SUMMARY.—Remedies, narratives, and observations, one thousand six hundred and eighty-two. ROMAN AUTHORS QUOTED.—M. Varro,[2402] L. Piso,[2403] Fabianus,[2404] Valerius Antias,[2405] Verrius Flaccus,[2406] Cato the Censor,[2407] Servius Sulpicius,[2408] Licinius Macer,[2409] Celsus,[2410] Massurius,[2411] Sextius Niger[2412] who wrote in Greek, Bithus[2413] of Dyrrhachium, Opilius[2414] the physician, Granius[2415] the physician. FOREIGN AUTHORS QUOTED.—Democritus,[2416] Apollonius[2417] who wrote the “Myrosis,” Miletus,[2418] Artemon,[2419] Sextilius,[2420] Antæus,[2421] Homer, Theophrastus,[2422] Lysimachus,[2423] Attalus,[2424] Xenocrates,[2425] Orpheus[2426] who wrote the “Idiophya,” Archelaüs[2427] who wrote a similar work, Demetrius,[2428] Sotira,[2429] Laïs,[2430] Elephantis,[2431] Salpe,[2432] Olympias[2433] of Thebes, Diotimus[2434] of Thebes, Iollas,[2435] Andreas,[2436] Marcion[2437] of Smyrna, Æschines[2438] the physician, Hippocrates,[2439] Aristotle,[2440] Metrodorus[2441] of Scepsos, Icetidas[2442] the physician, Apelles[2443] the physician, Hesiod,[2444] Dalion,[2445] Cæcilius,[2446] Bion[2447] who wrote “On Powers,”[2448] Anaxilaüs,[2449] King Juba.[2450] BOOK XXIX. REMEDIES DERIVED FROM LIVING CREATURES. CHAP. 1. (1.)—THE ORIGIN OF THE MEDICAL ART. The nature and multiplicity of the various remedies already described or which still remain to be enlarged upon, compel me to enter upon some further details with reference to the art of medicine itself: aware as I am, that no one[2451] has hitherto treated of this subject in the Latin tongue, and that if all new enterprises are difficult or of doubtful success, it must be one in particular which is so barren of all charms to recommend it, and accompanied with such difficulties of illustration. It will not improbably suggest itself, however, to those who are familiar with this subject, to make enquiry how it is that in the practice of medicine the use of simples has been abandoned, so convenient as they are and so ready prepared to our hand: and they will be inclined to feel equal surprise and indignation when they are informed that no known art, lucrative as this is beyond all the rest, has been more fluctuating, or subjected to more frequent variations.