fucus

fūcus, ī, m.: the male bee; a drone, 1.435

† fūcus, i, m., = φῦκος,

• rock-lichen, orchil, used as a red dye for woollen goods, Lichen roccella, Linn., Plin. 26, 10, 66, § 103 sq.: ut lana tincta fuco citra purpuras placet, Quint. 12, 10, 75.—
• II Transf., red or purple color.
• • A In gen.: infici vestes scimus admirabili fuco, Plin. 22, 2, 3, § 3; Hor. C. 3, 5, 28; id. Ep. 1, 10, 27 Orell. ad loc.; Ov. M. 6, 222 al.—
  • B In partic.
  • • 1 Rouge, paint for the complexion: vetulae, quae vitia corporis fuco occulunt, Plaut. Most. 1, 3, 118 (274): si caeruleo quaedam sua tempora fuco tinxerit, Prop. 2, 18, 31 (3, 11, 10 M.): mangones colorem fuco, et rerum robur inani sagina mentiantur, Quint. 2, 15, 25.—
    • 2 Dross, alloy, adulteration: adulteratur (sal) rubrica aut testa trita, qui fucus aqua deprehenditur diluente, Plin. 31, 7, 42, § 91.—
    • 3 For propolis (q. v.), the reddish juice with which bees stop up the entrances to their hive, bee-glue, Verg. G. 4, 39. —
• III Trop., pretence, disguise, deceit, dissimulation: his tribus figuris insidere quidam venustatis non fuco illitus, sed sanguine diffusus debet color, Cic. de Or. 3, 52, 199; cf.: sententiae tam verae, tam novae, tam sine pigmentis fucoque puerili, id. ib. 2, 45, 188: fuco ementitus color, Quint. 8, 3, 6: in oratoris aut in poëtae cincinnis ac fuco, Cic. de Or. 3, 25, 100: mercem sine fucis gestat, Hor. S. 1, 2, 83: nec sycophantiis nec fucis ullum mantellum obviam est, Plaut. Capt. 3, 3, 6 (521): sine fuco ac fallaciis, Cic. Att. 1, 1, 1: deum sese in hominem convertisse ... fucum factum mulieri, i. e. to deceive, impose upon (vulg.), Ter. Eun. 589: si eum, qui tibi promiserit, audieris fucum, ut dicitur, facere velle aut senseris, Q. Cic. Petit. Cons. 9, 35.

fūcus, i, m.,

• a drone, Varr. R. R. 3, 16, 19; Verg. G. 4, 244; 168; id. A. 1, 435; Col. 9, 15, 5.

1. fūcus, ī, m. (φῦκος), I) eine an den Meeresklippen wachsende, rotfärbende Steinflechte, in deren Brühe die Römer der Wolle, die in Purpur getaucht werden sollte, erst einen Grund gaben, wodurch die darauf gesetzte Purpurfarbe das Durchdringende und Dauerhafte erhielt, die Orseille (Lichen roccella, L.), Plin. 26, 103. Quint. 12, 10, 75. – II) übtr., jeder rote Farbstoff, A) der Purpur, die Purpurfarbe, Hor.: Tyrius, Ov. – B) v. rötlichen Bienenharz od. Vorstoß (propolis), Verg. georg. 4, 39. – C) rote Schminke, Prop. u. Quint. – bildl., wie Schminke = falscher Aufputz, angenommener Schein, Verstellung, Cic. u. Quint.: mercem sine fucis gestat, Hor.: fucum, ut dicitur, facere, täuschen, Q. Cic., alci, Ter.: veritatem fuco et imitatione mentiri, Lact.: sine fuco ac fallaciis, unverhohlen u. ohne Hinterhalt, Cic.

2. fūcus, ī, m., die Brutbiene, Drohne, Varro r. r. 3, 16, 19. Col. 9, 15, 1. Plin. 12, 26. Verg. georg. 4, 244. Phaedr. 3, 13, 2.

