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CONTENTS

List of Illustrations xiv

Acknowledgements xix
World View xx
Preface to the Third Revised and Expanded Edition xxvii
Introduction xxx

PART 1 ELEMENTS OF SCENOGRAPHY

1 Space 3
Measure to Measure: Playing in the Space 3
Artistic Occupation 10
Community10
A Game of Size and Scale 11
Instant History 13
A Perfect Piece of Theatre 13
A Neutral Machine 14
Describing Space 17
Site Specifics 19
Space and Sound 19
Using Space – A Warning 20
Recycling a Space 22
Models23
The Effect of Space 24
Assisting the Performance 24
The History of a Space 25
viii Contents

2 Text 31
The Hidden Story 31
Understanding the Play 32
Visualizing the Drama 33
Peopling the Play 36
Thinking Drawings – A Useful Tool 37
The Scenographic Script 38
Hidden Stories 39
Visual Clues 40
Survey the Plot 42
Scenographic Dramaturgy 46
Liberating the Text 47
Wordspace49
Representing History 49
The Look of Words 50
A Richness for the Audience’s Eyes 51
Hidden Space within Words 52
Collaboration54
The Imagery of Art 55

3 Research 59
Asking Questions – Finding Answers 59
Forgotten Memories 59
Creative Research 60
The Mood of the Moment 61
A Living Museum 62
Observing Life 64
Expressing the Subtext 65
Found Images and References 68
Cross-referencing and Recycling 71
Knowing When to Stop 72
The Mystery of Things (Fernando Pessoa) 75
Primary Research 75
Patchwork Quilts of Memories 77
Creative Research 77
Everyday Objects 79
 Contents ix

Visual Dramaturgy 80
A Scenographic Language 81

4 Colour and Composition 83

The Balancing Act 83
A Colour Scale 84
An Emotional Palette 85
Colour and Texture 86
A Piece of Green String 86
Composing with Colour and Form 90
The Beauty of the Ordinary 92
Critical Awareness 93
Playing with Paint and Colour 94
Less is More 95
A Carousel of Memories 95
Poetic Realism 97
Colour and Composition 98
The Dynamism of Space 99
Consistent Practice 100
The Logic of Colour 101
Directing the Spectator’s Eye 103
The Thrill of Composition 104
Flexible Surfaces 104
Focusing Attention 105
Scale and Impact 106
Made by Hand 107

5 Direction 111
Finding the Way 111
Making the Space Speak 113
Pragmatics113
The Architect of the Dramatic Space 116
Credit Where it’s Due 117
Common Ground 118
Animating the Space – Together 118
Mise en scène 120
x Contents

Coming into the Picture 121

Enhancing the Text 122
Text and Action 123
Telling the Story with Costume and Text 124
Travelling in the Same Direction 128
The Art of Direction 131
Interchangeable Roles 134
The Creative Vision 135
A Theatre for Looking at Things 136
Allowing the Unexpected to Happen 137

6 Performers 141
The Scenographic Actor 141
The First Day of Rehearsal 142
Language144
Do your Homework 145
Observations from Life 146
Working Interculturally 147
The Body 147
The Language of Clothes 148
Making the Costume 151
The Actor’s Imprint 152
Fabric152
The Costumed Actor in the Empty Space 153
Practical and Poetic 154
Using the Space 155
The Body in Three Dimensions 158
The Raw Material 160
The Human Form 161
Understanding Performers 162
A Two-way Process 164
The World of the Character Made Manifest 165
A Performative Language 167
Simple Images 168
A Hunger for the Intimate 169
The Performer is the Bridge 169
 Contents xi

7 Spectators 171
The Great Mystery 171
Studying the Audience 172
Educating the Audience 172
The Missing Ingredient 173
Creating the Conditions for Concentration 174
Taking Care to Prepare 176
A Joint Adventure 178
A Visual Narrator 179
Danger179
Not Play Acting 182
Space as Metaphor 182
Scenic Invention 184
A Feast of Delights 187
The Active Ingredient 187
Sustainable Staging 188
Form and Content in Harmony 189
‘Real life’ Reflected? 191
The Audience’s Imagination 193
Memory and Recognition 193
Using Realism to Create Mystery 195
Leaving Room for the Spectator 196
Spectator as Participant 196

