paries

pariēs, etis, m.: a wall, whether partition or external wall, 5.589; 2.442.

părĭēs, ĕtis, m. (in Verg. A. 2, 442; 5, 589, pārietibus, quadrisyl.; see Carey's Lat. Prosody, § 47, p. 173) [kindr. with Sanscr. paryanta, from pari-iyanta, margo; Gr. πέρας, πεῖραρ],

• a wall (cf.: murus, maceria): aut permaceat paries percussus trifaci, Enn. ap. Fest. s. v. trifax, p. 367 Müll. (Ann. v. 524 Vahl.): tosti alti stant parietes, id. ap. Cic. Tusc. 3, 19, 44 (Trag. v. 116 ib.): perfodere parietem, Plaut. Mil. 2, 1, 64 (142); id. As. 3, 2, 17 (561): perforator parietum, a term of abuse, id. Ps. 4, 2, 24 (979): quasi mus, in medio pariete vorsabere, id. Cas. 1, 52 (140); id. Trin. 4, 3, 32 (1039): quae (domus nostra) non ea est, quam parietes nostri cingunt, etc., Cic. Rep. 1, 13, 19; cf. id. ib. 3, 9, 14; id. Mil. 27, 75; id. Top. 4, 22: parietes disturbare, id. Par. 4, 1, 28: itaque parietes modo urbis stant; rem vero publicam penitus amisimus, the walls, the houses, id. Off. 2, 8, 29: interiores templi parietes, id. Verr. 2, 4, 55, § 122: intra parietes aluit eam gloriam, quam, etc., id. Brut. 8, 32; id. Quint. 11, 38: parietes turris lateribus exstruere, Caes. B. C. 2, 9: parietibus textum caecis iter, Verg. A. 5, 589: fissus tenui rimā paries, Ov. M. 4, 65: quae pro pariete subjectae et omni opere conjunctae, like a wall, Caes. B. G. 4, 17: non communione parietum sed propriis muris, Tac. A. 15, 43.—Of walls of wickerwork: et paries lento vimine textus erat, Ov. F. 6, 262: craticii parietes, Vitr. 2, 8; Plin. 35, 14, 48, § 169; 17, 10, 11, § 62: craticulam et parietes, the top and sides, Vulg. Exod. 30, 3.—Prov.: tua res agitur, paries cum proximus ardet, Hor. Ep. 1, 18, 84: utrosque parietes linere, to carry on both shoulders, Petr. 39: duos parietes de eādem fideliā dealbare, to kill two birds with one stone, Cur. ap. Cic. Fam. 7, 29, 2: in caducum parietem inclinare, to lean on a broken reed, Spart. Hadr. 23.—
• II Trop.: neve inter vos significetis ego ero paries, partition-wall, Plaut. Truc. 4, 3, 14 (788): densitatis, rampart, Plin. 17, 10, 11, § 62.

pariēs, etis, m., die Wand, I) eig.: paries cubiculi, Plin. ep.: fornicum parietes, Liv.: latericii parietes, Plin.: parietem ducere (führen, ziehen) per vestibulum sororis, Cic.: parietes turris lateribus (mit Backsteinen) exstruere, Caes.: perfodere parietem od. parietes, Plaut., fornicum parietes, Liv.: transfodere parietem, Liv.: nullo modo posse isdem parietibus (zwischen denselben vier Wänden od. Pfählen) tuto esse tecum, Cic.: u. so forensi luce carere intraque parietes alere eam gloriam, quam etc., Cic.: cum res peragi intra parietes (in einem Familienrate) nequisset, Liv.: aut intra parietes (innerhalb der vier Wände = auf gütlichem Wege) aut summo iure experiri, Cic.: tantam causam dico intra domesticos parietes, Cic.: hoc igitur potissimum loco tractanda est quaestio, utilius sit domi atque intra privatos parietes studentem continere an frequentiae scholarum et velut publicis praeceptoribus tradere, Quint. – Sprichw., utrosque parietes linere, δύο τοίχη ἀλείφειν, unser »auf beiden Achseln tragen«, Petron. 39, 7: duo parietes de eadem fidelia dealbare, s. fidēlia: in caducum parietem inclinare, eine schlechte Stütze haben, Spart. Hadr. 23. § 14. – II) übtr.: ero paries (inter vos), Scheidewand, Plaut.: densitatis, v. Gesträuchen, die dicht zusammenwachsen, wie eine Wand, Plin.

