UNV EU PA
| ae
nu
a
=
= 8)
ae
a
mu
a)
a
—D
| Se
a
Mm
|
vy
a ae
THE LIBRARY
of
VICTORIA UNIVERSITY
‘Toronto
Digitized by the Internet Archive
in 2008 with funding from
Andrew W. Mellon Foundation
https://archive.org/details/imaginesOOphiluoft
ie LOEB CLASSICAL, LIBRARY
EDITED BY
T. EK. PAGE, 11rt.p.
BE. CAPPS, pu.p., it.p. W. H. D. ROUSE, tirr.n.
PHILOSTRATUS THE ELDER
IMAGINES
PHILOSTRATUS THE YOUNGER
IMAGINES
CALLISTRATUS
DESCRIPTIONS
~
j
rh
i
jv
ie eee or . :
» eh Dy eo
a, ‘ : :
i ie
oe
TAD DDD)
Ey
Or)
x Mi) PR rnc etl oD Ml:
THE LYRE OF AMPHION
DESCRIPTION !O
BOOK!
NOTE ON ILLUSTRATION
The frontispiece is an attempted reconstruction of the
Lyre described in 1.10. The drawing is made from the
description of Philostratus interpreted in the light of
various Greek vase paintings by Miss M. L. Fairbanks.
sgh | jan fas
MARK. gotingtinciash Dhin )
BA wor chase ai yatta oT | OL 1 wi he
EA] Mil om) pi Hola teh ovtameofih Ip.
= ae hendin’ 4h Me aM yd oy sng sene d
.
* it
€ ee
i
4
}
fre wr ee OF Aeron Saree ,
. See
oo rey “Lp 4 4 eek. a yy, a o
edad WO bem lal aged Cas,
IMAGINES
CALLISTRATUS
DESCRIPTIONS
WITH AN ENGLISH TRANSLATION BY
ARTHUR FAIRBANKS, Lrrr.D.
PROFESSOR OF FINE ARTS IN DARTMOUTH COLLEGE
LONDON: WILLIAM HEINEMANN LTD
NEW YORK: G. P. PUTNAM’S SONS
MCMXXXI
Printed in Great Britain
49704
41(-32.
CONTENTS
LIST OF DESCRIPTIONS.
LIST OF ILLUSTRATIONS
MANUSCRIPTS 5; EDITIONS .... -.
PHILOSTRATUS. THE ELDER
INTRODUCTION
IMAGINES, BOOK I
x BOOK II .
PHILOSTRATUS THE YOUNGER
INTRODUCTION
IMAGINES
CALLISTRATUS
INTRODUCTION
DESCRIPTIONS .
INDEX
PAGE
vi
1x
xii
xV
OMOWIATR whe
LIST OF DESCRIPTIONS
Puitostratus, Imaaines, Boox I
Introduction .
. Scamander
Comus
Fables.
Menoeceus
. Dwarfs
Cupids
. Memnon .
. Amymone
. A Marsh .
. Amphion .
. Phaéthon
. Bosphoros
. Bosphoros
. Semele
. Ariadne
. Pasiphaé
. Hippodameia.
. Bacchantes ,
. The seat Pirates
. Satyrs we
. Olympus .
. Midas.
. Narcissus
. Hyacinthus
. Andrians .
. Birth of Hermes _
. Amphiaraiis .
. Hunters
. Perseus
. Pelops.
. Xenia.
CGO NID OTH Co BD
LIST OF DESCRIPTIONS
Boox II
. Singers. :
vi The ideation of Achilles :
. Female Centaurs. eA
Hippolytus
Rhodogoune .
. Arrichion .
. Antilochus
. Meles .
. Pantheia .
. Cassandra
Pobane 2:
eindar ~~.
. The Gyraean Rocks
. Thessaly . :
. Glaucus Pontius .
. Palaemon
. Islands
. Cyclops
. Phorbas
. Atlas .
. Antaeus :
2. Heracles among the Pygmies ‘
. The Madness of Heracles
. Theiodamas . :
5. The Burial of Abderus :
. Xenia. . :
. The Birth of Aeneas
. Looms :
. Antigone .
. Evadne
. Themistocles .
2. Palaestra .
. Dodona
. Horae
PHILOSTRATUS THE YOUNGER, IMAGINES
Prooemium
. Achilles on Seyros
Pyrrhus on Scyros
LIST OF DESCRIPTIONS
Marsyas
Hunters
Heracles or Achelous :
Heracles in Swaddling- clothes ;
Orpheus ..
. Medea among the Colchians
. Boys at Play
. Pelops. .
10. Pyrrhus or the Mysians
11. The Argo or Aeétes .
12: Hesione a as
13. Sophocles .
14. Hyacinthus
15. Meleager .
16. Nessus
17. Philoctetes
Pear
CALLISTRATUS, DESCRIPTIONS
1. On a Satyr
2. On the Statue of ipaeenante
3. On the Statue of Eros
4. On the Statue of an Indian
5. On the Statue of Narcissus
6. On the Statue of Opportunity at Sicyon .
7. On the Statue of Orpheus .
8. On the Statue of Dionysus
9. On the Statue of Memnon .
10. On the Statue of Paean.
11. On the Statue of a Youth .
12. On the Statue of a Centaur
13. On the Statue of Medea
14. On the Figure of Athamas .
vill
407
411
413
421
bis. OF ILLUSTRATIONS
PHILOSTRATUS THE ELDER
Frontispiece: The Lyre. From a drawing.
FIG.
1.—The Nile with Dwarfs. Marble statue in the
Vatican. Froma photograph . . . To face
2.—Erotes Wrestling and Boxing. From a sarco-
phagus in Florence. Baumeister, Denkmdler,
I. 502 PL aber cn gre ame cr cae
3.—Death of iWiewaen. Red-figured vase painting.
Museum of Fine Arts, Boston, Inventory 97.
368. Froma photograph. . . . . To face
4.—Poseidon and Amymone. Red-figured vase paint-
ing. Lenormant-De Witte, Elite céram., III. 18
5.—Fall of Phaéthon. Arretine bowl in oe From
a drawing. Chase, Arretine Pottery in the
Museum of Fine Arts, Boston, No. 66 . To face
6.—Ariadne deserted. Red-figured vase painting in
Boston, Inventory 00.349 . . . . Toface
7.—Wooden Cow made by Daedalus. From a drawing.
Pompeian wall painting. Rdémische Mittheil-
ungen, XI. (1896), p. 50
8.—Race of Oenomaiis and Pelops, with aes ‘Rerdien
ene Mati sil 782). cs Se = a Lowace
9.—Death of Pentheus. Red- Soviets vase painting in
Boston. Inventory 10. 22la. . . . To face
10.—Marsyas brought in bonds to Midas, Red-figured
vase painting. Monumenti dell Instituto, IV.,
EA LO Me ee TS ok Stach, > epee Peeel =o iar, aes
LIST OF ILLUSTRATIONS
FIG.
11.—Narcissus gazing into a Pool. Pompeian wall-
painting. Roscher, Lex. Myth. III. 19
12.—Hyacinthus wounded by the Discus. Furtwingler,
Antike Gemmen, Pl. XX. 31 .- aie
13.—Descent of Amphiaraiis into the Earth. Relief on
an Etruscan urn. Roscher, Lex Myth. I. 299
To face
14.—Boar Hunt. Relief on a sarcophagus. Hamdi Bey-
Reinach, Une nécropole a Sidon, Pl. XVI.2. .
To face
15.—Perseus and Andromeda. Red-figured vase paint-
ing. Roscher, Lex. Myth. III. 2053. . T'o face
16.—Quadriga. Coin of Syracuse. From a drawing
17.—Education of Achilles. Pompeian wall painting.
Roscher, Lex. Myth 1, 26. 9.7 ..)59 fee
18.—Head of Female Centaur. Red-figured vase paint-
ing in Boston, Inventory 13. 306 . . 1'o face
19.—The Death of Hippolytus. Red-figured vase paint-
ing. Arch. Zeit: 1883, Pl. VI... .. Woface
20.—Nose with “up-curved” Nostrils. Red-figured vase
painting. Pfuhl, Malerei der Griechen, 415 c.
To face
21.—Helios with Rays. Coin of Rhodes. From a
drawing. Roscher, Lex. Myth. I. 2003
22,—Atlas bent under the Heavens. Marble statue in
Naples. ' From a drawing’. . «3 ) 29%2aaeee
23.—Madness of Heracles. Red-figured vase painting.
Baumeister, Denkmdler, 1.665 . . . Yo face
24.—Spiderweb with Cables. From a drawing . :
25.—Palaestra. Medallion on Roman terra-cotta jar.
From a drawing. Inscriptions: Schoeneus
(father of Atalante), Atalante Hippomedon,
Palaestra. The hexameter inscription above is
omitted. Cf. Gaz. Arch. 1889, p. 56
PHILOSTRATUS THE YOUNGER.
26.—Marsyas: Slave whetting knife. Marble statue
in Florence. Clarac, Mus. Sculpt., Pl. 543, 1141
x
265
295
LIST OF ILLUSTRATIONS
FIG.
27.—Heracles strangling the Serpents. Coin of Thebes.
Fromadrawing. Brit. Mus. Cat, Central eae
PI X1V..8 - :
28.—Animals charmed by the M usic if Gea eae
peian wall- seen: Roscher, Lex. Myth. III.
PES te Ys -
29.—Boys at Play (the SHRP of iMedeny: Poanpe tan
wall-painting. Baumeister, Denkmdiler, I. 142.
30.—Calydonian Hunt. Marble sarcophagus in the
Capitoline Museum. Baumeister, Denkmdler,
1 ida 3 Re ee ~ to LO.face
31.—Deianeira at the Death of Nessus. “Pompeian wall
painting. Baumeister, Denkmdler, 1.667 To face
CALLISTRATUS
32.—Satyr playing Flute. From a es Brunn-
Bruckman, 435. Sos ee tans
33.—Palatine Eros. Marble Se in the Louvre.
Roscher, Lex. Myth. I. 1360 : :
34.—Narcissus. Marble statue (called Gany RES in
the Museo Chiaramonti. Clarac. Mus. Sculpt.
Pl. 407, 703 .
So aber umty: Rieeiiecreice Tee Zeit. XX XIII.
bd Bl co |
36.—Dionysus. Marble statue i in the Lou re. Clarac,
Mus. Sculpt. Pl. 275, 1574 .
37.—Dionysus. Marble statue in Maded rere
Mus. Sculpt. Pl. 690, B, 1598 a
PAGE
xi
MANUSCRIPTS; EDITIONS
The important Manuscripts are as follows:
PHILOsTRATUS THE ELDER
Laurentianus, LXVIX (380), XIII cent., F.
Parisiensis, gr. 1696, XIV cent., P.
Vindobonensis, 331, XIV cent., V1.
Vaticanus, 1898, XIII cent., V?.
98, XIII cent., V.
3)
PHILOSTRATUS THE YOUNGER
Laurentianus, LVIII (32), XII cent. :
CALLISTRATUS
Laurentianus, LIX (15), XI cent., Nos. 1-5.
Parisiensis, gr. 1696, XLV cent., Nos. 1-7.
Vaticanus, 1898, XIII cent., Nos. 9-14.
EpiTIoNns
Olearius: Leipzig, 1709.
Heyne: Gottingen, 1796.
Jacobs: Leipzig, 1797, 1825.
Kayser: Turin, 1842-1846.
Westermann : Paris, 1849 (with Latin translations),
1878.
xii
MANUSCRIPTS; EDITIONS
LITERATURE
K. Friedrichs: Die Philostratischen Bilder.
Erlangen, 1860; and Jahr. Phil. Suppl. V
(1864), 134 f.
H. Brunn: Die Philostratischen Gemdalde gegen
K. Friedrichs vertheidigt; and Jahr. Phil.
Suppl. IV (1861), 179f.; XVIL (1871), 1E£,
Sie
Matz: De Philostratorum in describendis imaginibus
fide. Bonn, 1867; and Philol. XXXI (1872),
585 f.
C. Nemitz: De Philostratorum imaginibus. Vratisl.
ike Tie
E. Bertrand: Un critique dart dans lantiquité :
Philostrate et son école. Paris, 1887.
A. Bougot: Philostrate J Ancien :
antique. Paris, 188}.
une galerie
ant
va
¥
y Gs
ar it
red
e
-
=
?
»
my
PHILOSTRATUS THE ELDER
IMAGINES
INTRODUCTION
Tue position of the sophists in the literary, the
educational, and the social world was never more
important than during the second and third centuries
a.p. They wandered from one centre to another, or
they occupied established chairs of rhetoric in some
principal city, attracting to their lecture halls the
youth who desired a higher education and men who
took pleasure in rhetorical display. They were the
university professors of their day, treating science
and history and philosophy as well as literature and
the different forms of rhetoric in their discourses,
It was characteristic of the men and of their age,
however, that lecturers and hearers alike laid the
emphasis on the form of the discourse, and that
subject-matter was completely subordinated to the
mode of presentation.
A Lemnian family furnished three or four success-
ful exponents of this art in the period under dis-
cussion, all of them bearing the name of Philostratus.
Suidas mentions a Philostratus (1) son of Verus, as
having written the dialogue entitled Nero.t Flavius
Philostratus (2), probably his son or grandson, was
born about a.p. 170 and educated in Athens under
the most famous sophists of his day. He is the
1 Included in the MS, of Lucian.
XV
INTRODUCTION
author of the Life of Apollonius of Tyana,! of the
Lives of the Sophists, and presumably of some minor
works extant under his name. He calls himself a
Lemnian (Ep. 70), though he is generally known as
* Philostratus the Athenian” in distinction from his
son-in-law, the son of Nervianus, whom he refers to as
“ Philostratus the Lemnian”’ (/’7t. soph. 617, 627-8).
Philostratus son of Nervianus (3), who was born
about a.p. 190 (for he was twenty-four years old in
the reign of Caracalla, Vit. soph. 623), is generally
regarded as the author of the earlier series of
Imagines.* His grandson, of the same name, and
referred to as Philostratus the Younger (4), wrote
about a.D. 300 a series of Jmagines of much the
same type as his grandfather's,
Philostratus son of Nervianus (3) has been called
the “father of art criticism,’ but the phrase is
hardly appropriate, for Lucian, Polemon, Apuleius
and other writers had previously made paintings and
sculpture the subject of their discourse. The re-
newed interest in art in this period, a critical, rather
than a creative interest, and the need of new themes
for the rhetorical discourses of the sophist, made it
natural for these lecturers to find their themes in
works of art. Philostratus points out that his interest
is in the paintings themselves, not in the lives of
the painters nor in their historical relation to each
other (infra, p. 5). That rhetoric should take its
themes from painting is all the more natural be-
cause painting in Greece had so commonly taken
its themes from literature. It will be found that
1 Translated by Conybeare in L.C. L.
* Cf. allusions to Athens in the Jinagines, infra Index
under ‘‘ Athens, Attica, which show his interest in Athens.”
Xvi
INTRODUCTION
all but six or eight of the paintings described by
Philostratus are based either directly on literary
sources or on the myths which found expression
both in literature and painting. We may even say
that in this epoch literature and painting actually
vied with each other in the presentation of the same
themes. Certainly Philostratus seems to try to out-
do the painter whose work he is describing, and
often passes beyond the limits of pictorial art without
stopping to note what the picture itself gives and
what he adds to make his account of the theme more
attractive.
The failure of our author to confine himself
closely to what was depicted in the painting he
is describing may be regarded as his inheritance
from the descriptions of works of art in earlier
Greek literature. From the Homeric poems on-
ward the poet’s skill is used in describing works of
art. The cup of Nestor is quite simply described
(Iliad, 11. 632 f.) ; on the other hand Homer’s account
of the Shield of Achilles is very elaborate (/iad, 18.
483 f.), including the description in detail of one
scene after another, scenes which may have been
suggested by some simple means, but which can
hardly have been wrought with all the detail given
by the poet. Such description becomes a definite
type of literary ornament, and the poet who uses
it feels no need to limit himself very closely to
some actual object which he had seen or might
have seen. So Euripides describes statues which
were used to adorn the sterns of ships (ph. Aul.
230f.), and puts in the mouth of Ion an account
of the treasures in the temple of Apollo (Jon, 192 f.,
1133f.). Apollonius of Rhodes tells of the mantle
xVii
b
INTRODUCTION
wrought by Pallas for Jason, and gives a detailed
account of scenes mainly mythological with which
it was decorated (Argon. 1. 730f.). Later Greek
writers, as well as the Latin poets, adopt the same
literary device and pass with the same freedom
from the actual description of a work of art to
elements of the story which presumably could not
be or were not included in the painting or statue
or embroidered scene they were describing. It is
by no means unnatural that Philostratus, for whom
description is not a side issue but the main purpose,
should retain the same freedom. If we recall that
he claims to be speaking in the presence of the
paintings themselves, we can hardly blame _ his
procedure as lacking in clearness.
Foreign as the procedure is to our point of view,
it is the tendency of Philostratus to discuss paintings
almost as if they were works of literary art. The
scene or scenes are described for the story they
tell, and for the sentiment they express in this
story. The excellence of the picture for him lies
in its effective delineation of character, in the pathos
of the situation, or in the play of emotion it repre-
sents. Its technical excellence is rarely mentioned,
and then only as a means for successful represent-
ation. Of colour we read only that it is brilliant ;
of drawing only that it is able to give perspective.
Composition and design are not mentioned. The
painter’s insight, which enables him to see a new
reality in his subject and to depict it in such wise
as to make the world larger and richer for one who
sees his work, is unknown to Philostratus. In a
word, the whole discussion centres on literary pro-
blems rather than on problems of painting.
Xvill
INTRODUCTION
This point of view explains itself, however, if
we turn to extant paintings of the Graeco-Roman
period. Most of these have been found in Campania,
at Pompeii and elsewhere. While the Campanian
wall-paintings carry on in a measure the tradition
of Greek painting, the spirit of Greek art has
practically disappeared, and these late paintings
show much the same literary tendency as that which
appears in the paintings described by Philostratus.
Helbig? finds it possible to classify Campanian wall-
paintings under rubrics familiar to literature, as epic
in their style, or tragic, or idyllic. For example,
the painter like the poet may treat stories of gods
and heroes in a grand manner, emphasizing the
greatness of the beings he depicts and the superior
importance of their actions as compared with the
activities of ordinary men. Representations of the
deeds of Heracles and of Theseus in painting were
commonly of this character. The appeal of such
paintings is like the appeal of epic poetry, in that
they directed attention away from man’s ordinary
activities, as relatively insignificant, to a world in
which everything was on a higher, nobler plane.
Among the descriptions of Philostratus the Amphia-
raus (I, 27)? and the Gyrae (II, 13) illustrate the
epic style in painting. Campanian paintings,
decorative as was their aim, include many that were
based on tragic myths and emphasized the great
conflicts in life which were the basis of the tragic
drama, The conflict of emotion when Medea plans
to slay her children, the conflicts in the stories of
Oedipus and of Hippolytus, furnished themes for
1 Untersuchungen zur campanischen Wandmaleret.
2 Book I, Description 27.
Xix
INTRODUCTION
the painter as well as for the poet. The Menoeceus
of Philostratus (I, 4) and the Cassandra (II, 19)
describe paintings in the manner of tragedy.
Philostratus describes no paintings which are re-
lated to comedy; we do, however, find several
paintings which depict light, humorous themes
based on mythology, like the thefts of Hermes
(I, 26), the Theiodamas (II, 24) and the Pygmies
(II, 22). Perhaps in greater number are paintings
in the idyllic manner, depicting a landscape in
which is some scene that expresses tender human
sentiment ; as, for example, Perseus freeing Andro-
meda or Pelops winning Hippodameia as his bride.
The Cyclops of Philostratus (II, 18) and the Olympus
(1, 20-21) are the examples of the idyllic manner
in his paintings. Such genre scenes as the Female
Centaurs (II, 3) and the Singers (II, 1) may be
classed here; and the sentiment for nature in pure
landscape, e.g. the Marsh (I, 9) and the Islands
(II, 17), is not unrelated to idyllic poetry, It is
characteristic of Hellenistic sculpture, if not of later
painting, to present idealized portraits of historical
characters, portraits which express to the eye the
characters which the historian portrayed in language.
The Themistocles of Philostratus (II, 31) is such a
portrait, and the Pantheia (II, 9) is described as a
historical portrait based on the description of
Xenophon. It should be noted, however, that in
general the historical paintings of Philostratus
merely draw the material from history instead of
mythology, and emphasize now the tragedy, now
the simple beauty of the scene in the same way
as paintings with a mythological content.
Granted that painting in this epoch was intimately
XX
INTRODUCTION
allied with literature, the question arises whether
paintings described by Philostratus were actually
based on some literary work. In a few cases, but
only in a few cases, is such a connection clear.
The Scamander (I, 1), the Memnon (I, 7), the
Antilochus (II, 7) may be regarded as illustrations
for the Jliad ; the Hippolytus (II, 4), the Pentheus
(I, 18), and the Madness of Heracles (11, 23) follow
the version of Euripides very closely, though not
with literal exactness; and the Antigone hardly
varies from the treatment by Sophocles. While it
is reasonable to assume that these paintings were
actually based on the extant literary treatment of
the same themes, it would not be strange if
Philostratus overstressed the dependence on litera-
ture, for, as we have seen, it is his method to discuss
the story of the painting as it may have appeared
in literature instead of limiting himself to what he
saw in the painting.
No reader can forget that Philostratus is a sophist,
that his first preoccupation is the literary form in
which he writes his descriptions. Whatever the
paintings themselves may have been, it is his aim
to emphasize and develop the sentiment, be it epic
or tragic or idyllic, which he found in the paintings.
The very subjects of the paintings show that the
sentiment existed, and all the powers of his literary
art were used in exploiting it. For the moment he
is attempting to write tragedy or again to develop a
sentiment for the beauties of nature. However
tedious he may become, however foreign to our
ideas his method may be, the reader must remember
that he is simply trying to outdo the paintings he
describes in this appeal to the emotions. In this
Xxi
INTRODUCTION
connection it is not uninteresting to read Goethe’s
version of these pictures (PAilostrats Gemaelde, 1818),}
in which he goes beyond Philostratus himself in the
word painting of sentiment.
In the Introduction Philostratus clearly states the
aim of the Jmagines. ‘They were written as lectures
or rhetorical exercises to display the powers of the
sophist. In so far as he was a teacher, they were
models to be followed by his pupils; at the same
time, because they dealt with works of art, they
served to stimulate the imagination and to train
esthetic taste according to the standards then in
vogue. We have no right to expect literal and
complete descriptions by which the paintings could
be reconstructed in detail; some of them can be
reconstructed in a measure, while others baflle the
attempt; but this type of description is not the
sophist’s aim. Further, he explicitly states that he
leaves to others the history of painters and painting.
One reference to a painter with whom he once
studied (p. 5) is the single case in which the name
of a painter appears. Nor are we to expect technical
data about paintings. Rarely he speaks about
draughtsmanship and only as something to be
assumed, or of perspective only as a curious device
of the painter’s, or of correct proportion as an
essential element in the truth of painting, or of the
successful use of shadow to bring out form in three
dimensions. Rhetorically he lays stress on brilliant
colours, but colour plays a relatively small part in his
descriptions. Following the tradition of literary
allusions to painting, he lays much stress on the
illusion of reality, but one may suspect that his in-
1 See Note at the end of this Introduction.
Xxil
INTRODUCTION
terest in it is largely because it is a useful rhetorical
device. The reader is never allowed to forget the boy
who represents the audience of Philostratus and the
writer’s effort to develop imagination in his hearers.
Philostratus as a rhetorician must be judged by
his aim and by the standards of his age. While
we miss the “very pure Attic Greek” and the
“extreme beauty and force” of his description
which his grandson praises (infra, p. 283), we
cannot fail to be impressed by his effort to repro-
duce the language of the golden age of Greek
literature. He evidently seeks the simplicity which
is suitable to the audience he presupposes; none
the less a simplicity more studied or more often
interrupted by grandiloquent and complicated
passages would be difficult to imagine. The loose
nominatives, the choppy phrases, the frequent
parentheses are apparently intended to give the
illusion of a casual conversation about the paintings.
A relative simplicity is attained in certain short
descriptions (Pan, II, 11; Thessaly, 11, 14; Pygmies,
II, 22); but such complicated ones as the Arrichion
(II, 6) or the Cupids (I, 6), and the grandiloquent
treatment of the Gyrae (II, 13) or the Evadne
(II, 30) pass quite beyond the sphere of simple
conversations. Moreover, the figures of speech,! the
paradoxical expressions and the tricks of phrase-
making,? often become quite laboured. Even the
1 p. 183: ‘‘ As if using the flames as a sail.”
p. 123: ‘* Pelops glows with the radiance of his shoulder,
as does the night with the evening star.”
2 p. 75: ‘‘From those locks he derived vigour, and he
imparted vigour to them; but this was itself his madness,
that he would not join Dionysus in madness.”
Xxili
INTRODUCTION
effort to write “ pure Attic Greek”’ is almost buried
under the mass of literary allusion and quotation,
till it becomes itself a device of rhetoric. Words
or phrases are quoted from Homer more than a
hundred times, from Euripides more than forty
times, from Pindar twenty-five times ; and in all some
twenty authors furnish recognized quotations. Such
is the acquaintance with the classics which was
demanded both of the sophist and of his hearers.
The frequent introduction into the descriptions
of bits of curious knowledge is to be regarded
as a rhetorical device which is appropriate to the
discourses of a sophist “professor,” and which
lends another interest to the paintings as well
as to the description of them. ‘This curious know-
ledge has a wide range. It has to do with geo-
graphy: the fertility of Egypt (1, 5), the detailed
explanation of Tempe and the draining of the
Thessalian plains (II, 14; II, 17, 4), the account
of volcanic springs and streams (II, 17, 5), the
nature of the river Alpheius (II, 6, 1). It deals
with material things: the painter’s pigments (I, 28),
the origin of amber (I, 11), the origin of limestone
(I, 12, 2), the nature of bitumen and sulphur (II,
17, 5), the fiery element in the universe (ijaeer
It includes both fact and fancy as to plants and
animals: the relation of trees to soil (I, 9, 1), the
sexual instinct in date palms (I, 9), the characteristics
p. 147: ‘‘She prays to conquer men even as now she has
conquered them ; for I do not think she loves to be loved.”
p. 157: ‘*His bright hair is his pride,” coma... xdun;
ef. 300, 13 K.
p. 144: A mouth ‘‘most sweet to kiss, most difficult to
describe.”
p- 167: ‘‘A beautiful burial offering are these arms.”
XXiV
INTRODUCTION
of tunny-fish (I, 13, 7), the habits of the wild boar
(ifs 2o,) 4), -of ants: (If, 22-1), of gulls; (tL, 17, 11)
and of spiders (II, 28), the details of the tortoise-
shell (1, 19, 2), the different breeds of dogs (I, 28, 5),
the fertility of the hare (I, 6,6). It does not omit
the field of medicine: the disease of Heracles
(II, 23), the effect of eating owl’s eggs (II, 17, 8),
the use of gulls’ stomachs as a remedy (II, 17, 11).
And naturally it covers the various forms of human
activity : occupations like agriculture (I, 6, 2) and
hunting (I, 28) and fishing (I, 13) and carpentry
(I, 16, 2), religious rites (II, 24, 4; II, 33), athletic
games (II, 6, 4-5; II, 25, 2), war and the use of
thenehariot-inewar (I i 2: 1.4525 175 1) Al
these curious facts may be supposed to have
educational significance, but they are introduced
primarily as a rhetorical device to stimulate the
interest of the hearer or reader.
The method of presentation of course varies with
the theme. Frequently Philostratus begins with
references to the story as given by Homer or by
some other writer. More commonly he states
rather abruptly the striking points of the picture
(e.g. II, 5), then develops the mythological or
historical theme before he describes the picture
itself, and concludes with an effort after striking
sentiment or phrase. His actual descriptions of
paintings are rather meagre; his praise of the beauty
of men and women and landscape is the main end
of his rhetoric; as he says (p. 5), his effort is to
praise the skill of the painter and to cultivate the
taste of the observer.
The estimate placed on this work of Philostratus
depends largely on the spirit in which it is
XXV
INTRODUCTION
approached. Goethe, filled with undiscriminating
enthusiasm for all the products of Greece and Rome
which had been developed by Winckelmann and
his associates, found the Jmagines as thrilling in
form as the paintings they described were admirable.
Friedrichs, applying to these paintings the standards
of the great periods of Greek art, questioned
whether they could be called Greek, and even
whether they existed outside the sophist’s imagina-
tion. It remained for Brunn with his wider and
more critical knowledge to show that the paintings
described by Philostratus were not in any way
foreign to later Greek art. Whether they were
all actual paintings, whether some were real paint-
ings and others created by the imagination of the
sophist, whether there ever was such a gallery as
is described, we have no means of knowing. ‘Two
points, however, are clear. First, Philostratus was
primarily a sophist, who developed the description
of paintings as a form of literary art; he would be
quite consistent in describing paintings that were
figments of his imagination, provided only he
succeeded in preserving the illusion that he dealt
with existing paintings. Secondly, there is little
or nothing to indicate any inconsistency between
the paintings existing in his day and the paintings
he describes. The student of late Greek paintings
is fully justified in treating these examples as data
for his study, whether or not they were actual
paintings.
XxVvi
INTRODUCTION
NOTE ON GOETHE, “ PHILOSTRATS
GEMAELDE”
(Ed. Cotta, 1868, Vol. XXVI, 276 f.)
In 1818 Goethe published an essay on the paintings
of Philostratus in which he refers to the enthusiasm
of the “ Weimarsche Kunstfreunde” for this work,
and to the extended study which they had given it.
His essay was intended, he says, to preserve some
of the results of this study, as the times were
not favourable for the publication of the elaborate
edition, with illustrations, which they had hoped
to make. To his translation of a series of the
Descriptions reference has already been made
(p. xix).
Goethe finds the greatest difficulty for the
appreciation of Philostratus’ work in what he calls
the confused arrangement of the Descriptions. He
arranges them under nine headings as follows:
I. Heroic, tragic subjects; II. Love and Wooing ;
III. Birth and Education; IV. Deeds of Heracles ;
V. Athletic Contests; VI. Hunters and Hunting;
VII. Poetry, Song, and Dance; VIII. Landscapes,
including pictures of the sea; IX. Still Life. This
arrangement serves to emphasize the variety of the
paintings described by Philostratus, even if it is
not very logical. In the following list are included
Goethe's references to ancient and modern paintings.
I. Heroic, tragic subjects.
1. The death of Antilochus. Book II, Descrip-
tion 7.
XXVii
OUP CO bo
a
KH Oo O11
12.
13.
14.
15.
16.
LEE
18.
INTRODUCTION
. The death and burial of Memnon. I, 7.
. The Scamander overcome by Hephaestus. I, 1.
. The death of Menoeceus. I, 4.
. The death of Hippolytus. II, 4.
Hippolytus and Phaedra. Hercul. Alterth+
ii: pl. 15.
. Antigone’s burial of her brother. IT, 29.
. Evadne’s death on her husband’s pyre. _ II, 30.
. Pantheia’s death on her husband’s pyre. II, 9.
. The death of Ajax. II, 13.
. The sufferings of Philoctetes. Phil. Jun. 17.
. The death of Phaethon. I, Ll.
Icarus mourned by his father. Hercul.
Alterth. iv. pl. 63.
Phrixus and Helle. Jbid. iii. 4.
Hyacinthus, beloved of Apollo. Phil. Jun. 14,
The death of Hyacinthus. I, 24.
