PAPIAS 



PAPIER-MlCHlS 



743 



few others, and from fragments of his lost work 

 preserved in their writings ( see especially Eusebius, 

 niitoria Eccl. iii. 39 ). Irenreus speaks of him as a 

 ' liearer of John' evidently meaning the apostle. 

 Eusehius aptly quotes Papias himself against 

 Irenfeus on the point ; but, while the quotation 

 justifies his criticism thus far, it does not fully 

 bear out his own view that Papias claimed to have 

 been a hearer of two other disciples of the Lord, 

 Aristion and the elder (not the apostle) John. 

 There is, then, no very reliable evidence of personal 

 intercourse with any of the immediate followers of 

 Jesus. On the other hand, some of the links 

 between Papias and the apostles are definitely 

 known ; for two daughters of the apostle Philip, 

 living in Hierapolis, related traditions to him, and 

 he was a 'companion of Polycarp' (69-155 A.D. ), 

 Bishop at Smyrna, who in his youth had been a 

 disciple of the apostle John. The statement, how- 

 ever, in the Chronicon Paschale, that Papias suffered 

 at Pergamum in the year of this contemporary's 

 martyrdom at Smyrna, rests on the compiler's mis- 

 reading of Eusebius (Hist. Eccl. iv. 15). 



The only work which he Is known to have written 

 is the Logion kyriakon exegesis ( ' Exposition of 

 Oracles of the Lord ' ), in five books, which on 

 various grounds, including an expression in a frag- 

 ment recently discovered, may be probably assigned 

 to the period 140-150. It is now generally agreed 

 that the signification of 'oracles' is not to be 

 absolutely limited to 'discourses,' and that by 

 ' Oracles of the Lord ' we are to understand a 

 record, or records, of the Lord's sayings, includ- 

 ing at least a setting of narrative. Part of the 

 author's design was to supplement his expositions 

 with trustworthy oral traditions. But the scanty 

 remains are enough to show that Papias was, as 

 Eusebius says, 'o? very small intellect,' credulous, 

 and fond of recording the wonderful. His doctrinal 

 characteristic is a quaint millenarianism, with 

 traces of the Apocalypse of Baruch. 



But it is in relation to the New Testament 

 canon, and especially to what is known as the 



the interpreter (recorder) of Peter, wrote down 

 accurately whatever he remembered, without, how- 

 ever, recording in order what was either said or 

 done by Christ,"' &c. Many scholars maintain 

 that the words suit the second gospel as we have 

 it, while others who deny this accept them as an 

 account of its groundwork. Still greater interest 

 attaches to the short fragment on Matthew : 

 1 Matthew, then, composed the oracles in the 

 Hebrew (Aramaic) language, and each one inter- 

 preted them as lie could. This statement has 

 often been called in question, but the l>est authori- 

 ties now hold that Papias is correct as to the 

 Aramaic original, and that the canonical gospel, 

 while evidently not a translation, is a Greek 

 edition, by either Matthew himself or some writer 

 unknown. On the whole, the two-document hypo- 

 thesis of the origin of the synoptics, which at 

 present holds the field, coincides remarkably with 

 the above two fragments (see GOSPELS). As to 

 the rest of the canon, Papias quoted 1 John and 

 1 Peter, and was cited as an authority for the 

 'credibility' of the Apocalypse. There are also 

 gome indications that he knew the fourth gospel. 



For I'apias generally, see Lightfoot, EsKiys on the Work 

 entitled ' Supernatural Religion ' ( 1889) ; for the collected 

 fragment*, the Patrum Apott. Opera of Gebhardt, Har- 

 nack, and Zahn ; for an English translation, the Ante- 

 Nirene Library, voL i. 



Papler-niAch6 (Fr., 'mashed or pulp paper'). 

 This name is applied to a material consisting either 

 of paper-pulp or of sheets of paper pasted together, 



which by a peculiar treatment resembles varnished 

 or lacquered wood in one class of articles made of 

 it, and in another class (chiefly architectural orna- 

 ments) somewhat resembles plaster. Other sub- 

 stances are, however, mixed with paper, especially 

 for the latter class of objects. Among eastern 

 nations, where varnished and decorated articles in 

 papier-mache have long been made, the finest 

 work has been produced in Persia, and next to 

 it in Cashmere. The articles chiefly made are 

 cases for pens and other writing materials, as well 

 as boxes and trays. In Japan various objects are 

 manufactured by glueing together a number of 

 sheets of the soft and flexible paper of that country 

 upon moulds, when it is in a damp state. This 

 kind of papier-mache, which is light, strong, and 

 elastic, was at one time used in that country for 

 helmets and other parts of armour. No douot it 

 was from one or other of these eastern countries 

 that the art of working in papier-mache was 

 acquired by Europeans. 



Articles of papier-mache were extensively made 

 in France in the first half of the 18th century. Sub- 

 sequently the manufacture was largely developed 

 in Germany. The painted papier-mache snuff- 

 boxes and other articles termed Vemis Martin 

 work, from the fact that they were made by a 

 coach-painter named Martin, who had a peculiar 

 way of varnishing them, were in the 18th century 

 popular throughout Europe, and fine specimens 

 are still sought after by collectors. Papier-mach6 

 appears to have teen introduced into England for 

 the purpose of imitating Japanese trays of lacquered 

 wood. In 1772 Henry Clay of Birmingham took 

 out a patent for making papier-mache of sheets of 

 specially prepared paper pasted together upon a 

 mould. In this way he produced panels for doors 

 and walls, besides cabinets, screens, tables, tea- 

 trays, &c., and these are still manufactured. The 

 best papier-mAche is made by Clay's method ; but 

 it is also made from paper-pulp to which glue has 

 been added, and this is pressed between dies to 

 give it the required shape. There is a third kind 

 made of coarse fibrous material, mixed with earthy 

 matters and a binding size, certain chemicals being 

 added to render it incombustible. Suppose that a 

 tray-blank of pasted sheets has been formed upon 

 a metal mould. It is then heated to 120 F., and 

 afterwards dipped in a mixture of linseed-oil and 

 spirits of tar (other mixtures are used) to harden 

 it and make it resist moisture. It is again placed 

 in a stove, and when taken out it is planed and 

 filed to give it the required finish. The tray now 

 gets several coats of tar varnish and lampblack, 

 each of which is rubbed down with pumice, and 

 stoved once more. It is then ready to be decorated, 

 after which it receives a coat of transparent varnish, 

 and is finally polished with the hand. 



Carton-pierre, which has been extensively em- 

 ployed for the internal decoration of buildings 

 (much in the same way as plaster), is formed of 

 paper-pulp mixed with whiting and glue, and 

 pressed into plaster moulds. It is next backed 

 with paper, allowed to set, and dried in a hot 

 room. Ceramic Papter-mdche (Martin's patent 

 dated March 15, 1858) is a very plastic substance, 

 which can be readily moulded or otherwise worked 

 into any required form. It is composed of paper- 

 pulp, resin, glue, drying oil, and sugar of lead, 

 well kneaded together. 



There are various ways of decorating papier- 

 mflche. For tea-trays, caskets, panels, and other 

 objects with a black varnished surface, what is 

 called 'inlaying' with plates of mother-of-pearl 

 shell, scarcely thicker than stout writing-paper, 

 has been largely practised. The pieces of shell 

 are stuck on with varnish, and the design painted 

 on them with a protecting varnish. An application 



