treat of black, the use of which is indispensable in many works, in order that the fixed technical methods for the preparation of that compound may be known.
10.1. Ingrediar nunc ad ea, quae ex aliis generibus tractationum temperaturis commutata recipiunt colorum proprietates. et primum exponam de atramento, cuius usus in operibus magnas habet necessitates, ut sint notae, quemadmodum praeparentur certis rationibus artificiorum, ad id temperaturae.
10.2. 2. A place is built like a Laconicum, and nicely finished in marble, smoothly polished. In front of it, a small furnace is constructed with vents into the Laconicum, and with a stokehole that can be very carefully closed to prevent the flames from escaping and being wasted. Resin is placed in the furnace. The force of the fire in burning it compels it to give out soot into the Laconicum through the vents, and the soot sticks to the walls and the curved vaulting. It is gathered from them, and some of it is mixed and worked with gum for use as writing ink, while the rest is mixed with size, and used on walls by fresco painters.
10.2. Namque aedificatur locus uti laconicum et expolitur marmore subtiliter et levigatur. ante id fit fornacula habens in laconicum nares, et eius praefurnium magna diligentia comprimitur, ne flamma extra dissipetur. in fornace resina conlocatur. hanc autem ignis potestas urendo cogit emittere per nares intra laconicum fuliginem, quae circa parietem et camerae curvaturam adhaerescit. inde collecta partim componitur ex gummi subacta ad usum atramenti librarii, reliquum tectores glutinum admiscentes in parietibus utuntur.
10.3. 3. But if these facilities are not at hand, we must meet the exigency as follows, so that the work may not be hindered by tedious delay. Burn shavings and splinters of pitch pine, and when they turn to charcoal, put them out, and pound them in a mortar with size. This will make a pretty black for fresco painting.
10.3. Si autem hae copiae non fuerint paratae, ita necessitatibus erit administrandum, ne expectatione morae res retineatur. sarmenta aut taedae schidiae comburantur; cum erunt carbones, extinguantur, deinde in mortario cum glutino terantur: ita erit atramentum tectoribus non invenustum.
10.4. 4. Again, if the lees of wine are dried and roasted in an oven, and then ground up with size and applied to a wall, the result will be a colour even more delightful than ordinary black; and the better the wine of which it is made, the better imitation it will give, not only of the colour of ordinary black, but even of that of India ink.
10.4. Non minus si faex vini arefacta et cocta in fornace fuerit et ea contrita cum glutino in opere inducetur, atramenti suavitatis superque efficiet colorem; et quo magis ex meliore vino parabitur, non modo atramenti, sed etiam indici colorem dabit imitari.
11.1. 1. METHODS of making blue were first discovered in Alexandria, and afterwards Vestorius set up the making of it at Puzzuoli. The method of obtaining it from the substances of which it has been found to consist, is strange enough. Sand and the flowers of natron are brayed together so finely that the product is like meal, and copper is grated by means of coarse files over the mixture, like sawdust, to form a conglomerate. Then it is made into balls by rolling it in the hands and thus bound together for drying. The dry balls are put in an earthern jar, and the jars in an oven. As soon as the copper and the sand grow hot and unite under the intensity of the fire, they mutually receive each other's sweat, relinquishing their peculiar qualities, and having lost their properties through the intensity of the fire, they are reduced to a blue colour.
11.1. Caeruli temperationes Alexandriae primum sunt inventae, postea item Vestorius Puteolis instituit faciundum. ratio autem eius, e quibus est inventa, satis habet admirationis. harena enim cum nitri flore conteritur adeo subtiliter, ut efficiatur quemadmodum farina; ea aes cyprum limis crassis uti scobis facta mixta conspargitur, ut conglomeretur; deinde pilae manibus versando efficiuntur et ita conligantur, ut inarescant; aridae componuntur in urceo fictili, urcei in fornace: ita aes et ea harena ab ignis vehementia confervescendo cum coaluerint, inter se dando et accipiendo sudores a proprietatibus discedunt suisque viribus per ignis vehementiam confectis caeruleo rediguntur colore.
11.2. 2. Burnt ochre, which is very serviceable in stucco work, is made as follows. A clod of good yellow ochre is heated to a glow on a fire. It is then quenched in vinegar, and the result is a purple colour.
11.2. Usta vero, quae satis habet utilitatis in operibus tectoriis, sic temperatur. glaeba silis boni coquitur, ut sit in igni candens; ea autem aceto extinguitur et efficitur purpureo colore.
12.1. 1. IT is now in place to describe the preparation of white lead and of verdigris, which with us is called “aeruca.” In Rhodes they put shavings in jars, pour vinegar over them, and lay pieces of lead on the shavings; then they cover the jars with lids to prevent evaporation. After a definite time they open them, and find that the pieces of lead have become white lead. In the same way they put in plates of copper and make verdigris, which is called “aeruca.”
12.1. De cerussa aerugineque, quam nostri aerucam vocitant, non est alienum, quemadmodum comparetur, dicere. Rhodo enim doliis sarmenta conlocantes aceto suffuso supra sarmenta conlocant plumbeas massas, deinde ea operculis obturant, ne spiramento obturatum emittatur. post certum tempus aperientes inveniunt e massis plumbeis cerussam. eadem ratione lamellas aereas conlocantes efficiunt aeruginem, quae aeruca appellatur.