“ Cephalus and Procris,’ by Giulio Romano,
Amphiaraus and his oracle. I, 27.
Cassandra.
Rhodogoune victorious. II, 5.
Victor and goddess of victory. Hercul.
Alterth, iii. pl. 39.
Themistocles. II, 32.
II. Love and Wooing.
Cupids at play. I, 6.
Birth of Venus. Hercul. Alterth. iv. pl. 3.
1 Gori, Le antichite di Ercolano, 1757 ; German translation,
C. G. v. Muir, 1777-1802.
XXViil
19.
20.
INTRODUCTION
Poseidon and Amymone. I, 7.
Theseus and the rescued children. Hercul.
Alterth. i. pl. 5.
Ariadne deserted. bid. ii. pls. 14-15.
Ariadne asleep. I, 15.
Ariadne asleep, bid. ii. pl. 16.
Leda with the swan. Jdzd. iii. pl. 8.
Leda on the Eurotas; birth of twins from the
egg. Giulio Romano.
. Pelops as suitor. I, 30.
. Pelops as suitor. Phil. Jun. 9.
. Pelops winning Hippodameia, I, 17.
. The coming of the Argonauts, Phil. Jun. 8.
. Glaucus prophesying to the Argonauts. II, 15.
. Jason and Medea. Phil. Jun. 7.
. The return of the Argonauts. Phil. Jun. 11.
. Perseus and Andromeda. I, 29.
. Cyclops and Galatea, II, 18.
Cyclops in love. Hercul. Alterth. i. p. 10.
. Pasiphaé’s love for the bull. I, 16.
. Meles and Critheis. TI], 8.
III, Birth and Education.
. Birth of Athena. II, 27.
. Semele and the birth of Bacchus. I, 14.
Fauns and Nymphs. Hercul. Alterth. ii.
pe 12
. Birth of Hermes. I, 26.
. Achilles brought up by Cheiron. II, 2.
Achilles and Cheiron. Hercul Alterih, i. pl. 8.
. Achilles on Seyros. Phil, Jun. 1.
. Centaur families. II, 4.
XX1X
38.
39.
40).
41.
42.
43.
44,
45,
46.
47.
48.
49.
50.
51.
52.
53.
54.
XXX
INTRODUCTION
IV. Heracles.
The deeds of Heracles as a babe. Phil. Jun. 5.
Heracles as a babe. Hercul, Alterth. i. pl. 7.
Achelous and Deianeira. Phil. Jun. 4.
Deianeira rescued from Nessus. Phil. Jun. 16.
Antaeus overcome. II, 21.
Hesione freed by Heracles. Phil. Jun. 12.
Heracles and Hesione. Hercul. Alterth. iv.
pl. 64.
Atlas and Heracles. II, 20.
Hylas and Nymphs. Hercul. Alterth. iv. pl. 6,
and Giulio Romano.
Death of Abderus. II, 25.
Heracles as a father. Hercul. Alterth. i. pl. 6.
Heracles insane. II, 23.
Heracles and Admetus. Weimarsche Kunst-
freunde.
Theiodamas. II, 24.
Heracles and the pygmies. II, 22.
Heracles and the pygmies. Giulio Romano,
V. Athletic Contests.
Palaestra. -II, 33.
Arrichion. IT, 6.
Phorbas killed by Apollo. IIT, 19.
VI. Hunters and Hunting.
Meleager and Atalante. Phil. Jun. 15.
‘‘Meleager and Atalante.”” Giulio Romano.
Boar-hunt. I, 28.
Hunters feasting. Phil. Jun. 3.
Narcissus as a hunter. I, 23.
58.
59.
60.
61.
62.
63.
64.
65.
66.
67.
68.
69.
70.
tL,
72.
73.
INTRODUCTION
VII. Poetry, Song, and Dance.
. Pan and Nymphs. II, 11.
. Midas and Satyrs. I, 22.
. Olympus blowing the flute. I, 21.
Olympus taught by Pan. Hercul. Alterth.
i. pl. 9.
eee and Satyrs. I, 20.
“Olympus playing the flute.” Hannibal
Carracci.
The defeat of Marsyas. Phil. Jun. 2.
Amphion and the walls of Thebes. I, 10.
Aesop and the Fables. I, 3.
Orpheus charming animals, plants and_ stones.
Phil. Jun. 6.
Orpheus charming animals. Antique gem.
The birth of Pindar. II, 12.
Sophocles and Melpomene. Phil. Jun. 13.
Aphrodite hymned by maidens. II, 1.
VIII. Landscapes, including Pictures of the Sea.
Dionysus and the Tyrrhenian pirates. I, 19.
Andros, island favoured by Dionysus. I, 25.
Palaemon. II, 16.
Bosphorus. I, 12.
he Nile: ~ 1, 5:
The Nile. Mosaic by Palestrina.
he ¥slands: — FY, 17.
Thessaly freed from water when Poseidon opens
Tempe. II, 14.
Marsh. I, 9.
XXxl1
IN
TRODUCTION
74. Fishermen catching tunny-fish. I, 13.
“ Catching
dolphins,’ by Giulio Romano.
Cf. Hercul. Alterth. ii. pl. 50.
75. Dodona. II, 34.
76. Comus, a feast
11, ena, 1,31:
78. Xenia. II, 26.
79. Spider webs.
XXxii
at night. I, 2.
IX. Sill Life.
Cf. Hercul, Alterth. ii. pl. 56 f.
ni 29:
PHILOST RA TUS
IMAGINES
BOOK I
®IAOZTPATOY
EIKONES
I
294 K. (1) “Oores pn =aotatetas TY Sorypadiar,
10
GOLKEL TAY anrnGevar, abuKel Kal codiay, om oon
és TolnTas HKEL—opa yap ion audotv és TA TOV
npwowv épya Kai eldn—Evupetpiav Te ovK érrauvel,
du’ Hv Kal Noyou 1) TéxvN AmTeTaL. Kat Bovdo-
Her ev copiverbar Gedy TO eDpnya Sia TE Ta
év yn elon, omoca Tous Aeravas ai “Opat ypa-
dovat, dud Te Ta év oupave pawopeva, Bacavi-
Covte dé THY yéveoty THS TEXVNS pluNots pev
eUpnya mpeg Buratov KaL Evyyeveotarov TH
pvae evpov O€ avTiny copot avdpes TO meV
Cwypapiav, To 6€ TAaGTLKY dicarTes.
(2) wAaoTiKAS Mev odv TOAXA eldn—Kal yap
AUTO TO TAATTEL Kal 7) EV TO KAAKO pipnors
kal ot E€ovtes THy AUydivnv % tiv Lapiay riOov
Kal 0 €déphas Kat v7 Ata 7 prugexn TAT TLK) —
Corypadia d€ EvpBEeBryT a0 pev EK XPOMATOD,
TpaTret 6€ ov TOUTO povon, anra Kas Thebeo
aobivetat amo TovToUv évos GYTOSs 1) aTO THY
”
1 « Tygdian stone”: an unusually fine white marble used
both for sculpture and for gems. Pliny, WV. H. 36. 13; Diod.
Sic. II. p. 135.
2
PEHTEOSFRATUS
IMAGINES
BOOK I
WHosoEVER scorns painting is unjust to truth;
and he is also unjust to all the wisdom that has been
bestowed upon poets—for poets and painters make
equal contribution to our knowledge of the deeds
and the looks of heroes—and he withholds his
praise from symmetry of proportion, whereby art
partakes of reason. For one who wishes a clever
theory, the invention of painting belongs to the
gods—witness on earth all the designs with which
the Seasons paint the meadows, and the mani-
festations we see in the heavens—but for one who is
merely seeking the origin of the art, imitation is
an invention most ancient and most akin to nature;
and wise men invented it, calling it now painting,
now plastic art.
There are many forms of plastic art—plastic
art proper, or modelling, and imitation in bronze,
and the work of those who carve Lygdian? or Parian
marble, and ivory carving, and, by Zeus, the art of
gem-cutting is also plastic art—while painting is
imitation by the use of colours; and not only does it
employ colour, but this second form of art cleverly
accomplishes more with this one means than the
3
B 2
PHILOSTRATUS: IMAGINES
20 7wodkA@y 71 ETépa TEXYN. TKLaY Te yap aTro-
paiver Kal Bréupa yive@o Ker ado pev TOU e-
HNVOTOS, ao 6€ ToD adyodvTos ) XalpovTos.
Kai avyas OMpLaTwY OTrolal eioLV O maT TLKOS
bev TLS ewora epyaterat, Vapotrov oe Oop Kal
25 yauKov Kal pehay papers) olde, Kal EavOnv
295 K. KOpNY olde Kal TupanV Kal AL@TAaV kal éo Oijros
xpapa Kal Omov Oardpous Te Kal oixias Kal
addon Kal Opn Kal mnyas Kai Tov aiBépa, év
@ TavTa.
5 (@) dou fev ovv KpaTos pavTo THs emiarn-
pens Kal boa TONES KaL OTOL Baovnets Epwre és
avTny EXPNTAVTO, arrows Te elpnTat Kal “A pioro-
Sonu TO EK Kapias, ¢ Ov éym émi Swypadia Eévoy
erouna any eTO@V Teco dpov—eypage Sé Kara
10 THV Evpphov coptav TORY TO emixape és aviv
pépwv—o oyos 6€ ov mepl Cwypadwv ovd’
lo Toptas avT@Y vor, GNX’ elOn forypadias
dTraryyédomev omidlas auTa Tots vEoLs Evyti-
Oévres, af av Eppnvevooval Te Kali TOU SoKipou
eT LEN TOVTAL.
15 (4) daoppat 6é por toutwrl Tay NOyov aide
eyevovTo: rv pev 0 mapa Tots NearoAirats ayov
—H} b€ TONS €v ‘Iranig @KioTal ryévos “EdAjves
Kal aoTlKol, OOev Kal Tas oToVdasS TOY Loyov
“EXAnveKot etot— Bovropéva dé pot TAS ped€ras
20 pn ev TO pavepp Tmoveia au Ta.petXev ox Aov Ta
uerpaKea port@vTa €Tl THY ouxtav TOU Eévou.
KaTéhvov 6€ €&m TOU TeLXous €v TpOoacTEel@
TeTpappmevm €s Odraccar, év @ oToa Tis EE@KO-
1 7 added by Jacobs.
BOOK I
other form with its many means. For it both repro-
duces light and shade and also permits the observer
to recognize the look, now of the man who is mad,
now of the man who is sorrowing or rejoicing. The
varying nature of bright eyes the plastic artist does
not bring out at all in his work; but the “grey
eye,’ the “blue eye,” the “black eye” are known
to painting; and it knows chestnut and red and
yellow hair, and the colour of garments and of
armour, chambers too and houses and groves and
mountains and springs and the air that envelops
them all.
Now the story of the men who have won mastery
in the science of painting, and of the states and
kings that have been passionately devoted to it,
has been told by other writers, notably by Aristo-
demus of Caria, whom I visited for four years in
order to study painting; and he painted in the
technique of Eumelus, but with much more charm.
The present discussion, however, is not to deal with
painters nor yet with their lives; rather we propose
to describe examples of paintings in the form of
addresses which we have composed for the young,
that by this means they may learn to interpret paint-
ings and to appreciate what is esteemed in them.
The occasion of these discourses of mine was as
follows: It was the time of the public games at
Naples, a city in Italy settled by men of the Greek
race and people of culture, and therefore Greek in
their enthusiasm for discussion. And as [I did not
wish to deliver my addresses in public, the young
men kept coming to the house of my host and
importuning me. I was lodging outside the walls in
a suburb facing the sea, where there was a portico
5
PHILOSTRATUS: IMAGINES
dounto kata Céhupov avewov él TeTTAapwv oimat
25 7) Kal 7révte Opopav adhopoca és TO Tuppnvixov
TéNAYOS. NoTpAaTTE wey OvV Kal ALOOLS, OTOTOUS
emawel Tpvpy, pwartata o€ WvOer ypadhais évnp-
Loo Mevov AUTH TivadKwY, ods éemol SoKety ovK
apadast ris cuvencEato- copia yap év avtois
im > \ \ ’ ’
30 ed) A00TO TELOVOV Coypapov. (5) éyw Hey aT
euauTov @uny dety évrauvely Tas ypadas, mv O€
dpa vios TO Eéve Kopeoy véos, els ETOS d€xator,
On piXyjKo0s Kal Xalpov 7 pavOavew, OS
emepuraTTE He €TLOVTA auras Kal €d€tTO pou
35 Epunvevery Tas ypadhas. iv ody pn oKaLOV [mE
ral 5) nr ’
nyotto, “éotat Tavta, édny “Kxal émidecEw
s SEN / ’ \ \ , »
296 K. auTa Toinooue0a, émreLoay eel Ta salsa 6 =
apiKomevav oby “Oo per mais,’ env, ‘ mpoBe-
BrjoOw Kal avaKkeia bw TOUT 7) OTOUON TOU
Noryou, vuels O€ ErecOe p71 Evyt Oéuevor pLovoy,
bd aN AS a 7 \ a / »
ANNA Kal EepwToVvTeEs, el TL UN Gapas Ppaloime.
a’ SKAMANAPOS
5 (I ) "Eyvas, @ @ Tat, TAUTA ‘Opnpou ovTa y) ou
TWTOTE SE Onhaon Gadpa NYOUMEVOS, OT WS
dnote &&n? To Tip év T@ VOaTL; TUUBadwpev
ovv 6 TL VoEl, ov O€ am oBnevrov aUTOV, OcoV
EKELVA ideiv, ad wv 1 pap). oia0a tov THs
10 ‘TAtdéos THY Yvomnys év ois “Ounpos aviatnot
pev tov “Axtdréa ett TO LlatpoKdro, KivodvTat
\ \ na > 7 , = a
6€ of Geol TroXeuety AAANAOLS. TOUTMVY OvY TOV
\ \ \ id \ \ \ yy - 3
mept Tors Oeovs 7» ypadn Ta méev Adda OvVK Olde,
1 Guades Reiske and Thiersch : amads.
2 €e: Fand M1 P; (7 Reiske.
BOOK I. 1
built on four, I think, or possibly five terraces, open
to the west wind and looking out on the Tyrrhenian
sea. It was resplendent with all the marbles
favoured by luxury, but it was particularly splendid
by reason of the panel-paintings set in the walls,
paintings which I thought had been collected with
real judgment, for they exhibited the skill of very
many painters. The idea had already occurred to
me that I ought to speak in praise of the paintings,
when the son of my host, quite a young boy, only
ten years old but already an ardent listener and
eager to learn, kept watching me as I went from one
to another and asking me to interpret them. So in
order that he might not think me ill-bred, “ Very
well,’ I said, “we will make them the subject of a
discourse as soon as the young men come.” And
when they came, I said, “ Let me put the boy in
front and address to him my effort at interpretation;
but do you follow, not only listening but also asking
questions if anything I say is not clear.”
1. SCAMANDER
Have you noticed, my boy, that the painting
here is based on Homer, or have you failed to do so
because you are lost in wonder as to how in the
world the fire could live in the midst of the water?
Well then, let us try to get at the meaning of it.
Turn your eyes away from the painting itself so as to
look only at the events on which it is based. Surely
you are familiar with the passage in the /iad where
Homer makes Achilles rise up to avenge Patroclus,
and the gods are moved to make battle with each
other. Now of this battle of the gods the painting
7
297 K.
PHILOSTRATUS: IMAGINES
Tov 6¢° ‘Hdacorov eure ety dyno. TO TKapavopo
ToNvV Kal ak parov. (2) dpa é1) mah" mavTa
exetOev. wurnd1) mev avTn 1) TOALS Kal TaUTL Ta
kpydeuva tov ‘IXiov, medtov dé TouTl péya Kal
aTtoxpav thv “Aciay mpos tHv Evparny avtt-
Tafa, TUp d€ TOUTO TOAV meV TANMMUPEL KATA
Tov Tediov, TOAD Oé TeEpl Tas OxYOas Epes TOD
TOTAMOv, os LNKETL AUTO Sevdpa elval. TO be
appt Tov "Hdatotov Top emuppet 7 beate, Kal
0 TOT AMOS anyet Kal iKeTevel TOV “Hoatorov
avToS. AX ovTE O TOTAMLOS YéYpaTTTAaL KOMaY
UTrO 700 mepixexada at ore Xorevov 0 “Hoato-
TOS UTO TOD TpEXELD™ Kal TO avOos Tod TUpOs
ov EavOov ovdé TH ElOtopévn oer, adra
Ypucoedes Kal niwdes. Tadta ovKéTe ‘Ounpov.
8B KOMO>S
(1) ‘O daiuwv 6 Kapos, rap’ ob tots avOpe-
Tols TO Kopatery, epertnKey év Oaddpou Ovpaus
Xpucais olmat, Bpadeia dé 7) Karadypes avr ay
TO TOU ws év vuKTl Elva. yeypan rau dé 4) vvE
OUK aTO TOD GwuaTOS, AN aro KaLpod, Syrdor
5é Ta TpoTvAaia vuudiovs para orAPBious év
euvn KetaOa. (2) wal 0 Ka@pos ijKet véos Tapa
vEous. aTaros Kal ovTw ép7 Bos, epuOpos t UTrO
oivov Kal Kabevdwy op0dos vro Tov peOverv.
+ Not only is the story from the /liad, but words and
bits of description are taken from Homer; cf. Tpoims
fepa KpHdeuva, Iliad 16. 100; pdrdya wodaAhy, 21. 333; ev
8
BOOK I. 2
ignores all the rest, but it tells how Hephaestus
fell upon Scamander with might and main. Now
look again at the painting; it is all from Homer.
Here is the lofty citadel, and here the battlements
of Ilium; here is a great plain, large enough for
marshalling the forces of Asia against the forces of
Europe; here fire rolls mightily like a flood over the
plain, and mightily it creeps along the banks of the
river so that no trees are left there. The fire which
envelops Hephaestus flows out on the surface of the
water and the river is suffering and in person begs
Hephaestus for mercy. But the river is not painted
with long hair, for the hair has been burnt off; nor
is Hephaestus painted as lame, for he is running ;
and the flames of the fire are not ruddy nor yet of
the usual appearance, but they shine like gold and
sunbeams. In this Homer is no longer followed.
2. COMUS
The spirit Comus? (Revelry), to whom men owe
their revelling, is stationed at the doors of a chamber—
golden doors, [ think they are; but to make them out
isa slow matter, for the time is supposed to be at night.
Yet night is not represented as a person, but rather
it is suggested by what is going on; and the splendid
entrance indicates that it is a very wealthy pair just
married who are lying on a couch. And Comus has
come, a youth to join the youths, delicate and not
yet full grown, flushed with wine and, though erect,
he is asleep under the influence of drink, As he
medi mip dateto, 21. 343; ov 5¢ ZdvOo10 wap’ dxOas Sévdpea Kar’,
21. 337 f.
2 Cf. Milton’s Comus, 46f, where Comus is described as
the son of Bacchus and Circe.
9
PHILOSTRATUS: IMAGINES
/ \ \ \ Ul > \ \ /
10 eaGevder 5€ TO wey TpoTwTOV éTi TA oTépvVa
es \ fel fal b / > / \ \
piiras kal Ths derphs exhatvwv ovdév, THv 6é
’ A / 1 > / WA be ¢
apioTepav mporoBiw! eéréywv: ethnpOar de 7
ca a \
xelp_ doxovaa AVETAL Kal aenei, TO elw Bos €v
apex Tod Kabevoew, Otay oatvovTos meas Omvou
15 meTepxXntat o Aoyir pos els ANOnv av TUVEXEL,
o0ev Kal 70 év TH Se€ta Naptradsov couKe dla-
pevryety THY YEetlpa kaTappabypobvTos aut yy ToD
Umvov. Oediws 6€ O Képos m™ poo BaXXov 70
TUp T@® oKédEL Tapaheper THY pev KYHUNY THY
b] \ > \ \ / \ \ / >
20 aploTepayv emt Ta deELa, TO O€ Nap adtov €V
lal \ \ an
aptoTepa, iv éxKAXlvol Tov aTmov TOV TUpOS
lal / al
EKKELMEV@ TO yOvaTe ahiaoTas THY KEtpa.
(3) TpoowTa dé opeirerar ev Tapa Tov
Coypad wv Tots ev apa Kal Tupr@TToval ye
”
25 avEeV TOVTMV al ypapat, TO b¢ Kopo TuLKpa
del TOD T poo WTrov VEVEVKOTL Kal EXkovTe THY a ato
Ths Kepartys oKLaY’ Kehevel dé olmar pn aTrapa-
KANUT TOUS Koopa Cer TOUS €v NLKLA TOUTOU. Ta
d€ NoLTa TOU TwHLATOS SunxpiBorar TAVTA TeEpl-
/ > \ A hf \ > A
30 AaptrovTos avTa Tov AauTadiou Kal Els HAS
lal /
dryovtos. (4) 0 otépavos b€ TeV podwy émat-
/ / b] \ \ b] \ lal »” lal
vela0w pév, AANA pH ad Tov eldovs—EavOois
yap Kal Kvavois, €6 TUXOL, Xpw@maclW aTropt-
fal " a / / Ce
peta0ar tas tov avOéwy elkovas ov péyas oO
=~ be 2 > ’ ’ a \ \ rn n
298 K. dPXos—aXrr eErraweiv ¥pn TO Yadvov TOU oaTeE-
gavov Kal amranov" ETAWO" KAL TO évdpocov
TOY poder kal dynul yeypapGar av’ta peta THS
Oo MNS.
\ na / / > fv
(5) té Nourrov TOD K@mov; TL & aXrXO ye
e / x b) / U4
5 ol Kwpalovtes; 7) ov TMpocRddrAdAEL oe KpoTaa
1 rpodoBiy Benndorf, Furtwangler : mpoBoAlg.
10
BOOK Es
sleeps the face falls forward on the breast so that
the throat is not visible, and he holds his left hand up
to his ear.t The hand itself, which has apparently
grasped the ear, is relaxed and limp, as is usual at
the beginning of slumber, when sleep gently invites
us and the mind passes over into forgetfulness of its
thoughts ; and for the same reason the torch seems
to be falling from his right hand as sleep relaxes it.
And for fear lest the flames of the torch come too
near his leg, Comus bends his lower left leg over
towards the right and holds the torch out on his
left side, keeping his right hand at a distance by
means of the projecting knee in order that he may
avoid the breath of the torch.
While painters ought usually to represent the faces
of those who are in the bloom of youth, and with-
out these the paintings are dull and meaningless,
this Comus has little need of a face at all, since his
head is bent forward and the face is in shadow.
The moral, I think, is that persons of his age should
not go revelling, except with heads veiled. The
rest of the body is sharply defined, for the torch
shines on every part of it and brings it into the
light. The crown of roses should be praised, not so
much for its truth of representation—since it is
no difficult achievement, for instance with yellow and
dark blue pigments, to imitate the semblance of
flowers—but one must praise the tender and delicate
quality of the crown. I praise, too, the dewy look
of the roses, and assert that they are painted fragrance
and all.
And what else is there of the revel? Well,
what but the revellers? Do you not hear the
1 7,.¢. resting his head upon his hand.
II
10
20
25
30
PHILOSTRATUS: IMAGINES
\ la) SYA \ J \ A / /
Kal Opovs Evavros Kal @61) ATAaKTOS ; NapTradia
,’ al
TE Umexpaiverat, Tap @v ear! Tois Kwmafovat
Kal Ta év Toaly pay Kal mpi 1) opac Bau. ouveg-
alpeTat be Kal TONS yérXws Kal yovaca per
avépav tetat Kal vrodnua* *1 Kal Covvutas
lal a e lal
Tapa TO OlKEloV' auyxwpEl SE O K@mMos Kal
\ > / \ > \ a b] nr
yuvatkt avodptfecbar nal avdpt Onrvy évddvar
\ \ ~ / \ e A bf
oTOMY Kal OjrAv Baivew. Kal ot aTepavor ov‘
avOnpoi ETL, GAN Adypyntat avtois TO (a pov
UTO TOU Tals Keparais: epapporrer Bau dua TO
aTaKTel €v TO Opopw* 1) yap THY avbéwv €hev-
Oepia Tapacteirar THV xelpa os Hapaivovoay
aura T™ po TOD xpovov. pepeetrat TWa 1) ypagn
Kal KpOTOV, ov partoTa déitat Oo K@}OS, Kal 1
deEva Tols OaxtUAOLs UTEcTAAMEVOLS UTOKELMEVNY
a 9
a apiatepay majTTEL €s TO KotNOY, Y wow
yetpes Evudhwvor mANTTOMEVaL TpPOT@ KuUpL-
BA
y MTOOI
(1) Bataow of Md@01 tapa tov Aicwrrov
UYAT MVTES AUTO, OTL AUTAV em LpeRel Tae. ewednoe
pev yap Kal ‘Onipe pvOov Kat “Howode, ere é
Kal “A pxLroxeo ampos AucapByv, adr Aioar@
TavTa Ta TOV avOpwTraVv expenvOwrat, kat Noryou
Tots Onptous peTadédaxe oryou EVEKED. TAeove-
Evav TE yap CTLKOTTTEL KML bBpw eXavver Kal
aTaTny Kal TadTa Aéwy TLS AUT@ VUTroKpiveTat
1 avdpetov brodeira: suppl. Schenkl., bwrd5yua xowdy Exovar
Bruxell. 11182, brodotvta V2, brodetra: Kayser.
1 Kur. Bacch. 836, 852, 07Avv é:Bdvat oToAhy.
1 Ae
BOOK I. 3
castanets and the flute’s shrill note and the dis-
orderly singing? The torches give a faint light,
enough for the revellers to see what is close in
front of them, but not enough for us to see them.
Peals of laughter rise, and women rush along with
men, [wearing men’s] sandals and garments girt in
strange fashion; for the revel permits women to
masquerade as men, and men to “ put on women’s
garb”?! and to ape the walk of women. Their
crowns are no longer fresh but, crushed down on
the head on account of the wild running of the
dancers, they have lost their joyous look ; for the free
spirit of the flowers deprecates the touch of the
hand as causing them to wither before their time.
The painting also represents in a way the din which
the revel most requires; the right hand with bent
fingers strikes the hollowed palm of the left hand,
in order that the hands beaten like cymbals may
resound in unison.
3. FABLES
The Fables are gathering about Aesop, being
fond of him because he devotes himself to them.
For while Homer also cared for fable, and Hesiod,
and Archilochus too in his verses to Lyeambes, Aesop
has treated all sides of human life in his fables, and
has made his animals speak in order to point a moral.?
For he checks greed and rebukes insolence and deceit,
and in all this some animal is his mouthpiece—
2 Adyou, literally ‘‘for the sake of thought or reason,”
plays on the Adyouv used just before in the primary sense of
‘‘speech”; it might be translated ‘‘so as to express
thought.”
13
4
10
20
PHILOSTRATUS: IMAGINES
Kal adromnEe kat immos! vy Ata, Kal ovbé 1)
, ” ws ,’ e \ / \
Yerorvn adwvos, vp @v Ta Tatdia paOyntal
ylvovtat TaV Tov Biov Tpayuatwv. (2) evdoxt-
rn 95 id Ta \ \ v lal
povvtes ovv of MiOar dia TOV Aicwrov hortoow
émi Tas OvUpas TOV copod Tatviats avTOY avadby)-
covTes Kal atepavwoorvtes avtov Oaddov
/ ¢ \ on / ¢e / la \
otehavw. o 6€ oipat Tia vpaiver pvOov: TO
\ , an S207 \ ¢ os \
yap pedtaua tov Aicawrov Kai ot odOarpol
KaTa ys éoT@TEs TOUTO SynroOvGLW. oldeV O
/ ev ¢ a / / > 4
Cwypados, OTL al TOV pVOwY hpovTides averpéevns
THs Wuyns Séovtar. girocope? d€ 7 ypad7 Kal
\ lal / / , \ /
ta Tov Mv@ov cwpuata. Onpia yap avpPad-
Novea avOp@rots TepiiatHaL Yopov TO AicwT@
ATO Ths éxelvou cKNVAS TUUTAdTAGA, KOopUpata
a fa) a \
dé TOU Yopod 1) aNwmnE yéypaTTal’ ypHTar yap
avtn 0 Aicwros Siakove Tov TrELaTMY UTOOE-
cewv, WoTEP 1) KHUwdia TO Adw.
& MENOIKETS
(1) OnBav pév % TorLopKia, TO yap TeEtyos
e / e \ be / 2, \d a
éemtamvurov, » atpatia € Ilonvveinns” o Tod
Oldimrodos: of yap AOXoe Emta. TeEAASEL aUTOIS
"oA / 10 / LO \ / A ¥,
phrapews advue elder Kal Evvievte a TeLoOYTAL,
\ c \ ” \ , aA \
Kal ol pev aAXOL NOyayo. Sedtaci—TavTa Kai
\ lal b \ / y fi \ be \
Tas yelpas és Tov Alta aipovot—Kamravevs 6€ Ta
, / a \ > / ¢e
Telyn PrEéTTEL Tepippov@v Tas emarEelts ws
1 nmos, kal vy Ala ovdé conj. Benndorf.
2 TloAuvelxous tov conj. Reiske.
14
BOOK I. 4
a lion or a fox or a horse, and, by Zeus, even the
tortoise is not dumb—that through them children
may learn the business of life. So the Fables,
honoured because of Aesop, gather at the doors
of the wise man to bind fillets about his head and
to crown him with a victor’s crown of wild olive.
And Aesop, methinks, is weaving some fable; at
any rate his smile and his eyes fixed on the ground
indicate this. The painter knows that for the
composition of fables relaxation of the spirit is
needed. And the painting is clever in representing
the persons of the Fables. For it combines animals
with men to make a chorus about Aesop, composed
of the actors in his fables; and the fox is painted
as leader of the chorus, since Aesop uses him as a
slave in developing most of his themes, as comedy
uses Davus.
4. MENOECEUS
This is the siege of Thebes, for the wall has seven
gates; and the army is the army of Polyneices,
the son of Oedipus, for the companies are seven
in number. Amphiaraiis approaches them with
face despondent and fully aware of the fate in store
for them; and while the other captains are afraid
—that is why they are lifting their hands to Zeus
in prayer—Capaneus?! gazes on the walls, revolving
in his mind how the battlements may be taken
1 Cf. Eur. Phoen. 180-182.
‘* And where is Capaneus—he who hurls at Thebes
Insult of threats? 4
There: he counts up and down
The wall-stones, gauging our towers’ scaling height.”
Trans. Way, L.C.L.
T5
300 K.
10
15
PHILOSTRATUS: IMAGINES
\
KriwaKkt adwTds. ov piv BadreTal Tw aro
A / an a f
Tav éradkewy oKvodvTés Tov of OnBaior apEar
/
HAXNS:
rs \ \ / ral
(2) 760 To codicpa tov fwypadov. Tept-
/ a / BY ¢ / \
BarXrwv Tois Teiyeow avdpas @TALTMEVOUS TOUS
/ Or A a \
ev aptiovs Tapéxes opav, Tovs d€ acadels Ta
/ \ /
aKédn, Tous b€ rpiceas Kal otépva éviwy Kal
A / \ / / Ss ’ /
Kkeharas povas Kal KopvGas jpovas, €iTa alypas.
4 / nr > a a \ /
avaroyia tadta, @ Tat: bet yap KréertecOat
\ ’ \ lal , / /
Tous ofOarpovs Tois éemiTyndetots KUKNOLS oUD-
aTLoVTas.
¢ ~ /
(3) 006 ai OAS8ar awavtevtow Noylov yap Tt
e / / r > / \ a
o Tetpesias Neyer Tetvov és Mevotxéa tov Tov
\ a
Kpéovtos, ws amo8avev, &v0a 1 yeta Tov
4 b] / ¢ / bd] / by
Spaxovtos, édevOépa 1 TOALS EK TOUTOU E12.