1 fucus [CL] 1 dye, colouring. b (fig.) taint, stain. quid de ~orum muricibus subtiliter comminiscimur? Aldh. VirgP 15; ~us, color, deag vel tœlg, vel nomen †avis [l. apis] GlH F 851; ~us, waad Ælf. Gl. 126; J. Godard Ep. 233 (v. decolorare a); miror quod vestium fucis erigeris / et lane sarcina tantum extolleris; / miror quod tumeas de fuco velleris Walt. Wimb. Carm. 424.  b sinistre fame ~o J. Furness Kentig. prol. (v. fuscare 3). 2 colouring used as cosmetic, (fig.) false colour. b pretence, deception. nam deformatur, quotiens extrinsecus illi / cultus adest, fucos beata virgo fugit J. Sal. Enth. Phil. 14; c1168 veritas ~o caret, et amicitia loqui non novit nisi facie revelata Id. Ep. 264 (259); ut vere religionis color optimus ‥ in falsitatis ~um sit jam conversus Gir. IK I 3 p. 43; assumpti coloris ~o aurea forte ‥ tempora presagientes Id. TH II 10; gratia sine ~o Alb. Lond. DG 11. 2 (v. gratia 19); crinibus aurea, vultibus ignea, lactea fronte, / ‥ / non ibi fucus, non ibi lucus lumen obumbrat / fronde supercilii Garl. Epith. VI 191; ~o adulterine fallacie facies suas colorant Rolle IA 266 (v. dealbare 4b).  b absque adulationis ~o Gildas EB 71; ~um, i. colorem vel mendacium GlH F 853; variis verborum ~is Dominic V. Ecgwini I 14 (v. depingere 1e); W. Malm. Mir. Mariae 142 (v. fumosus 2a); sola veritas historie sine ullo ~o mendacii posterorum producetur notitie Id. HN 503; sic ‥ finem operum et vite sue sine ~o falsitatis ‥ compaginabo Ord. Vit. VI 9 p. 75; sub affinitatis specie falseque amicitie ~o Gir. EH II 4; sub uxoris ‥ ducende pretextu et palliate amicitie ~o Id. Æthelb. 7; decorem ‥ exuens, ~o quodam deformitatis obducitur Ep. Glasg. 309; 1231 (v. duplicitas 3); excusavit se ‥ non a scematibus eloquencie ‥ sed magis a ~o verborum intrinsecum sensum abscondente Peckham Paup. 16 p. 79.

2 fucus [CL] , drone (partly fig.). ~us, ‥ nomen †avis [l. apis] GlH F 851 (v. 1 fucus 1a); ~us, dræn Ælf. Gram. 307; W. Cant. Mir. Thom. VI 9 (v. alveare a); sciendum quod apes de carnibus taurorum, scarabei de equis, ~i de mulis, vespe de asinis nascuntur Osb. Glouc. Deriv. 58; ~us dicitur pro quadam ape que non mellificat Ib. 214; qui bona ecclesie dilapidant, nonne ~i sunt, nonne ignava pecora? Neckam NR II 163 p. 270; hic ~us, drane Gl. AN Ox. 151rb; hic ~us, A. drane WW; fugius, a drone & gret Ib..

1 fūcus, (12) ī, m. (φῦκος), ¶ 1 a) fucus [plante marine donnant une teinture rouge], orseille : Plin. 26, 103 ; Quint. 12, 10, 75 ; b) toute teinture rouge ; pourpre, teinture : Plin. 22, 3 || la propolis des abeilles : Virg. G. 4, 39 || fard, rouge : Pl. Most. 275 ; Tib. 1, 8, 11 ; Prop. 2, 18, 31 ¶ 2 [fig.] fard, déguisement, apprêt trompeur : fuco illitus Cic. de Or. 3, 199, fardé ; fucum, ut dicitur, facere Q. Cic. Pet. 35, jeter, comme on dit, de la poudre aux yeux ; sine fuco Cic. Att. 1, 1, 1, sans déguisement, sans détour.

2 fūcus, (14) ī, m. , frelon : Varro R. 3, 16, 19 ; Virg. G. 4, 244.

fucus , i. m.
染羊毛色料。面粉。飾。詭。 Sine fuco 老實。

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fucus , i. m.
胡蜜蜂。點類。

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fūcus (1) ī, m

• , φῦκος, rock-lichen, orchil (a red dye for woollen goods); hence, a dye-stuff, red dye, red color: Lana medicata fuco, H.: potantia vellera fucum, H.: Tyrius, O.—A reddish juice, bee-glue, V.—Fig., pretence, disguise, deceit, dissimulation: fucum facere mulieri, T.: venustatis non fuco inlitus color: puerilis: mercem sine fucis gestat, H.: sine fuco ac fallaciis.

fūcus (2) ī, m

• FEV-, a drone, V., Ph.