PART 2 INVESTIGATIONS

8 Charlotte: A Tri-Coloured Play with Music 201

Introduction: When Life and Art Meet 202
Space: Behind the Tracing Paper 203
Text: Memory? or Truth? 207
Research: The Living Museum for Charlotte: A Tri-Coloured
Play with Music 209
Performers and Direction 214
Colour and Composition: The Tri-Coloured World of
Charlotte Salomon 224
SCENO-MANI-FESTO228
Spectators: On Entering the House of Theatre 228
xii Contents

9 Carmen 231
Ljubljana 2015 231
Text: Text–Sound–Colour 234
Research237
SCENO-MANI-FESTO241
Colour and Composition: Making the Mark 242
Responding to the Material 243
Direction: Cooking and Dreaming 244
Performers246
SCENO-MANI-FESTO249
Staging Delacroix’s La Liberté 249
Spectators: Expectations 251
SCENO-MANI-FESTO254

10 The Excursions of Mr Brouček 255

Staging Brouček: The World Premiere of Výlet pana Broučka
do Měsíce by Leoš Janáček255
Space256
Text and Music 256
Research: Cycles, Cars and Barrows – and Pork Sausages! 259
SCENO-MANI-FESTO267
Colour and Composition 267
Performers269
Spectators: The Progressive Experience 272
Conclusion274
Direction277
SCENO-MANI-FESTO279

11 Šarlatán281
Staging Pavel Haas’s opera Šarlatán (1938) 281
Overture281
Exposition282
Performers288
The Big Problem 290
Development: Nettles and Potatoes 292
Space: Leading the Audience’s Eye 294
SCENO-MANI-FESTO299
 Contents xiii

The Scenographic Spectator 300

SCENO-MANI-FESTO304
Finale: To our Maestro Israel Yinon 304
And … to our Poet Sandy Hutchison 305
SCENO-MANI-FESTO306

12 The New Jerusalem 307

Traversing the Space 307
Connecting Word and Vision 310
Research: Finding the Way 317
SCENO-MANI-FESTO321
Colour and Composition: The Joy of Pen and Ink 321
SCENO-MANI-FESTO324
Direction: Parallel Paths 324
SCENO-MANI-FESTO326
Performers326
Spectators: The Scenic Spectator 328
SCENO-MANI-FESTO330

Afterword332
Postscript339
Index341
ILLUSTRATIONS

1.1 Drawing of Hoxton Hall, London 8

1.2 Sheet of small drawings for Rondó Adafina workshop,
showing different uses of theatre in the round 16
1.3a Sofa as a room 17
1.3b Sofa as a trap 17
1.3c The Sicilian sofa 18
1.3d Sofa as a crib 18
1.4 Drawing of The Petition (Julia Pascal) for Bevis Marks,
London 2006 21
1.5 Cyber Rex 29
2.1 Imaginary map of the estate from the text of The
Cherry Orchard 34
2.2 Detail from drawing for Behind the Green Curtains 41
2.3 Working sketch for Border Warfare 44
2.4 Hedge of words 57
3.1 Costume drawing for Macbeth, Theatr Clwyd 66
3.2 On-site sketches of the writing on the university walls,
Salamanca71
3.3 Medieval tile pattern research drawing 72
3.4 Costume drawing of Timothy West as Falstaff, using the
tile pattern 73
3.5 ‘My childhood, my innocence’, The Cherry Orchard 74
3.6 ‘Let’s go in this way’, The Cherry Orchard 75
4.1 Three sketches for John McGrath’s John Brown’s Body 89
4.2 Drawing for As You Like It 91
4.3 Structural sketch based on Tiepolo composition 96
4.4 Taiwanese Ghost Festival 108
 Illustrations xv

