BOOK XXI. II. 3-iiT. 4 



II. " Such ornaments were more meagre as used 

 by the ancients, who called them stroppi, from which 

 is derived our strophiohmi. Moreover, a general 

 word was itself slow in coming into use, as " corona " 

 was conlined to the ornaments used at sacrifices or 

 as military honours. When however garhinds came 

 to be made of flowers, they were called serta,'' from 

 serere " or series.'^ The Greeks too adopted this 

 custom '^ not so long ago. 



III. For at first it was customary to make from 

 branches of trees the chaplets used at sacred con- 

 tests as prizes. Later on the custom arose of varying 

 the colour by mixing flowers of difl"erent hues, in 

 order to heighten the eflect of perfumes and colours 

 in turn. It began at Sicyon through the skill of 

 Pausias the painter and of the garland-maker 

 Glycera, a lady with whom he was very much in 

 love ; when/ he copied her works in his paintings, she 

 to eg^g him on varied her designs, and there was a 

 duel between Art and Nature. Pictures of this kind 

 painted by that famous artist are still extant, in 

 particular the one cahed Stephaneplocos,? in which 



" Perhapa : " Chaplets as used by the ancients were more 

 meagre. . , . Moreover, the name ' corona ' itself was slow in 

 becoming a general term, as it asserted a special claim to be 

 used only of sacrificial ornaraents and of mihtary honours." 

 Coronis is the only noun actually used in Chapter I that can 

 readily be understood with lenuioribus, but it makes better 

 sense to regard the latter as a substantive. 



* " Wreaths," hterally, " pUiited (flowers)." 



* " To weave together." 



•* " A line of connected things." 

 ' Namely, of using flowers to make garlands. 

 •^ Warmington would translate, with the addition of huius, 

 " when this man's painting imitated her works." 

 ' Garland weaver. 



163 