FUCUS

FUCUS(φῦκος) was the general term to signify the paint which the Greek and Roman ladies employed in painting their cheeks, eyebrows, and other parts of their faces. The practice of painting the face was very general among the Greek ladies, and probably came into fashion in consequence of their sedentary mode of life, which robbed their complexions of their natural freshness, and induced them to have recourse to artificial means for restoring the red and white of nature. This at the least is the reason given by some of the ancient writers themselves. (Xen. Oecon. 10.10; Phintys, ap. Stob. Flor. 74.61.) The practice, however, was of great antiquity among the Greeks, and was probably first introduced among the Asiatic Ionians from the East, where the custom has prevailed from the earliest times. The resemblance between the Heb. pūch, paint, and (φῦκος, is probably not accidental; the connexion is accepted by Gesenius, s. v., the original meaning of both words being sea-weed, from which an alkaline dye was prepared. Compare Keren-hap-puch = Cornu stibii,, Job 42.14; and Dict. of Bible, art. Paint.

In the Homeric poems both sexes use oil freely after washing [UNGUENTA ], but there is no mention of paint or other cosmetics; the phrase ἐπιχρίσασα παρειάς (Od. 18.172) is explained by ἐπιχρίεσθαι ἀλοιφῇ in v. 179. The ladies at Athens, as might have been expected, did not always paint their faces when at home, but only had recourse to this adornment when they went abroad, or wished to appear beautiful or captivating. Of this we have a striking example in the speech of Lysias on the murder of Eratosthenes, in which it is related ( § 17) that the wife, on leaving her husband to visit her paramour, painted herself, which the husband observed on the following morning, remarking, ἔδοξε δέ μοι ἡ γυνὴ ἐψιμυθιῶσθαι. (Comp. Aristoph. Lysistr. 149, Eccl. 878, Plut. 1064; Plut. Alc. 39.) In order to produce a fair complexion, white lead (ψιμύθιον, cerussa) was employed (Alexis, fr. 96, 17 M.; Xen. Oecon. 10.2; Aristoph. Eccl. 878, 929; Nicostr. ap. Stob. Flor. 74.62). In order to give a blooming tinge to the cheeks, rouge was prepared from vegetable reds: a plant named ἄγχουσα, pure Att. ἔγχουσα (Aristoph. Lysistr. 48; Xen. l. c.), now variously called anchusa, alkanet, oxtongue or bugloss, the root of which yielded the dye; παιδέρως, a flower (apparently not identified) resembling the rosy hue on the cheeks of young children (Alexis, fr. 96, 18 M.; Alciphr. Ep. 1.33, 3.11); the crushed fruit of the mulberry (συκάμινον, Eubul. fr. 97 M.; Philippid. fr. 19 M.; Phot. Lex. p. 547, 7); and φῦκος, used for paint in general, but properly a seaweed, moss or lichen (Aristoph. fr. 309 Dind.=316 M.; and possibly Theocr. 15.16, but cf. FULLO). Modern cosmetics are not always free from noxious drugs; and besides ψιμύθιον already mentioned, red lead (μιλτός, minium, Xen. l. c. § 5) and mineral alkali (νίτρον, Att. λίτρον, Aristoph., Theocr. ll. cc.) were employed. The usual word for applying paint is ἐντρίβεσθαι, to rub in, whence the dyes themselves are called ἐντρίμματα (Plut. Crass. 24). The eye-brows and eyelids were stained black with , στίμμι or στίμμις, stibium, a sulphuret of antimony, which is still employed by the Turkish ladies for the same purpose. (Pollux, 5.101.) The eye-brows were likewise stained with ἄσβολος, a preparation of soot. Thus Alexis says (l. c. 16), τὰς ὄφρυς πυῤῥᾶς ἔχει τισ ζωγραφοῦσιν ἀσβόλῳ.

(Comp. Juven. 2.93ff.) Ladies who used paint, were occasionally betrayed by perspiration, tears, &c., of which a humorous picture is given by the comic poet Eubulus (l. c.), and by Xenophon (l. c. § 8; cf. Plaut. Most. 1.3, 119). It would appear from Xenophon (l. c. § 5) that even in his time men sometimes used paint, and in later times it may have been still more common: Demetrius Phalereus is expressly said to have done so. (Duris, ap. Athen. 12. p. 542 d.)

Among the Romans the art of painting the complexion was carried to a still greater extent than among the Greeks; and even Ovid did not disdain to write a poem on the subject, which he calls (A. Am. 3.206) parvus sed cura grande libellus opus; though the genuineness of the fragment of the Medicamina Faciei, ascribed to this poet, is doubtful. The Roman ladies even went so far as to paint with blue the veins on the temple, as has been inferred from Propertius (Prop. 2.18, 31=3.9, 31=3.11, 9, L. Müller), si caeruleo quaedam sua tempora fuco tinxerit ; though this is susceptible of another explanation. The favourite rouge was from a kind of moss (lichen rocella, Linn.); another was purpurissum, a mixed composition (Plaut. Most. 1.3, 104; True. 2.3, 35; Plin. Nat.35.49). For the more repulsive substances used as cosmetics, see Orellius on Hor. Epod. 12, 11; Clem. Al. Paed. 3. p. 255 P., κροκοδείλων ἀποπάτοις χρώμεναι καὶ σηπεδόνων ἀφροῖς ἐγχριόμεναι. The ridiculous use of patches (splenia), which were common among the English ladies in the reign of Queen Anne and the first Georges, was not unknown to the Roman ladies. (Mart. 2.29, 9; 8.33-Z2, 22; 10.22-Z2;--Plin. Ep. 6.2.) The more effeminate of the male sex at Rome also employed paint. Cicero speaks (in Pison. 11.25) of the cerussatae buccae of his enemy, the consul Piso; where, however, as buccae are more likely to be rouged than whitened, purpurissatae is a not improbable conjecture (Marquardt).