5.1 Collage sheet recording discussions with the director

for the staging of The Master Builder 114
5.2 The arrival of Percy Gimlet, John Brown’s Body 124
5.3 Drawing for The Taming of the Shrew 126
5.4a Rehearsal drawing, The Cherry Orchard 129
5.4b Rehearsal drawing, The Cherry Orchard 129
5.4c Rehearsal drawing, The Cherry Orchard 130
5.4d Rehearsal drawing, The Cherry Orchard 130
6.1 Life studies of Albie Woodington in King
Henry IV 143
6.2a Rehearsal sketches for The Cherry Orchard 144
6.2b Rehearsal sketches for The Cherry Orchard 145
6.3 Chorus drawing for Happy Birthday Brecht 148
6.4 Drawing of Samantha Cones as model for Julia Ford’s
Agnes in The School for Wives 149
6.5 Three women in black: drawings of Aline, Masha
and Hedda 150
6.6 Early sketches for Happy Days 156
6.7 Swan Theatre, early drawings of Elgar’s Rondo 157
7.1 Sightline sketch for Chichester Festival Theatre 175
7.2 Performance drawing of Apocalypse 1,11 in the Cuartel
San Carlos, Caracas 181
7.3 Sketch of the audience/performance space, La Celestina 183
7.4 Spectators taken through the magical spaces of
Concierto Barroco 185
7.5 ‘Grand Rond Balancez’, The Cherry Orchard 189
7.6 ‘They’ve forgotten about me’, The Cherry Orchard 190
8.0 Title page for Charlotte: A Tri-Coloured Play with Music 201
8.1 Charlotte Salomon, the sofa gouache (M004186).
Reproduced by permission of Joods Cultureel Kwartier,
Amsterdam.204
8.2 Charlotte Salomon, ‘The Field of Buttercups’
(M004600). Reproduced by permission of Joods
Cultureel Kwartier, Amsterdam. 206
8.3 Charlotte and Daberlohn on her bed 207
8.4 Research for Scene 18: Revelations. Little Red Riding
Hood211
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xvi Illustrations

8.5 Research for the ‘Mythology of Buttercups’.

Reproduced by permission of Joods Cultureel Kwartier,
Amsterdam.211
8.6 Research for Minister of Propaganda Joseph Goebbels 213
8.7 German hand-embroidered folk textile showing an
ideal Tyrolean (author’s collection) 214
8.8 Characters in Charlotte: A Tri-Coloured Play with Music 215
8.9 Scene summary for Charlotte: A Tri-Colour Play with Music 218
8.10 Character and Scenes; production plan for Charlotte:
A Tri-Colour Play with Music 222
8.11 The three basic colours 224
8.12 Character map; costume changes for Charlotte:
A Tri-Colour Play with Music 226
9.0 La Penserosa. Reproduced by permission of Mike Ribbans 231
9.1 ‘L’amour t’attend’, Carmen, Act 4 233
9.2 ‘An “idea” that does not work’, Carmen, Act 3 234
9.3 ‘Toujours la mort!’ Carmen turning the Tarot cards, Act 3 236
9.4 ‘Les tringles des sistres’, Carmen, Act 2 237
9.5 ‘La cloche sonne’, Carmen, Act 1 238
9.6 Don José, Zuniga, Le Remendado and Le Dancaïre,
Carmen, Act 2 239
9.7 Les filles et femmes danceuses, Carmen, Acts 2 and 4 240
9.8 Nazareno or the ‘Capuchone’ 241
9.9 Thinking drawing of ‘Vivat! vivat le Toréro!’, Carmen,
Act 2 241
9.10 Les gamins, street urchins pretending to be adults,
Carmen, Act 1 243
9.11 ‘Vivat! vivat le Toréro!’, Carmen, Act 3 246
9.12 Frasquitta and Mercedes, Carmen, Act 3 248
9.13 ‘La Liberté’, Carmen, Act 2 249
9.14 Carmen, Act 1 252
9.15 Espada, Carmen, Act 4 253
10.0 Mr Brouček on the Moon 255
10.1 Mr Brouček257
10.2 Mazal and Blankytný 258
10.3 Sacristan and Lunobar 260
10.4 Málinka and Etherea 262
 Illustrations xvii