€ \ ’ / \ \ / > \ \
0 6€ aToOvncKer KaAOwY TOY TaTEpa ErEELVOS MEV
a c , > / \ la / e \
THS HALKLaS, EVOaLLwWY Sé€ TOU Gapaous. Opa yap
\ a / / y > \
Ta TOD Cwypadov. ypader merpaKtoy ov EvKOV
~ ’ /
ovd éx Tpudhs, adr eviyuxXov Kal TadaloTpas
Tvéov, olov TO TMV pbEedLypdwY aVOos, ods ErraLveEt
¢ a, 9 , / \ 2) Xx ,
6 tov ’Apiotwros, dtappatter b€ avTO oTEpVoLS
> / \ lal \ lal /
evBadéot Kat wAEupals KaL yAOUT@ TUMLMETPH
al ld /
Kal pnp@. éppwtar Kal @mov eTayyedta Kal
/ \ U ¢
OUK ATpéeTTM TEVOVTL, mETEVEL OE KAL KOMNS, OTOV
1 Literally ‘the principle of proportion.”
16
BOOK I. 4
with scaling ladders. As yet, however, there is
no shooting from the battlements, since the Thebans
apparently hesitate to begin the combat.
The clever artifice of the painter is delightful.
Encompassing the walls with armed men, he
depicts them so that some are seen in full figure,
others with the legs hidden, others from the waist
up, then only the busts of some, heads only, helmets
only, and finally just spear-points. This, my boy, is
perspective ;1 since the problem is to deceive the
eyes as they travel back along with the proper
receding planes of the picture.
Nor are the Thebans without their prophet,
for Teiresias is uttering an oracle pertaining to
Menoeceus the son of Creon, how that by his death
at the dragon’s hole? the city should thenceforth
be free. And he is dying, his father being all
unaware of his fate, an object of pity indeed
because of his youth, but really fortunate because
of his bravery. For look at the painter’s work! He
paints a youth not pale, nor the child of luxury,
but courageous and breathing of the palaestra, as
it were the choicest of the “‘ honey-coloured ”’ youth
whom the son of Ariston? praises; and he equips
him with a chest deeply tanned, strong sides and a
well-proportioned hip and thigh; there is strength
both in the promise of his shoulders and in his
supple neck; he has long hair also, but not the
2 Cf. Il, 22. 93, ds de dpanav emt xerq, and Eur. Phoen. 931 f.:
‘In that den where the earth-born dragon lay
Watching the streams of Dirce, must he yield,
Slaughtered, a blood-oblation to the earth.”
Trans., Way, L.C.L.
3 Plato, cf. Rep. 474, pedryAdpovs, but in Plutarch’s
quotation of the passage, Mor. 56D, we find uedixpour.
17
C
20
30
S01 K,
5
PHILOSTRATUS: IMAGINES
\ a) b] / \ a a fa /
un Komav. (4) épéotnxe S€ TH Yerd Tod Spa-
¢ \ / / a a
Kovtos éXxov TO Ethos évdeduKos 6n TH TAEupA.
\ , 5 aA \ , aA
kat deE@uela, @ Tat, TO alwa KoNTrov + avT@
id a
UTOTXOVTES” exxeir as yap, Kal » yuxy an
aTevct, HK pov dé UoTepov Kal TeTpLyvlas aurijs
akovon. épwTa yap TOV KAAOV TwoLAaT@Y Kal
e oF ¢ Ui a
ai Wwuxat icyouow, d0ev akovoat avTo@Y aTran-
/ A n
AatTovtTar. weEvovtos Sé av’T@ TOV aipatos
> / 4 49 , \ / < \
oxraber Kal aotavetar Tov Oadvatov KaX@ Kal
noel TO OppaTte Kal olov Urvov EXKovTL.
e ITHXEI>
(1) Iepi tov NetAov ol T]ijxees aQvpovat Trat-
dia EvupeTpa TO ovd mare, Kal 0 Nethos avTois
uTEepyavuTal Ta TE ANA KAL OTL KnpuTTovaw
avtov, dc0s Aliyurtious mwpoexv0n. mpocayeTat
youv Kal olov épyetar® avt@ ex Tov vdaTos
Bpedn aTtahka Kai pelolc@vta, peTéxerv 6€
oipat TL avTa Kal Tod Addov. Kal ot pev
TOLs @ [Los avTov epilavovow, ol 6€ TOY TAOKA-
Lov EKK PEAY TAL, ot O€ TH ayKany eyxabev-
dovaly,® ot O€ kopavovaw el Tob OTEpVOU. 0
S€ dvadiéwaw advtois advOn Ta pev ato TOU
KOXTIOV, TA O€ ATO THS ayKaANS, @ TTEpadvoUS
Te at auTav Sra rEKovev kai Kkabevooev errl
Tov avOéwv ‘epol Kal ev@des.! Kal émavaBa-
vovolvy ddXAO aAAW Ta Taldia cEloTpoLs pas
1 «dAmy (‘* pitcher ”’) conj. Valckenaer, Hercher ; but cf.
KéAmov vmréxet, 311 K 26.
2 €Akerat conj. Jacobs, but cf. 389. 17.
éyxabevdouow Reiske, Jacobs: nadevdovow.
Berwders (“divine”) conj. Brunn, cf. 332. 18.
> oOo
18
“sfipng YRN AUN 9YT—T OUT
[To face p, 19.
BOOK I. s
long hair of luxury. There he stands at the
dragon’s hole, drawing out the sword which has
already been thrust into his side. Let us catch the
blood, my boy, holding under it a fold of our gar-
ments; for it is flowing out, and the soul is already
about to take its leave, and in a moment you will
hear its gibbering cry. For souls also have their
love for beautiful bodies and therefore are loath to
part from them. As his blood runs slowly out, he
sinks to his knees and welcomes death with eye
beautiful and sweet and as it were inviting sleep.
5. DWARFS 1
About the Nile the Dwarfs are sporting, children
no taller than their name? implies; and the
Nile delights in them for many reasons, but par-
ticularly because they herald his coming in great
floods for the Egyptians. At any rate they draw
near and come to him seemingly out of the water,
infants dainty and smiling, and I think they are
not without the gift of speech also. Some sit on
his shoulders, some cling to his curling locks, some
are asleep on his arms, and some romp on his
breast. And he yields them flowers, some from
his lap and some from his arms, that they may
weave them into crowns and, sacred and fragrant
themselves, may have a bed of flowers to sleep
upon. And the children climb up one on another
with sistra in their hands, instruments the sound of
1 Cf. the allusion to them in Lucian, Rhetorum Preceptor,
§ 6; a statue of the Nile with dwarfs sporting over it is
found in the Vatican (Fig. 1).
2 “ Cubit-dwarfs.”
19
c 2
PHILOSTRATUS: IMAGINES
TauTl yap evaura exe T@ VdaTt. (2) Kpoko-
deiNou ev ovv Kal ol TOTapLoL TOY ITT OV, ods
10 T@ NetXw tives Tposypagpovary, ATOKELVTAL VOV
év Babeia TH divn, p41) S€05 TOs TraLdtots é EM TET OL.
yewpyias d€ Kal yauTirtas avuuBora dnrol Tov
Ne?Xov €x ToLob0e, & a) mal, hoyou" Neidos Aiyumrrov
TAWT HV epyaodpevos EUKAPTO TH yn xpnabat
15 dléwaowv vo TOV meOtov extrobels, év AiOvortia
d€, 00ev apXeTat, Tamas avT@ dai“ov épéornxer,
up ov TEMTET AL Tais apars TULMLET POS. Yye-
ypamTat oé ovpavopnkns emwonaat Kal TOV
7 06a em éxet + tais mnyais olov Hlocesdav _Tpoa-
20 vevor. Els TOUTOV O ToTapos Brérret Kat aires
Ta Bpépyn avT@ TOAXA Elva.
EPOTE>
(1) Mika “Epwtes idov tpuvy@ouw: ev de
TArANHOos avtav, un Oavudons. Nuudav yap 62
Taides ovUTOL yivovtat, TO Ovntov adtav dLaKv-
25 BepvavTes, TOAXOL O1a TOANA, WY Epaaw avOpw-
Tol, Tov d€ ovpavioy hac év TO OVpave TpaT-
tev ta Oeia. pov émnaQouv TL THs ava Tov
KIT OV evodlas ) Bpadvver GOL TOUTO; aha
Tm pobvjuas dove: TpoaBarel yap oe peta TOD
30 Noyou Kal Ta pHra.
(2) dpyoe wev ovTOL PuT@Y opOot TopevorTat,
1 émexe: Jacobs, ef. Phil. iun. 405. 6: xe: FP, Eyer mpds X.
1 Cf. Philostratus, Vita Apollon. 6. 26, where the allusion
is based on Pindar (Bergk, Frag. 282).
20
BOOK I. 6
which is familiar to that river. Crocodiles, how-
ever, and hippopotami, which some artists associate
with the Nile in their paintings, are now lying
aloof in its deep eddies so as not to frighten the
children. But that the river is the Nile is indicated,
my boy, by symbols of agriculture and navigation,
and for the following reason: At its flood the
Nile makes Egypt open to boats; then, when it
has been drunk up by the fields, it gives the people
a fertile land to till; and in Ethiopia, where it
takes its rise, a divinity is set over it as its steward,1
and he it is who sends forth its waters at the right
seasons. This divinity has been painted so as to seem
heaven-high, and he plants his foot on the sources,
his head bent forward like Poseidon.2 Toward him
the river is looking, and it prays that its infants may
be many.
6. CUPIDS
See, Cupids are gathering apples; and if there
are many of them, do not be surprised. For
they are children of the Nymphs and govern all
mortal kind, and they are many because of the many
things men love; and they say that it is heavenly
love which manages the affairs of the gods in heaven.
Do you catch aught of the fragrance hovering over
the garden, or are your senses dull? But listen
carefully ; for along with my description of the
garden the fragrance of the apples also will come
to you.
Here run straight rows of trees with space
2 Cf. the gem published by Overbeck, Kunstinythologie,
Poseidon, Gemmentafel III. 3: Poseidon bending forward
and Nymph.
2I
PHILOSTRATUS: IMAGINES
Tov méaou € avTav édevOepia Badifew, moa be
302 K. amanda) KaTéxer Tovs Spomous ola Kal KaTaKN-
Pévte oT pop) eival. aT axpwv € Tav ofr
pia Xpvoa Kal Tupaa Kal ALWON Tpooayovrar
TOV €o OV brow TOV "Eporav yewpryeiv aur d.
5 paper par pev ovv XpyooTacrot Kal Xpuca* Kat
Ta é€v avtais BéXn, yuu? ToUT@Y 7} ayéXn Taca
Kal Kodpot Ota eTov Tat TEPLAPTI}T AVTES avTas®
Tals pnréas, al 6€ epeorpides at TOLKINAL KELVTAL
pev €v TH 70a, pupia 6€ avT@Y Ta avOn. oveé
10 eo TepavavTa Tas Kepanas | OS aTroXPwONS avTois
THS Kops. mTEpa be Kudvea Kal powwixa Kal
xpved évious fovov ov KaUvTOY TTT EL TOV aépa
Eby apmovia HovolKn. ped TOV Taddpon, els
ods amor iBevrat Ta pnra, Os TONAN pev TeEpl
15 avTous 7) Tapow, ToAN O€ 1) a aparyoos, arnOns
on papynrs, 7) cuvd nen d€ avTa@v ‘H¢atorou
voeicOw. ov O€ KALLaKwY deovTas ™ pos Ta
dévdpa tap avtovd' wwod yap Kai és atta
TETOVTAL TA pra.
20 (3) cal tva pn Tovs Yopevovtas Aéyoper 7)
tous d.abéovtas 7) Tos KaADEVOoVTAS 1) WS yavUY-
TaL TOV prov éeudayovtes, idwuev 6 TL TOTE
OUTOL voovalY. ol yap Kad\dLoTOL ToV '“Epwtov
i6ou TETTAPES umeEeNOovtes TOV addov dvo0 pev
25. auT@v AVTLTELTOUTL peprov aXdijrots, 7 O€ € éTepa
buds O meV Togever Tov €TEpoy, 0 6€ avrerotever
Kal ovodé amrEeth?) TOls TpoTwTols ETETTLY, GNA
Kal oTépva TAapeKXovaw adrAXoLS, iv’ exel Tov Ta
1 xpuoa Olearius: ypuvaai.
2 aitas Rohde: avra
avTas Onde; auTa.
22
BOOK I. 6
left free between them to walk in, and tender
grass borders the paths, fit to be a couch for one
to lie upon. On the ends of the branches apples
golden and red and yellow invite the whole swarm
of Cupids to harvest them. The Cupids’ quivers are
studded with gold, and golden also are the darts
in them; but bare of these and untrammelled the
whole band flits about, for they have hung their
quivers on the apple trees; and in the grass lie
their broidered mantles, and countless are the colours
thereof. Neither do the Cupids wear crowns on
their heads, for their hair suffices. Their wings,
dark blue and purple and in some cases golden, all
but beat the very air and make harmonious music.
Ah, the baskets+ into which they gather the apples!
What abundance of sardonyx, of emeralds, adorns
them, and the pearls are true pearls ; but the work-
manship must be attributed to Hephaestus! But
the Cupids need no ladders wrought by him to reach
the trees, for aloft they fly even to where the apples
hang.
Not to speak of the Cupids that are dancing
or running about or sleeping, or how they enjoy
eating the apples, let us see what is the meaning
of these others. For here are four of them, the
most beautiful of all, withdrawn from the rest; two
of them are throwing an apple back and forth, and
the second pair are engaged in archery, one shooting
at his companion and the latter shooting back.
Nor is there any trace of hostility in their faces ;
rather they offer their breasts to each other, in
order that the missiles may pierce them there, no
1 Cf. the wool basket of Helen which was the work of
Hephaestus, Od. 4, 125 apyvpiov taAaoov
23
PHILOSTRATUS: IMAGINES
/ / 1 \ \ y / 4 v
BérXn wepacn.| Kadov TO aiviywa oKOTEL Ycp, El
lal / la) S
30 vou? Evvinut tod Cwypddov. didia Tadta, @
val \ ’ / A e \ \ \ r
Tal, Kal aAAAnAwY twEpos. of pev yap Sia TOU
/ / / ” 50 e \
unrouv tatfovtes toGov apyovtat, dev o pev
nr id ~
adinot didjoas TO pwhdov, 0 O€ UTTLaLS avTO
e / lal SN le! e ’ 4 ’
UTodéyeTar Tals Yepal OfAov ws avTipiAyoor, Et
a , V2 , i \ \ a a
35 NaBol, Kal avTiT@éurpov avto: TO d€ THY TOEOTAV
a la) yy / /
303 K. Cedyos éumredovaw épwta 76n dOavorvta. Kat
/ ’ an / rn a
pnt Tos pev Talley eri To apEacOat Tov Epar,
\ \ / SELON na \ a a /
Tous 6€ ToEevEey éTL TH py AHEaL TOU TrOoOov.
an \ a e /
(4) éxetvor pev ody, Tept ods ot TOOL GeaTat,
5 Oun@® cupTEeTT@KACL Kal EXEL TLS AUTOS TaN.
\ \ lal a
rNéEw Kal TV Tadynv: Kal yap TOUTO ExALTTApEls.
¢ A \ / lal
O Mev NENKE TOV AVTLTANOY TEPLTTAS AVT@ KATA
rn , \ ’ na
TOV vwToY Kal Els TYiywa aToNauBaver Kal
a al / € b)
KaTAabEL TOS aKEAECLY, O OE OVTE ATTayopeEvEL Kai
,’ \ id / \ / \ a ¢ P ,
10 opOos bTavictatat Kai diadver THY YeElpa, UP 1s
A , iA a 4 ’
dyxeTat, oTpeBrwoas eva TaV daxTUNoV, web
¢ / 4 \ ” al
Ov OUKETL OL NOLTTOL EXOVTLY OVE Elo ev TO
- al ¢ /
ample, aryet d€ 0? atpeBrXovpevos Kal KateaOter
TOU cuuTraNalaTou *
\ 9 (v4 ,
TO ots. O0ev dvayepaivov-
1 wepaon Hercher: wetaon F, reddon cet.
2 ef mov Schenkl: 6é7ou F, ef ti P.
% § added by Reiske and Jacobs,
4
ovutmadaorov Schenkl: madaorod.
1 For Cupids engaged in athletic sports, see the sarco-
phagus relief in Florence, Baumeister, Denkmdler I, p, 502,
fig. 544 (Fig. 2).
24
BOOK I. 6
doubt. It is a beautiful riddle ; come, let us see if
perchance I can guess the painter's meaning. This
is friendship, my boy, and yearning of one for the
other. For the Cupids who play ball with the
apple are beginning to fall in love, and so the one
kisses the apple before he throws it, and the other
holds out his hands to catch it, evidently intending
to kiss it in his turn if he catches it and then
to throw it back; but the pair of archers are con-
firming a love that is already present. In a word,
the first pair in their play are intent on falling
in love, while the second pair are shooting arrows
that they may not cease from desire.
Fic. 2.—Krotes boxing and wrestling.
As for the Cupids further away, surrounded by
many spectators, they have come at each other
with spirit and are engaged in a sort of wrestling-
match.! I will describe the wrestling also, since you
earnestly desire it. One has caught his opponent
by lighting on his back, and seizes his throat to
choke him, and grips him with his legs; the other
does not yield, but struggles upright and tries to
loosen the hand that chokes him by bending back one
of the fingers till the others no longer hold or keep
their grip. In pain the Cupid whose finger is being
bent back bites the ear of his opponent. The
Cupids who are spectators are angry with him for
~
2)
PHILOSTRATUS: IMAGINES
t , lal 5 / td ’ lal \
15 owv of Oewpevoe TOV Epwrwv ws abdiKodvTe Kal
’ / \ / > \ lal
EXTANULOVTL Kal pnrOLS aUTOV KaTAaXLOodGL.
c fal al /
(5) pndé 6 Aayws amas Exeivos diagpvyérto,
cuvOnpacwpev 6€ avTov Tois *"Epwot. Todt TO
al / /
Onpiov wroKxabnpevoy Tails undéals Kal oLTOUpE-
/ an al
20 vov Ta TinToVTAa Els yhv pra, TOANAa O€ Kal
/ a a
yutBpwrta Katareitov d:abnp@atv ovToL Kal KaT-
e / al e \ , e
APATTOVGLY O MEV KPOTM XELP@V, O OE KEKPAYOS, O
\ / \ e \ /
dé avacelwy THY XNapVOa, KAL OL pEeV UTTEPTETOV-
al al /
tat Tov Onpiov KataBowrtes, of de pePeTovow
~ Fie \ | e 2 AN > / ¢ \
25 auto Trefol Kat ixyvos, o O ws érippiiywy EauvToV
fed \ \ , yy > , e \
@punoe. Kat TO Onpiov adAANV ETPATETO, O dé
a la) \
émuBovreveL TO oKédEL TOD AaYw, TOV OE Kat
diwricOncev npnKoTa. yeX@owv odv Kal KaTa-
/ e e \ / e \
TETTWKACLY O [ev €s TAEUpAY, O O€ TpPHVNS, ot dé
- ¢ ca fal / /
30 UmTlol, TavTes b€ ev TOls THS StapapTias oXN-
/ \ >) / , \ lal ’ \
pact. Tok€ever SE ovdels, GAA TELP@VTAL AUTOV
an na € lal fee ® /
éreiy Cavta iepetov TH Adpoditn Hdtotov. (6)
? lal \ /
oiaba yap Tov TO TeEpl TOD Aayw eyomevor, WS
‘\ al roy / / > al /
ToAv THs Adpoditns MéeTETTIV AUT@. REyETAL
ro = \ rn , Pt
35 obv Tept ev TOD Onreos Onraleww TE avTO a
> ” \ > / / b] \ b] lal /
304 K, €TeKe KAL ATOTIKTELY TAALY ETL TAUTO YadaKTL'
\ > he 1 be \ Oe ? / > rn r
Kal émuixutaKer d€ Kal ovdE Els YpoVOS AVT@ TOV
lal / / / e /
TOKETOU KEVOS. TO O€ AppEeV OTELPEL TE, WS Hats
of. / e \
appévwv, Kal aTrokvioKer Tap 0 TépuKeV. ol 6€
1 Herod. III. 108 émixvioxerat potvoy mavtwy Onpiwy ;
quoted by Athenaecus 400 E with the reading éemvioxe:.
26
BOOK I. 6
this as unfair and contrary to the rules of wrestling,
and pelt him with apples.
And let not the hare yonder escape us, but let
us join the Cupids in hunting it down. The
creature was sitting under the trees and feeding on
the apples that fell to the ground but leaving many
half-eaten; but the Cupids hunt it from place to
place and make it dash headlong, one by clapping
his hands, another by screaming, another by waving
his cloak; some fly above it with shouts, others on
foot press hard after it, and one of these makes a
rush in order to hurl himself upon it. The creature
changes its course and another Cupid schemes to
catch it by the leg, but it slips away from him just
as it is caught. So the Cupids, laughing, have
thrown themselves on the ground, one on his side,
one on his face, others on their backs, all in atti-
tudes of disappointment. But there is no shooting
of arrows at the hare, since they are trying to catch
it alive as an offering most pleasing to Aphrodite.
For you know, I imagine, what is said of the hare,
that it possesses the gift of Aphrodite to an unusual
degree.t At any rate it is said of the female that
while she suckles the young she has borne, she
bears another litter to share the same milk; forth-
with she conceives again, nor is there any time at all
when she is not carrying young. As for the male,
he not only begets offspring in the way natural to
males, but also himself bears young, contrary to
nature. And perverted lovers have found in the
1 This tradition of the fertility of the hare is frequently
mentioned by ancient writers; cf. Herod. IiI, 108; Arist.
de gen. anim. 77ja 32, Hist. anim. 542b 31, 574b 30, 585a
3; Plut. Mor. §829:; Aelian. Hist. anim. 13. 12.
2]
5
10
20
30
PHILOSTRATUS: IMAGINES
aTOTOL T@Y EpacT@V Kal TELOw TIVa EpwTLKiY eV
’ a / / / \ \
avT@ KaTEyvwoay Biaiw téxvn Ta TratdiKa
Onpwmevot.
lal 9 /
(7) tadTa pev ov KaTtarXitTwpev avOparrots
adtkots Kal avaktois Tov avTepacOa, ad Oé pot
\ ) / / lal \ \ \ iy. a
Thy ’Adpoditnv rere. Tov 61) Kal Kata Th TOV
/
pndov exelv7) a opas TV mavT pov mT éTpay, is
vawa KUAVOTATOV UTEKTPEKEL YAWPOV TE Kal
\ > J
TOTLLOV; 0 6) Kal OvoxeTeveTar ToTOV eivat Tats
pnrears ; evravdd Lou THY ‘Ag poditny voel, Nup-
5 pov OLMaL avTiy (Spupeveon, OTL avTaS érrOinoeY
‘Epotav payTépas Kal dua TOUTO eUTraoas. Kal
KaTOTT pov dé TO apyupoby Kal 70 UmOX pug ov
exelvo gavoddtov Kal al Tepovat ai ypuoai,
TAUTA TAVTA OUK apyas AVYTTAL. Dever be
"Adpobitys elvat, Kal yeypamrae TOUTO, Kal
Nuppav dapa eival eyerau. Kal ob “Epores dé
aTrapXovTat TOV pajeov Kal TEPLETTATES EUYOV-
Tal KANOY AUTOS ElvaL TOV KHTOV.
¢ MEMNON
. \ \ °
(1) ‘H peév otpatia Méuvovos, ta Ora de
cr / \ i
avTols aToKELTaL Kal TpoTiOEvTAaL TOV pméeylaTOV
> lal 2) \ / / \ . ‘% /
avtav él Opnve, BéBAnTaL oe dk ak eae
a e rn \ /
epol Ooxetv v0 THS pedias. evpov? yap TedLov
evpv Kal oKnVas Kal TEtXos ev oTparoT eo Kal
TON oupTeppary/ Levny TELYETLY OUK O10 OTTWS
ovx AlOiotres ovtot kal Tpota tatta, Opnvettac
1 éxelvn Olearius: éxelyn. 2 Rohde conj. épav
28
a
es
Fic. 3.—The Death of Memnon.
[ To fuce p. 29.
BOOK 1. 7
hare a certain power to produce love, attempting to
secure the objects of their affection by a compelling
magic art.}
But let us leave these matters to men who are
wicked and do not deserve to have their love
returned, and do you look, please, at Aphrodite.
But where is she and in what part of the orchard
yonder? Do you see the overarching rock from
beneath which springs water of the deepest blue,
fresh and good to drink, which is distributed in
channels to irrigate the apple trees? Be sure that
Aphrodite is there, where the Nymphs, I doubt
not, have established a shrine to her, because she
has made them mothers of Cupids and therefore
blest in their children. The silver mirror, that
gilded sandal, the golden brooches, all these objects
have been hung there not without a purpose. They
proclaim that they belong to Aphrodite, and her
name is inscribed on them, and they are said to be
gifts of the Nymphs. And the Cupids bring first-
fruits of the apples, and gathering around they pray
to her that their orchard may prosper.
T. MEMNON
This is the army of Memnon; their arms have
been laid aside, and they are laying out the body of
their chief for mourning; he has been struck in the
breast, I think, by the ashen spear. For when I
find a broad plain and tents and an entrenched
camp and a city fenced in with walls, I feel sure
that these are Ethiopians and that this city is Troy
1 7.e. by making a present of a hare they exercise a sort of
constraint upon the beloved.
20
305 K,
10
20
PHILOSTRATUS: IMAGINES
be Méwvovr 0 THS Hobs. TOUTOV adLKomevov
apovar TH Tpoia KTELVEL, pac, 0 TOU IInréws
peéryav ijKovTa Kal ovoev av avrou pelo. (2) oxo-
TEL YAP, OGOS MEV KELTAL KATA THS ys, Goos O€
0 TOV Bootpixov dTTAXUS, avs olwar Neth
etpehe’ Netrov yap Aiyorreoe ev éXovar Tas
exBonas, AiBiores dé Tas mnyas. Opa TO €l60s,
as Eppworat Kal TOV opParpav ATON@AOT OP,
6pa TOY loviov ws Kal’ aAtKiav TO KTEWVAVTL.
ovd ap pédava pains TOV Méuvova’ TO yap
aKpaTws €v AVT@ méXNav UTrodaiver Te avOous.
(3) ai 5€ peréwpor daipoves ‘Has él To
Tait tevOovca Katndh trovet tov “Hoy Kal
delta THs Nveros adixes Bat 7 po Katpod Kal TO
oTpatoTedoy eTliaxew, iva éyyévyntai ob Krevrar
tov viov, Atos mou TadTa vevoavtos. Kal dov
EKKEKNETTTOL Kal cor emt Téppace THS ypapys.}
Tov on? Kal KAT TL THS vis 5 ; tados ovdamov
Mépvovos, o 6€ Méuvwv év Aidvorrta pmeTaBe-
BrnK ws els AGov péXNava. Kal TO oxnua Kabn-
évov, TO O€ Eldos éxelvou,® oiual, Kal mpoc-
Barre TO ayadpate 7 axtis ToU HAlov. Soxet
yap o “Huos olovel mANKTpOV KaTa oTOpa
1 rdpos add, Brunn, Symb. 443; ‘‘his tomb is at the edge
of the painting.”
2 rov 6h Jacobs: smovdh.
3 éxelvov Fairbanks: éxeivo.
* According to Pliny (NV. H. 6. 182) Memnon was king of
the Ethiopians in Africa (not of the Ethiopians in the Far
East) at the time of the Trojan war. The western section of
Thebes in Egypt was known as Memnoneia, and here on the
left bank of the Nile still remain the two colossal seated figures
of Memnon erected by Amenhotep III. They are made of a
30
BOGOR IES
and that it is Memnon, the son of Eos, who is being
mourned. When he came to the defence of Troy, the
son of Peleus, they say, slew him, mighty though he
was and likely to be no whit inferior to his opponent.
Notice to what huge length he lies on the ground,
and how long is the crop of curls, which he grew,
no doubt, that he might dedicate them to the
Nile; for while the mouth of the Nile belongs to
Egypt, the sources of it belong to Ethiopia. See
his form, how strong it is, even though the light has
gone from his eyes; see his downy beard, how it
matches his age with that of his youthful slayer.
You would not say that Memnon’s skin is really
black, for the pure black of it shows a trace of
ruddiness.
As for the deities in the sky, Eos mourning over
her son causes the Sun to be downcast and begs
Night to come prematurely and check the hostile
army, that she may be able to steal away her
son, no doubt with the consent of Zeus. And look !
Memnon has been stolen away and is at the edge of
the painting. Where is he? In what part of the
earth? No tomb of Memnon is anywhere to be seen
but in Ethiopia he himself has been transformed into
a statue of black marble.t The attitude is that of a
seated person, but the figure is that of Memnon
yonder, if I mistake not, and the ray of the sun falls
on the statue. For the sun, striking the lips of
conglomerate limestone and are 20 metres in height above
the pedestal. The northern one of the two, which has been
broken in several pieces and set up again, is the figure here
referred to. The marvellous tone or ‘‘ voice” presumably
was produced (before the figure was broken) by the sudden
expansion of the stone from heat, when the rays of the
rising sun fell on it.
31
30
306 K,
10
PHILOSTRATUS: IMAGINES
eumintov toe Méuvow éxxaretcbar daviv
exe ev kal Nadobvte copiapate tapauvbeicbar
Thv ‘“Hyépar.
7 AMTMONH
(1) HeCevorre TV Garaccay TO Tocedave
EVTETUXNKAS Oimat Tap Oprjpo, ore KATA TOUS
"AXatovs aro Alyov oTéherau, Kal up Oaraccoa
yarnvnv ayer Tapanéunovea avtov avtois
imMTous Kal avTois KyTect’ KaKkel! yap éxeiva
eTETAL KL caver Tov Tocedava os éyTav-
Ga. eéxel pev odv HTrELpwTOV ola TOY (TT OV
aig 0davy—KXadxorrodas TE yap avutovs aktot
eval Kal OKUTETAS Kal pacriye TANTTED-
Gar—evraiba dé iT TOKAMTOL TO appa, epuopor
TAS om as Kat vevoTLKOL Kal yAavKol Kal vn
A/a 6ca cehpives. KAKEL pev dvoxepaivery 0
Ilocevd@v Eorxe Kal vewecav TO Au KALVOVTE TO
“EXAnvixov Kat BpaRevortt aurois amo TOU
xelpovos, evtav0a 6€ dardpos yeyparrra Kal
(Na pov Prérre Kat ceooBynrat para EPOTLKOS.
(2) “Apuupovn yap 7 Aavaod Gapifovca él To
tov ‘Ivayou téwp KEK PaTNKE tov @Qeov Kai
oTENETAL Onpevowy QaUTNY ovTw Evyieicar,
OTL E€patat. TO your mepiboBov THs KOpns
Kal TO Tarr€aO ar Kal 7 KaNTS 1) xpuon
duahevyovca Tas xelpas Onrot Tv “Apup@vny
exTreTTANYOat Kal atropely, TL Bovdopevos 0
Ilocedav éxXetTer Travaovdt tiv Oddracca?,
1 Kaxet Jacobs: kal.
32
BOOK I. 8
Memnon as a plectrum strikes the lyre, seems to
summon a voice from them, and by this speech-
producing artifice consoles the Goddess of the Day.