paries [CL] 1 (inner or outer) wall (also f.): a (dist. acc. use or sim.); b (dist. from maceria or murus); c (w. ref. to Is. lix 10); d (w. ref. to Dan. v 5); e (sg. & pl. by synecdoche, w. ref. to house, dwelling, or sim.); f (in phr.); g (in fig. context or fig.); h (in place-name). a stilio ‥ omnem ~etem potest penetrare Comm. Cant. I 361; ut nullum paries mingentem lotia nosset Aldh. VirgV 2532; [Minotaurus] domum illam Cretae egredi non potuit quae mille ~etibus intextum errorem habuit Lib. Monstr. I 50; ita ut ipsum tentorium ~eti haereret ecclesiae Bede HE III 17 p. 160; resurrectionis Dominicae rotunda ecclesia tribus cincta ~etibus, xij columnis sustentatur Ib. V 16 p. 318; sed pedibus populi fuerant calcata sepulchra / nec paries cinxit, ut decuit patribus Alcuin Carm. 99. 13. 6; adeo ‥ sollicitudinis vacuus, ut ‥ ipse sopori ad ~etem reclinatus indulgeret W. Malm. GP I 49 p. 88; totum oppidum, preter ~etem unum ubi campana pendebat, igne proprio consumptum est Gir. IK I 1 p. 18; si hii tacuerint, lapides clament et Dei magnalia pictus quodammodo ~es eloquatur Ad. Dore Pictor 143; 1202 inventus fuit noctu sub ~ete thalami ad faciendum ei dedecus SelPlCrown 44; 1206 nequiter fregit ~etes cujusdam domus ubi bladum suum fuit Ib. 50; si videret lupum depictum in ~ete, timeret et fugeret T. Chobham Praed. 204; claro parietes [celice civitatis] berillo transparent J. Howd. Cant. 184; 1275 de quo due columpne cornereie cum tota ~ete stant super eandem viam regiam Hund. I 413b; hec sunt partes domus principales hoc tectum, feste hic ~es, paroit. hoc fundamentum, fundement Gl. AN Glasg. f. 20ra; 1320 in emendacione ~etis aquatice, ij d. KR Ac 482/1 m. 4d.; 1374 stures cum pertinenciis pro mediis ~etibus [? partition-walls] in ‥ cameris Arch. Hist. Camb. I 238.  b fructiferas arbores succiderunt, macerias et ~etes deicerunt Ord. Vit. X 10 p. 62; super portam Ulai vel inter ejusdem porte muros vel ~etes Andr. S. Vict. Dan. 75; caput ‥ quod postea Beneventum delatum in ~ete muri dicitur fuisse reconditum Natura Deorum 18. 8; 1288 W. de R. fecit purpresturam per quendam murum lapideum ‥ B. de B. fecit purpresturam dom. regi per quandam ~etem Leet Norw. 15.  c mutilus ‥ Cornificius ~etem solidum cecati more palpans J. Sal. Met. 857A.  d flexis litterarum apicibus in quadrata ~etis pagina caraxatis Aldh. VirgP 21 p. 251; exposita quam in ~ete articulus manus exaravit scriptura, jussit Balthassar ut Daniel purpura indueretur Andr. S. Vict. Dan. 6.  e angustos ~etes reliquit pauperum, augustiorem repetens thronum W. Malm. GR IV 337; nam tua res agitur paries cum proximus ardet Andr. S. Vict. Dan. 66 (= Hor. Epist. I 18. 84).  f quod ‥ in communi modernorum usu ~etes scolarum nusquam egreditur J. Sal. Met. 918D; unus ‥ ~es domum facere non potest T. Chobham Serm. 20. 97ra; 1277 nunquam auditus fuit clamare infra quatuor ~etes (CoramR) SelCKB I 33; 1472 ad primam ‥ nimis tarde veniunt in chorum, et cito post incepcionem psalmi Quicunque vult a choro recedunt vagantes in ecclesia ~etes salutantes (Vis.) Fabr. York 251.  g ita corpus Christi humanitatis suae ‥ restaurans ~etem in semetipsos quem in Adam ‥ diabulus ‥ ruinaverat Theod. Laterc. 13; jactis jam rethoricis fundamentis et constructis prosae ~etibus Aldh. VirgP 60 p. 321; ~es ‥ qui ab ejus aspectu nos secludit ipsa est mortalitatis nostrae conditio Bede Cant. 1109; ~es spes est postquam igitur quis spem habuerit ‥ jam surgunt ~etes Alex. Cant. Dicta 20a p. 195; manum quoque ad recte scribendum reddit idoneam, acuit et visum ut ei ~es littere densioris aut velum multipliciter elaboratum obstare non possit J. Sal. Met. 852A; hec est virtutum series / unde surgit spes paries / ex fide fundamento P. Blois Carm. 27. 21. 122; donec ~es iste peccati et mortis me et dilectum meum ab invicem separet J. Ford Serm. 96. 2; textus fundamentum est super quod debet construi edificium et postea possunt superaddi glose sanctorum et ‥ auctoritates philosophorum morales ad erigendum ~etes et tecta T. Chobham Praed. 274.  h usque ad mingentem ~etem [perh. ‘Pissing Lane’ in London] Ad. Mur. Chr. 86n.. 2 wall-like formation or structure: a (anat., usu. w. ref. to membranous coating or lining tissue); b (in riddle, of eggshell); c (of artefact). a ex gaudio sic fiunt lacrime ‥ dum anima gaudet, dum ~etes cranei comprimuntur emittit a se humiditatem dum ad centrum fortiter reducitur Quaest. Salern. N 56; aperiri aut ‥ claudi ad ~etes palati Ps.-Gros. Gram. 23.  b vidi filium [i. e. chick] cum matre [i. e. hen] manducantem cujus pellis [i. e. membrane] pendebat in ~ete [i. e. eggshell] Ps.-Bede Collect. 18.  c exterior lateris paries coit integer; intra / calceus admisso spatio discedit Hanv. II 99. 3 (transf or fig.): a (w. ref. to partition, division, or faction). b side or branch (of family). a ~etem veteris inimicitiae inter Deum et hominem Osb. Clar. Anna f. 47; erat quippe quasi ibi partita de Wallensibus Menevensis ecclesia, duos habens ~etes valde diversos et ‥ hostilitate contrarios, Jone sc. posteritatem et Johannis Gir. JS VI p. 312; facta est inter nos magna dissensio et multi ~etes facti sunt Chr. Evesham 110.  b huic ab utroque ~ete [v. l. parente] virtus originaliter inserta suo in tempore degenerare non poterit Gir. TH III 52 p. 199.