10.5 Opening scene of Brouček with the army of street

cleaners and Svatopluk Čech264
10.6 Číšníček (the Little Waiter) and Zázračné dítě (the
Miraculous Child) 265
10.7 The Vikárka pub in Prague at night, Act 1 of Brouček 266
10.8 The Temple of the Lunar Arts, Act 2 of Brouček,
‘On the Moon’ 267
10.9 The Vikárka pub in Prague the following morning,
Epilogue of Brouček 268
10.10 The grim red and blue street cleaners, Act 1 269
10.11 Družky (companions), Act 2 270
10.12 Svatopluk Čech and Obláčný271
10.13 Mr Wurfl and Čaroskvoucí273
10.14 Students, Act 1 274
10.15 The Composer, the Painter and the Poet, the Temple of
the Lunar Arts, Act 2 275
10.16 Harfoboj the Composer and Duhoslav the Painter, the
Temple of the Lunar Arts, Act 2 276
10.17 Painters and sculptors, the Temple of the Lunar Arts, Act 2 276
10.18 Musicians, the Temple of the Lunar Arts, Act 2 277
10.19 The Circle of Poets, the Temple of the Lunar Arts, Act 2 278
10.20 Mr Brouček’s Housekeeper and Maid, Epilogue 279
10.21 Men and women, the choir, Epilogue 280
11.0 Title page of Pavel Haas’s Šarlatán281
11.1 Character list and plot synopsis for Šarlatán286
11.2 Sketches of characters of Šarlatán291
11.3 Fat Lucy and Pustrpalk’s booth 293
11.4 Mind map setting out a plan for the development
of Šarlatán295
11.5 Journey 1 for the workshop staging of Act 1 of Šarlatán297
11.6 Journey 2 for the workshop staging of the Intermezzo
after Act 1 of Šarlatán297
11.7 Journey 3 for the workshop staging of Act 2 of Šarlatán298
11.8 A ladder for Act 2 Scene 1 of Šarlatán298
11.9 Audience involved in the action of Šarlatán300
11.10 Sandy Hutchison as the wild Scot, introducing Šarlatán301
11.11 Portable hurdy-gurdy, instrument for the wild Scot 302
xviii Illustrations

12.0 Title page of The New Jerusalem 307

12.1 The traverse space for The New Jerusalem 309
12.2 Storyboard of The New Jerusalem 314
12.3 Calligraphic pen and ink well 321
12.4 Drawing of festoons of oak leaves 323
Aft.1 The questioning scenographer 336
Aft.2 What is Scenography schema 339
ACKNOWLEDGEMENTS

This book is dedicated to my late uncle Henry Gatoff who let me

watch him drawing by hand his architectural perspectives and hold
his T-squares. As a small child I wondered what all those little people
rushing about were doing and where they had come from and where
they were going. And I wonder much the same now.
My great thanks to all the many former students I am still in touch
with. We still enter into lively debates and we form a vibrant world sce-
nographic community that has informed this third edition.
I am greatly appreciative to those fellow artists who have given me
the opportunity in these last ten years to develop my interdisciplinary
practice as ‘créatrice’ combining vision and staging that are illustrated
in the ‘investigations’ in this edition, with a special mention to Rocc,
Artistic Director of the National Opera Ljubljana, Slovenia, who got me
to direct Carmen, which I never thought I would want to do, and from
which I learned so much. And to my Canadian Colleagues, writer Alon
Nashman, Czech composer Aleš Březina and all the multiple casts and
tech teams for three years of ongoing development work on Charlotte: A
Tri-Coloured Play with Music, finally coming to fruition in 2019.
I thank and salute my academic affiliations as International Chair
in Drama at Royal Welsh College of Music and Drama, and Visiting
Professor at Arts University Bournemouth, and am honoured to have
become an Honorary Member of the innovative ISTAN network based
at the Academy of Drama in Beijing.
And a huge thanks to my chief editor, and fellow artist Professor
Pavel Drábek of the University of Hull, for all his wise and perceptive
comments, and to Routledge editor Lucia Accorsi, and my loyal band of
critical readers.
WORLD VIEW

Whenever scenographers meet internationally the discussion inevitably

still turns to wondering What is Scenography? Lively debates flourish
that show the spectrum of views from all over the world, and how dif-
ficult it is to quantify. Following is a selection of responses from col-
leagues who were asked again to define scenography in nine words. The
third edition includes some new voices that have joined the debate over
the past ten years.
Sadly, we note the passing of the great and influential Jaroslav
Malina, whose legacy lives on.
What is scenography now?

Peter Cooke Scenography is the visual lexicon of theatre

Australia making.

Lidia Kosovski A matter that enlarges the poetry inscripted in

Brazil the actor’s gesture.

José Carlos Serroni The spatial translation of the scene.

Brazil

Troy Hourie The art of creating interactions between body

Canada and space.

Kathleen Irwin Scenography considers the multiple ways that

Canada performance space generates meanings.

Michael Levine Scenography is a physical manifestation of

Canada imaginary space.
Discovering Diverse Content Through
Random Scribd Documents
 CHAP. 66.—THE PERSOLATA OR ARCION; EIGHT REMEDIES.

