under the same idea of their representing the Roman numeral, five; for quinus, or quina, is the Latin ordinal of quinque, and it has been shewn, that quina is no uncommon name for the Peruvian bark, and if we couple together the opposite pairs of the Roman numerals V, V; they

which the context states to abound there, as alluding to the precious metals of South America. I conclude this note with observing that most of the figures in Mr. Hope's famous picture of the plague of Athens, have their heads wrapped up in red cloths, but whether the red lac, or the red bark be thereby indicated, is for others to determine; as a help to which it may be remarked, that under the head of the Cambridge mummy, (speaking from an inspection of the original which gives an occasion to observe that the engraving in Pl. VI. is a very accurate copy of the painting on it,) is a large collection of congested matter which on being analysed might possibly be found to be composed of ingredients which it would have been proper to prescribe to the patient, whose corpse is so preserved; more especially as Dr. Middleton observes, 260, "De virtutibus mummiarum medicis opinio ista fuit, quâ tanquam omni aromatum genere onusta, ac medicinarum omnium valentissimæ per gentes venditabantur."

jointly give its universal name of quina-quina, or quinquina. So again, though those figures have been supposed, above, to point to the word fever, yet, if they are observed with attention, they will be found severally to exhibit resemblances of fingers, some with and some without nails on them, and under that idea it may be conceived that they point to the stick-lac, which in the History of Drugs was above so frequently assimilated to fingers.

The same remark is capable of a further application. It has already been observed, that the country of Honduras, a part of the Isthmus of Darien resembles a dog, of which a copy is given in fig. 191, which has a most striking coincidence with the dog-shaped table on which figure C in the painting is reclined: but beside that resemblance to a dog, the same country, as viewed with its east end uppermost, exhibits another likeness of a dog, with its face fronting the Pacific Ocean, much in the position of

Fig. 195,

and approaching more nearly to the attitudes of the dogs at fig. 1 and fig. 2 in the painting; and perhaps, therefore, one of those two figures may be referred to the country of Honduras, and the other (by a play upon the word cub, in Cuba) to the Isle of Cuba, but though over their backs there are flagella, or λnya, as denoting the disease in question, yet if we recollect that perro is Spanish for a dog, it may be thought not unlikely that, by that simple suggestion, it may have been intended to allude to the country of Peru, as alone producing the bark; and if we reflect on the position of the two dogs marked fig. 1 and fig. 2, in the painting, as severally reclined on the tops of two columns, those columns may serve to intimate the permanent, ever-during security arising from the use of the Peruvian bark. So likewise, if by the raven-like caps on the heads of B1 and B 2,

there may be an indication of the disease, a due consideration of the singular attitude of those figures as holding up one of their hands in a manner to intercept the light from falling upon the other, it is highly probable that there is an allusion to alum, or alumine (à lumine). Finally, by the laqueus in the hands of each of the four figures, A 1, 2, 3, 4, I have no doubt of its having been intended, by a pun similar to the others above stated, to allude to the lacque, lac, lacca, or gumlac.

Underneath each of the figures A 1, 2, 3, and 4, and B 1 and 2 of the painting, are three characters resembling V's, or fives, and resembling hooks also. Whether these may only involve another allusion to the quinquina, or whether, since the three fives as marking fifteen degrees, the space traversed by the sun in an hour, they may allude to an hour, (in the Greek, wpav,) and when coupled with the opposite hooks give an oblique intimation of the river Oronoque; or whether they may imply that the liability to pestilence prevails through a space of about fifteen degrees

square, as including Honduras, Cuba, Jamaica, and St. Domingo; or whether the triplets of hooks alone on the right hand, which terminate in three sharp points, may denote a tertian ague, and the fives on the left hand point to the quina as its cure; or what else those characters denote, the reader must himself decide.

Again, the line upon which the dog-shaped table rests, being graduated to the number of 9, may possibly have a relation to the number of days at which the fever comes to a crisis, or be referable merely to the number of degrees of latitude (in Honduras) through which the fever may prevail. But as for the upper compartment of all of the painting, which is also graduated, I incline to think, from the suns with which it is marked, that it denotes the path of the sun in the ecliptic; and then the two labels (I, I,) one of which is just at the back of E, which figure E has Cuba for his prototype, will be an index of the double line of the tropic of Cancer, which just touches the north side of Cuba; it being usual in old maps to mark the principal circles of the globe, the