părĭēs, (9) ĕtis, m. , mur [de maison], muraille : interiores templi parietes Cic. Verr. 2, 4, 122, les parois intérieures du temple ; intra parietes Cic. Quinct. 38, dans lʼenceinte de la maison, dans lʼintimité || clôture [en osier], haie : Ov. F. 6, 262 ; Plin. 17, 62 || [fig.] ego ero paries Pl. Truc. 788, je vais vous séparer [me mettre entre vous deux comme un mur].

➳ parjetibus Virg. En. 2, 442 ; 5, 589.

paries , etis. m.
房墙。壁。Cratitii parietes 板壁。Parietes caeci 無窗之墻。

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pariēs etis (parietibus, quadrisyl., V.), m

• a wall (of a building): domesticis me parietibus vix tueor: parietes modo urbis stant, i. e. the houses: parietes turris lateribus exstruere, Cs.: parietibus textum caecis iter, V.: Et paries lento vimine textus erat, i. e. of wicker-work, O.—Prov.: tua res agitur, paries cum proximus ardet, H.

PARIES

PA´RIES(τοῖχος), the wall of a roofed building, in contradistinction to MURUS(τεῖχοχ), a fence wall, and maceria, the wall of a small enclosure, such as a garden or courtyard. For the methods of construction of the more solid sorts of parietes, see MURUS

The wall of the primitive huts, used by many races at an early stage of development, were formed of wattled osiers daubed with clay (paries cratitius). (See CRATES: also cf. Festus, s. v. solea; Pliny, Plin. Nat.35.169; Vitr. 2.1; and Ovid, Ov. Fast. 3.183 and 6.261.) In later times thin party-walls were sometimes made of wood framing covered with reeds, and then stuccoed, like a modern lath-and-plaster partition. Walls of sun-dried bricks (paries lateritius) have been mentioned under MURUS: a variety of this method, used for humbler purposes, was to make the wall in one mass of beaten earth, paries formaceus: see FORMAIn some districts where timber was plentiful, log houses were built: very curious representations of these structures occur, carved in stone, in many of the tombs of Lycia and Lydia: cf. Hdt. 4.108; and Viturv. 2.1 and 9. Many of these show carpentry of the most elaborate and skilful kind, with long carefully formed tenons, passing through the mortises and secured by wooden pins or wedges. Even under the Roman Empire wood was very largely used for the upper stories of houses, which were frequently built projecting over the ground-floor, like a mediaeval halftimbered structure. Many examples of this have been traced at Pompeii, though in most cases the charred beams fall to pieces as soon as they are exposed to air. In one instance, however, it has been possible to prop up and preserve an example of this overhanging upper story,--tabulatus or maenianum pensile. The metropolitan building acts of Nero, Trajan, and other emperors were specially framed so as to prevent the use of these highly combustible structures in the city of Rome, where constant fires committed the most fearful devastation (Suet. Nero 38; Aur. Victor, Epit. 13; and Vitr. 2.8).