On a Greek vase (Tischbein, Engravings, 2.58) we see the figure of a female engaged in putting the paint upon her face with a small brush.

(Comp. Böttiger, Sabina, 1.24 ff.; 51 ff.; Becker-Göll, Charikles, 1.261 ff.; Gallus, 3.164 ff. ; Hermann-Blümner, Privatalterth. p. 200 ff.; Marquardt, Privatl. 765.)

[W.S] [W.W]

Fucus

(φῦκος). A general term to signify the cosmetic which the Greek and Roman ladies employed in painting their cheeks, eyebrows, and other parts of their faces. The practice of painting the face was very general among the Greek ladies, and probably came into fashion in consequence of their sedentary mode of life, which robbed their complexions of their natural freshness, and induced them to have recourse to artificial means for restoring the red and white of nature ( Xen. Oecon. 10. 10). The practice was of great antiquity, and was probably first introduced among the Asiatic Ionians from the East, where the custom has prevailed from the earliest times. The resemblance between the Hebrew pūch, “paint,” and φῦκος, is probably not accidental; the connection is accepted by Muss-Arnolt, the original meaning of both words being sea-weed, from which an alkaline dye was prepared.

The ladies at Athens did not always paint their faces when at home, but only when they went abroad, or wished to appear beautiful or captivating. Of this we have an example in the speech of Lysias on the murder of Eratosthenes, in which it is related ( 17) that the wife, on leaving her husband to visit her paramour, painted herself (cf. Aristoph. Lys. 149, Aristoph. Eccl. 878, Plut. 1064; Alcib. 39). In order to produce a fair complexion, white lead (ψιμύθιον, cerussa) was employed (Alexis, fr. 96, 17 M). In order to give a blooming tinge to the cheeks, “rouge” was prepared from vegetable reds (Aristoph. Lys. 48). Ancient cosmetics were not always free from noxious drugs; and besides ψιμύθιον, already mentioned, red lead (μιλτός, minium) and mineral alkali (νίτρον, Att. λίτρον) were employed. The usual word for applying paint is ἐντρίβεσθαι, “to rub in,” whence the dyes themselves are called ἐντρίμματα (Plut. Crass. 24). The eye-brows and eyelids were stained black with στίμμα or στίμμις, stibium, a sulphuret of antimony, which is still employed by the Turkish ladies for the same purpose. The eye-brows were likewise stained with ἄσβολος, a preparation of soot (cf. Juv.ii. 93 foll.). Ladies who used paint were occasionally betrayed by perspiration, tears, etc., of which a humorous picture is given by Xenophon (Oecon. 10. 8; cf. Plaut. Most. i. 3, 119).

Among the Romans the art of painting the complexion was carried to a still greater extent than among the Greeks; and even Ovid did not disdain to write a poem on the subject (A .A. iii. 206), though the genuineness of the fragment of the Medicamina Faciei, ascribed to this poet, is doubtful. The Roman ladies even went so far as to paint with blue the veins on the temple, as has been inferred from Propertius (iii. 11, 9, L. Müller). The favourite rouge was from a kind of moss; another was purpurissum, a mixed composition (Plaut. Most. i. 3, 104). The ridiculous use of patches (splenia), which was common among the English ladies in the reign of Queen Anne and the early Georges, was not unknown to the Roman ladies (Mart. ii. 29, 9; viii. 33, 22; x. 22). The more effeminate of the male sex at Rome also employed paint. Cicero speaks (In Pison. 11. 25) of the cerussatae buccae of his enemy, the consul Piso.

On a Greek vase (Tischbein, Engravings, ii. 58) we see the figure of a woman engaged in putting the paint upon her face with a small brush (cf. Böttiger, Sabina, i. 24 foll., 51 foll.; BeckerGöll, Charikles, i. 261 foll.; Gallus, iii. 164 foll.).