8. AMYMONE
Poseidon’s journey over the sea I think you have
come upon in Homer, when he sets forth from
Aegae! to join the Achaeans, and the sea is calm,
escorting him with its sea-horses and its sea-monsters;
for in Homer they follow Poseidon and fawn upon
him as they do ‘here in the painting. There, I
imagine, your thought is of dry-land horses—for
Homer? maintains that they are “bronze-hoofed,’’
“swiftly flying,’ and “smitten by the lash’’—but
here it is hippocamps that draw the chariot, creatures
with web-footed hoofs, good swimmers, blue-eyed,
and, by Zeus, in all respects like dolphins. There
in Homer? Poseidon seems to be angry, and vexed
with Zeus for turning back the Greek forces and for
directing the contest to their disadvantage ; while here
he is painted as radiant, of joyous look, and deeply
stirred by love. For the sight of Amymone, the
daughter of Danaus, as she visits the waters of Inachus,
has overmastered the god and he sets out to pursue
the girl, who does not yet know that she is loved.4 At
any rate the fright of the maiden, her trembling, and
the golden pitcher falling from her hands nee it
evident that Amymone is “astounded and at a loss to
know with what purpose Poseidon so precipitately
TANS 2) Th oie fl I Faye
3 Cf. 17. 5. 37 and 15. 510.
4 The pursuit of Amymone by Poseidon was frequently
depicted on vase paintings, cf. Overbeck, Awnstinythologie,
Poseidon, p. 370f. (Fig. 4).
a3
PHILOSTRATUS: IMAGINES
Nev‘ady Te UTO hvcews ovcay 0 xXpUaos Trept-
oridPet Kepacas TH avynv TO voate. UTEK-
oT aLED, @ mal, TH vump yn” Kal yap Koma 76m
KupTovTaL és TOV amor, yauxoy ert Kal Tov
20 yapotrov TpoTrou, Toppupovuv dé avto o Ilocerdav
ypawe..
6 ENS
(1) “TrrouBpos bev n Ys péper d€ KaXapov
Kal provor, a 61 aoTmapTa Kal dynpora didoow
1) TOV EX@V evputa, Kab pupixn yeypar rar Kal
25 KUT ELpOV" Kal yap TavTa é€oTe TOY édo”. een
be ovpavopnxn me puBEBryr au puoews ov meas:
TQ pev 4p THY TiTUY Mapex opera NET TOYE@Y
Tiel, Ta OE KUTAPLTTW KOM@VTA THS apyiN@dous
1 Cf. Od. 11. 248: moppupeov 0 &pa xtua . . . Kuptwev,
* Thus-enriching the marriage chamber, and concealing
the pair.
3 Ud.9. 109: Ta 7 Boma ta kal avqvota mavTa op sovrat, of the
island of the Cyclopes.
34
BOOK I. 9
leaves the sea; and her natural pallor is illumined
by the gold of the pitcher, as its brightness is re-
flected in the water. Let us withdraw, my boy, and
Fic. 4.—Poseidon pursuing Amymone.
leave the maiden; for already a wave is arching!
over for the nuptials, and, though the water is still
bright and pellucid in appearance, Poseidon will
presently paint it a purple hue.?
9. A MARSH
The earth is wet and bears reeds and rushes,
which the fertile marsh causes to grow “un-
sown and untilled,’* and tamarisk and sedge? are
depicted; for these are marsh-plants. The place
is encompassed by mountains heaven high, not all of
one type; for some that are covered with pine trees
suggest a light soil, others luxuriant with cypress
trees proclaim that their soil is of clay, and yonder
4 Suggested by J/. 21. 350 f.: wuptka: . . . 75€ Kvmecpor.
gs J P
35
D 2
PHILOSTRATUS: IMAGINES
Never, éAaTau be exelval Th ado ye 7) Sucyel-
30 wepov Kal Tpaxy TO Opos; ov yap domalovrar
Barov ovoe ayaTr ad Garrecbae’ TavTd TOL Kal
QTOLKOVGL TOV medteny OS ev Tols Opec. pdov
avEoueva TO avenue.” mya de atroBrvfovar
307 K. TOV Opa@y, at bn péovcar KdTw Kal KoLVOUpevaL
TO Udwp EdXos Um avTav TO Tediov, ov pnV
aTaKTOV ye ovoe olov redvpOat' Sinxtar 6é
avtTov 70 vapa vTrO THS ypadis, @s av Kal 7
5 duals avto Ouyryaryev 7 7) cop?) TUVT@V, LaLaVopousS
d€ moAXovs EdiTTEL GEALVOU Bpvovtas ayabous
vauTihreobar Tois Opvice Tots Uypois. (2) opas
yap Tov Tas vyTTas, ws Epudpo. dtodtcAavovery
avahuvo@cai Twas olov avrovs Tov UdaTos. Th
10 6) TO TOV xnvav eOvos 3 Kal yap 67) KaKeivot
yeypaparar KaTa THY eauT@v puow €TLTONALOL
TE Kal TAWTHPES. Tous dé éml pakpoiv TOL OKEXOLD,
TOUS TEPLTTOUS TO pappos Eévous olpar aia Bavy
Kal aPpovs adrXov adXov TTEpOD. Kal Ta
15 oX Mara d€ avT av TOuKiAa’ oO bev yap eéml
TET PAs Avan avel T@ TO0E KATA éva, 0 dé poner
TO TTEPOD; 0 Oe exxabaipel, 0 0 6€ hpnke TL ex TOU
datos, o O€ els THY YHV aTrovevevKeY erTLGLTiCac-
Pai te éxetOev.
20 (3) nvioxetcPar é Tous KUKVOUS vTO TOV
"Eporev Oadua ovdév' ayépwxor yap oi Jeol
Kal Oevol mai lew és Tous dpvi0as, bev poe THY
Hvioxynow apyoas TapéMwpev pndé av’To TO
1 Jacobs: rod &vw.
1 Cf. Jl. 11. 256: aveuosrpepes @yxos, ‘a wind-nurtured
spear.”
36
BOOK I. 9
fir trees—what else do they mean than that the
mountain is storm-swept and rugged? For firs do
not like rich soil nor do they care for warmth;
accordingly their place is at a distance from the
plains, since they grow more readily in the moun-
tains because of the wind.t And springs are
breaking forth from the mountain sides; as they
flow down and mingle their waters below, the plain
becomes a marsh; not, however, a disordered marsh
or the kind that is befouled with mud; but the course
of its waters is directed in the painting just as if
nature, wise in all things, directed it, and the stream
winds in many a tortuous meander, abounding in
parsiey and suited for the voyaging of the water-
fowl. For you see the ducks, I am sure, how they
glide along the water-course blowing jets of water
from their bills.2 And what of the tribe of geese?
Indeed, they too are painted in accordance with their
nature, as resting on the water and sailing on it.
And those long-legged birds with huge beaks, you
doubtless recognize as foreign, the birds delicately
coloured each with different plumage. Their at-
titudes also are various; one stands on a rock
resting first one foot and then the other, one dries
its feathers, one preens them, another has snatched
some prey from the water, and yet another has bent
its head to the land so as to feed on something
there.
No wonder that the swans are ridden by Cupids ;
for these gods are mischievous and prone to sport
with birds, so let us not pass by without noticing
either their riding or the waters in which this
2 For avaots cf. Od. 22. 18: avdAds ava fpivas maxds ArAPev
alwatos.
37
PHILOSTRATUS: IMAGINES
e
e/ bd a \ \ \ sd a
bdwp, €v @ TavTa. TO pev yap 51 BSwp TovTO
/ na A b] \ / > /
25 KadALoTOV TOD EXouUS THYHS avTO dLdovENS AUTO-
/
Gev, cvviatatat d€ eis KokULBHO pay TayKadyv.
\ / \ Pe
dua pécou yap Tov UdaTos audpavta vever Ta
\ ” \ \ b] lal © lal ’ / a
bev evOev, Ta Se exeiev, HOeis aotayves Kal
ft 7 \ e \ / e
BarXrovtes avder To Vdwp. Tept TovToVs 110-
al / \
30 yovow “Epwres tepovs Kai ypuooyanivous dpvis
€ an / / te x
0 mev Tacav nviav évdidovs, 0 6€ avaKOTTTaY, O
\ / c \
dé émirtpépar, 0 5 Tepl THY Vacca éLavYwY—
Kal TApPAKEdEVOMEeVwWY TOLS KUKVOLS aKOUVELY SOKEL
\ b Ve , / \ , <
Kal amethovvT@y adAnAOLS Kal TwWOafovT@V
nr \ r id
35 TavUTa yap Tois TpogwToals ETegTLV—O O€ KaTA-
/ e e \
Barrer Tov trédas, o S€ KataBéBrAnxev, o Se
5 r ’ / > a n ” e i!
308 K. nydrnoev extreceity Tov dprios, ws AoVaaLTO
,’ a id / / \ a BA
év T@ immodpomm. (4) KUKrXw Sé Tals dyOats
A a / /
EpecTaawW Ol MoVTLKWTEPOL TOY KUKVMV €Ta-
e / al
Sovtes oiuar Tov dpOtov ws mpos Tpotrou Tots
ig / - fal ’ rn e lal \ \
5 ED QS, on LELOV HS a ONS apes Haile
/ b] lal e
petpadKiov’ avewos TovTO Lépupos Tv @dHnv TIS
\ \
KUKVOLS eVvoLoovs. yéypamtar S€ amandov Kal
a \ e
Yaplev els aiviywa Tov mvevmaTtos, Kal al
an \ ss /
TTEPVYES HTAWVTAL TOS KUKVOLS TpOS TO TANT-
10 teaOat U7r0 TOU avémov.
~ 3 la \ \ ce / lal ¢
(5) (600 Kal motapos Umeepyetar Tod Edous
id , \
evpus Kal vUtroxuuaivwy, d:aBatvovor 8 avTov
al / , \ lal
AlTONOL Kal vowels éeml Cevypatos. et de TAY
fal vA bf \ e
aly@v étatvoins Tov Ewypadov, OTL av’Tas UTO-
/ / xX lal
15 oxipT@oas Kal ayepwyous yéeypader, 1) TOV Tpo-
/ oy nr vad \
Batwv, 671 cxoralov avtois to Badiopa Kai
38
BOOK I. 9
scene lies. Here indeed is the most beautiful
water of the marsh, issuing direct from a spring,
and it forms a swimming-pool of exceeding beauty.
In the midst of the pool amaranth flowers are nod-
ding this way and that, sweet clusters that pelt
the water with their blossoms. It is among these
clusters that Cupids are riding sacred birds with golden
bridles, one giving free rein, another drawing in,
another turning, another driving around the goal-
post. Just imagine that you hear them urging on
their swans, and threatening and jeering at one
another—for this is all to be seen in their faces.
One is trying to give his neighbour a fall, another
has done it, still another is glad enough to have
fallen from his bird that he may take a bath in the
race-course. On the banks round about stand the
more musical swans, singing the orthian strain,! I
think, as befits the contestants. The winged youth
you see is an indication that a song is being sung,
for he is the wind Zephyrus and he gives the swans
the keynote of their song. He is painted asa tender
and graceful boy in token of the nature of the south-
west wind, and the wings of the swans are unfolded
that the breezes may strike them.
Behold, a river also issues from the marsh, a
broad rippling stream, and goatherds and shepherds
are crossing it on a bridge. If you were to praise
the painter for his goats, because he has painted
them skipping about and prone to mischief, or for
his sheep because their gait is leisurely as if their
fleeces were a burden,? or if we were to dwell
1 «¢Orthian strain,” a familiar high-pitched melody.
2 Cf. Hesiod, Op. 234, ‘‘ Their woolly sheep are burdened
with fleeces.”
39
20
30
309 K.
or
PHILOSTRATUS: IMAGINES
olov adxGos of Harnot,* Tas TE oupuyyas él
SteELoupev 1) ) TOUS XpoHevous avtais, ws Umeotan-
Méevm® TO oTOMATL avrovor, o pK pov emauved o-
ueOa THS ypadhs Kkal dcov els pipnow eet,
codiav 5€ ovK étatveroueba ode Katpov, a bn
KpaTlaTa doKet TIS Texyns. (6) Tis ov y}
copia ; Cevypa powikov émuBeBAnxe TO TOTAL®
Kal (para ndvv er avTo Roryov" cides yap TO
mepl TOV powikev Neyopevon, OTL aut av oO pev
aponv Tis, 7 O€ OndrELa, Kal TEpl TOV yapou ahaov
StaKNKOWS, OTL AyovTat TAS OnrElas TEptBarXov-
TES AUTAS TOS KAGOOLS Kal eTLTELVOYTES AUTOUS ET
auTas, ag’ EKATEPOU Tod yevous éva KaTa play
ox Ony ryeypager. eiTa O fev ep Kal emiKAIVETAL
Kal UmepadneTau TOD TOTAMLOD, THS O€ Onretas ¢ ere
adhecTwons ovK EXov emuraPeo Gar KELTAL Kal
dovrever CevEas TO vowp, Kal €OTL TOLS dvaBat-
vovolw acharis vTo Ths TOU prDL00 Tpaxv-
TNTOS.
AM®ION
(A): Das dupas TO copio ua TP@TOS “Epps 7) -
Eaobat heyeTae Ke paTow Svoty Kal cuyou Kat
éXuos Kal Oovvat peta Tov 'AmroAAW KAaL TAS
Movcas ’Apudiou té OnBaiw 1to ddpor, o 6é
oixav tas OnBas ovmw TeTEAXLopEVAS apFKE
Kata Tov ALOwY pédrAn Kal aKovovTes of ALOoL
cuv0éoval’ Tav’Ta yap Ta év TH ypady.
1 of waddot Jacobs: fh uaadAor,
40
BOOK “I ro
on the pipes or on those who play themn—the way
they blow with puckered lips—we should praise an
insignificant feature of the painting and one that has
to do solely with imitation; but we should not be
praising its cleverness or the sense of fitness it
shows, though these, I believe, are the most
important elements of art. Wherein, then, lies its
cleverness? The painter has thrown a bridge of
date palms across the river, and there is a very
pretty reason for this; for knowing that palms are
said to be male and female, and having heard about
their marriage, that the male trees take their brides
by bending over toward the female trees and em-
bracing them with their branches, he has painted a
palm of one sex on one bank and one of the other
sex on the other bank. Thereupon the male tree
falls in love and bends over and stretches out over
the river; and since it is unable to reach the female
tree, which is still at a distance, it lies prone and
renders menial service by bridging the water, and it
is a safe bridge for men to cross on because of the
roughness of its bark.
10. AMPHION
dhe ‘clever device “of the lyre; it is’ said, was
invented by Hermes, who constructed it of two horns
and a crossbar and a tortoise-shell ; and he presented
it first to Apollo and the Muses, then to Amphion of
Thebes.t| And Amphion, inasmuch as the Thebes of
his day was not yet a walled city, has directed his
music to the stones, and the stones run together when
they hear him. This is the subject of the painting.
1 Cf. Paus. 9. 5. 8.
41
PHILOSTRATUS: IMAGINES
(2) 7 p@TNV ovv d.abed THD Aupav, e xa
QuTny yeypar rar. TO pev yap Kepas ‘ “airyos tEddov’ :
10 Tounrat pact, YpHTar S€ aVTO pev ovatKos €S
15
THY AUpap, 0 de To£oTNS és Ta olxela. péXava
Kal TpLovaTa opas Ta Képara Kal Sewva évapa£at,
Evha O€, ¢ boa Set TH AUpa, TUEOU TravTa oTpupvov
Kal Aetou Tov ofov—enéhas ovdapod THS dupas,
ouT@ ol avO pwrrot elooTes OUTE avTo TO Onptov
oUTE 6 TL TOIS KEpaoly avTou XpijcovTar—Kal
XEruS pédaiva bev, dinxpiBwta. 6€ Kata THY
pvaw Kal Layapovs mepiBeSrnTat KUK ous aAXov
Evvartovtas adho EavOois Tots opbarsois,
20 veupal dé Ta bev UTO TH peayase T poo Kelvrat Kal
25
Tots ouparois atravT@at, Ta S€ UO TO Cuyo
kotAat + Sdoxovot' oyna tov TtodTO avTa@V
avaroyoratov avakekhiabar opas opbas” ev 7H
dupa.
(3) o oe ‘Appiov ti bnoi; Ti adXo ye 3
Teivet TOV voov és THY TmKTioa Kal mapapatver
TOV odovT@v doov aTroXpN TO adovte ; ade 6€
ao ¢ / . Ss
ola THY Yhv, OTLTMavTOV YyeveTELpa Kal UNTHP OVTA
Kal avTOMATA non TA TeXn didwow. 7) Konn b€
39 7oeta pev Kat Kal’ EauTny €vadvovaa Hey T@
MeTOTO, TVYKATLODGA SE TO LOV'M Tapa TO OUS
rol / / \ \ 4
Kal ypvoov TL éerrihaivovaa, 7diwy S€ peta THS
\e lal /
pitpas, Wv gdacw ol tav amobeTwy Trolntai
1 kotAat Jacobs : kotAa.
2 6p0as Benndorf: dp@ovs or opéds.
8 After 7) the MSS. give WaAAe: kal 7 Erepa xelp ; Jacobs
deletes 7 éréoa xelp; Benndorf deletes the whole phrase,
comparing 310 K 7
4 Gf Ti, 4, 105: aehoy uc. Cedar
42
BOOK I. t0
Look carefully at the lyre first, to see if it is
painted faithfully. The horn is the horn “of a
leaping goat,’ as the poets say, and it is used by
the musician for his lyre and by the bowman for his
bow. The horns, you observe, are black and jagged
and formidable for attack 2 All the wood required
for the lyre is of boxwood, firm and free from knots—
there is no ivory anywhere about the lyre, for men did
not yet know either the elephant or the use they were
to make ofitstusks. The tortoise-shell is black, but its
portrayal is accurate and true to nature in that the
surface is covered with irregular circles which touch
each other and have yellow eyes; and the lower
ends of the strings below the bridge lie close to the
shell and are attached to knobs, while between the
bridge and the crossbar the strings seem to be with-
out support, this arrangement of the strings being
apparently best adapted for keeping them stretched
taut on the lyre.
And what is Amphion saying?? Certainly he
keeps his mind intent on the harp, and shows his
teeth a little, just enough for a singer. No doubt
he is singing a hymn to Earth because she, creator
and mother of all things, is giving him his walls,
which already are rising of their own accord. His
hair is lovely and truthfully depicted, falling as it
does in disorder on his forehead and mingling with
the downy beard beside the ear, and showing a glint
of gold; but it is lovelier still where it is held by the
headband—the headband “ wrought by the Graces, a
* Cf. the frontispiece for a reconstruction of this lyre.
3 The text is faulty. Probably the sense is ‘‘What do
you say Amphion is doing? What else than keeping his
mind intent .. .?”
43
310 K,
5
10
15
20
PHILOSTRATUS: IMAGINES
Xapitas Kapety, ayarpa 8a Tov Kal ™poo-
eXeotatov 7H dUpg. SoKd jor TOV “Eppiy € Epore
KAT ELAN MEV OV Sodvat To “A pdtove appa 7a
O@pa. Kal 7) XArapws, iy pope, Kaen ma pa
TOU “Eppod TAXA’ ov yap ep év0s MEVEL YpPO-
MATOS, GAARA TPETETAL eal KATA THY “Tpev (peTay-
Oct. (4) KaOnrae d€ él KoXwVOU TA pev Toot
Kpovev oTULpENEs, TH bed oe Tapa dir roy Tas
veupas' Warder Kal 2 ere pa yelp opbais Tats
TaVv SakTVA@V TpoBodais, OEP Bunv TraC-
tixny atav0abietcOar povnyv. elev. (5) Ta de
TOV ALGwy TaS EXEL; TWavTes el THY wWdHV
avuvO€éovet Kal aKOVOUGL Kal yivEeTat ‘TetXoS. Kal
TO pev €EwKodopuntal, TO bé avaBaiver, TO 5¢€
dpte kateBarovto gidrorepot Kat dels ot ALOou
Kal Ontrevovtes movalkh, TO Se TELyos EMTAaTUAOD,
6aot THS AVpAS Ol TOVOL.
ta =DAKOON
(1) Xpuca tov “Hdddwv ta daxpva. PaéPovte
oyos avTa petv: ToUTOV yap Traida ‘HXiou yevo-
pevov eTiTOAMHoAL TO TaTpww Sidpw Kata
yy e / \ \ / \ es
EPWTA NVLOXITEWS KAL 7) KATATYOVTA THY HVviaV
chadjvar cal év tO 'HpidavO mecetv—tadta
l kateBadovto Schenkl et al.: catreAaBovTo or kateAaGer.
1 Plato, Phaedrus 252A quotes a passage on Love from
the Secret Verses (Jowett, ‘apocryphal writings’’) of
Homer. The subject is discussed by Lobeck, Aglaophamus,
861 f.
44
BOOK? is 25
most lovely ornament,” as the poets of the Secret
Verses! say—and quite in keeping with the lyre.
My own opinion is that Hermes gave Amphion
both these gifts, both the lyre and headband, because
he was overcome by love for him. And _ the
chlamys he wears, perhaps that also came from
Hermes; for its colour does not remain the same
but changes and takes on all the hues of the rain-
bow.2, Amphion is seated on a low mound, beating
time with his foot and smiting the strings with his
right hand. His left hand is playing, too, with
fingers extended straight? a conception which I
should have thought only plastic art would venture.
Well, how about the stones? They all run to-
gether toward the singing, they listen, and they
become a wall. At one point the wall is finished, at
another it is rising, at still another the foundation is
just laid. The stones are eager in rivalry, and happy,
and devoted slaves of music; and the wall has seven
gates, as the strings of the lyre are seven.
11. PHAETHON
Golden are the tears of the daughters of Helius.
The story is that they are shed for Phaéthon;
for in his passion for driving this son of Helius
ventured to mount his father’s chariot, but because
he did not keep a firm rein he came to grief and fell
into the Eridanus—wise men interpret the story as
2 Does this mean that Hermes descends by the rainbow ?
Certainly the rainbow (i.¢., Iris) is hke Hermes, a messenger
from the gods to men.
3 i.e, the left hand is raised, after the stroke, and the
fingers, pointing toward the spectators, are foreshortened.
45
25
30
Slik.
10
PHILOSTRATUS: IMAGINES
Tois pev cohois mreoveEia Tis elvar doxet Tod
Tup@dous, Tontais d€ Kal Swypagols tarot Kal
adppa—Kat ouyxeirar Ta ovpania. (2) oKoTrel
yap" voe pev €x peonuBplas édavveEL THY mépar,
0 0€ HALou KUKNOS els yn peor Exel TOUS aaTé-
pas. at d€“Opat Tas Tvs ExALTODGaL hevyou-
ow ¢€is TY aTavT@aay avTais ayAvy, Kal ot
immo. THS CevyAns extrecovTes olaTpw dépovTat.
atrayopever 6€ » 1} Kai Tas xelpas aiper avo
paydatov ‘rod tupos és avTny tovtos, éxmrimret
dé TO petpakiov Kal KaTadépeTai—Tnv Te yap
KOunv eumrémpnotar Kal Ta oTépva vToTUpeETat
—rTotauw@ te Hpidave éeumecettar Kai trapéetet
pvOov twa To VdaTe. (3) KUKVOL yap 8) ava-
gucavres nov te EvOev kat évOev! Kal rown-
covTas wonv TO petpaxcov, ayedau TE AUTOV
épeicar Kavorpo Tavra kal “lotp doovtat,
Kal ovdev av nkoov éoTal 0b TOLOVTOU AoyoU,
Lepupo TE XpyorovTat TT pos TH Bony ELappe@
Kal evoote AeyeTat yap guvavday Tod Opxvou
ToOls KUKVOLS OfoNOYHoal. TAUTAd TOL Kal Tradp-
€oTl ToOls Opviclw, Wate Opa* Kal wWadr«ELV
aUTOUS olov Opyava.
(4) ta O€ eri TH OyOn yovata, al ovTrw Sévdpa,
haci tas ‘Hdradas emi TH adEAPH petadhivar
1 7, 2yOeyv nal 2vOev Jacobs: rd €vOev or Td éytevder,
2 dpa Welcker: &pa.
1 Cf. Lucretius 5. 392 ff.
2 Cf. 1.8. 485 f.: év & Seo’ “Qneavg Aaumpdy aos HeAloio,
éAkovTa viuKta wéAawway em) CelSwpov tpoupar.
3 Cf. infra Phil. II, 34.
46
woyreryd £0 NL %YL—S “OM
-~
[To face p. 47.
BOOK I. 11
indicating a superabundance of the fiery element in
nature,! but for poets and painters it is simply a
chariot and horses—and at his fall the heavens are
confounded. Look! Night is driving Day from
the noonday sky, and the sun's orb as it plunges
toward the earth draws in its train the stars.2 The
Horae? abandon their posts at the gates and flee
toward the gloom that rises to meet them, while the
horses have thrown off their yoke and rush madly on.
Despairing, the Earth raises her hands in supplication,
as the furious fire draws near her. Now the youth
is thrown from the chariot and is falling headlong +—
for his hair is on fire and his breast smouldering with
the heat; his fall will end in the river Eridanus
and will furnish this stream with a mythical tale.
For swans scattered about, breathing sweet notes,
will hymn the youth; and flocks of swans rising aloft
will sing the story to Cayster and Ister ; ° nor will any
place fail to hear the strange story. And they will
have Zephyrus, nimble god of wayside shrines, to
accompany their song, for it is said that Zephyrus
has made a compact with the swans to join them in
the music of the dirge. This agreement is even
now being carried out, for look! the wind is playing
on the swans as on musical instruments.
As for the women on the bank, not yet com-
pletely transformed into trees, men say that the
daughters of Helius on account of their brother's
4 The fall of Phaéthon is depicted, ¢.g. on an Arretine
bowl (Fig. 5) and a Roman sarcophagus, both figured in
Roscher, Lexikon d. griech. u. rom. Myth. ILL. 2, p. 2195f.
5 The swans were said to spend the summer on the Cayster
river in Lydia and the winter on the Danube (Ister) among
the Hyperboreans. Cf. Himerius 79, 17d.
47
15
20
30
PHILOSTRATUS: IMAGINES
Kal els dévopa AHEaL Saxpua | Te apléval. Kal a
ypad Tatra olde pitas yap Barropévy Tabs
Kopupais Ta pev els Oudarov dSévdpa avTat, TAs
dé Xelpas of pOdvovar. ged Tis KOMNS, @s
airyetpov mavra. ed TOY daxpvor, @S Ypuad.
Kal TO meV 7 ANE PUpOV év TH TOV opParperv
édpa Ya poTrais emavy aber Tails Kopaus Kal olov
activa Exel, TO 6€ Tals mapevais evTUYX avov
Happatper Teplt TO éxelvyn épevOos, Ta 0é oravovTa
KaTa TOU aTépvov ypuvaos On. (5) Opynvet Kai
O TOT A|LOS aveX ov TIS ois Kal ie pev DadOovte
KONTIOV UTEYEL—TO yap ox Awa deEopevou—ras
dé ‘HAudéas yewpynoes avTixa® avpats yap Kal
Kpupols, ods avacidwal, ALOoupynoe Kal Te-
covta vmooeeetar Kal d1a fadpod tod UdaTos
amagée. tots é€v ‘Oxeav@ BapBapow ta tav
aiyelpov Wyypata.
LB’ BOZTIOPO>
(1) —Ta 6€ eri TH bxOn yuvala TapaPoact,
Ta paKkanety d6€ Kal TOUS immous coiKact en
pirat Ta trardia pynoé atomtvcat Tov Yadwvor,
éXety 6€ Kal cuuTAaTHaoa Ta Onpia, oi dé akovov-
ow ol“at Kal Trolovat TavTa. Onpadcavtas dé
avtovs Kal daita ypnKkotas diaTropOmever vads
iE
lta... yuvaa deleted by Kayser, as repeated from
311.10 K. The beginning of this sketch is lost.
1 Amber was explained by the ancients as the ‘‘tears of
the daughters of Helius,” The river Eridanus is a mythical
48
BOOK I. 12
mishap changed their nature and became trees, and
that they shed tears. The painting recognizes the
story, for it puts roots at the extremities of their
toes, while some, over here, are trees to the waist, and
branches have supplanted the arms of others. Behold
the hair, it is nothing but poplar leaves! Behold
the tears, they are golden! While the welling tide
of tears in their eyes gleams in the bright pupils
and seems to attract rays of light, and the tears on
the cheeks glisten amid the cheek’s ruddy glow,
yet the drops trickling down their breasts have
already turned into gold. The river also laments,
emerging from its eddying stream, and offers its
bosom to receive Phaéthon—for the attitude is of
one ready to receive—and soon it will harvest the
tears of the daughters of Helius;! for the breezes
and the chills which it exhales will turn into stone
the droppings of the poplar trees, and it will catch
them as they fall and conduct them through its
bright waters to the barbarians by Oceanus.
12. -_BOSPHOROS
(The women on the bank] are shouting, and
they seem to urge the horses not to throw their
young riders nor yet to spurn the bit, but to catch
the game and trample it underfoot; and these, I
think, hear and do as they are bidden. And when
the youths have finished the hunt and have eaten
stream in the far west near the end of the world, where
lived the daughters of Helius. Geographers later connected
it with the Po or the Rhone, which lay on the routes by
which amber came to the Greeks from the North Sea and the
Baltic, where lived ‘‘ the barbarians by Oceanus.”
49
PHILOSTRATUS : IMAGINES
ato THs Evperns és tiv ’Aciavy otadious
5 pwddiota Tou TéTTAPAasS—ToUTL yap TO ev péo@
Tow eOvoiv—xal avTepeTat Teovaw.
(2) idov Kal tTetopa BadXovTat, dexeTau dé
avTous oikia para nOela arduous vTopaivovea
Kal avopavas Kat Oupidwv ixyn, Kal TELXOS o€
10 TmeptBEeBrnrat Kal émanrkes EXEL. To 6€ KaN-
NLGTOV AUTHS, AMLKUKAOS TrEpLeaTHKE TTOA TH
Jaracon KippoeLons UTO TOD ev avr ALOov.
yeveois ex TN YOU TO NOW Oeppov yap papa
UmeKpeov Ta THS KaTO Ppvyias 6pn Kal TO pevpa
15 efs TAS ALOOTOMias Ecdyov UTouBpous épyateras
TOV TETPOV evias Kal VdaTwONn TroLEet THY ExhvaLV
Tov NLOwv, 0ev a’Tw@V Kal TOANA TA Xp@paTa.
OorXepov péev yap év0a Aipvater Kippoerdeés dSidwct,
kalapov b€ Omov KpvaTtadroedes exetOev, Kal
20 motxidner TAS TéTpas é€v ToAXUIS StamTrLVOmEvOY
Talis TpoTrats.
(3) 7) axtn S€ UnrAn Kal ToLovde uvOov Héper
auuBorta. Kopn Kal Tais audw Karo Kai
hort@vte TAYT@ SLdacKkdrw TpocexavOnoav ad-
25 Arrows Kal mepiBadrew OUK ovens adeias
@puncav atroBavety amo TauvTnal TAS. TET pas
kav Tev0ev npOnaav els THY Jaracoav ev voTa-
TALS Kal Tporas TreptPorais. Kal 0 "Epws émi
TH TET Pa TELVEL THY Xeipa €s THY OadartTar,
30 broonpaivov TOV HdOov o o Soypados.
(4) » d€ édeEns olxta, ynpever Te yuvatoy
1 The marble of Hierapolis is here described ; cf. Strabo,
p. 629, Vitruvius 8. 3. 10.
