[13] The end of the Argiletum is shown in the plan of the Forum Romanum in Middleton, _Ancient Rome_, 1892, Vol. I. [14] One reason of this was that even the most popular authors did not receive large sums for the copyright of their works. [15] A good deal of what is said in this section with regard to the technique of classical manuscripts will apply also to manuscripts of the mediaeval period. Many of the processes had been inherited in an unbroken tradition from ancient times, and others were revived in the Middle Ages through a study of various classical writers on pigments and the like, especially Pliny and Vitruvius. [16] The words _parchment_ and _vellum_ are used vaguely to imply many different kinds of skins. Strictly speaking _vellum_ implies calf-skin, but the word is commonly used to denote the finer and smoother qualities of skin; the name _parchment_ being given to the coarse varieties; see Peignot, _L'histoire du parchemin_, Paris, 1812. [17] In some cases the paper was _sized_, before the final smoothing; but as a rule sufficient _size_ was supplied by the flour used to paste the layers together. [18] Some of the enormous ranges of store-houses for goods imported into Rome and landed on the Tiber quay were specially devoted to the use of paper warehouses, _horrea chartaria_; extensive remains of these have recently been discovered near Monte Testaccio; see Middleton, _Remains of Ancient Rome_, 1892, Vol. II. pp. 260-262. [19] Now in the Fitzwilliam Museum. [20] A silver pen was found by Dr Waldstein in 1891 in the tomb of the Aristotle family at Chalcis. [21] There is, of course, no etymological connection between the words _miniature_ and _minute_; the latter being derived from the Latin _minutus_, _minus_. [22] Further details with regard to these pigments are given below, see pages 239 to 249. [23] Reproductions of these miniatures were published by Cardinal Mai, _Picturae antiquissimae bellum Iliacum repraesentantes_, Milan, 1819. Far more accurate copies of some of the miniatures, but without colour, are given by _Palaeo. Soc._, Plates 39, 40, 50 and 51. [24] Some fairly accurate reproductions of these miniatures were published by Bartoli, _Antiquissimi Virgiliani Codicis fragmenta Bibl. Vat._, Roma, 1741 and 1782. Examples from this and two other ancient but un-illuminated codices of Virgil in the Vatican library are given by the _Palaeo. Soc._, Plates 113 to 117. [25] The chief of these paintings were cut off the walls of the villa, and are now placed in the Museo delle Terme in Rome. The painting shown in fig. 3 is still in situ; that given in fig. 4 is now in the Museum at Naples. [26] See above, fig. 2.