The persolata,781 a plant known to every one, and called “arcion”

by the Greeks, has a leaf, larger, thicker, more swarthy, and more
hairy than that of the gourd even, with a large white root. This plant
also is taken, in doses of two denarii, in wine.
 CHAP. 67.—CYCLAMINOS OR TUBER TERRÆ: TWELVE REMEDIES.

So too, the root of cyclaminos782 is good for injuries inflicted by

serpents of all kinds. It has leaves smaller than those of ivy, thinner,
more swarthy, destitute of angles, and covered with whitish spots.
The stem is thin and hollow, the flowers of a purple colour, and the
root large and covered with a black rind; so much so, in fact, that it
might almost be taken for the root of rape. This plant grows in
umbrageous localities, and by the people of our country is known as
the “tuber terræ.”783 It ought to be grown in every house, if there is
any truth in the assertion that wherever it grows, noxious spells can
have no effect. This plant is also what is called an “amulet;” and
taken in wine, they say, it produces all the symptoms and
appearances of intoxication. The root is dried, cut in pieces, like the
squill, and put away for keeping. When wanted, a decoction is made
of it, of the consistency of honey. Still, however, it has some
deleterious784 properties; and a pregnant woman, it is said, if she
passes over the root of it, will be sure to miscarry.
 CHAP. 68.—THE CYCLAMINOS CISSANTHEMOS: FOUR REMEDIES.

There is also another kind of cyclaminos, known by the additional

name of “cissanthemos;”785 the stems of it, which are jointed, are
good for nothing. It is altogether different from the preceding plant,
and entwines around the trunks of trees. It bears a berry similar to
that of the ivy, but soft; and the flower is white and pleasing to the
sight. The root is never used. The berries are the only part of it in
use, being of an acrid, viscous taste. They are dried in the shade,
after which they are pounded and divided into lozenges.
 CHAP. 69.—THE CYCLAMINOS CHAMÆCISSOS: THREE REMEDIES.

A third kind786 of cyclaminos has also been shown to me, the

additional name of which is “chamæcissos.” It consists of but a
single leaf, with a branchy root, formerly employed for killing fish.
 CHAP. 70.—PEUCEDANUM: TWENTY-EIGHT REMEDIES.

But in the very first rank among these plants, stands

peucedanum,787 the most esteemed kind of which is that of Arcadia,
the next best being that of Samothrace, The stem resembles that of
fennel, is thin and long, covered with leaves close to the ground,
and terminating in a thick black juicy root, with a powerful smell. It
grows on umbrageous mountains, and is taken up at the end of
autumn. The largest and tenderest roots are the most esteemed;
they are cut with bone-knives into slips four fingers in length, and
left to shed their juice788 in the shade; the persons employed taking
the precaution of rubbing the head and nostrils with rose-oil, as a
preservative against vertigo.
There is also another kind of juice, which adheres to the stems,
and exudes from incisions made therein. It is considered best when
it has arrived at the consistency of honey: the colour of it is red, and
it has a strong but agreeable smell, and a hot, acrid taste. This juice,
as well as the root and a decoction of it, enters into the composition
of numerous medicaments, but the juice has the most powerful
properties of the two. Diluted with bitter almonds or rue, it is taken
in drink as a remedy for injuries inflicted by serpents. Rubbed upon
the body with oil, it is a preservative against the attacks of those
reptiles.
 CHAP. 71. (10.)—EBULUM; SIX REMEDIES

A fumigation, too, of ebulum,789 a plant known to every one, will

put serpents to flight.
 CHAP. 72.—POLEMONIA: ONE REMEDY.

The root of polemonia,790 even worn as an amulet only, is

particularly useful for repelling the attacks of scorpions, as also the
phalangium and other small insects of a venomous nature. For
injuries inflicted by the scorpion, aristolochia791 is also used, or
agaric, in doses of four oboli to four cyathi of wine. For the bite of
the phalangium, vervain is employed, in combination with wine or
oxycrate: cinquefoil, too, and daucus, are used for a similar purpose.
 CHAP. 73.—PHLOMOS OR VERBASCUM: FIFTEEN REMEDIES.