°
2 Cf. Xenophon, Conviv. 4. 23 cuudoitay eis TavTa didacka-
’ KB
5°
BOOK I. 12
their meal, a boat carries them across from Europe
to Asia, about four stades—for this space intervenes
between the countries—and they row themselves
across,
See, they throw out a rope, and a house is receiving
them, a charming house just showing chambers
and halls for men and indications of windows, and it
is surrounded by a wall with parapets for defence.
The most beautiful feature of it is a semi-circular
stoa following the curve of the sea, of yellowish
colour by reason of the stone of which it is built.
The stone is formed in springs; for a warm
stream flowing out below the mountains of Lower
Phrygia and entering the quarries submerges some
of the rocks and makes the outcroppings of the stone
full of water so that it assumes various colours.}
For the stream is foul where it is sluggish and
produces a yellowish colour; but where the water
is pure a stone of crystal clearness is formed, and it
gives to the rock various colours as it is absorbed in
the many seams.
The lofty promontory gives a suggestion of the
following tale: A boy and girl, both beautiful
and under the tutelage of the same teacher, burned
with love? for each other; and since they were not
free to embrace each other, they determined to die
at this very rock, and leaped from it into the sea in
their first and last embrace. Eros on the rock
stretches out his hand toward the sea, the painter's
symbolic suggestion of the tale.
In the house close by a woman lives alone;
Acia exelym . . . mpooexavén. ‘‘ This hot flame of his was
kindled when they used to go to school together.” Trans.
Todd, L.C.L.
51
E 2
313 K.
10
15
90)
PHILOSTRATUS: IMAGINES
éFeXnAvOOs TOV aoteos bu OyNOV VvéwY: apTra-
cec0at yap avTo Efacay Kai adpedas éxwopalov
Kal d@pors ereipwv. 1) 0 olmar Kopypov TL €S
avToUs exovoa Kviter Ta peipaKia Kal ded po
vreEeMobtoa oiKel THY eyupav TAUT NY oixiay.
aKéyat yap a wyvpwatat Kpnuvos TH OadatTn
ebéotnke Ta pev KAVCOMEVa UTWALTONKOS, TA OE
avo vTepKelmevos Eparov Tiva TavTnY avéyov
oixiav, Ud’ 5 Kal 7) OddaTTAa KVaVwTépa hatve-
Tat Kabtepévwv és avTny TOV Of0ardwar, Kal 1
yf) TWApPEXETAL TA VEwS TAaVTA TAY TOD KLVElaOaL.
€5 TOUTO KOVoaV TO PpovpLov OVSE WS aTrOAEAOL-
TATW AUTHY Ol EPOVTES, aX’ 6 Mev KUAaVOTTPwpO?,
o 6€ Xpurompwpor, o 6€ GAXos AAO TE TOY
TOLKLN@Y dKxatiov éuBeBnkas TAE€L, KBMOS auth,
Kadot Te Kal eo TepaveoLevor. kal O pev avnrel,
o 6€ Kpotetp + bnew, o 6€ addeu ola, aTepavous
dé dvappurtodot Kal purmmara. Kal oude € €per-
Tova, AAN émeXOUCL THY elperiay Kal epopp-
Covrar 7@ KPNLVO@. TO € ryovatov aTr0 THS
oixias olov éx Teptwiris Opa TavTa Kal yeda
KATA TOU K@MOV, YALO@TA Els TOUS EpHVTAS WS
ov TAELV jovov, GANA Kal vey avayKalovoa.
(5) Kal Tol pvas evtevEn Tpoxwpav Kal
UK@MEVOV axovon Bodv Kal cupiyywv on
TEPLNXNTEL oe Kal KUVINYET ALS évTeven Kal
yewpyois Kal moTapois Kal Nipvacs Kal myais
— ex mepaKral 14p 7 ypady Kal Ta OVTA Kal TA
ylvomeva Kal @S av yévolTo évia, ov dia TAHOOS
1 «porety Olearius : Kporet.
52
BOOK I. 12
she has been driven out of the city by the im-
portunity of her suitors; for they meant to carry her
off, and pursued her unsparingly with their attentions
and tempted her with gifts. But she, I think, by
her haughty bearing spurred them on, and coming
hither in secret she inhabits this secure house. For
see how secure it is: a cliff juts out into the sea, its
base bathed by the waves, and, projecting overhead,
it bears this house out in the sea, a house beneath
which the sea seems darker blue as the eyes are
turned down toward it, and the land has all the
characteristics of a ship except that it is motionless.
Even though she has reached this fortified spot her
lovers do not give her up, but they come sailing, one
in a dark-prowed boat, one in a golden-prowed,
others in all sorts of variegated craft, a revel band
pursuing her, all beautiful and crowned with gar-
lands. And one plays the flute, another evidently
applauds, another seems to be singing; and they
throw her crowns and kisses. And they are not
rowing any longer, but they check their motion and
come to rest at the promontory. The woman gazes
at the scene from her house as from a look-out
tower and laughs down at the revelling crowd,
vaunting herself that she is compelling her lovers
not merely to sail but also to swim to her.
As you go on to other parts of the painting,
you w ill meet with flocks, and hear herds of oe
lowing, and the music of the shepherds’ pipes will
echo in your ears; and you will meet with hunters
and farmers and rivers and pools and springs—for
the painting gives the very image of things that
are, of things that are taking place, and in some cases
of the manner of their taking place, not slighting
53
25
30
PHILOSTRATUS: IMAGINES
a a \
avT@Y padioupyovca THY adnOeav, aX émt-
la) \ ’ a
TENOVTA TO EKXaTTOU OlKELOV, ws Kav ell &
” ” 2 ah 3099" 1¢ \ > , \
TL €ypadev—eot av é€p lepov adixwpeba. Kat
\ lal \ lal e
TOV €KEL VEWY Oifal Opas Kai OTHXAS, al Trept-
/ a \ \ (al / /
LOpvvTal aUT@, Kai Tov ém@l TH TTOMATL TUPGOD,
a / , la A \ /
OS NPTNTAL Es PPVKTwWpPLaV TOV vewv, al TEéOVELW
fal /
ex Tov Llovtov.
/ , 5 ’ ” e a
Ivy 2 (6) “tt ody ovK ém AAXO ayeLs ; (KaVaS
an / /
yap po. ta tov Boomopov dtavevontar.’ Tt
/ / / \ n € / A 2. +9 x
does ; AENOLTTE ME TO TMV ANLEWY, O KAT apyYas
35 érnyyerdaunv. iv odv pr Trepl ouixpav d.e€iol-
314 K.
10
>] \ \ e / yy \ \
bev, AAAA TrEplL MV AEéyetv AELOY, TOUS pEV Ka-
Aduwo Onpovtas 7) KUVPTM TexXvalovTas 7 El TI
Laue Onpavras 7 KupT@ TEXvatovTas 7) El TIS
avid Oixtvoy i) évapattTer Tpiaivav, apérwpmev
rn \ \ / nr
Tov NOYoU—cMLKpPOY yap aKovaE TEpl avTa@V
lal / a / rn lel
Kat haveital cor adXov HOvaepata THS ypadns
—rTovs 6€ émixelpovvTas Tots Ovvvos idwper
\ a A
aot yap ovTot Noyou S1a péyeBos THs Onpas.
4 A ¢ / a oS / \
(7) horrdow ot Ovvvor tH EEw OaratTyn Tapa
lal lal / \
tov Ilovrov yéveow év avT@® oYOVTES Kal VoMAS
Tas pev LyOUwr, Tas S€ iAVwWY Kai KULOV ETEPOD,
ras v ’ ’ \ / sN ’ val e > #@
ovs “lotpos és avtov hepes kai Matatis, up wv
YAUKUTEPOS Kal TroTLWwTEpos AAANS OaraTTNS
¢ / / \ e Le) /
0 Ilovtos. véovor d€ oiov otpatiwtav parayE
éml OxTa Kal éf Exxaidexa Kai dis TOTOL Kal
Umokupatifovoly aAAnAOLS, AANOS AAW ETI-
véovTes, ToaovTov Balos Scov avT@V TO Evpos.
1 Gs kby ei Jacobs: a@oavel Kay el.
2 In the early editions the following part of the Twelfth
Picture was treated as an independent sketch, numbered 13,
and entitled ‘Adres, ‘*‘ Fishermen.”
54
BOOK? Ex
the truth by reason of the number of objects shown,
but defining the real nature of each thing just as if
the painter were representing some one thing alone
—till we come to a shrine. You see the temple
yonder, I am sure, the columns that surround it, and
the beacon light at the entrance which is hung up
to warn from danger the ships that sail out from the
Euxine Sea.
(13)
“Why do you not go on to another painting?
This one of the Bosphorus has been studied enough
for me.” What do you mean? I have yet to speak
of the fishermen, as I promised when I began. Not
to dilate on small matters, but only on points worth
discussing, let us omit any account of those who fish
with a rod or use a basket cunningly or perchance
draw up a net or thrust a trident—for you will
hear little about such, and they will seem to you
mere embellishments of the painting—but let us
look at the men who are trying to capture tunny-
fish, for these are worth discussing because the hunt
is on so large a scale. For tunny-fish come to the
outer sea! from the Euxine, where they are born
and where they feed on fish and sediment and
vegetable matter which the Ister and Maeotis bring
to it, rivers which make the water of the Euxine
sweeter and more drinkable than that of any other
sea. And they swim like a phalanx of soldiers,
eight rows deep and sixteen and twice sixteen, and
they drop down in the water, one swimming over
another so that the depth of the school equals
1 ¢.e. the Mediterranean.
55
20
bo
Cu
30
35
315 K.
10
PHILOSTRATUS: IMAGINES
(8S) (déae pév obv, KAW as AXrioKovTat, wuplat:
\ \ / 54 a 3 > \ / \
Kal yap aidnpov oT ém% avTous OnEacOat Kai
papuaxa eTLT aT aL Kal puK pov HpKege OLKTVOD,
oT aToypn Kal oplKpov TL THS ayers.
aptoTn O€ HOE 7) Orjpa: TKOT LW pELT AL yap TUS ad’
vynrov Evdov TAXDS pev apOunoat, THY 6¢
Owe ikavos. et yap aAUT@ TeTNyeval pev TOUS
obOarpmovs és THY Oddatray eEixvetoOat TE
ToppwTato, Kav é€uSddrovtTas Tovs txOds idn,
Bons Te ws peyloTns Sef aAVTW TpPOS TOUS év TOLS
akatiots, Kal TOV apLiOmor Aéyer Kal TAS pupLadas
avTa@v, ot d€ amodpdtavtes avtous Babei KAL
KNELTTO SuKTU@ (OéxovTar Aap pay dypav, ud’
fis Kal wOUTELD EroLmwov TO THS Onpas YE HOVE.
(9) Brére T pos TV ypadiyy on KaToyel
14p avUTa Kal Spw@peva. Oo pev TKOT LO OS és
THY Oadarray Brérret SvaTré ut ov TOUS od Oarpovs
eS THY Tov apltOmov TUAW, €v yavne@ €
TO THS Oararrns avOe. Ta TOV by@vev Xpopata:
weraves pev of dvo Soxodaw, itTov 8 of epeEns,
ot O€ eT Exelvous 6n TapaevdovTat THY oYuD,
ELTA TKLMOELS, E(TA VOapol UTovoncal’ KaTa-
Bativovca yap €s To Vdwp 1 OWis apBXAvVVETAL
diaxpiBovv ta év avT@. (10) 0 dé TaV adtEwr
Ojos noets Kat EavOot tiv xXpoav wo TOD
GéperOar. Kal O Mev THY KOT Cevyvuawy, 0 6€
€péTTEL para SieE@OnxKore TO Bpaxtove, 0 e
eT LKENEVETAL TO TEAS, 6 8€ rate Tov tay)
épértovta. Bor && Hpta TOY ddéwy éuTETTTO-
KOT@V On TOV LyOUwY Els TO SLKTVOV. Kal TOUS
pev npykacl, TOvs O€ aipovol. aunyavodyTes
dé 6 Te Ypncovtat TO TANOGEL Kal Trapavotyovat
56
BOOK’ T. 13
the width. Now the ways of catching them are
countless; sharp iron spears may be used on them
or drugs may be sprinkled over them, or a small net
is enough for a fisherman who is satisfied with some
small portion of the school. But the best means of
taking them is this : a look-out is stationed on a
high tree, a man quick at counting and keen of
vision. For it is his task to fix his eyes on the sea
and to look as far as he can; and if perchance he
sees the fish approaching, then he must shout as loud
as he ean to those in the boats and must tell the
number of the fish, how many thousands there are ;
and the boatmen compassing them about with a
deep-laid net that can be drawn together make a
splendid catch, enough to enrich the captain of the
hunt.
Now look at the painting and you will see just
this going on. The look-out gazes at the sea and
turns his eyes in one direction and another to get
the number ; and in the bright gleam of the sea the
colours of the fish vary, those near the surface seem
to be black, those just below are not so black, those
lower still begin to elude the sense of sight, then
they seem shadowy, and finally they look just like the
water ; for as the vision penetrates deeper and deeper
its power of discerning objects in the water is
blunted. The group of fishermen is charming, and
they are brown of complexion from exposure to
the sun. One binds his oar in its place, another
rows with swelling muscle, another cheers his neigh-
bour on, another strikes a man who is not rowing.
A shout rises from the fishermen now that the fish
are already in the net. Some they have caught,
some they are catching. And at a loss what to do
57
PHILOSTRATUS: IMAGINES
Tov Sitvov Kal cvyywpodaw éviovs diapvuryety
Kal Ovextreceiv' TocovTov és THY Onpav Tpv-
15 wo.
SEMEAH
(1) Bpovtn ev eloeL TKANPO kat “Aotpamn
céas €K TOV oparpev i \etoa Tup TE parydaiov
€& ovpavov TUPAVVLKi}s oiKLas eT ELAN LEV OV ovyou
TOLovoE, EL fL1) ayvoets, QITETAL. (2) TUpos
20 vedérAn Tepiaxovoa Tas OnBas Els THY Tou
Kadpou oreyny pyrypuTar KO LAT AVTOS éml Tv
Dewey tov Atos, kal GATONAUTAL MEV, os doxod-
pev, 1) Lewern, tTieTeTar dé Arovucos oipar vi)
Aia mpos To Top. Kal TO pev THIS. Sewehns eidos
25 apuvdpov Sragaiverar lovans és ovpavon, Kab al
Movoa aut HY eKEL doovTal, C € Avovucos THS
pev pnt pos éxOpooxet payelons TV yaorepa,
70 dé Op aXvOes epyaterar patdpos avTos
olov daTnp Tes ATATT PAT TOV. (3) dtacyotca
30 d€ 7) rE dv pov TL TO Avovvc@ oKaypapet
TAVvT Os HOuov 'Agaouptov TE Kal Avdiou: éduxés Te
yap Tmept auto teOn ace Kal KUT TOU KopupBot Kal
76n dT eXot Kal Gupaou d€vopa obT@ Te Exovons
316 K. dvacXovTa THS YS, WS Kav : TO Tupt eivae Evia.
Kal ov pn Oavpater, él orepavol TO Up emt
TO Avovvow n Yn); i ye Kal cvpPBaxXevo es avT@
Kal oivov ad vacew éx TNYOV Owoel yada TE OioV
1 kav Jacobs: kal.
1 Thunder (Bronté) and Lightning ‘Astrape). Cf. Pliny,
N.H., 25. 96: pinxit (Apelles) et quae pingi non possunt,
58
BOOK -f..1
with so many they even open the net and let some
of the fish swim away and escape: so proud are they
of their catch.
14. SEMELE
Bronté stern of face, and Astrapé! flashing
light from her eyes, and raging fire from heaven that
has laid hold of a king’ s house, suggest the following
tale, if it is one you a A cloud of fire
encompassing Thebes breaks into the dwelling of
Cadmus as Zeus comes wooing Semele ; and Semele
apparently is destroyed, but Dionysus is born, by
Zeus, so I believe, in the presence of the fire. And
the form of Semele is dimly seen as she goes to the
heavens, where the Muses will hymn her praises : but
Dionysus leaps forth as his mother’s womb is rent
apart and he makes the flame look dim, so brilliantly
does he shine like a radiant star.2. The flame, divid-
ing, dimly outlines a cave for Dionysus more charm-
ing than any in Assyria and Lydia ; for sprays of ivy
grow luxuriantly about it and inion of ivy berries
and now grape-vines and stalks of thyrsus ? which
spring up from the willing earth, so that some grow
in the very fire. We must not be surprised if in
honour of Dionysus the Fire is crowned by the Earth,
for the Earth will take part with the Fire in the
Bacchic revel and will make it possible for the revel-
tonitrua, fulgura, quae Bronten, Astrapen, Ceraunobolian
appellant.
2 On the birth of Dionysus, see Overbeck, Kunstmythologie,
Zeus, p. 416.
3 The wand carried by followers of Dionysus, properly a
wand wreathed with ivy and with a pine-cone at the top.
59
PHILOSTRATUS: IMAGINES
5 ato palav edrxev TO mev ex Bwrov, TO b€ éx
metpas. (4) dove tov Ilavos, ws tov Avovucov
adeuv Eotxev Ev Kopugats Tod KiPatpavos UrrocKip-
Tov TL eviov. 0 KiOatp@v dé oXopvpeTat ev Eidet
avOpwrov Ta uiKpov VaoTepoyv év avT@® ayn Kal
10 KiuTTOD héper cTEhavov aToKkAlvorta THs Keharis
—oatehavodtar yap 6) a’t® chodpa axwv—
éeXNaTNVY TE av’T@® TapaduTever Méyaipa kal
myn avapativer VdaTos eri TO’ AkTalwvos oipat
kal IevOéws aiwate.
te APIAANH
vA \ , ¢e \ / a
15 (1) “OtetHv’Aptadvny o Oncevs adixa 6pov—
e ’ > ” / > 3 ’ / /
ol © ovK adixa hacw, arr €&€x Atovicovu—«arte-
> , a /
Autrey Ev Ala TH vyTw Kaevdovcar', TaYa Tov
us / \ a
Kal TiTOns dtaknKoas' copal yap éxetvar Ta
a \ / ’ lal ¢ /
ToladTa Kal daxpvovoly em avTots, OTav EOéwotr.
> \ / / / \ S ‘ ’ a
20 ov pv S€omar Aéyerv Onoéa pev eivat Tov ev TH
, , \ \ A lel +99 3 a
vnt, Avovucoy O€ Tov év TH YH, OVO ws ayvoodr-
/ ’ 5) \ la a
tal émictpéporw av és THY eT TOV TETPOY,
@S €V MANAK@ KeltTaL TO UTVY.
1 Benndorf would read ayvootrt7a o’.
1 Cf. Eur. Bacch. 726:
‘‘The hills, the wild things all, were thrilled
With ecstasy: naught but shook as on they rushed ” ;
and 707 f.:
‘«One grasped her thyrsus staff, and smote the rock,
And forth up leapt a fountain’s showery spray,
One in earth’s bosom planted her reed-wand,
And up therethrough the God a wine-fount sent,
And whoso fain would drink white foaming draughts
60
BOOK I. 15
lers to take wine from springs and to draw milk from
clods of earth or from a rock as from living breasts.}
Listen to Pan, how he seems to be hymning Dionysus
on the crests of Cithaeron, as he dances an Evian 2
fling. And Cithaeron in the form of a man laments
the woes ® soon to occur on his slopes, and he wears
an ivy crown aslant on his head—for he accepts the
crown most unwillingly—and Megaera causes a fir
to shoot up beside him and brings to light a spring
of water, in token, I fancy, of the blood of Actaeon
and of Pentheus.4
15. ARIADNE
That Theseus treated Ariadne unjustly—though
some say not with unjust intent, but under
the compulsion of Dionysus—when he abandoned
her while asleep on the island of Dia,®> you must
have heard from your nurse; for those women are
skilled in telling such tales and they weep over
them whenever they will. I do not need to say
that it is Theseus you see there on the ship and
Dionysus yonder on the land, nor will I assume you
to be ignorant and call your attention to the woman
on the rocks, lying there in gentle slumber.
Scarred with their finger-tips the breast of earth,
And milk gushed forth unstinted.”
Trans. Way, L.C.L.
2 Evios is an epithet of Dionysus, derived from the cry
Evo (Evoé) uttered by his worshippers.
3 'The rending of Pentheus asunder by his mother Agave
and the Bacchantes.
* According to Eur. Bacch, 1291 f. Pentheus was killed on
the same spot as Actaeon.
® The ancient name of Naxos, where Theseus stopped with
Ariadne on his way back from Crete, where with her aid he
had killed the Minotaur.
61
PHILOSTRATUS: IMAGINES
(2) ove amroxpn Tov Cwypadov emrarvely, ad
25 @y KaY aXXos eTaLWOLTO* padzLov yap. amavre
KaAnY wey THY "A pradvny ypagery, KaNdov 6€ TOV
Oncea, Avovicou TE pupia pacpata Tots ypapew
i marrew Bovropevors, @ dv Kav pKpod TUX TIS,
npnke tov Qeov. Kal yap ot Kcopupot aotépavos
30 OvTES Avovicou yvepio pa, Kav TO Onprovpynpa
pavrws EXM, Kal KEépas Urexd vouevov TOV Kpo-
Tap ov Avovucoy dydot, Kai mapoanss Um exparvo-
pévn avd tod Oeov avuBorov: arr ovToS ye oO
K. Avovucos €« povou Tod épav yéypattat. oKev?)
pev yap nvOtcpévn Kal Ovpoot Kat veBpides,
éppiTTat TavTa ws é&w TOU Kalpov, Kal ovdE
KkupBaros at Baxyar ypavtar viv ovdé ot
5 Yatupou avrovaowv, adra Kal o Ilav Katéyet TO
oKipTnua, ws wn StadvVaELE TOV UTVOY THS KOpNS,
aroupyior TE oreihas €aUTOV Kat TH Keparyy
podous avOicas epXeTau Tapa THY ‘A peadyny 0
Atovucos, ped var Epete pyat Tept TOV aK pats
10 €pmvtwav o Tros. (3) 0 Onaeds b€ epa peér,
arrxa Tov Tav "AOnvav catvod, “Apiddvnv 6é
oUTe oldev ETL OVTE Eyvw ToTé, dHnul O avToOV
exrehhodar Kal TOD AaBupivov Kat nde elmeiv
Exel, ep’ oT@ ToTe €> THY K pyrny emevoev
15 oUTw movoy Ta eK T Po@pas PreErret. ope. Kal THY
"Apiadyvnv, warrov O€ tov Urvove yupva pev ets
oudarov otépva TavTa, Oépyn dé brTia Kal aTradi)
1 Anacreon, Frag. 21, Edmonds, Lyra Graeca I, L.C.L.
2 Cf. Od. 1. 58: ‘‘ But Odysseus, in his longing to see
were it but the smoke leaping up from his own land, yearns
to die.” Trans. Murray, L.C.L.
3 Cf. Theocritus, 2. 45f.: ‘*O be that mate forgotten even
62
Fic. 6.—The sleeping Ariadne deserted by Theseus.
[To face p. 63.
BOOK: T.¥5
Nor yet is it enough to praise the painter for
things for which someone else too might be praised ;
for it is easy for anyone to paint Ariadne as beautiful
and Theseus as beautiful; and there are countless
characteristics of Dionysus for those who wish to
represent him in painting or sculpture, by depicting
which even approximately the artist has captured
the god. For instance, the ivy clusters forming a
crown are the clear mark of Dionysus, even if the
workmanship is poor; and a horn just springing
from the temples reveals Dionysus, and a leopard,
though but just visible, is a symbol of the god; but
this Dionysus the painter has characterized by love
alone. Flowered garments and thyrsiand fawn-skins
have been cast aside as out of place for the moment,
and the Bacchantes are not clashing their cymbals
now, nor are the Satyrs playing the flute, nay, even
Pan checks his wild dance that he may not disturb
the maiden’s sleep. Having arrayed himself in fine
purple and wreathed his head with roses, Dionysus
comes to the side of Ariadne, “ drunk with love” as
the Teian poet+ says of those who are overmastered
by love. As for Theseus, he is indeed in love, but
with the smoke rising from Athens,” and he no longer
knows Ariadne, and never knew her,? and I am sure
that he has even forgotten the labyrinth and could
not tell on what possible errand he sailed to Crete, so
singly is his gaze fixed on what lies ahead of his prow.
And look at Ariadne, or rather at her sleep +; for her
bosom is bare to the waist, and her neck is bent
back and her delicate throat, and all her right side
as old Theseus once forgot the fair-tressed damsel in Dia.”
Trans. Edmonds, L.C.L.
“ Cf. The Sleeping Ariadne, Fig. 6.
63
20
25
30
318 K.
PHILOSTRATUS: IMAGINES
papvyE, wacyarn o€ 1) deEva havepa aaa, 7 dé
ETEPA NElp ETiKELTAL TH XNalvy, wr aloyUVN TL O
aveuos. olov, @ Atovuce, Kai ws dv TO aoOua.
et d€ prov 7) Botpiwv arrofer, diryoas épers.
i ITASI@AH
(1) “H Ilacipan tod tavpou épd Kai ixerever
tov Aaidarov codicacbai tiva TeLOw Tod Onpiov,
e XD / Q / , ’ A
o 6€ epyaletat Bovy koihnv TapaTAnalav ayeraa
p, A 7 / lal
Bot tov tavpou €Oaci. Kal HTLs ev n EvvH chav
b] / lal \ a rf | > /
éyeveto, dndot To TOD Muvwtavpov eidos atoTws
auvtebev TH pvoe yéypaTtar O€ OVX 1) EVV) vor,
ard’ épyactyplov pev ‘rodto tetointas tov Aau-
ddXovu, TepiéaTnKe S€ avT@ ayddpaTa Ta pev ev
poppais, ta d€ év TH St0pAovabar, BeBnxota Hdn
\ > b] , nr , lal A e
Kal év émrayyedia tov Badiferv. tTovto dé apa 7
\ 5) fal
mpo Aaiddrov ayadpatorola ovTw és vodv
€BéBAnTo. avtos &€ o Aaidados artixifer pév
\ Semel ew, / \ oo» /
Kal TO €l00s UTépaophov TL Kal Evvovy BréTraD,
A \
attixiter 6€ Kal avTO TO oXAMa’ Hatov yap
lal /
Tpi8wva TOUTOY auTéyEeTal Tpocyeypapmevns
a , > \
aUT® Kal avuTroonaias, 7) wadtoTa 67 of ATTLKOL
Koopovvtat. (2) KaOntar 5é éd appovia THs
Boos Kal tovs "Epwras Evvepyovs movettar Tov
unyavnuatos, ws “Adpoditns Te avT@ émvdetv.
1 Cf. Robert, Der Pasiphaé-Sarkophag, XIV Hall. Winckel-
mannsprogr., where Cupids are present but not assisting in
the work. Mau, Rim. Mitth. XI (1896), p. 50, published a
64
BOOK. Iz 36
is visible, but the left hand rests on her mantle
that a gust of wind may not expose her. How fair
a sight, Dionysus, and how sweet her breath!
Whether its fragrance is of apples or of grapes, you
can tell after you have kissed her !
16. PASIPHAE
Pasiphaé isin love with the bull and begs Daedalus
to devise some lure for the creature; and he is
fashioning a hollow cow like a cow of the herd to
which the bull is accustomed.4 What their union
brought forth is shown by the form of the Minotaur,
strangely composite in its nature. Their union is
not depicted here, but this is the workshop of
Daedalus; and about it are statues, some with forms
blocked out, others in a quite complete state in that
they are already stepping forward and give promise of
walking about.° Before the time of Daedalus, you
know, the art of making statues had not yet conceived
such a thing. Daedalus himself is of the Attic type
in that his face suggests great wisdom and that the
look of the eye is so intelligent; and his very dress
also follows the Attic style; for he wears this dull
coarse mantle and also he is painted without sandals,
in amanner peculiarly affected by the Athenians. He
sits before the framework of the cow and he uses
the Cupids as his assistants in the device so as to
connect with it something of Aphrodite. Of the
Pompeian wall-painting which depicts Pasiphaé, Daedalus
with a young assistant, and the wooden cow, Fig. 7, p. 67.
° Greek legend emphasized the skill of Daedalus as a
sculptor by saying that he made statues which could walk
about and even could speak. Cf. Eur. Hecewba, 838.
65
10
20
30
35
PHILOSTRATUS: IMAGINES
évapyeis wev TOV Ep@twv kal ol TO TpUTTaVoV, @
Tal, otTpépovtes Kaivyn Al’ of T@oKEeTAapYm NEat-
VOVTES TQ payrr@ nKpLSwueva THIS Boos KaL OL
oT Ad wo pev ot THY Evppetpiay, ep AS y Snptovpyia
Baiver. ot d€ én Tob T plovos evvotay TE brrepBe-
ArnKace Tacav Kal codpiay, oman XEtpos Te Kal
KPoOmar@v. (3 ) Sores yap" mpiwv éuBéSrynrar
T@ Evho Kal SunKeL auto 716, dudyouct dé
avtov ovTot ot "Epwrtes 0 peév €x THS ys, 0 8 amo
pnxaris opOovpévw TE Kal 7 povevovTe. TouTl
S evanhaf nyopea: o jev yap vevevKev as
aVaT TNT OMEVOS, 0 6€ avearTnKev WS vEevowy, Kal
O pep amo THS YAS emt TO oTEpvov ava-
Téutres TO AcOpa, o 8 ato TOU mEeTEWpou KaTa}
THY yaoTépa TiptaTaL KaTw auUVEpEiowY TH
VEL PE.
(4) ‘H Ilacidan dé e&w TEepLTa Bovkora mepla-
Opet Tov Tavpon, olomevn mpoadkea Pat auTov TO
e(Oet Kal TH TOK Oeiov Te aT oNapTrOvTD Kal
uTEp Taogav iow Sree Te aurjxavov—Kat yap
YvooKel, oTrot@y epa—kal meptBadretv TO Onpiov
@ puner, o O€ THS pev ovdev Evvinat, Bree dé
THY eavTod Body. yeypam Tat d€ 0 bev Tabpos
aYEPWXOS * TE KAL NYEM@V THS ayedns. eVKEPWS Te Kal
hevKos Kal BeBnkas On Kat Bads thy papuyya
KaL Tl@Y TOV avxeva Kal Xapov Prerwv € €S THY
Bodv, 7 Sé ayeXaia Te Kal aveTos Kal NEUK?) TATA
1 xata Benndorf: kal.
1 Zit. all skill of hand and colours.”
66
BOOK I. 16
Cupids, my boy, those are visible who turn the drill,
and those by Zeus that smooth with the adze portions
of the cow which are not yet accurately finished, and
those that measure off the symmetrical proportions
on which craftsmanship de-
pends. But the Cupids that
work with the saw surpass
all conception and all skill in
drawing! and colour. For
look! The saw has attacked
the wood and is already pass-
ing through it, and these
Cupids keep it going, one on
the ground, another on the
staging, both straightening
up and bending forward
in turn. Let us consider this movement to be
alternate; one has bent low as if about to rise up,
his companion has risen erect as if about to bend
over; the one on the ground draws his breath into
his chest, and the one who is aloft fills his lungs down
to his belly as he presses both hands down on the saw.