The paries solidus was a wall unbroken by openings for doors or windows: as in modern language, it was also called a blind wall (Verg. A. 5.589). The paries communis was the party-wall common to two houses (Ovid, Ov. Met. 4.66): the κοινὸς τοῖχος of Thucyd. 2.3. The party-wall was also called intergerinus or intergerivus (see Festus, s. v.; and Plin. Nat.35.173); and in Greek μεσότοιχος or μεσότοιχον (Athen. 7. p. 281, and Ephes. 2.14). Cross walls for separating the rooms of a house were called parietes directi. Cicero (Topica, 4) distinguishes four kinds of wall--the paries solidus as opposed to the paries fornicatus, a wall pierced with arches; and the communis or party-wall as distinguished from the directus or private-room wall.

The decoration of the paries was very varied and elaborate: for painting and mosaic, both of which were very largely used for Roman mural decoration, see PICTURA: cf. also DOMUSand MURUSand Encyc. Brit. s. v. Mural Decoration.

Stucco (opus tectorium) was very largely used by the Romans, both for exterior and internal walls. Great care and skill were expended in producing a hard durable substance, quite unlike the soft friable material which we now call stucco. Vitruvius (Vitr. 7.2-6) gives an elaborate description of the various methods of preparing and applying stucco: as Pliny's remarks on this subject are copied from Vitruvius, it is needless to refer to what he says about it. Existing examples agree closely with Vitruvius' advice. For internal work, three to five coats of stucco were laid on. If the wall were thought likely to be damp, it was often covered with flanged tiles, fixed with iron T-shaped cramps (Vitr. 7.4). Many examples of this have been found in Rome. The first coat was of lime and coarse pozzolana (lapis Puteolanus), exactly like the mortar used in the joints of brick facings. Over this, another rough coat was spread, frequently composed of lime, sand, and pounded pottery (testae tunsae), which set as hard as rock, and was impervious to moisture. The third coat was of lime and coarsely pounded marble; the finishing coat was of pure white lime or gypsum, mixed with marble ground to an impalpable powder, which usually had some glutinous substance, size made of parchment or tree-sap, mixed with it. The earlier coats were mixed with water only. In some cases one or more intermediate coats of similar composition were added, the composition always growing finer in grain as it approached the surface. The finished surface of this stucco set to a very hard consistency, and had a beautiful ivory-like texture, capable of receiving a high degree of mechanical polish. The final coats were called opus albarium or caementum marmoreum (Vitr. 7.16).

For external work, the same beautiful marble cement was used, but as a rule with fewer undercoats. A wall so treated was called paries dealbatus. Brick and concrete buildings were in this way made to look like white marble, and the deception was increased by the common Roman custom of forming incised lines in the stucco, so as to imitate the joints of the blocks of a solid marble wall. The application of the coats of stucco (trullissatio) was managed by a small square board at the end of a long handle, just like the modern plasterer's float. This is shown in a painting from Pompeii representing a plasterer at work (see Ann.last. Arch. Rom., vol. for 1881). The use of iron or bronze nails and marble plugs to form a key for the stucco is mentioned in the article MURUS(see also Middleton, Ancient Rome, pp. 36 and 412 seq.). Reliefs modelled in this fine stucco were very largely used by the Romans as a decoration for their walls and vaults. Some examples of extraordinary beauty were recently discovered in a house in the Farnesina gardens by the Tiber, and then destroyed by the works carried on during the formation of the new river embankment in Rome. These reliefs, which dated early in the first century A.D., were modelled with marvellous spirit and refined taste, executed rapidly by the artist in the quick-setting wet stucco, which he applied in lumps to the flat plaster ground, and then rapidly, before it had time to harden, moulded the figures into shape with his fingers and thumb, aided by a few simple wooden tools. The decision and unerring skill with which every touch on the wet stucco was applied is most admirable, and the result is that an amount of vigour and life appears in these hastily-executed reliefs, such as could hardly have been equalled by the slower process of chiselling a hard substance. The only guide which the sculptor had to help him was a mere sketch in outline, incised on the flat background, on to which he was applying the reliefs. Scenes of very great beauty occur among these reliefs: many are Dionysiac, with fauns and nymphs playing and singing. Some figures of winged Victories are marvels of delicate grace in their pose, floating lightly on large wings, with their onward movement skilfully indicated by the flowing curves of the drapery. The modelling of the nude is very skilful, showing complete knowledge of the human form: the play of the muscles under the supple skin being rendered with perfect taste, free from any of the usual Roman exaggeration. These reliefs, and others of the same class, are of pure Hellenic style, and most probably were executed by Greek workmen; in fact, one Greek artist had signed his name Seleukos on the walls of the Farnesina house, and other Greek artists' names occur in similar cases. Mouldings of elaborate character were formed in the marble cement by the use of long wooden stamps, the work being finally touched up with the modelling tool. Not only cornices of rooms were made in this way, but very often the whole wall-surface was divided up into panels framed with enriched mouldings--the central space being decorated by figure reliefs or by painting on the flat. Gold, silver, and colours of all kinds were used to increase the decorative effect of the reliefs, which seem very rarely, if ever, to have been left white.