Verbascum has the name of “phlomos” with the Greeks. Of this

plant there are two principal kinds; the white,792 which is considered
to be the male, and the black,793 thought to be the female. There is
a third794 kind, also, which is only found in the woods. The leaves of
these plants are larger than those of the cabbage, and have a hairy
surface: the stem is upright, and more than a cubit in height, and
the seed black, and never used. The root is single, and about the
thickness of the finger. The two principal kinds are found growing in
champaign localities. The wild verbascum has leaves like those of
elelisphacus,795 but of an elongated form; the branches are
ligneous.
 CHAP. 74.—THE PHLOMIS: ONE REMEDY. THE LYCHNITIS OR
THRYALLIS.

There are also two796 varieties of the phlomis, hairy plants, with
rounded leaves, and but little elevated above the surface of the
earth. A third kind, again, is known as the “lychnitis”797 by some
persons, and as the “thryallis” by others: it has three leaves only, or
four at the very utmost, thick and unctuous, and well adapted for
making wicks for lamps. The leaves of the phlomos which we have
mentioned as the female plant, if wrapped about figs, will preserve
them most efficiently from decay, it is said. It seems little better than
a loss of time to give the distinguishing characteristics of these
three798 kinds, the effects of them all being precisely the same.
For injuries inflicted by scorpions, an infusion of the root is taken,
with rue, in water. Its bitterness is intense, but it is quite as
efficacious as the plants already mentioned.
 CHAP. 75.—THE THELYPHONON OR SCORPIO: ONE REMEDY.

The thelyphonon799 is a plant known as the “scorpio” to some,

from the peculiar form of its roots, the very touch of which kills800
the scorpion: hence it is that it is taken in drink for stings inflicted by
those reptiles. If a dead scorpion is rubbed with white hellebore, it
will come to life, they say. The thelyphonon is fatal to all
quadrupeds, on the application of the root to the genitals. The leaf
too, which bears a resemblance to that of cyclaminos, is productive
of a similar effect, in the course of the same day. It is a jointed
plant, and is found growing in unbrageous localities. Juice of betony
or of plantago is a preservative against the venom of the scorpion.
CHAP. 76.—THE PHRYNION, NEURAS, OR POTERION; ONE REMEDY.

Frogs, too, have their venom, the bramble-frog801 in particular,

and I myself have seen the Psylli, in their exhibitions, irritate them
by placing them upon flat vessels made red hot,802 their bite being
fatal more instantaneously than the sting even of the asp. One
remedy for their poison is the phrynion,803 taken in wine, which has
also the additional names of “neuras”804 and “poterion:” it bears a
small flower, and has numerous fibrous roots, with an agreeable
smell.
 CHAP. 77.—THE ALISMA, DAMASONION, OR LYRON: SEVENTEEN
REMEDIES.

Similar too, are the properties of the alisma,805 known to some

persons as the “damasonion,” and as the “lyron” to others. The
leaves of it would be exactly those of the plantago, were it not that
they are narrower, more jagged at the edges, and bent downwards
in a greater degree. In other respects, they present the same veined
appearance as those of the plantago. This plant has a single stem,
slender, a cubit in height, and terminated by a spreading head.806
The roots of it are numerous, thin like those of black hellebore,
acrid, unctuous, and odoriferous: it is found growing in watery
localities.
There is another kind also, which grows in the woods, of a more
swarthy colour, and with larger leaves. The root of them both is used
for injuries inflicted by frogs and by the sea-hare,807 in doses of one
drachma taken in wine. Cyclaminos, too, is an antidote for injuries
inflicted by the sea-hare.
The bite of the mad dog has certain venomous properties, as an
antidote to which we have the cynorrhodos, of which we have
spoken808 elsewhere already. The plantago is useful for the bites of
all kinds of animals, either taken in drink or applied topically to the
part affected. Betony is taken on similar occasions, in old wine,
unmixed.
 CHAP. 78.—PERISTEREOS: SIX REMEDIES.

The name of peristereos809 is given to a plant with a tall stem,

covered with leaves, and throwing out other stems from the top. It
is much sought by pigeons, to which circumstance it owes its name.
Dogs will never bark, they say, at persons who have this plant about
them.
 CHAP. 79.—REMEDIES AGAINST CERTAIN POISONS.