Pasiphaé outside the workshop in the cattle-
fold gazes on the bull, thinking to draw him to
her by her beauty and by her robe, which is
divinely resplendent and more beautiful than any
rainbow. She has a helpless look—for she knows
what the creature is that she loves-—and she is eager
to embrace it, but it takes no notice of her and
gazes at its own cow. The bull is depicted with
proud mien, the leader of the herd, with splendid
horns, white, already experienced in love, its dewlap
low and its neck massive, and it gazes fondly at the
cow; but the cow in the herd, ranging free and
67
iG 7:
F 2
PHILOSTRATUS: IMAGINES
319 K. emt peraivy ™) cepant, ara tvot d€ Tov Tavpov’"
TKLPTH La yap vropatvet Kopns On Tivos UTodevu-
yovons €pactov USpuv.
cf INIIOAAMEIA
) Bi bev exTArNELS er’ Oivopdw To “ApKase,
5 ol O€ eT auT@ Bodvres—drovers yap TOoU—%
Te ‘ApKadia €oTl Kal OTTOTOV &K THS. [eAozov-
VnTOv. TET TOKE be our TpiBev TO appa TEX
Muptinrou, TO O€ imtwv ouyKerTal TETTAPOV"
TouTh yap és pev Ta TONE LLK A ovr eGapceiro, ol
10 6€ dya@ves éyivwoKov TE avo Kal eriwov" Kal Ob
15
Av6ot 6é piurmoraror OVTES em pev Ileorros
TéO put Tot TE no av Kal 76n apparirat, peta
TavTa 6€ TETPAppULOU Te HWavto Kal A€yovTat
7 p@Tot TOUS OKTW axel.
(2) ' ‘Opa, Tal, TOUS pev TOU Oivopdou, OS dewol
Té elot Kal adodpol opuncar AUTTNS TE Kal
appovd seotoi—touti oé rept tovs ‘ApKxadas
eUpols pddLoTa—Kal ws pédaves, érretd2) eT
CTOTOLS Kal OUK evprj uous eCevyvurTo, TOUS dé Tov
20 IléXotros, ws AevKcot Té elo Kal TN nula 7 poogo-
pou IlecBods TE evapo Kal xpeneritorres i]mepov
Te Kal evEvvEeToOV THS vikns, TOV TE Ovopaor, @S
ica kai Avoundns 6 Opa— BapBapos te KetTat
1 The story is that Oenomaiis promised his daughter
Hippodameia to the suitor who should beat him in a chariot
race, but with the understanding that he should slay the
unsuccessful suitors. Thirteen suitors had thus met their
death, when Myrtilus, the charioteer of Oenomatis, gave the
race to Pelops by removing the pin that held a wheel in his
master’s chariot. The chariot race of Pelops and Oenomaiis
68
"so, yn ‘sdojag pun snnmourag fo vapy—"g “DIT
[To face p. 69.
BOOK I. 17
all white but for a black head, disdains the bull.
For its pose suggests a leap, as of a girl who avoids
the importunity of a lover.
17. HIPPODAMEIA
Here is consternation over Oenomaiis the Ar-
cadian ;1 these are men who shout a warning for
him—for perhaps you can hear them—and_ the
scene is Arcadia and a portion of the Peloponnesus.
The chariot lies shattered through a trick of Myrtilus.
It is a four-horse chariot ; for though men were not
yet bold enough to use the quadriga in war, yet in
the games it was known and prized, and the Lydians
also, a people most devoted to horses, drove four
abreast in the time of Pelops and already used
chariots, and at a later time devised the chariot with
four poles and, it is said, were the first to drive
eight horses abreast.?
Look, my boy, at the horses of Oenomaiis, how
fierce they are and keen to run, full of rage and
covered with foam—you will find such horses
especially among the Arcadians—and how black
they are, harnessed as they were for a monstrous and
accursed deed. But look at the horses of Pelops,
how white they are, obedient to the rein, comrades
as they are of Persuasion, neighing gently and as if
aware of the coming victory. And look at Oenomaiis,
how like he is to the Thracian Diomedes as he lies
is not infrequently depicted on vase-paintings, cf. Arch. Zeit.
1853, Pl)..55 ; Mon. Inst. II. 32.
2 Cf. Xen. Cyrop. 6. 4.2: tetpdppuuov Gpua Kal tmmwy oKTe,
‘“And Abradatas’s chariot with its four poles and eight
horses.”’
69
PHILOSTRATUS : IMAGINES
\ \ \ ° ~
Kai @mos TO €ldos. oluar dé ovdé TO TléXoOTE
a ’ / id lal , \ / w~
25 amiatioes, ws Llocedav tote avTov nyacOn THS
oe ’ lal an nw
@pas olvoyoovvta év LuTvAw Tots Oeois Kal
,’ \ J /
ayaobels avéOnxev és TouTL TO Apya perpaKLov ye
a9) v \ de ec ” n an ‘ ,
70n OvTa. TO O€ Apua ica TH YH THY OadraTTAV
, \ b] , ’ nw nw
Stactelyel, Kal ovdé pavis at avThs 7HS4 els TOV
, / a A r nw
30 aEova, BeBaia Sé, 77 yh éorxvia, UTrOKELTAaL TOIS
/ \ > / c s
immois. (3) Tov pev ody dpopov o IléXo te Kat
e ¢ / lal > , v ra
» ‘Inoddpera vixdow eéepeotynKoTe audw TO
> e b] ral
320 K. dppate Kaxet ouluyévte, adkdAnrov S€ ovTwS
cf id 5] € A la / 3
ATTnaOov, ws év opun Tov weptBarrew eivat.
<i /
éotadtat 6€ 0 pev tov Avdsov te Kal aBpov
e 7 \ fal
TpOTOV HALKLAY TE KAL WpaV aywV, iv Kal pLKP@
/ Ss ev \ °/ \ aA
5 mpoabev cides, OTE TOS immous Tov Ilocedava
,’ / aL: e ’ »” \ \ / wv
éEnte.,) 1) 8 EstaATal TOV YyYapLKOV TpoOTrOV apTL
/ t , \
Tv Tapeavy avaxaXUTTovaa, 6TE &€s aVvodpos
A ’ . Y lal /
Heew veviknke. mda kat Ardevos ex THs divns
/ Ned / / A /
KoTiVvou TiWa e€alpwy atéepavov Tw LléXomTt Tpoc-
10 eXavvovTe TH OXON.
\ \ ’ nr c , , e
(4) Ta d€ €v T@ imTodpop@ onmata ot mYN-
A a / é , c ,
oTHpes exel EOaTTOVTO, OVS ATTOKTELYWY O Oivopuaos
, / \ rat \ / » \
aveBarXreTO Tov THS OvyaTpos yamov ETL TPLO-
/ \ ~ rn / ,
KaldeKa On veo. AAAA 7 YH VOY avon Huet
15 Tepl TOlS oNMATLY, WS METEKOLEY TL KAKELVOL TOD
lal nw , \ n cal ’ / ,
atehavodabar Soxeiv emt TH TOD Oivopaov dixn.
1 etre: Reiske and Jacobs: é(aret.
790
BOOK I. 17
there, a barbarian and savage of aspect. But as to
Pelops, on the other land, you will not, I think, be
inclined to doubt that Poseidon once on a time fell
in love with him for his beauty when he was wine-
pourer for the gods on Mount Sipylus,! and because
of his love set him, though still a youth, upon this
chariot.2. The chariot runs over the sea as easily as
on land, and not even a drop of water ever splashes
on its axle, but the sea, firm as the earth itself,
supports the horses. As for the race, Pelops and
Hippodameia are the victors, both standing on the
chariot and there joining hands; but they are so
conquered by each other that they are on the point
of embracing one another. He is dressed in the
delicate Lydian manner, and is of such youth and
beauty as you noticed a moment ago when he was
begging Poseidon for his horses ; and she is dressed
in a wedding garment and has just unveiled her cheek,
now that she has won the right to a husband’s
embrace. Even the Alpheius leaps from his eddy to
pluck a crown of wild olive for Pelops as he drives
along the bank of the river.
The mounds along the race-course mark the
graves of the suitors by whose death Oenomaiis
postponed his daughter's marriage, thirteen youths
in all. But the earth now causes flowers to spring
up on their graves, that they too may share the
semblance of being crowned on the occasion of
Oenomaiis’ punishment.
Peering, OL, 1. 61:4.
Ci Pind: O/. 1. 139'£.
8 Cf. Pind. Ol. 1. 127 £.: ewe) rpets ye nal 5€k’ &vdpa dAéoas
épavtas avaBadrAeTar yauoy Buyatpés.
ae
PHILOSTRATUS : IMAGINES
7’ BAKXAI
(1) Téyparta: pév, @ mal, Kal Ta ev TO
KiParpare, Baxyov yopol Kal wrrowvoe TET PAU
Kal vEKTAp eK Botpvar Kal OS yoraxre TH
20 Bo@rov n Yn AuTraived. Kat loov KLTTOS éprret
Kal opets opOot Kal Gvpaov* dévdpa oipac pene
ar atovra. KAL TOE Tou eXaTn Xapat yUvalK@v
Epyov ex Avovucou péya, TéTTKE O€ TOV LlervOéa
aTooElcaméevn Tals Bakyars € €v eldeL A€ovTos. al
25 dé KaTagaivovar” TO Onpapa panTnp exetv Kal
aderpal PNT POS at fev arroppyyvicat TAS xelpas,
y 6€ €mlam@aa TOV VIO THs xairns. elmrous
av Kal ws adarabovow, ottws eviov avtais TO
dob ua. Atévuaos 6é aUTOS jeev ev TEPLOT} TOU-
30 TwV EO TNKED EUTANTAS TI Ta pevay yorou, TOV
oe oiatpov TpoaBakxevous Tats yuvackiv. ouTe
Opact yoov Ta Opa peva Kal OTOGA (KETEVEL O
IlevOevs Néovtos axoverv faci Bpvxwpévov.
321K. (2) Tavzi pev Ta €V TO opel, Ta O€ éyyus Tatra
O7 Pac 76 Kal Kadpou oreyn Kal Opiivos eT l TH
adypa Kal TvvapwLoTTOUaLY ol T poonKovTes TOV
VeKpov, el TH TwWCELN TO TUPW. TpoTKELTAL Kal
» Keharr Tov LlevOéws ovxéte aupiBoros, aAN
oia Kal T@ Avovvaow édeElr, VewTAaTH Kal aTraXy)
THY YyévUY KaL TUPAN TAS KOMAS, AS OUTE KLTTOS
Cnr
1 @vpoouv Pierson : @vpaot.
2 katagaivovor Reiske: kal galvovor.
1 Cf. Hartwig, ‘‘ Der Tod des Pentheus,” Jahr. /nst. VII
(1892), p. 153f., Pl. V,
2 Cf. Eur. Bacch. 142f., 707 {., cf. supra, p. GO.
8 Cf. ibid. 1109, 1141 for the felling of the fir, and Pentheus
imagined to be a lion,
72
Fic. 9.—The Death of Pentheus.
(To face p. 73.
BOOK 1.138
18. BACCHANTES 1
Here are also painted, my boy, scenes from Mount
Cithaeron—choruses of Bacchantes, and rocks flow-
ing with wine, and nectar dripping from clusters
of grapes, and the earth enriching the broken soil
with milk.2 Lo! ivy creeps over the ground,
serpents stand erect, and thyrsus trees are dripping,
I think, with honey. This fir you see lying on the
ground is a great deed of women inspired by
Dionysus ; it fell as it shook off Pentheus in the
form of a lion? into the hands of the Bacchantes.
They rend in pieces their prey—that mother of his
and his mother’s sisters, they tearing off his arms
while she is dragging her son by the hair. You
would even say they were raising the shout of
victory, so like the Bacchic cry? is their panting.
Dionysus himself stands where he can watch them,
puffing out his cheek with passion and applying the
Bacchic goad to the women. At any rate they do
not see what they are doing, and in the supplication
of Pentheus they say they hear a lion’s roaring.
That is what is taking place on the mountain ;
but here in the foreground we now see Thebes and
the palace of Cadmus and lamentation over the prey,
while the relatives try to fit the corpse together that
it may perhaps be rescued for burial. There lies the
head of Pentheus, no longer a dubious thing, but
such as to excite the pity even of Dionysus—very
youthful, with delicate chin and locks of reddish hue,
not wreathed with ivy or bryony or sprays of vine,
4 Cf. ibid. 1127 f., which describes the tearing off of
Pentheus’s arms.
° 7.e. their lips seem to form the ery ‘“‘ Evoé.”
73
322 K
10
15
20
25
30
PHILOSTRATUS : IMAGINES
npewev ovTE aulNaKosS 4) dpréou Kripa ouTe
avros Evela€e TUS out’ ola Tpos. Eppw@vVvuro pev
vm auTa@Y Kal éppwvvuev avtas, éuativeto b€ avTo
TO wn peta Atovicou paivea Bat.
(3) “Ereewa Kal Ta TOV YUvalKa@y nryopmeda.
ola pev yap €v TO KBaipave nyvoncay, ola dé
evtabla yevockovary. amohehourre dé avtas ov.
) pavia ovor, ara Kal 7 poun, Kal” ip
eBaxxevoar. Kara pev yap tov Kidatpadva
opas, ws Heo Tal Tov aOrXouv dépovtas cuvetal-
povoat Ty 1X@ Tov dpous, evtavOa dé Tapi-
oTAaVTAal Kal Eis voov TOV BeBaxxevpever 7} Kova,
iCavovoal Te KaTa THS VAs THs jev els yovata 7
Kepans) Spider, TIS dé els Gyo, » 0 “Ayavn
mepuSarrew bev Tov viov @punke, Ouyetv dé
oxvel. T POT ME MLKT AL oe avi) TO ToD TAaLoos
aipa TO mev €s Yelpas, TO O€ €s Traperdy, TO O€
és Ta yuna Tov palov.
(4) HH dé “A ppovia Kal 0 Kadpos elal HEV, ann’
ovx oloitep Joa" OpaKovtes 14p 76 eK LNnpav
yivovtat, Kal doris 760) avTous EVEL. ppovdou
TOOES, ppodoor yrouTol, Kal petaBory TOU
eldous épme: avw. ol be EXTTANTTOVTAL Kal Tepl-
Barrovew aXAndovs, olov _Euvexovres Ta Nola
TOU TWLATOS, WS ExELVA YOU aUTOVS un PUY.
i?” TTPPHNOT
(1) Nads Oewpis kal vads AnoTpLKH. THY bev
Atovucos ev0vver, Thv 8 é€uBeSynxaor Tuppnvoi
-Anotal THs wept avtovs POaratTns. pmev by
1 The ship used for conveying a sacred mission,
74
BOOK I. 19
nor are they tossed in wild disorder by flute or
Bacchie frenzy. From those locks he derived his
vigour, and he imparted vigour to them; but this
itself was his madness, that he would not join
Dionysus in madness.
Pitiful also we must consider the state of the
women. For of what things were they unaware on
Cithaeron, and of what things do they here have
knowledge! Not only has their madness left them,
but also the strength they possessed in the Bacchic
revel. On Cithaeron you see how, inspired by the
conflict, they rush headlong, rousing the echoes on
the mountain side, but here they are still and have
come to a realization of what they did in their
revels; sinking to the ground one rests her head on
her knees, another on her shoulder, while Agave
is eager to embrace her son but shrinks from touch-
ing him. Her son’s blood is smeared on her hands
and on her cheek and on her naked breast.
Harmonia and Cadmus are there, but not as
they were before; for already they have become
serpents from the thighs down and already scales are
forming on them. Their feet are gone, their hips
are gone, and the change of form is creeping
upward. In astonishment they embrace each other
as though holding on to what is left of the body,
that this at least may not escape them.
19. THE TYRRHENIAN PIRATES
A mission ship! and a pirates’ ship. Dionysus
steers the former, on board the latter are Tyr-
rhenians, pirates who ravage their own sea.?_ The one
2 i.e. the Tyrrhenian sea.
75
5
PHILOSTRATUS : IMAGINES
lepa vavds, Baxyever €v avth Atovucos Kal érup-
poPotow ai Baxyat, dpyovia bé, oT0an opytater,
KaTnxet TIS Jararrns, 7 n O€ umexet T@ Atovicw
Ta EAUT AS vara, Kabamep ” Avédov yh, 4 8e
ETEpAa VAaUS palvovTal Kal THS elpecias éexavOav-
al \ > a ’ / ” »
ovTal, ToNANOis O€ avTaV aToXwWAaGW Hon al
al ) ae e / 3 \ A / 9S lal
yvetpes. (2) Tis 4 ypady ; tov Arovucov, ® ral,
NoYace Tuppnvot doyou €s avTous ijKovTOS, @S
10 Oijrus TE ein) Kal aryupTns Kal Xpuaods THY vaby
25
UTO ToD €v auth TNOUTOU yovavd TE avT@
omaptoin Avova Kat Lat upor kat! avrXnTAal Kal
vapOnxopopos yépwv Kal oivos Mapovetos Kal
GUT OS O Mapov. kat lavas avt@ Evptrdetv
aKkovovTes é€v elder TPaywv avTol pev akecOat
éuweNXov 2 Tas Bakyas, aiyas 6€ avncew éxeivats,
as 7 Tuppyvay | yn BooKxe. (3) Hi ev ovv
Ano pee?) vais TOV [aX LjLov mel TpoTroV: ema
Tigl TE yap KATETKEVAT TAL Kal euBoro Kal
a.dnpat avTn yelpes Kal alixpal Kal Spérava
emit Sopatwv. ws & 3 ékmrnTTOL TOUs éevTUyXa-
vovtas Kal Onpiov TL avtots éxpaivotto, yNavKois
pev yéeypamTat Xpepac, Broo vpois dé KaTa
™p@pav opParpois otov Bré7ret, AemTH Oe 1
T pupeva Kal pvoe.ons Kadarrep Ta TENEVTOVTA
tov txOvwv. (4) “H &€ tod Atovicov vais ta
kat Benndorf deletes, cf. 322, 26 ff. kK.
a&teaOar €ueAAov Hercher: efeo@at.
5’ added by Reiske and Kayser.
eo mo
1 Narthex: a plant with hollow stalk which furnished the
Bacchic wands.
2 Cf. Od. 9. 147f. Maron was a priest of Apollo, who
gave Odysseus wine in gratitude for protection. Later,
76
BOOK I. 19
is a sacred ship; in it Dionysus revels and the
Bacchantes cry out in response to him, and orgiastic
music resounds over the sea, which yields its broad
surface to Dionysus as readily as does the land of the
Lydians ; on the other ship they go mad and forget
to row and already the hands of many of them
are gone. What does the painting mean? Tyr-
rhenian sailors, my boy, are lying in wait for
Dionysus, as word has come to them that he is
effeminate and a vagabond and a mine of gold so
far as his ship is concerned, because of the wealth it
carries, and that he is accompanied only by Lydian
women and Satyrs and fluteplayers, and an aged
narthex-bearer,! and Maronian wine, and by Maron?
himself. Hearing that Pans sail with him in the
form of goats, they planned to carry off the Bac-
chantes for themselves and to turn over to the
Pans she-goats,? such as are raised in the land of
the Tyrrhenians. Now the pirate ship sails with
warlike mien; for it is equipped with prow-beams
and beak, and on board are grappling-irons and
spears and poles armed with scythes. And, in order
that it may strike terror into those they meet and
may look to them like some sort of monster, it is
painted with bright colours, and it seems to see with
grim eyes set into its prow,’ and the stern curves up
in a thin crescent like the end of a fish’s tail. As
for the ship of Dionysus, it has a weird appearance ®
because of the fame of his wine, he was thought of as an
attendant of Dionysus.
3 7e. in place of Bacchantes.
4 It was customary to paint eyes on the prow of Greek
ships, apparently with the idea that thus the ship might see
its way.
5 See critical note.
77
30
35
323 K.
10
15
PHILOSTRATUS : IMAGINES
ev adra TeT PG Hou creteaorat,” porsdoT?)
d€ opatat To és mptuvav? KvpBdrwv advTH
TmapadraE évnppocpévav, iv’, ef kal Latvpot
TOTE UTO olvou cadevoorer, 0 Atovucos pn)
awopntt THEOL, Thy O€ Tp @pav és xpuohy
mapdarw elKaa Tat Te kat é€Enctar. giria é
T@® Atovicw Tos TO Cov, é7rELd7) Gepporaroy
TOY Comv earl Kal moa Kovda Kal ica evade.
opas youv Kal auto TO Onpiov—oummreovoas TO
Avovicw Kai tndmcas étl Tos Tuppnvods pnw
KeNevovTos. Ovpaos b€ cuToal éx péons vEews
EXTEPUKE TA TOU laoTOU TpaccwY, Kal ioTia
weOnrTat adoupyh petavyafovta év TO KOATO,
xpucat dé evupavrar Bakyar év Tyoro Kati
Atoviaov Ta év Avodia. Kcarnpeph dé TH vaby
apTredep Kal KLTT@ paiverbar Kal Borpus sie
avTns aiwpetcbar Oatma pév, Oavpaciwtépa
) THY TOV olvov, Ws KOLAN aUTOV 7 Vas Kbb-
doTar Kal avTretT ar.
(5) “AAN eri rovs Tuppyvods t i@mev, &ws eloiv'
0 yap Atovucos avtovs ex mnjvas évTpéyouat Tols
Tuppnvois idéar deddhivav ovTw eOddav oveeé
eyXwplov TH Oardoon. Kal 7@ pev Ta Tevpa
Kudvea, TO O duc Onpa Ta oTEpVa, TO oy
expvetat Aodia Tapa TH eTappév@, o Oé
exdlowot TA ovpaia, Kal TO pev KEparn
1 The text is corrupt in the MSS., werpawoid: efeaora.
Various conjectures have been proposed. tépati (Capps)
vy ae (Jacobs) elkaoTau.
ae RO Jacobs: mpdpav.
1 Cymbals where, in a ship of war, shields would be
hung.
78
BOOK I. 19
in other respects, and it looks as if it were covered
with scales at the stern, for cymbals! are attached
to it in rows, so that, even if the Satyrs are overcome
by wine and fall asleep, Dionysus may not be with-
out noise on his voyage; and its prow is drawn out
in the semblance of a golden leopardess. Dionysus
is devoted to this animal because it is the most excit-
able of animals and leaps lightly like a Bacchante,
At any rate you see the very creature before you ;? it
sails with Dionysus and leaps against the Tyrrhenians
without waiting for his bidding. And the thyrsus
here has grown in the midst of the ship? and serves
as a mast, and sails dyed purple are attached to it,
gleaming as they belly out in the wind, and woven
in them are golden Bacchantes on Mount Tmolus
and Dionysiac scenes from Lydia. That the ship
seems to be embowered with vine and ivy and that
clusters of grapes swing above it 4 is indeed a marvel,
but more marvellous is the fountain of wine,® for the
hollow ship pours forth the wine and lets it drain away.
But let us turn to the Tyrrhenians while they
still remain; for under the maddening power of
Dionysus the forms of dolphins ® are creeping over the
Tyrrhenians—not at all the dolphins we know, how-
ever, nor yet those native to the sea. One of the
men has dark sides, one a slippery breast, on the
back of one a fin is growing, one is growing a tail,
the head of one is gone but that of another is left,
2 7.e. the figure-head which forms the prow.
3 Cf. the ship of Dionysus on a black-figured kylix, Wien.
Vorlegeblatter, 1888, Pl. VII. 1a.
4 Cf. Hom. Humans 7. 38 ff. for a description of the vine.
5 Cf. ibid. 7. 35f. for the fountain of wine.
6 Cf. ibid. 7. 51 f. for the transformation of the sailors
into dolphins,
79
PHILOSTRATUS : IMAGINES
ppovdn, TO O€ Aout n, TO 0 xeElp Uypa, 0 8
UTEp TOV ‘Toéay amLovT@D Bod.
(6) *O 6€ Atovuacos éx T™ p@pas YErg TavuTa Kal
20 KeNevEL Tols Tuppnvois TA bev eid ixOvow €&
25
avOpwrror, Ta 6é€ 0n Xpynarois &K pavhor.
OynoETAaL yoov pLxpov VaoTtepov IlaXaipov eri
be lad Oe > \ e > ’ ev , ’
eAivos ovde EypNyopws ovTOS, GAN UTTLOS ET
> rn , \ , / \ e b \ /
avTov Kalevdwr, cai ‘Apiwy d€ o émt Tatvdpo
Snroe Tovs Serdivas EtTaipous Te eivar avOpwrois
kal @ons dirouvs Kal olovs mapata~acbat Tpos
AnoTas UTép avOpweTwV Kal povatKhs.
kc LZATTPOI
(1) KeAawai péev To ywpior, 6c0v ai tnyat
Kal TO avtpov, éxtrodwy 6€ 0 Mapavas 1) Trot-
9 / * \ \ 4 \ ] 7 \ i)
30 MalYwV 7) ETA THY EPlY. fH ETTALVEL TO VOW"
324 K.
or
\ > U \ \ /
Kal yap el TOT{MOV Kat yadnvov yeyparTat,
/
TOTLLO@T EPO evTevéy TO ‘Ohvurre. Kkabevoe
6€ peta THD avrnow éPpos év aBpots avOect
TVYKEPAVVUS TOV (dpaTa TH TOD ewa@vos? Spoc,
c , an \ / A
kal o Zédupcs éxxadet avtov Tpoomvewmv TH
/ e \ a rn / \
Kon, 0 O€ avTiTVEl TO avéuw? EXxwVY TO aTrO
rn / ° / > a
Tov otépvov acOua, Kadapol TE AVAODYTES ON
/ al ’ / , e
TapaxewtTat TO OdvuT@ Kal oLdypta ETL, ols
a e / i ml lal \ ’ o
émitpuT@vtat’ of avrot. (2) "Epa@vtes b€ avtod
1 kabevder Kayser: kal «dat.
2 Aesu@vos Olearius: xcemavos.
3 aytimvel TS avéuw Jacobs: avamvel Tod aveuov.
4 éritpuTwvrat Salmasius: émi@pvrrovrat.
1 Tt isimplied that henceforth the transformed pirates will
have the traits which later Greek legends attribute to
dolphins.
80
BOOK c13220
the hand of one is melting away, while another
laments over his vanishing feet.
Dionysus on the prow of his ship laughs at the
scene and shouts orders to the Tyrrhenians as fishes in
shape instead of men, and as good in character instead
of bad.t_ Soon, at any rate, Palaemon will ride on a
dolphin’s back, not awake, but lying prone upon it
sound asleep; and the Arion at Taenarum? makes it
clear that dolphins are the companions of men, and
fond of song, and worthy to take the field against
pirates in defence of men and the art of music.
20. SATYRS
The place is Celaenae, if one may judge by the
springs and the cave; but Marsyas has gone away
either to watch his sheep or because the contest is
over. Do not praise the water; for, though it
looks sweet and placid, you will find Olympus?
sweeter. He sleeps after having played his flute, a
tender youth lying on tender flowers, whilst the
moisture on his forehead mingles with the dew of
the meadow; and Zephyrus summons him by
breathing on his hair, and he breathes in response
to the wind, drawing the air from his lungs. Reeds
already yielding music lie beside Olympus, and also
the iron tools with which the holes are bored
in the pipes. A band of Satyrs gaze lovingly
* ze. the bronze statue of Arion seated on a dolphin,
which Herodotus (1. 24) describes.
3 i.e. the figure of Olympus which he is about to describe,
Olympus was a pupil of Marsyas and beloved by him ; cf. the
red-figured vase painting, Roscher, Lexikon. d. gr. u. rim.
Myth, II. 861.
SI
PHILOSTRATUS: IMAGINES
Latvpwv Tes aren Katabedvrar TO [LELPAKLOV
€pvO poi Kal TETNPOTES, 0 bev TOU “oTEpVOU Ouyety
Sedpevos, 0 d€ euddvar TH Oepy, 0 O 6€ oTdoal TL
eT LOULOV pina, avOn Te €TLTaTTOVOL Kal
10 7 poo Kuvova Ww WS adyahpa, 0 \copar ato: dé aut av
ETL Geppod Jarépov avnod ! TV Yor trav ava-
oTaoas éa bier Kal tov “Odvptrov otTw poreiv
oleTal, pynot O€ Kal atoyevcacbat Tod TvEvpaTos.
ka OATMIIOS®
(1) Tive avneis, “Odup re 3 Ti O€ Epyov pov-
15 otKijs év epnuia ; ov TOL LIV ool TU peTTLY, ovK
aimtodos ovee Nvpacs avnrets, al KarOS ay
UT@pPXTAaVTO T@ avr, Haber b€ ovK oida 6
TL Xatpers TO él TH TET Po vdatu Kal PreEreus
ér auto. Ti peTeX ov avtov ; Kal yap oute
20 cehaputer Gol Kal mpos Tov avnrov omacerar®
OUTE OrapeT pot pev ToL TY Hmepar, ot ye Bov-
oie?” av Kal és vUKTAS GQTOTELVAL TO avraua.
el O€ TO KAXXOS avakpivers, TOD UdaTos apére*
wets yap iKave@repol réEar Ta év col imavra.
25 (2) To pev Oppea oot Xa por ov, TOAAA O€ aUTOD
Tpos Tov avArov Ta KévTpAa, Ohprs b€ avTO@ Te pl-
BéBX\nta dtacnpaivovca tov vody TOV avXrN-
patwv, 1) Tapera 6€ wadrecOar SoKet Kai oiov
UTopxetaar TH péder, TO TrEDMa bE OvdEV
30 €malper TOU Tpoawtou UTO TOU Ev TH AVAO
1 Schenk] omits rod before avAov,
2 § UY > ‘ = c ‘
imnagerat Rohde and Gomperz: tro€orat.
82
BOOK VE 1
upon the youth, ruddy grinning creatures, one
desiring to touch his breast, another to embrace his
neck, another eager to pluck a kiss; they scatter
flowers over him and worship him as if he were a
divine image; and the cleverest of them draws out
the tongue of the second pipe which is still warm
and eats it, thinking he is thus kissing Olympus,
and he says he tasted the boy’s breath.
21. OLYMPUS
For whom are you playing the flute, Olympus?
And what need is there of music in a desert place?
No shepherd is here with you, nor goatherd, nor
yet are you playing for Nymphs, who would dance
beautifully to your flute; and I do not understand
just why you take delight in the pool of water by
the rock and gaze into it. What interest have
you init? It does not murmur for you like a brook
and sing an accompaniment to your flute, nor do we
need its water to measure off the day? for you,
we who would fain prolong your music even into
the night. If it is beauty you are investigating,
pay no heed to the water; for we are more com-
petent than it to tell all your charms. Your eye is
bright, and many a provoking glance comes from it
to the flute; your brow overarching the eye in-
dicates the meaning of the tune you play; your
cheek seems to quiver and as it were to dance to
the melody; your breath does not puff out your
! Cf. Narcissus gazing at his reflection in a pool, Descrip-
tion 23 infra, p. 89.
2 An allusion to the water-clock used in the courts to time
the speeches.
83
Ge
10
PHILOSTRATUS: IMAGINES
ela, Kou TE ovK apyi) ovTE KelTae kabamep
ev LoTiK perparto AUTOTA, aXnr’ eynryeptau pev
v0 TOU avy non, TApeXeTal dé aux enpov ovdev
év ofeta Kab YAwpPa TH TWITVE. Kaos 4p 0
otépavos Kal dewos émumpéyat Tots ev Opa, Ta
&€ avn mapOevors dvadvéo bo Kal yuvatous Epev-
Gos é EauTots épyatécbu. pnpe ToL Kal Ta orépva
ov TVEVLATOS eu hea eivat povov, ada Kal
EVVOLAS [LOUTLKNS Kal OraaKeyrens T@VY auUAn-
MATOV. (3) Mexpe ToUT@V oe TO VOwp ypages
KATAKUTTOVTE eS avTo amo THIS TET PAS. él 6é
EaTNKOTA eypadev, ovk av evox ova Ta UTO
TO TTEPVO ederEev" émrim ONALOL yap at pLpnjo ees
TOV voaTov amo Tov ovvitavelv ev avtois Ta
pen. TO be Kab Kruger Pat oot THY oKLaY EoTo
pev Kal mapa TOU AVAOU THY TNYHV KATATVEOVTOS,
ET be Kal Tapa TOU Lepupou TAaUTA TavTa, be
Ov KaL OV €v TO av\eElv Kal O aVAOS eV TO TVELY
Kal 7) THY) év TO KaTavr€cio Oat.