The use of marble for decorative purposes in Rome did not begin before the first century B.C. Its introduction, especially into private houses, was at first regarded as a thing savouring of Greek luxury and unbecoming the stern republican simplicity of a Roman citizen. The earliest example of the use of thin marble walllinings (crustae), according to Cornelius Nepos, quoted by Pliny, Plin. Nat.36.48, was in the house of a knight named Mamurra, one of Caesar's officials in Gaul. A few years later, marble became very common, in the reign of Augustus, who did all he could to make Rome magnificent (Suet. Aug. 29); and all throughout the imperial period immense quantities of the most varied coloured marbles were poured into Rome from countless quarries in Northern Africa, Greece, Asia Minor, Arabia, and other countries. Immense wall-surfaces were covered with costly marbles, and in some cases even by the hard basalts which only diamond or corundum could work. The usual scheme was to have a moulded plinth, a dado above that, and at the top of the wall a richly-moulded cornice; marbles of different colours being used for all the various parts. The main surface, between the dado and the cornice, was often divided into panels of different coloured marbles, each panel being framed with a moulded strip, projecting in front of the general surface like the frame of a picture. These marble linings were fixed with great care. They were backed with a thick coating of cement or mortar, made of lime and pozzolana, and each piece of marble was then tied to the wall behind by long hook-like clamps of iron or bronze, the ends being run with melted lead, or wedged into joints of the brick facing of the wall. Extraordinary skill was shown by the extreme thinness to which many of these marble slabs were sawn. This was done with iron saws and sand and water, or, in the case of the harder marbles, with emery from Naxos (see Pliny, Plin. Nat.36.51). The use of jewel-tipped drills, both solid and tubular, was introduced into Rome from Egypt, along with the Egyptian granites and basalts (see Pliny, Plin. Nat.37.200). The Temple of Concord and the House of the Vestals in Rome still have on their walls well-preserved examples of these elaborate linings. A list of the various ornamental marbles used for the walls of Rome is given in Middleton, Ancient Rome. pp. 13-19 and p. 39. The annexed woodcut shows the method of fixing the marble linings in the Temple of Concord, which was rebuilt in the reign of Augustus by Tiberius and Drusus (Suet. Tib. 20). The slabs used in this building and others of the same period are from 1 inch to 1 1/2 inches thick. It was not till later times that a mere veneer, in some cases not more than 1/3 inch thick, was used.

In Italy, where the quarries of Luna supplied unlimited quantities of white marble, the walllinings were usually of foreign coloured marbles; but in Britain and other Roman provinces, where white marble was rare or absent, we find it treated in the same economical way. At Silchester and other Roman sites wall-linings of white marble only half an inch thick have been found. This use of veneers to make a great show with a small expenditure seems to have specially commended itself to the degraded taste of the Romans, who loved shams of every kind, and in their common building used the most tawdry and meretricious style of decoration that can possibly be imagined. Sham marbling, painted on stuccoed walls, was a favourite method of decorating ordinary houses; and even public buildings and temples, not in Rome itself, but in the provincial towns, such as Pompeii, were daubed with this trashy style of decoration.

[J.H.M]

Paries

(τοῖχος). A wall belonging to a roofed building and thus distinguished from murus (q. v.). Paries solĭdus is a wall unpierced by doors or windows. Paries commūnis is a party-wall common to two houses. Paries directus is a crosswall between rooms. Paries fornicātus is a wall pierced by arches.