Closely approaching in their nature to these various kinds of

poisons, are those which have been devised by man for his own
destruction. In the number of antidotes to all these artificial poisons
as well as to the spells of sorcery, the very first place must be
accorded to the moly810 of Homer; next to which come the
mithridatia,811 scordotis,812 and centaury. The seed of betony
carries off all kinds of noxious substances by stool; being taken for
the purpose in honied wine or raisin wine, or else pulverized, and
taken, in doses of one drachma, in four cyathi of old wine: in this
last case, however, the patient must bring it off the stomach by
vomit and then repeat the dose. Persons who accustom themselves
to take this plant daily, will never experience any injury, they say,
from substances of a poisonous nature.
When a person has taken poison, one most powerful remedy is
aristolochia,813 taken in the same proportions as those used for
injuries inflicted by serpents.814 The juice, too, of cinquefoil is given
for a similar purpose; and in both cases, after the patient has
vomited, agaric is administered, in doses of one denarius, in three
cyathi of hydromel.
CHAP. 80.—THE ANTIRRHINUM, ANARRHINON, OR LYCHNIS AGRIA:
THREE REMEDIES.

The name of antirrhinum815 or anarrhinon is given to the lychnis

agria,816 a plant which resembles flax in appearance, is destitute of
root, has a flower like that of the hyacinth, and a seed similar in
form to the muzzle of a calf. According to what the magicians say,
persons who rub themselves with this plant improve their personal
appearance thereby; and they may ensure themselves against all
noxious substances and poisons, by wearing it as a bracelet.
 CHAP. 81.—EUCLEA: ONE REMEDY.

The same is the case, too, with the plant to which they give the
name of “euclea,”817 and which, they tell us, rubbed upon the
person, will ensure a more extended consideration. They say, too,
that if a person carries artemisia818 about him, he will be ensured
against all noxious drugs, the attacks of wild beasts of every kind,
and sunstroke even. This last plant is taken also in wine, in cases of
poisoning by opium. Used as an amulet, or taken in drink, it is said
to be particularly efficacious for injuries inflicted by frogs.
 CHAP. 82.—THE PERICARPUM; TWO VARIETIES OF IT: TWO
REMEDIES.

The pericarpum is a kind of bulbous plant. There are two varieties

of it; one with a red819 outer coat, and the other,820 similar is
appearance to the black poppy, and possessed of greater virtues
than the first. They are both, however, of a warming nature, for
which reason, they are administered to persons who have taken
hemlock, a poison for which frankincense and panaces are used,
chironion821 in particular. This last, too, is given in cases of
poisoning by fungi.
 CHAP. 83. (11.)—REMEDIES FOR DISEASES OF THE HEAD.
NYMPHÆA HERACLIA: TWO REMEDIES.

But we shall now proceed to point out the various classes of

remedies for the several parts of the body, and the maladies to
which those parts are subject, beginning in the first place with the
head.
The root of nymphæa heraclia822 effects the cure of alopecy, if
they are beaten up together,823 and applied. The polythrix824 differs
from the callitrichos825 in having white, rushlike suckers, larger
leaves, and more numerous; the main stem,826 too, is larger. This
plant strengthens the hair, prevents it from falling off, and makes it
grow more thickly
 CHAP. 84.—THE LINGULACA: ONE REMEDY.

The same is the case too with the lingulaca,827 a plant that grows
in the vicinity of springs, and the root of which is reduced to ashes,
and beaten up with hog’s lard. Due care must be taken, however,
that it is the lard of a female, of a black colour, and one that has
never farrowed. The application is rendered additionally efficacious,
if the ointment is applied in the sun. Root, too, of cyclaminos is
employed in the same manner for a similar purpose. A decoction of
root of hellebore in oil or in water is used for the removal of porrigo.
For the cure of head-ache, root of all kinds of panaces828 is used,
beaten up in oil; as also aristolochia829 and iberis,830 this last being
applied to the head for an hour or more, if the patient can bear it so
long, care being taken to bathe m the meanwhile. The daucus, too,
is curative of head-ache. Cyclaminos,831 introduced into the nostrils
with honey, clears the head; used in the form of a liniment, it heals
ulcers of the head. Peristereos,832 also, is curative of diseases of the
head.
 CHAP. 85.—THE CACALIA OR LEONTICE: THREE REMEDIES.

The name of “cacalia”833 or “leontice” is given to a plant with seed

resembling small pearls in appearance, and hanging down between
large leaves: it is mostly found upon mountains. Fifteen grains of
this seed are macerated in oil, and the head is rubbed with the
mixture, the contrary way to the hair.
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