KB’ MIAAS
(1) Kadevoer 0 Larupos, Kal Uperpery) TH
povn mept auTov Léryw wey, (2) eLeyelpnrar Kai
20 dradvoy Ta Opwmmeva. Midas auTov olv@ TON
paxev év Ppvyia mepl avta, ws opas, Ta spn,
1 Olympus is standing far enough back from the pool, so
that he sees only the reflection of his head and breast ; these
are bent forward so as to be nearly parallel to the surface of
the water, and therefore the reflection is not unduly fore-
84
BOOK I. 22
cheeks because it is all in the flute; your hair is
not unkempt, nor does it lie smooth, made sleek
with unguents as in a city youth, but it is so dry
that it is fluffy, yet without giving the impression
of squalid dryness by reason of the bright fresh
sprays of pine upon it. Beautiful is such a crown
and well adapted to adorn beautiful youths; but let
flowers grow for maidens and let them produce
their rosy colour for women. Your breast, I should
say, is filled not merely with breath for the flute, but
also with thoughts of music and meditation on the
tunes you will play. As far as the breast the
_ water pictures you, as you bend down over it from
the rock ; but if it pictured you full length, it would
not have shown you as comely from the breast
down; for reflections in the water are but on the
surface, imperfect because stature is foreshortened
in them.t ‘The fact that your reflection is broken by
ripples may be due to your flute breathing upon the
water of the fountain, or all that we see may be due
to Zephyrus, who inspires you in playing the flute,
the flute in breathing its strain, and the spring in
being moved by the flute-playing.
22. MIDAS
The Satyr is asleep; let us speak of him with
bated breath, lest he wake and spoil the scene
before us, Midas has captured him with wine in
Phrygia? on the very mountain-side, as you see, by
shortened ; whereas, if he had been standing near enough to
the water to see the rest of his body, the reflection of it
would have been very much foreshortened.
2 The story is told by Xen. Anab. 1. 2. 13, and Philo-
stratus, Vita A poll. 6. 27.
85
PHILOSTRATUS : IMAGINES
\ / ’ / b] e lal /
TI)V KPHVHV OLvVOYOnTAS, €v 7 KEtTaL TapaBAVEwY
TOU Olvou ev TO UTVO.
“ / ¢ \ ’ ° ’
Latupwyv b€ dU pev TO ahodpov, OTE ap-
a e \ \ \ / fed lal
25 youvtal, nov o€ TO Bwporoyxorv, bTE pELdLOcL.
\ a td a a \
Kal €p@olv ol yevVvatot Kal UTOTrOLODYTaL TAS
\ al
Avédas aixdddovtes altas Téxvyn. KaKelvo
>] a ” \ ‘ / \
aUT@VY ETL’ TKANPOL ypahorvTal Kai AKpaToL TO
a \ \ - A 4
Aiwa Kal TEPLTTOL TA WTA Kal KOtNOL TO LaytoD,
/ \ lal if
30 ayépwyxot TavTa Kal TO él Ta Ovpaia imToL.
¢ \ lal ted lal
(2) To d€ @npaya tod Midou tovTo yéypatrtas
\ ¢ a \ an \
bev Goa éxetvor, KabevoEL 6€ U7TO TOU oivoU TO
a. v ¢ /
acOua éEdkov ws ex méOns. Kal 7) wey KpPHVN
= / a an 3 / s t °
326 K. 1étroTal avT@ pdov 7) ETépw KUNE, ai dé Nuudat
/ / n
yopevovot twOalovcat Tov Latupov etl Te
/ ce e j e /
kabevoerv. ws aBpos o Midas, ws O€ pabupos.
/ an / /
pulTpas emiperettar kat Bootpvxov Kal Oupaov
\
5 péper Kal otoAnv éyxXpucov. do Kai wta
lal > lal
peyara, vp’ wv noets of OpOarpmot SoxodyTes
¢ \ / \ / \ 3 \
UTvnrot hatvovtat Kal pePéXKoVaL THY doVnY
els TO vwOpOr, aiviTTOMEVNS aTOVOH THS ypadys
a a > / lal
expeunvicbar tTavt on Kal dtadedoc0ar Tots
10 avOpwros é€v KaAXaUoO, pn KaTaTXoVoNS THS
yns @ KOVGED.
1 The older type of representing Satyrs is here described :
Benndorf.
2 Ona black-figured kylix by Ergotimus ( Viener Vorlege-
bldtter, 1881, Pl. IV. 2) the captured Seilenus is being led
to Midas by attendants carrying a rope and a wine skin ; ef.
also the red-figured amphora, Fig. 10, p. 87.
3 The ears of an ass, which Apollo gave Midas because
he presumed to think his own music superior to that of
Apollo.
4 The story runs that Midas concealed the ass’s ears from
everyone but his hairdresser, who was sworn to secrecy ;
but the latter whispered the secret to a hole in the earth,
86
BOOK I. 22
filling with wine the spring beside which he lies
disgorging the wine in his sleep.
Charming is the vehemence of satyrs when they
dance, and charming their ribaldry when they
laugh ; they are
given to love,
noble creatures
that they are,
and they sub-
due the Lydian
women to their
will by their
artful flatteries. And this too is true of them: they
are represented in paintings as hardy, hot-blooded
beings, with prominent ears, lean about the loins,
altogether mischievous, and having the tails of
horses.
The Satyr caught by Midas? is here depicted
as satyrs in general are, but he is asleep as a result
of the wine, breathing heavily like a drunken man.
He has drunk up the whole spring more easily than
another would have taken a cupful, and the
Nymphs dance, mocking the Satyr for having
fallen asleep. How dainty is Midas and how he
takes his ease! He is careful of his head-dress and
his curling locks, and he carries a thyrsus and wears
a robe woven with gold. See the long ears,? which
give his seemingly attractive eyes a sleepy look and
turn their charm into dullness; for the painting
purposely hints that this story has already been
divulged and published abroad among men by the
pen, since the earth could not keep secret what it
heard.*
and bushes that grew there when shaken by the wind told
the story to the world.
87
PHILOSTRATUS : IMAGINES
«xy NAPKI> 02
(1) ‘H pév any ypaper tov Napxiccor, 7
dé ypadr Thy wHhynv Kal ta tod Napkiocou
TavTa. pelpakiovy apts Onpas amndAXNaypévov
s A Sr 7 ef \ ) ¢ ae” 1
ls mnyn epeotnxev EXkov TWa €& avTOD tmeEpov
~
Kal EDOV THS EavTOD Wpas, aoTpdTTEL Oé, wS
e a ’ \ 6 (2) Tc \ s ”
opds, és TO Vodwp. O Mev OvY aVTpoOY
’ , ‘ a \ \ ’
Ayerwou cat Nuudav, yéypartat o€ Ta eixoTa’
/ N / \ ’ / \ /
pavrov TE yap TéyYNS TA ayadpata Kal ALGov
fal al / \
20 Tov! évtevOev, Kal TA meV TepLTeTPLTTAL UTO
lal / x \ / / a
ToD ypovov, Ta 5€ BovkdrAwy 1) Toimévov Traides
/ ’ lal A
Teplexowav ETL VHTLOL Kal avataOntot Tov Oeov.
\ »O\ b) / e \ a , i
Kal ovde aBaKkyevTos 1) THYN TOD ALovucov otov
/ \ lal a / r
avahnvavtos avtnv tats Anvats: auméX@ yoov
~ \ al yA NL es. rf \ /
25 KaL KLTT@ NpeTTTAaL Kal EXEL Kaas Kal BoTpvwr
/ ¢ e / / /
petéaynke Kai? 60ev ot OUpaot- Kwpafovat TE
> , > \ 3 \ Vv e id / ¢€ /
é7 autiy® copot dpyides, ws ExaoTov appovria,
\ \ A al / v
kat avOn evKa TH THYH TWepiTEehbuKev OTM
v ’ ~ / lal
OVTa, GAN ETL TH pecpakiw guomeva. Tiw@ca
- No © \ \ > / A / /
30 6€ ) ypadn tHv adiPerav Kal dpocou Te AELBex
’ \ n ’ , ? \ / > “4
ato Tov avOéwv, ois Kal pédLTTa Edtfaver TLS,
> > ome 4 ’ al € \ n a
ovxk oloa elt éEatatnoeica vUTo Ths ypadis,
1 rov added by Kayser. 2 nai added by Lindau.
3 avtny Reiske: airy.
1 Narcissus gazing at his reflection in a pool is the subject
of a Pompeian wall-painting, Fig. 11, p. 89 (Ternite,
Wandgemaelde, III. 4. 25),
$8
BOOK J, °23
23. NARCISSUS
The pool paints Narcissus, and the painting
represents both the pool and the whole story of
Narcissus.1_ A youth just returned from the hunt
stands over a pool, drawing from within himself a
kind of yearning and falling in love with his own
beauty; and, as you see, he sheds a radiance in-
to the water. The cave is sacred to Acheloiis and
the Nymphs, and the scene is painted realistically.
For the statues are of a
erude art and made from a
local stone; some of them
are worn away by time,
others have been mutilated
by children of cowherds or
shepherds while still young
and unaware of the presence
of the god. Noristhe pool
without some connection
with the Bacchic rites of
Dionysus, since he has made
it known to the Nymphs of
the wine-press ; at any rate it is roofed over with vine
and ivy and beautiful creeping plants, and it abounds
in clusters of grapes and the trees that furnish the
thyrsi, and tuneful birds disport themselves above
it, each with its own note, and white flowers grow
about the pool, not yet in blossom but just springing
up in honour of the youth. The painting has such
regard for realism that it even shows drops of dew
dripping from the flowers and a bee settling on the
flowers—whether a real bee has been deceived by the
painted flowers or whether we are to be deceived into
89
PHILOSTRATUS : IMAGINES
ei Te 1) [LAS ebymarnota xp?) elval aur Hy. aXnr’
K.éoTw. (3) de [eVTOL,! Herpaxtov, ou ypay) TLS
eEnratycen, ovoe Xpopacty 7) Knp@ TpoaTEeTHKAS,
adr’ EKTUT OG AY oé TO bdwp, oiov €ldes AUTO, OUK
ola0a ovTE TO THS NYAS ehey els oobi pa,
5 vedoau deity? Kal mapat pear Tob el6ous Kal
THY xeipa UToKwWhoat Kal pr) €Tl TAUTOD cor aval,
au 0 OoTEp ETalpw eVTUX OV TaKeiOev TT EPUMEVELS.
eiTa Gol 7 7m), pO op XPNTETAL; ouTOS ev ovv
ovo émraiel TL HY, AAN euTéTTwWKEV ETL TO
10 vowp avrois @al Kal avTois bupacw, avTol®
€ pecs, OoTEp yeyparrat, heyouev.
(4) ‘OpOov a aVaTAVET AL TO ) HLEL PAK LOV evaddafav
TO) T00€ Kat TV xelpa ETE OV TET IYOTL TO
aKovTi@ ev apLoTepa, v7] deEva de TEpiHKT aL els TO
15 boxXtov avaoyely TE aUTOV Kab TXT MA 7 PaTTeL’
EKKELLEVOY TOV YAOUTOY Sia THY TOV ApLaTEpar
” 4 / \ ¢ \ Jal? / 7 A
eyKNOLY. OeLKVvEL dé 1) yelp aépa peV, Kal’ Oo
KUpTovTal 0 dyKOV, putida be kal’ 0 otpeBrXov-
Tau 0 _KapTos Kal oKLAaV TApeXeT at curitavovea
20 eis TO Oévap, Nokai dé ai® axtives THs oKLaS
d1a THY eElaw eTLaTpodiv THY SaxTUAWY. TO OE
€v T@ oTépvw AcOua ovK oida elTE KUVNHYETLKOV
ETL ELTE 716 EPOTIKOD. TO xe pay Opa iKavas
Ep@VTOS, TO yap XapoT ov avTod Kal yopyov ék
25 pvcews Tpavver Tis epilavwy twepos, Soxet O
uevtot Kayser: wey 76.
deity Schenkl, d€ov Kayser: 6¢ or Te.
avtot Kayser: add.
éyrAcow Reiske: &«xArouw,
ai added by Capps.
em orm
oc
go
BOOK I. 23
thinking that a painted bee is real, I do not know.
But let that pass. As for you, however, Narcissus,
it is no painting that has deceived you, nor are you
engrossed in a thing of pigments or wax; but you
do not realize that the water represents you exactly
as you are when you gaze upon it, nor do you see
through the artifice of the pool, though to do so you
have only to nod your head or change your expres-
sion or slightly move your hand, instead of standing
in the same attitude; but acting as though you had
met a companion, you wait for some move on his
part. Do you then expect the pool to enter into
conversation with you? Nay, this youth does not
hear anything we say, but he is immersed, eyes and
ears alike, in the water and we must interpret the
painting for ourselves.
The youth, standing erect, is at rest; he has
his legs crossed and supports one hand on the spear
which is planted on his left, while his right hand is
pressed against his hip so as to support his body and
to produce the type of figure in which the buttocks
are pushed out because of the inward bend of the
left side. The arm shows an open space at the
point where the elbow bends, a wrinkle where the
wrist is twisted, and it casts a shadow as it ends
in the palm of the hand, and the lines of the
shadow are slanting because the fingers are bent in.
Whether the panting of his breast remains from
his hunting or is already the panting of love I do
not know. The eye, surely, is that of a man deeply
in love, for its natural brightness and intensity are
softened by a longing that settles upon it, and he
1 Cf. the attitude of Oenomaiis in the east pediment of the
temple of Zeus at Olympia.
gli
PHILOSTRATUS : IMAGINES
laws Kat avtepacOat BreTrovans avTov THs
val td e ’ by] a Coa \ *
oKLAS, WS UT AUTOU opaTal. (5) IloAya Kal
Tepl THS KOMNS érEXOn av, EL Onpavre avuT@
EVETUXOMED. Huplat yap auras: al Knees év
20 TO dpopeo Ka HadXor, em evoav uTo cv ewou TWOSs
ELL TVOUS Yev TAL, TUXOL & av Kal oyou vOv.
aphiradovs yap ovaNnsS aUTAS Ka otov xpraons
TO ev ol TEVOVTES epedrKovTat, TO 0 UTO TOV
WTWV KpLVETAL, TO O€ TO METOTO ETLTANEVEL, TO
be lal ¢ / b] al 5] 1 ” e /
35 6€ TH UTIVN ETLppEet. ico! Te augdw at Nap-
= \ ,
328 K xiocot TO €ldos ica éudaivovtes AXANA@Y, TIDY
ei ta \ = r
Ogov O meV EXKELTAL TOU aépos, 0 b€ THY THYNV
e / / : \ al
UmodeduKev. ehéaTHKE yap TO MELpaKLOV T@ ev?
e/ € a a \ b) / bd > aes \
boat. ExT @Tt, waAAOV bE atevifovTs €F AUTO Kal
e lal fa /
5 olov dupa@vtTe Tov KaXXovSs.
«Ss TAKIN@OS
(1) "Avayvobs thy vaKwOor, yeyparrr ae yap
Kat dno avapvvar THS vis én perpaKtep Kar@
Kal Opnvet avTo awa TO 70b yeveoty oi pau Tap’
avtov AaBovca, OTE inéOave. Kal pn oe A€L MOV
b / r \ \ ’ lal > /
10 avaBadXyn TovUTO, Kat yap evTavOa exTrEepuKer,
l Yoo Jacobs: eiai.
2 +@ év added by Capps.
1 Hyacinthus, a youthful favourite of Apollo, was accident-
ally slain by the discus thrown by the god, and the event
was commemorated by the hyacinth which is said to have
sprung from his blood. The accident is here explained as
due to Zephyrus, the wind which diverted the discus from
its true course.
Q2
BOOK I. 24
perhaps thinks that he is loved in return, since the
reflection gazes at him in just the way that he looks
at it. There would be much to say about the
hair if we found him while hunting. For there
are innumerable tossings of the hair in running,
especially when it is blown by a wind; but even
as it is the subject should not be passed over in
silence. For it is very abundant and of a golden
hue; and some of it clings to the neck, some is
parted by the ears, some tumbles over the forehead,
and some falls in ripples to the beard. Both the
Narcissi are exactly alike in form and each repeats
the traits of the other, except that one stands out
in the open air while the other is immersed in the
pool. For the youth stands over the youth who
stands in the water, or rather who gazes intently
at him and seems to be athirst for his beauty.
24. HYACINTHUS!
Read the hyacinth, for there is writing on it?
which says it sprang from the earth in honour of
a beautiful youth; and it laments him at the be-
ginning of spring, doubtless because it was born
from him when he died. Let not the meadow delay
you with the flower, for it grows here? also, no
different from the flower which springs from the
Furtwangler, Ant. Gemmen, Pl. XX. 31, publishes an
Etruscan scarab representing Hyacinthus; the youth is
bending forward, drops of blood fall from his head, and at
his feet is the discus that caused his death (Fig. 12, p. 95).
2 Referring to the letters AI AI (‘‘ woe, woe”) on the
petals of the flowers.
3 7.e. in the curling hair of the youth Hyacinthus in the
painting.
93
PHILOSTRATUS : IMAGINES
e / an na , / / \ e \ \
oTola TIS ys avéoxye. Reyer SE 1) ypadr Kat
¢ , a /
vaKxwOivny eival TO pelpakiw THY KO“HY Kal TO
»” lal a , , al
aia €uBiov TH yn yevopevov! els oiKetov TL
A NS ae cm is AALS ’ ’ a a an
Xp@aat TO avOos. pei dé am’ adths THs Keparis
/ cal a \
15 €umeTT@KOTOS aUTH TOU Sioxov. SeLvyn pev
» Otapaptia Kal ovdé TLcT! RéyeTAL KaTa
lal ’ / lal
Tov Amro\Xwvos: émrel 6€ o8 aodictal Tav
10 ev xa\ ’ a od j \ be
pve wy jKowev ovde atriatety EtoLpmolt, Oeatal bé
, a / / \ ‘A
Lovoyv TOV yeypaupEevor, éEeTaTwpEV THY ypadny
n / al lal /
20 Kal Tpa@Tov ye THY BarPida Tod dicKou.
. , \ \ J
(2) BarBis diaxeyopictar puxpa Kat atro-
a e a / \
Vp@oa €vl EGTO@TL, EL fn) TO KaTOTLY Kal TO
deEvov axédos avéyovca, Tpavh Ta Eumrpoaber,
, A a A
kat koudifovca Outepov toiv oaKedoiv, 0 Xp?
/ \ / an n
avvavaBarrEeoPar Kai cuptropevecbar TH Seka.
\ \ al an , > / b>] ‘
TO O€ TYHma TOD OicKov avéxovtos: éEadrdaEavta
\ \ DEEA \ \ na /
Thy Keparny eri deEta ypr Kuptovabat ToaoD,
e/ e / \ / \ ¢ a ?
Ogov vToPXéat Ta TAEUPA, Kal pLTrTEty oloV
bo
Or
avi“@vTa Kal mpoceuBddrrovta Tois dek€sots
fal © ’ / e /
30 mact. (3) Kai o “Amod\Awy ote Tas édic-
’ \ xX 4 > a > \ \
KevoeV, OV yap av addrws adjKev, EuTET@V O€
e \ \ ral ,’
0 OloKoS €5 TO melpaKLoV TO ev KEtTaL Kal eT
r > lal lal / \ / \
29 K. avtov ye Tov diaxou—Aakwrikoyv pmeipaKiov Kal
\ / /
THv KYnLnY opOov Kal Spom@v ovK ayUpvacToY
a \ \ ec a“
Kat Bpaxiova UTreyeipov dn Kal THY Wpav TOV
1 Some MSS. give muéduevoy for ywduevor.
1 Cf. Od. 6. 231: komas, baxivOivy &vOe duolas.
2 It was a stone slab marked with incised lines which gave
a firm footing to the athlete ; cf. Ausgrabungen in Olympia,
94
BOGE i 2
earth. The painting tells us that the hair of the
youth is “ hyacinthine,’ + and that his blood, taking
on life in the earth, has given the
flower its own crimson colour. It flows
from the head itself where the discus
struck it. Terrible was the failure to
hit the mark and incredible is the story
told of Apollo; but since we are not G)
here to criticize the myths and are not
ready to refuse them credence, but are Fie, 12.
merely spectators of the paintings, let us examine
the painting and in the first place the stand set for
throwing the discus.
A raised thrower’s stand? has been set apart, so
small as to suffice for only one person to stand on, and
then only when it supports the posterior portions and
the right leg of the thrower, causing the anterior
portions to eon forward ned the left leg to be
relieved of weight; for this leg must be straightened
and advanced alone with the right arm. ie for the
attitude of the man holding the discus, he must
turn his head to the right and bend himself over
so far that he can look down at his side, and he
must hurl the discus by drawing himself up and
putting his whole right side into the throw,
Such, no doubt, was the way Apollo threw the
discus, for he could not have cast it in any other
way ; and now that the discus has struck the youth,
he lies there on the discus itself—a Laconian youth,
straight of leg, not unpractised in running, the
muscles of his arm already developed, the fine
lines of the bones indicated under the flesh ; but
V. 35. The present description closely follows the well-
known Discobolus of Myron.
25
PHILOSTRATUS : IMAGINES
ooTav UTexpaivov—atréatpartar 6é€ ’AToOAXw@Y
5 ét, efectas TH BarPidi nai Kata ys Breret.
TeTnyevat pyoes AVTOV, TOTOUTOY avT@ THs
exTrAn EEWS EMTETT@KED. (4) “A pads ve 0
Zepupos vEwEernoas avT@ Kal Tov OLoKoV és TO
jecpaxvoy Tapes, Kal pedo doxet TO aven@
10 TavTa Kal Tob aler TEplLoT nV EXov. opas 6é€
Ol Mat avTov €v TINO TO KpoTap@ cal a8p@ TO
elidel, Kal orepavov péper Tavtov avoéwr,
pukpov 6€ UaTtepov Kal thy vaKwOov adtois
éuTrre€el.
ke ANAPIOI
15 (1) To tod oivov pedya to ev "Avipw TH vnTw
Kal of peOvortes TOD ToTapov “Avéptot Novos
etal THS ypadpis. ‘Avéptous yap on ex Atovicou
n Yn Urowos pyryvuTa Kal ToTamov avrois ava-
SSaow: el ev evOupnbeins Bowp, OUT (Eye, e
20 dé oivor, eyes 6 motamos Kal Oetos: Eott Yap
Tovtov apvoauévw Netrov te vrepidety Kal
"lotpov Kat Tov havat TEpl AUT@V, OTL KAaKELVOL
Bertlovs av édoKxovy OrLyou pév, AXAA TOLODTOL
peovTEs.
25 (2) Kai adovoty oipat tadta yuvatols dua Kal
TaLotols eo Tepavnjevor KUTT@ Te Kal owihaxe,
a he pev XopevovrTes ed’ éxaTEpas OXENS, oi Oé
KATAKELMEVOL. €LKOS oé Tou Kakelva eivat THS
oons, ws Sovaca pev “Ayer@os, IInvevos dé
30 Teun peer, Ilaxt@Xos oe er avn Nout ov,
ovtoal ee 0 TOTamosS TAOVoLoUs T amTodaive
cal before of deleted by Reiske.
2 Westermann notes the lacuna.
96
BOOK I. 25
Apollo with averted face is still on the thrower’s
stand and he gazes down at the ground. You will
say he is fixed there, such consternation has fallen
upon him. <A lout is Zephyrus, who was angry
with Apollo and caused the discus to strike the
youth, and the scene seems a laughing matter to
the wind and he taunts the god from his look-out.
You can see him, I think, with his winged temples
and his delicate form; and he wears a crown of all
kinds of flowers, and will soon weave the hyacinth in
among them.
25. ANDRIANS
The stream of wine which is on the _ island
of Andros, and the Andrians who have become
drunken from the river, are the subject of this
painting. For by act of Dionysus the earth of the
Andrians is so charged with wine that it bursts forth
and sends up for them a river; if you have water
in mind, the quantity is not great, but if wine, it is
a great river—yes, divine! For he who draws from
it may well disdain both Nile and Ister and may
say of them that they also would be more highly
esteemed if they were small, provided their streams
were like this one.
These things, methinks, the men, crowned with
ivy and bryony, are singing to their wives and
children, some dancing on either bank, some re-
clining. And very likely this also is the theme
of their song—that while the Achelotis bears reeds,
and the Peneius waters Tempe, and the Pactolus
. . . flowers, this river makes men rich, and power-
ful in the assembly, and helpful to their friends, and
97
H
PHILOSTRATUS : IMAGINES
Kal duvatovs Ta éV dyopa Kal emipeNets TOV
pirov Kal KaXovs Kal TeTparri}xets eK HK p@v"
gate yap KopecOévtt avTov avAdéyecOar TavTa
35 Kal €oayerOa és THY yvopunv. adovat Oé Tov,
330 K. OTL peovos ToTau“a@v ovToL pynte BovKoXlos eat
Batos pn immo, add oivoyoeitar pev eK
Avoviaou, miveTat b€ dKnpaTos, povors avOpwrots
pean. TAUTL wey AKOVELY yoo Kal ddovT@y avTa
eviov, KaTEWeEANLTMEVOV THY paviy vmod TOU
5 olvou.
(3) Ta pévtou } op@peva Tis ypapis: O per
TOTA[LOS éy Botpvov Evy} Keira THY THYHVY éxOu-
dovs a ak patos TE KAL Opyav TO el0os, Avpaot 5 avT@
TEpPLTEPVK ATL Kcabarrep ol Kdhapot Tots bdact,
10 Tapaperyravee dé THY YY Kal Ta €v AUTH TaUTA
cULTOTLE Tpitoves On mept Tas exBohas array
TOVTES APUVOVTAL KOXNOLS TOU OivOU. Kal TO meV
mTivovolv avtov, TO 8 avadvawour, eicl © of Kal
peOvovaor Tov Tpitwvav Kal opxodvtat. ret
15 cal Avovucos emi K@mov THs” Avodpou Kal calwp-
pulaTal fev 1) vads On, Latupous bێ avaple Kai
Anvas ayer Kal Lewhqvovs Oool. Tov Dera TE
ayet Kat TOV Kapor, (Napwrata Kal Fuptro-
TIKMTATWM Saimove, WS HOLUTA O TOTALOS avT@
20 TPUY@TO.
EPMOT TONAI
(1) ‘O xopusdh mais 6 ére €v oTapyavots, 0 Tas
Bods els TO pHypwa THs ys éNavvar, ETL KaKEiVvOS
0 ouiov ta Bédn TOD “ATrorArwVOS, “Epps
2 wevtot Schenkl: yey.
98
BOOK I. 26
beautiful and, instead of short, four cubits tall; for
when a man has drunk his fill of it he can assemble
all these qualities and in his thought make them his
own. They sing, I feel sure, that this river alone
is not disturbed by the feet of cattle or of horses,
but is a draught drawn from Dionysus, and is drunk
unpolluted, flowing for men alone. This is what
you should imagine you hear and what some of them
really are singing, though their voices are thick with
wine.
Consider, however, what is to be seen in the
painting: The river lies on a couch of grape-
clusters, pouring out its stream, a river undiluted
and of agitated appearance ;! thyrsi grow about it like
reeds about bodies of water, and if one goes along past
the land and these drinking groups on it, he comes at
length on Tritons at the river’s mouth, who are dip-
ping up the wine in sea-shells. Some of it they
drink, some they blow out in streams, and of the
Tritons some are drunken and dancing. Dionysus
also sails to the revels of Andros and, his ship now
moored in the harbour, he leads a mixed throng
of Satyrs and Bacchantes and all the Seileni. He
leads Laughter and Revel, two spirits most gay
and most fond of the drinking-bout, that with the
greatest delight he may reap the river’s harvest.
26. BIRTH OF HERMES
The mere babe still in swaddling clothes, the
one who is driving the cattle into the cleft of
the earth, who furthermore is stealing Apollo’s
1 A river of pure wine undiluted with water, and turgid,
as if under the influence of wine.
99
H 2
30
331 K.
or
PHILOSTRATUS : IMAGINES
ovTOS. para ndetar ai KXoTral Tob Geod pact
yap TOV “Epyay, ote TH Mata éyéverto, épav Tov
KET TEW Kat elOéval TOUTO, OUTL Tw TatTa
TEVvLa Opav 0 Jes, aXAN’ evuppoovvyy dLd0Us Kal
mai Cov. el 6€ Bovrex Kal ixvos avtod KaTLoely,
Spa Ta €v TH ypadH. TikTeTaL pev ev Kopupais
tod (Odvptrov, Kat avTov dvw, TO &os TaV
Gedy. , éxet b€ “Opnpos ovte ouBpav aiacba-
vecOai dnow ovTe avéwwv axovew, adr ovdE
YLOVve Bri Ojvai Tore auto v umepBoryp, elvar
de Getov UTEXVOS Kat eAevOepov a atavtev Taber,
@V pmeTeVYel TA TOV avOpwTraD GC opn- (2) ’Evratéa
TOV “Eppty amotexGévra “Opa KopiovT at.
yeypage KAKELVGS, Os wpa ExaoTNS, Kal omap-
yavous avTov apmiaxovow emimaTToueal Ta
Kad\doTAa TOV avOéwr, WS LN ATnMoY TUXNH TOV
oT apyaver. Kal al pev emt THY MNTEPAa TOU
"Ek ipwod TpeTovTar Exo KELLEVNV, 0 o & umeKxdus
TOV oTapyavev on Badifer Kal TOU ‘Oddprrov
10 KaTetot. yéynOe S&€ avTd TO dpos—To yap
15
perdiapa avTod olov avOpomov—voet 6€ Tov
"“Odvuptrov Xalpovra, 6Tt 0 ‘Epuns éxet eyevero.
(3) Tis odv % KNOT ; Bovs vepwomevas év TO
tod ‘Odvurov mpoTod, tavtas Sytrov Tas
YpvaoKkepws Kal Umép yLova evKads—avelvTat
1 Of. the red-figured vase in the Museum Gregorianum,
Baumeister, Denkméiler, fig. 741.
2 Cf. Alcaeus, Frag. 2, Edmond’ s Lyra Graeca I ; the story
is told at length i in the Homeric Hymn to Hermes.
? Homer, Od. 6. 42 ff. ‘‘ Neither is it shaken by winds,
nor ever wet with rain, nor does the snow fall upon it, but the
I0o0
BOOK I. 26
weapons—this is Hermes.! Very delightful are the
thefts of the god; for the story is that Hermes,
when Maia bore him, loved thievery and was skilled
in it, though it was by no means through poverty
that the god did such things, but out of pure delight
and in a spirit of fun. If you wish to follow his
course step by step, see how the painting depicts
it. He is born on the crest of Olympus,? at the
very top, the abode of the gods. There, as Homer
says,® one feels no rain and hears no wind, nor is it
ever beaten by snow, it is so high; but it is ab-
solutely divine and free from all the ills that pertain
to the mountains which belong to men. There the
Horae care for Hermes at his birth.4 The painter
has depicted these also, each according to her time,
and they wrap him in swaddling clothes, sprinkling
over him the most beautiful flowers, that he may
have swaddling clothes not without distinction.