12.2. 2. White lead on being heated in an oven changes its colour on the fire, and becomes sandarach. This was discovered as the result of an accidental fire. It is much more serviceable than the natural sandarach dug up in mines.
12.2. Cerussa vero, cum in fornace coquitur, mutato colore ad ignem [incendi] efficitur sandaraca—id autem incendio facto ex casu didicerunt homines—et ea multo meliorem usum praestat, quam quae de metallis per se nata foditur.
13.1. 1. I SHALL now begin to speak of purple, which exceeds all the colours that have so far been mentioned both in costliness and in the superiority of its delightful effect. It is obtained from a marine shellfish, from which is made the purple dye, which is as wonderful to the careful observer as anything else in nature; for it has not the same shade in all the places where it is found, but is naturally qualified by the course of the sun.
13.1. Incipiam nunc de ostro dicere, quod et carissimam et excellentissimam habet praeter hos colores aspectus suavitatem. id autem excipitur e conchylio marino, e quo purpura efficitur, cuius non minores sunt quam ceterarum ⟨rerum⟩ naturae considerantibus admirationes, quod habet non in omnibus locis, quibus nascitur, unius generis colorem, sed solis cursu naturaliter temperatur.
13.2. 2. That which is found in Pontus and Gaul is black, because those countries are nearest to the north. As one passes on from north to west, it is found of a bluish shade. Due east and west, what is found is of a violet shade. That which is obtained in southern countries is naturally red in quality, and therefore this is found in the island of Rhodes and in other such countries that are nearest to the course of the sun.
13.2. Itaque quod legitur Ponto et Gallia, quod hae regiones sunt proximae ad septentrionem, est atrum; progredientibus inter septentrionem et occidentem invenitur lividum; quod autem legitur ad aequinoctialem orientem et occidentem, invenitur violaceo colore; quod vero meridianis regionibus excipitur, rubra procreatur potestate, et ideo hoc Rhodo etiam insula creatur ceterisque eiusmodi regionibus, quae proximae sunt solis cursui.
13.3. 3. After the shellfish have been gathered, they are broken up with iron tools, the blows of which drive out the purple fluid like a flood of tears, and then it is prepared by braying it in mortars. It is called “ostrum” because it is taken from the shells of marine shellfish. On account of its saltness, it soon dries up unless it has honey poured over it.
13.3. Ea conchylia, cum sunt lecta, ferramentis circa scinduntur, e quibus plagis purpurea sanies, uti lacrima profluens, excussa in mortariis terendo comparatur. et quod ex concharum marinarum testis eximitur, ideo ostrum est vocitatum. id autem propter salsuginem cito fit siticulosum, nisi mel habeat circa fusum.
14.1. 1. PURPLE colours are also manufactures by dyeing chalk with madder root and with hysginum. Other colours are made from flowers. Thus, when fresco painters wish to imitate Attic yellow ochre, they put dried violets into a vessel of water, and heat them over a fire; then, when the mixture is ready, they pour it onto a linen cloth, and squeeze it out with the hands, catching the water which is now coloured by the violets, in a mortar. Into this they pour chalk and bray it, obtaining the colour of Attic yellow ochre.
14.1. Fiunt etiam purpurei colores infecta creta rubiae radice et hysgino, non minus et ex floribus alii colores. itaque tectores, cum volunt sil atticum imitari, violam aridam coicientes in vas cum aqua, confervefaciunt ad ignem, deinde, cum est temperatum, coiciunt ⟨in⟩ linteum, et inde manibus exprimentes recipiunt in mortarium aquam ex violis coloratam, et eo cretam infundentes et eam terentesn efficiunt silis attici colorem.
14.2. 2. They make a fine purple colour by treating bilberry in the same way and mixing it with milk. Those who cannot use malachite green on account of its dearness, dye blue with the plant called dyer's weed, and thus obtain a most vivid green. This is called dyer's malachite green. Again, for want of indigo, they dye Selinusian or anularian chalk with woad, which the Greeks call ἰσάτις, and make an imitation of indigo.
14.2. Eadem ratione vaccinium temperantes et lacte miscentes purpuram faciunt elegantem. item qui non possunt chrysocolla propter caritatem uti, herba, quae luteum appellatur, caeruleum inficiunt, et utuntur viridissimum colorem; haec autem infectiva appellatur. item propter inopiam coloris indici cretam selinusiam aut anulariam vitro, quod Graeci ἰσάτιν appellant, inficientes imitationem faciunt indici coloris.
14.3. 3. In this book I have written down, so far as I could recall them, the methods and means of attaining durability in polished finishings, how pictures that are appropriate should be made, and also the natural qualities of all the colours. And so, having prescribed in seven books the suitable principles which should govern the construction of all kinds of buildings, I shall treat in the next of water, showing how it may be found in places where it is wanting, by what method it may be conducted, and by what means its wholesomeness and fitness may be tested.
14.3. Quibus rationibus et rebus ad dispositionem firmitates quibusque decoras oporteat fieri picturas, item quas habeant omnes colores in se potestates, ut mihi succurrere potuit, in hoc libro perscripsi. itaque omnes aedificationum perfectiones, quam habere debeant opportunitatem ratiocinationis, septem voluminibus sunt finitae; insequenti autem de aqua, si quibus locis non fuerit, quemadmodum inveniatur et qua ratione ducatur quibusque rebus, si erit salubris et idonea, probetur, explicabo.