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PHILINUS. The interpreters of the sacred mysteries acted without any regard to us, who desired them to contract their relation into as few words as might be, and to pass by the most part of the inscriptions. But the stranger was but indifferently taken with the form and workmanship of the statues, being one, as it appeared, who had already been a spectator of many rare pieces of curiosity. He admired the beautiful color of the brass, not foul and rusty, but shining with a tincture of blue. What, said he, was it any certain mixture and composition of the ancient artists in brass, like the famous art of giving a keen edge to swords, without which brass could not be used in war? For Corinthian brass received its lustre not from art, but by chance, when a fire had devoured some house wherein there was both gold and silver, but of brass the greater plenty; which, being intermixed and melted into one mass, derives its name from the brass, of which there was the greater quantity. Then Theo interposing said: But we have heard another more remarkable reason than this; how an artist in brass at Corinth, happening upon a chest full of gold, and fearing to have it divulged, cut the gold into small pieces, and mixed it by degrees with the brass, till he found the more noble metal gave a more than usual lustre to the baser, and so transformed it that he sold at a great rate the unknown mixture, that was highly admired for its beauty and color. But I believe both the one and the other to be fabulous; for by all likelihood this Corinthian brass was a certain mixture and temperature of metals, prepared by art; just as at this day artisans temper gold and silver together, and make a peculiar and wonderful pale yellow metal; howbeit, in my eye it is of a sickly color and a corrupt hue, without any beauty in the world.