While they turn to the mother of Hermes lying
on her couch of travail, he slips out of his swaddling
clothes and begins to walk at once and descends
from Olympus. The mountain rejoices in him—for
its smile is like that of a man—and you are to
assume that Olympus rejoices because Hermes was
born there.
Now what was the theft?> Cattle grazing on
the foothills of Olympus, yonder cattle with golden
horns and whiter than snow—for they are sacred
air is outspread clear and cloudless.” Translation of Murray
in L.C.L.
4 Cf. Alcaeus, Frag. 3, Edmonds, Lyra Graeca I. ; Philo-
ore Vita Apollon. 5.15. For the Horae, cf. infra, II. 34,
p- .
5 Hermes’ theft of the cattle is depicted on the vase
mentioned in note l,
Ior
20
25
30
35
332 K.
PHILOSTRATUS: IMAGINES
yap T® ‘Aro\N@ViI—ayet oTpoBoVv Eis Yaopa
na A ’ ral
THS YAS, OVX WS aTOAOLWTO, GAN as apavio Belev
3 A
eis play nuépav, Eot av tov ’AmorAXgw SaKy
TOUTO, Kal WS OVOEV pETOV AUT@ TOU YeyovoTos
* c
UTooveTal Ta oOTapyava. Ket Kal o ’Amrod\N@Y
\ \ a > la) \ a e \
mapa tHv Maiav amattav tas Bots, oe
ral lal ,
amlatTel Kal Anpely oletar Tov Oeov. (4) Bovrex
lal e \ / a / \ a
pabeiy 6 Te Kal révyer ; SoKe? yap poe wy Hovis
povov, GANA Kal ROyou TL ETLONODY TO
/ 7 id / \ \ cal
TpocwmT@ €olxev ws mé\XN@Y Tpos THY Maiav
A a c / aA
Néyery TaVTAa. “ adiKEl pe O TOS ViOS, dV YOEsS
éTexes' Tas yap Bods, als éyarpor, éuBéSrnxev
A ’ te lal nr 7
és THY ynV, OUK O10 OTOL THS YyHs. amroNElTaL
rn a ’
67 Kal éuBeSrnoeTar KaTwTéEpw po TOY Boawv.’
»n 0€ Oavpafer Kal ov TpocdéxeTat TOV AOYor.
lal (ge < A
(5) "Er adtav avtireyovt@v adrdots 0 Epps
iotatat Katotiv tov ’AmroAXwVOsS Kal KoUdws
emimnonaas Tols petappévors aryodynti AvEL TA
na \
toka Kal cvr@v pev StéXabev, ov puny nyvonOn
TETVANKaS. evTavOa 1 codia Tov fwypadou:
lal \ \ ! / \ al /
Suaxet yap tov “Amro\Aw Kai Tolet yalporTa.
YY \ € I a ’ is lal
pemeTpntar € 0 yédAws olos efifaverv TO
Tpocwm@ Oupov exvixw@aons ndovis.
102
BOOK I. 26
to Apollo—he leads over a winding course into a
cleft of the earth, not that they may perish, but
that they may disappear for one day, until their loss
vexes Apollo; and then he, as though he had had
no part in the affair, slips back into his swaddling
clothes. Apollo comes to Maia to demand back the
cattle, but she does not believe him and thinks the
god is talking nonsense. Would you learn what
he is saying? For, from his expression he seems
to me to be giving utterance, not merely to sounds,
but to words; he looks as though he were about
to say to Maia, “ Your son whom you bore yester-
day wrongs me; for the cattle in which I delight
he has thrust into the earth, nor do I know
where in the earth. Verily he shall perish and
shall be thrust down deeper than the cattle.” But
she merely marvels, and does not believe what he
says. While they are still disputing with one
another Hermes takes his stand behind Apollo, and
leaping lightly on his back, he quietly unfastens
Apollo’s bow and pilfers it unnoticed! but after
he has pilfered it, he does not escape detection.
Therein lies the cleverness of the painter ; for he
melts the wrath of Apollo and represents him as
delighted. But his laughter is restrained, hovering
as it were over his face, as amusement conquers
wrath.
1 The same scene is described at length in Horace’s Ode
to Mercury, I. 10. 11. 9-12:
Te boves olim, nisi reddisses,
Per dolum amotas, Puerum minaci
Voce dum terret, viduos pharetra
Risit Apollo.
103
10
15
25
PHILOSTRATUS : IMAGINES
KC AM®IAPEOS
(1) To totv dvotv dppa imrow—to yap emi
TETTApOV ovUTw Tols Hpwar ba XELpos WV, €b [1)
dpa “Extope TO Opacei—eper TOV ‘Apdiapewy
ex OnBav eTavlovTa, OTOTE AUTO Ue AeyeTau
Stacyety, ws pavTEvo.To év tH 'AttTiKn Kal
arPevor copos ev TAVvTOpoLs. émTTa ovToL oi}
TloAuve(xes TO OnBaiw tiv apxnv KaTAaKT@pmEvoL
ovdels evootynce TANY Adpaatov kat Apdidpew,
Tous 6€ XoLTIOUS 7) Kadueia katéayev. amwXovTo
dé of wev GAOL Sdpact Kal ALOos Kal TrEAEKECL,
Karravevs dé AeyeTau KEpavVy@ BeBrAcAat,
7 pOTEpos ola KOmT Barov tov Aia.
(2) Ovror pev odv €TEpou Aoyou, KeAEVEL O€ 1)
ypady Brereww és peovov TOV ‘Audrapewv pevy-
ovTa KaTa THS YAS avTots oTEMpace Kal auth
dapvy. Kal Ol immo NEUKOL Kat » Otyn TOV
TPOXOV oTovoHs EuTrAEws Kal TO acOpna TeV
(WTO ATO TavTos TOD [UKTHpOS, adbp@ o€ 7 yh
diéppavtat Kal 7 xairn peTaKriveTat, bra pox ous
TE UT L6pOT0s ovat TE PLKELTAL ew 7 KOVLS
HTTov pev Kadovs aTodpaivovea TOvs irrovs,
arn bea TEpovs dé. 0 6€ "A wraps Ta pe adda
@TALoTal, movou S€ apedel Kpadvous aviels THY
1 of added by Schenkl.
1 Cf. p. 69, supra.
2 For Amphiaraiis on his chariot, cf. Benndorf-Neumann,
Das Grabmal von Gjélbaschi, p. 194 f., Pl, XXIV A, 5.
3 7.e, at the Amphiaratim at Oropus i in northern Attica, a
dream-oracle and health-resort.
* Cf. Ji. 3, 243.
104
BOOK I. 27
27. AMPHIARAUS
The two-horse chariot—for the four-horse chariot!
was not yet in use by the heroes except by Hector
the Bold—is bearing Amphiaraiis 7 on his way back
from Thebes at the time when the earth is said
to have opened to receive him, in order that he
may prophesy in Attica? and utter true answers,
a sage among men most sage. Of those seven who
sought to gain the kingdom for the Theban Poly-
neices none returned save Adrastus and Amphiaraiis ;
the rest the Cadmeian soil received.4 These were
slain by spears and stones and battle-axes, all but
Capaneus, who, it is said, was struck down by a
thunderbolt after he had first, as I recall, struck at
Zeus with a boastful taunt.®
Now those others belong to another tale, but
the painting bids you look at Amphiaratis alone as
in his flight he sinks beneath the earth, fillets and
laurel and all. His horses are white, the whirling
of his chariot wheels shows urgent haste, the panting
breath of the horses issues from every nostril, the
earth is bespattered with foam, the horses’ manes are
all awry, and fine dust settling on their bodies wet
with sweat makes them less beautiful but more
true to life. Amphiaraiis otherwise is in full armour,
but he has left off his helmet, thus dedicating ® his
5 Aeschylus gives the boast of Capaneus, Septem: 427 f.
Trans. Smyth, L.C.L.:
‘For whether Heaven wills it or wills it not, he vows he
will make havoc of the city, and that even the rival fire of
Zeus, though it crash upon the earth in his path, shall not
stay his course. .. .”
® aveis with double meaning, (a) ‘‘leaving it free to the
light” and (b) ‘‘ dedicating it.”
105
PHILOSTRATUS : IMAGINES
keharnv ‘Arrod\rwrt, Bderrov ‘epov Kal xXpno-
pades. (3) pager dé Kal Tov ‘Opwov veaviav
év yRauxois yuvatous—ra d€ €ote OaratTai—
ypager Kal TO ppovtra Tr plovy ‘Aupiapen, piyya
30 (epov Kal Oerwdes. avTou kat "AXnOevra AEeuyel-
povovaa, avTov Kal oveipwv TUAn—OEL yap Tots
éxel pravTevopevors Urvov—xal “Ovetpos avtos
333 K. év aveuéva TO elder yéypaTTat Kai éoOATa ExeL
Aeveny emt peAaivyn, TO OimaL VUKTWP AVTOD Kai
pel Tmepay. exel Kal Kepas év Talv YEpoly ws
Ta eviTVvia b1a THS adnOods avayov.
xy @HPETTAI
5 (1) My mapabeire Has, @ Onpevrat, pnoe
emixenreved Ge TOUS im mous, Tplv VU@V eEuxvevow-
HED, ) Te Bovreobe kai 6 Te Onparte. vpers pev
yap éml yNovvynY adY pare tecOat, Kal op@ Ta
Epya TOU Onpiov—ras éNaias eEopwpuxe Kal TAS
10 GumréXous eKTETUNKE Kal ovdé ouKD kaTane-
NorTEV OvOE pijdov uy) pnravOny, TavTa oé€
ef npneev eK THS YAS Ta pen avopuTTan, TOUS be
euTIMT OY, Tots 6é TAPAKV@OMEVOS. op@ d€ avTov
Kal THY yaiTny ppitrovra Kal Tp euBreTovTa,
15 Kal of odovTes auT@ marayovow ep vas, @
yevvaiou Sewa yap Ta Totavtl Onpia OTe eK
1 The personification of the town of Oropus on the sea-
shore, where the oracle of Amphiaraiis was situated.
2 i.e. the Gate of Horn, through which come dreams that
are true; cf. Od. 19. 566. Those who consulted the oracle
slept in the shrine, and were cured by the god or learned
106
BOOK I. 28
head to Apollo, for his look is holy and oracular.
The painting depicts also Oropus as a youth! among
bright-eyed women, nymphs of the sea, and it
depicts also the place used by Amphiaraiis for
meditation, a cleft holy and divine. Truth clad all
in white is there and the gate of dreams ?—for
those who consult the oracle must sleep—and the
god of dreams himself is depicted in relaxed atti-
tude, wearing a white garment over a black one,
doubtless because his work is at night after day is
done. And in his hands he carries a horn, showing
that he brings up his dreams through the gate of
truth.
28. HUNTERS
Do not rush past us, ye hunters, nor urge on
your steeds till we can track down what your purpose
is and what the game is you are hunting. For you
claim to be pursuing a “fierce wild boar,’ ? and
I see the devastation wrought by the creature—it
has burrowed under the olive trees, cut down the
vines, and has left neither fig tree nor apple tree
or apple branch, but has torn them all out of the
earth, partly by digging them up, partly by hurling
itself upon them, and partly by rubbing against
them. I see the creature, its mane bristling, its
eyes flashing fire, and it is gnashing its tusks at you,
brave youths ;4 for such wild animals are quick to
the means of cure through dreams, a practice called
‘“‘ineubation.”
3 Of. J1. 9.539: xAovrny cdr.
4 Cf. 17. 13. 473f: ‘‘ He bristleth up his back and his two
eyes blaze with fire, and he whetteth his tusks, eager to
ward off dogs and men.” Trans. Murray, L.C.L.
107
20
25
30
304 K,
PHILOSTRATUS: IMAGINES
TAELTTOU KATAKOVELY TOD O6addoU—eyw@ jEevToL 1
Oiwal THY Wpav exEivou TOU peLpaxktou StaOnpavTas
vuas TeOnpacbar Ur avTtod Kal tpoxwéouvevew
eOéXewv. TL yap oUTw TAnoiov; Ti dé mapa-
Wavovtes ; TL d€ Tap’ avTo éméctpadbe ; Ti bé
maotilecbe tols immors ;
(2) Oiov éra6ov. e&nx Onv mo THS ypapis
wn yeypad@at Sox@v avtous, eivae Ge Kal
kiveta0at Kai épav—diatwbatw youv ws aKxovov-
Tas Kal OoK@ TL avTaKover Fat—av 5 ovd 6ca
emaTpeyral _TapaTraovTa epbeyEw TL Tapa-
TIC LOS. €wol VEVLKNMEVOS, OUK eXOV aveipyer Oar
THs ar aTns Kat Tou év auTh bmvouv. KOTO [LEV
ovV Ta yeypaupéva* ypahh yap TAPETT KA MED.
(3) Hepixewrat pev On TO petpaxiw veaviat
Karol Kal Kaha émitndevovtes Kab ola? edma-
Tploal. Kal oO pev Taraiotpas Te émLdnrot
TO TpoTwTm, 0 O€ XaplTos, 0 6€ adoTeiapmod, TOV
8é dvakexupevat dyaes éx BrBXiov. pépovar
d€ auvtovs imot TapaThyo Loe ovdels aos
GAAw, AevKOS TLS Kal EavOos Kal pédas Kal
goine, apryupoxadtvor Kal oTiKTOL Kal Xpueot
Ta hddapa—tavTa pact Ta Yp@pmata TOUS eV
‘Oxneave BapBapous eyxetv TO Nae @ Sra Upy,
Ta O€ cwicrac bas Kal \Oobabar Kat owtenw a
éypady—ovoe tv écOtTa cupPaivovow 7) THY
1 wévro. Kayser: pev. 2 ofa Rohde: ofov.
1 i.e. as they try to get near the youth.
* Addressed to the boy to whom he is interpreting the
pictures,
108
[Z'o Jace p. 109.
14.—Boar-hunt.
Fia.
BOOK I. 28
hear the hunter’s din from a very great distance.
But my own opinion is that, as you were hunting the
beauty of yonder youth, you have been captured by
him and are eager to run into danger for him. For
why so near? Why do you touch him? Why have
you turned toward him? Why do you jostle each
other with your horses?!
How I have been deceived! 1 was deluded by
the painting into thinking that the figures were not
painted but were real beings, moving and loving—at
any rate I shout at them as though they could hear
and I imagine that I hear some response—and you 2
did not utter a single word to turn me back from my
mistake, being as much overcome as I was and unable
to free yourself from the deception and the stupe-
faction induced by it. So let us look at the details
of the painting; for it really is a painting before
which we stand.
About the lad are gathered beautiful youths,
who engage in beautiful pursuits, such as are be-
coming to men of noble parentage. One shows in
his face a touch of the palaestra, another shows
grace, another urbanity, and the fourth, you will
say, has just raised his head from a book. The
horses they ride are no two alike, white and chestnut
and black and bay, horses with silver bits, dappled
horses with golden trappings-—these pigments,® it is
said, the barbarians living by Oceanus compound of
red-hot bronze, and they combine, and grow hard,
and preserve what is painted with them—nor have
the youths the same clothing or equipment. One
3 The pigments used by the ancients were ordinarily earth
colours (not vegetable colours, or chemical preparations),
and were often brought from a great distance.
109
PHILOSTRATUS: IMAGINES
10 oT oNV. 0 pev yap evfwvos immateTat Kal KOv-
os, GKOVTLETIS oipat ayabos OV, 0 6€ meh paxtar
TO _OTEPVOV aT ELN@Y madyy Twa TO Onpi, o dé
Kal Tas Kynuas, o be} Kal Ta cKedy Teppakrat.
(4) To 6éé [el pakvov oxeirar bev ep’ immou
15 NevKov, pédawva dé, ws Opas, 7) Kepany TO (mT @
Kal evKov _dmoretopvevrat KUKAOV emt Tov
[LET@TFOU Kar auto THS oehnuns TO TPES: Kal
darapa EXEL Xpvaa Kal Yyaduvov KOKKOV Mn-
duxov* ToUTL yap TO Ypaua TpocacT pam Tel TO
20 xput@ cabatep ol Tup@oels Aor, TON) TO
jerpaiep XAapvs éxoued TL avéwou Kal KoMrou
—TO pev XpPo pa Ex PolwwiKnys adoupyias, oh
émawovor Poirixes, ayatao bo d€ TOV doupy av
padvoras doxovuy yap oxvO pwr dew EXKEL TLVA
25 Tapa Tov nALoV wWpaVv Kal TO THS elAns avOev
paiverat—aidoi S8 rod yupvotcbar tpds Tods
TapovTas eoTarTal XELprowr @ PowiK@, Tvp-
peTperrar b€ 0 XiT@V es Hulov TOD penpow Kal loa
Tov ayK@VOS. Kat meloud Kal XapoTrov Brérret
30 Kal Koua Ooov 1) eruoKoretaBar TOUS opGan-
povs, OTE GTAKTIO EL ” Kom UmTO TOU aveuou.
TaXa Tis Kal THY Taperay | eTAWETET AL Kal Ta
ET pa THS puves Kal Kal’ &v ovTwal Ta ev To
T porwme, éy@ O€ ayapar Tob ppov7maros: Kal
35 yap. @S Onparns Eppwrar Kat vmod Too tov
335 K, ETH PT AL Kal cuvinoty, OTL eparat. (5) SKevo-
popovar é avrois opets Kal OpewKopos mo6o-
otpaBas Kal dpxvs kal mpoBoda Kal axovtia
1 § 3& Kal ras xvquas, 6 5€ supplied by Schenkl and
Benndorf.
2 efAns Reiske, cf. 387. 21K: T5ns.
110
BOOK I. 28
lightly armed horseman wears his tunic girt up, a
good javelin thrower I suppose, another has his
breast protected with armour, threatening fight with
the wild beast, another has his shins protected,
another his legs. That youth! rides on a white horse
which, as you see, has a black head, and a white
medallion is fashioned on his forehead in imitation
of the full moon; and it has golden trappings,
and a bridle of Median scarlet; for this colour
flashes on the gold with the effect of fiery-red
jewels. The youth’s garment is a chlamys bellying
out in the wind; in colour it is the sea-purple 2
which the Phoenicians love, and it should be prized
above other purple dyes; for though it seems to be
dark it gains a peculiar beauty from the sun and is
infused with the brilliancy of the sun’s warmth.
And from shame of exposing himself unclad to those
about him he wears a sleeved chiton of purple
which reaches half-way down his thighs and like-
wise half-way to his elbows. He smiles, and his
eye flashes, and he wears his hair long, but not long
enough to shade his eyes when the wind shall
throw it into disorder. Doubtless many a one will
praise his cheeks and the proportions of his nose
and each several feature of his face, but 1 admire
his spiritedness; for as a hunter he is vigorous
and is proud of his horse, and he is conscious of
the fact that he is beloved. Mules and a muleteer
bring their luggage, snares and nets and _ boar-
spears and javelins and lances with toothed blades ;
1 i.e. the central figure, the leader.
2 This ‘‘sea-purple” was obtained from a shell-fish, murex.
3 On the equipment of the hunter cf. Xen, De Venat. ix.
Die sex. 2 f.4.16.
J RIED
10
20
25
30
PHILOSTRATUS : IMAGINES
Kal Aoyxas, eh’ @V ob KV@OOVTES, kal _kuvayoyol
ove TpaTevovet Kal 7 KOT LW pol Kal Ta cov Ta
KUV@V, OVY al THY pla ayabal povar % ai
TAXELAL AVT@V, ANAA Kal al yevvatar Eder yap
kai adKHs ert TO Onpiov. ypager 69) Aoxpidas
Aaxaivas "Tvdixas Kpytias, TAS MeV ayepobxous
Kal vaxToveas, Ere tas Tas d€ € evvoovoas, ai oe
pelerovar Kal ceoripact KATA Tov ixVvous. (6) Kai
TI)V ‘Ayporepav mpoiovTes ao ovTat: EDS yap
Tes auris exer Kal dyahpa Nelov v76 TOU Xpovov
Kal oU@V kepanal Kal apeTov, veweTar b€ avTn
Kal Onpia aveTa, veBpol Kal AvKoL Kal Kaywoi,
TavTa jpmepa Kal a dedu0Ta Tovs avOpwrrous.
EYOVTAL peTa THV EVXNV TIS Onpas.
(7) Kal to Onpiov OUK dvexeT au AavOavery,
ann’ exo THs AoXMNS eiTa curritrel Tots
imTEevoL Kal _TAapaTreL fev AUTOUS €K ™poo Boris,
yiKarau bé€ v0 TOY BarXovtev Karplg bev OvK
EVTUXOV oud Te TO dpattew Tpos Tas mAnyas
dia TE TO fn) UTTO OappovyTwv BarrecO8at, wada-
xGeis dé TrANYT emTiToNali@ KaTa TOU pnpod
evryel bua THIS bdys, éxdéxerau d6€ avTov €éXos
Bato Kal hipev7n pos TO EXEL. (8) Atwxovotv
ovv Bon Xpopevol Ol pev AXXOL EX pL TOU Edous,
TO O€ Herpaxtov ovven Panne TO Onpiy és THY
Aimvyny Kal TéTTapes OUTOL KUVES, Kal TO peD
Onpiov letat tp@cat Tov imtmov, aTovedaay Sé
Tov immov TO pmetpakiov Kal és Ta de~Lla peTa-
Krivav adinor TH xelpl Taon Kat Badrev Tov
1 Lacuna marked by Schenkl.
Ii2
BOOK I. 28
masters of hounds accompany the expedition and
trackers and all breeds of dogs, not alone the
keen-scented and swift of foot, but also the high-
spirited dogs, for courage also was required to
confront the wild beast. And so the painting
shows Locrian, Laconian, Indian, and Cretan dogs,}
some sportive and baying, . . . and some attentive;
and they all follow the trail with grinning muzzles.?
And the hunters as they advance hymn Artemis
Agrotera;? for yonder is a temple to her, and a
statue worn smooth with age, and heads of boars
and bears; and wild animals sacred to her graze
there, fawns and wolves and hares, all tame and
without fear of man. After a prayer the hunters
continue the hunt.
The boar cannot bring himself to keep out of
sight, but leaps from the thicket and rushes at the
horsemen ; at first it confuses them by its sudden
onset, then it is overcome by their missiles, though
it is not mortally wounded, partly because it is on its
guard against their thrusts and partly because it is
not hit by some of the over-confident youths; but,
weakened by a superficial wound in the thigh, it
runs through the woods till it finds refuge in a deep
marsh and a pool adjoining the marsh. So with
shouting the rest follow it to the edge of the marsh,
but the youth keeps on after the creature into the
pool and these four dogs with him; the creature
tries to wound his horse, but bending well over on
his horse and leaning to the right he delivers with
1 On hunting dogs cf. ibid. ix.2; x. 1.
2 Cf. Xen. De Venat. iv. 3: @upedi@oar wev mpds Ta Txv7.
3 Artemis the Huntress. Cf. Xen. De Venat. vi. 13; Eur.
Hipp. 58 f. gives the huntsmen’s hymn to Artemis.
EES
PHILOSTRATUS : IMAGINES
avv KAT AUTO “aNOTA TO GUYaTTOV THY TAATHY
Th S€pn. TovvTedOev of péev KUVES KATaYOUGL
35 Tov ody és THY YyHV, of S€ épactal Bodow amo
THs OxOns olov PiAoTipovpevot pos AAAHXOUS,
336 K. doTis uTepKexpakeTat Tov Tédas, Kal TéTTO@KE
Tis ATO TOD immov pi) KaTacYwV, GAN €xOopr-
Bnoas tov immov: os 6) Kal aotépavovy avT@
TAEKEL TAPA TOU AELM@VOS TOD ev T@ EXEL. ETL
5 €v TH Aipyyn TO peLpaKtov, ETL ETL TOV TYHMaATOS,
@ TO TaXTOV adnKev, ol O€ ExTEeTANHYaTL Kal
Pewpovatv avTo olov ypadév.
KO TIEPS ETS
(1) “AX ove ’EpvOpa ye attn Pddacca ovd’
’ a /
Ivpdot tavta, Ai@tomes 5€ Kai avnp “EXAnv év
10 Ai@tomia. Kat aOXos Tod avdpos, dv Ex@v ETA
KATA EpwTa, olual oe, @ Tal, 42) AVHKOOV Elvat
tod Iepcéws, 6v hdaocw ’AtravTiKoV atroKTEtvat
Kntos év AtOvorria mefevov emi Tas ayédas Kal
lal an 4 id
Tous év yj avOpwrovs. (2) Tadt’ ody érawav o
/ \ 2) / \ ’ / e¢
15 Smypados Kal oixtelpwv tiv “Avdpopmédav, ott
/ 5] / / ” € 9S \ \
Kntet €&ed00n, TeTéXEaTAL 76n 6 GOXOS, Kal TO
rn lal 3, lal
Mev KNHTOS EppiTTaL TPO THS Novos éuTANMMUPODY
mnyats aiuatos, ud’ av épvOpa 1) OdXacoa, THY
Va / ’ / an an ce
dé "Avdpouédav arradXattet TOD Seapod o “Epas.
20 yéypamrrar d€ mrnvos pev TO eiwOos, veavias Se
1 The story is that Andromeda was bound on the seashore
as prey for the sea monster, that thus the city of her father
might be saved. There Perseus finds her as he goes on his
114
{ To face p- diye
5.—Perseus and Andromeda.
t
F iq.
BOOK I. 29
the full force of his arm a blow that hits the boar
just where the shoulder-blade joins the neck. There-
upon the dogs drag the boar to the ground, and the
lovers on the bank shout as if in rivalry to see who
will outshout his neighbour; and one is thrown from
his horse which he excited beyond control instead
of holding it in check; and he weaves for the youth
a crown of flowers from the meadow in the marsh.
The lad is still in the pool, still in the attitude in
which he hurled his javelin, while the youths stand
in astonishment and gaze at him as though he were
a picture.
29. PERSEUS
No, this is not the Red Sea nor are these inhabitants
of India, but Ethiopians and a Greek man in Ethiopia.
And of the exploit which I think the man undertook
voluntarily for love, my boy, you must have heard
—the exploit of Perseus! who, they say, slew in
Ethiopia a monster from the sea of Atlas,? which
was making its way against the herds and the people
of this land. Now the painter glorifies this tale
and shows his pity for Andromeda in that she was
given over to the monster. The contest is already
finished and the monster lies stretched out on the
strand, weltering in streams of blood—the reason the
sea is red—while Eros frees Andromeda from her
bonds. Eros is painted with wings as usual, but
quest for the head of Medusa ; he slays the monster, frees
the girl, and carries her off to be his wife.
2 Cf. Eur. Andromeda, Frag. 145 Nauck: kijros.. . ef
-AtAavtixfs GAés. Cf. the vase-painting reproduced in Fig 15.
115
Ba
30
337 K
10
PHILOSTRATUS : IMAGINES
> A y \ > / / \ >
Tap 0 eiwbe, Kal acOuaiver yéypaTTat Kal ovK
v al / \ \ > \ J /
€€w Tov pewoxOnkévar' Kal yap evxXnv aveBareTo
A 54 e \ \ a a
TO “Epwr o Ilepoevs po tod Epyou trapetvas
> \ \ \ a
avTov Kal KaTa TOD Onpiov cuuTrétecOar, Oo Se
b / a
apixeTo Kal HKOvaE TOU “EAXAnVos. (3) “H Kopn
\ a / ¢ \
dé deta pév, OTe AevKn é€v AlOioTia, Hdd be
a *
auto TO €ldos* TrapédOar dv Kat Avdnv aBpav Kai
> , e / \ a > /
AtOiéa trocemvov Kai XrapTiatiw éppwpévny.
KexahrAwrictat O€ amo TOU Kalpod' Kal yap
> a ’
amTurTety éoike Kal yaiper meT exTrANEEWS Kal
\ , ,
tov Ilepcéa Bremer perdiaua te dn €s avTov
/ lel
TéuTrovoa. oO S€ ov TOppw THS Kops ev HOdEia
\ , / lal / ’ \ fol
kat X\tBaveder Toa Keita otalwy és THY YhV
e lal lal na a ,
idp@ta Kal To delypa THs LTopyovs éxwv atro-
\ an , /
Getov, 7 EvTUXOVTES AVT@® aol ALGO yévwvTat.
ToAXol of BovKdrXot yadda OpéyovTes Kal oivou
erTlioTacat, noets AiOiomres Ev TO TOV KpPwmATOS
’ / \ \ a \ > LU
atToT@ Kal BrXooupoyv perdi@vTEs Kal OVK AdndoOL
, lal \ ve
Yatpew Kal ol TrElaTOL Guotor. (4) “O Ilepaevs
fa /
6€ domavetar pev Kal TavTa, oTnpifwv O€ EauvTov
éTl TOU aplaTEepov ayKa@vos avéxXet TOV Owpaka
” e \ wv b / a 4 \
€uTVvouv uTO acOuaTos, éuBrETT@V TH KOPN, Kal
\ / A b / b] / a 9
THY YAapmvea TO avéww exdidwar howwikiy ovcav
\ / / c / \ a 1
kat BeBAnpuEvny aiwatos pavicot Kat a1 tTpoc-
/ an A A 2
€mvevoev AUTO TO Onplov ev TO aYaVL. Eppwabwv
1 & Benndorf: &s.
116
BOOK I. 29
here, as is not usual, he is a young man,! panting and
still showing the effects of his toil; for before the
deed Perseus put up a prayer to Eros that he should
come and with him swoop down upon the creature,
and Eros came, for he heard the Greek’s prayer.
The maiden is charming in that she is fair of skin
though in Ethiopia, and charming is the very beauty
of her form; she would surpass a Lydian girl in
daintiness, an Attic girl in stateliness, a Spartan in
sturdiness. Her beauty is enhanced by the circum-
stances of the moment; for she seems to be incredu-
lous, her joy is mingled with fear, and as she gazes
at Perseus she begins to send a smile towards him.
He, not far from the maiden, lies in the sweet
fragrant grass, dripping sweat on the ground and
keeping the terrible Gorgon’s head hidden lest
people see it and be turned to stone. Many cow-
herds come offering him milk and wine to
drink,?, charming Ethiopians with their strange
colouring and their grim smiles ; and they show that
they are pleased, and most of them look alike.
Perseus welcomes their gifts and, supporting himself
on his left elbow, he lifts his chest, filled with breath
through panting, and keeps his gaze upon the
maiden, and lets the wind blow out his chlamys,
which is purple and spattered with drops of blood
and with the flecks which the creature breathed
upon it in the struggle. Let the children of Pelops
1 Eros was often depicted as a youth in the fifth and
fourth centuries B.c., while in the Hellenistic and Roman
periods the Erotes (or Cupids) were winged children.
2 Cf. Eur. Andromeda, Frag. 146 N: was 5& romévav Epper
Aews, 6 wey yaAakTos Kiccwoyv pépwy oKxioos, mévwy avaWuKTip’,
6 8 auméAwy yavos.
117
PHILOSTRATUS: IMAGINES
ITedor oat mapa TOV Tov Ilepoéws @pov: Kar@
yap ovte avT@ Kal Udaiwo TpoanvOnke Tl TOU
15 KawaTov Kal Ur@onKkacw al preBes, eTLAGL-
Bavov TovTo avTds, 6Tav TrEOVEKTHGN TO AcOpma.
TOANG Kal Tapa THS KOPNS apvuTaL.
~ WERAOV
(1) 270M) € ararn, axnua €x Avodias, kal
perpakov ev omy Tory Toc eda TE LELOLOV
20 és TO HelpaKtov Kal arya dov avTo immous dndot
Iléto7a tov Avodov éri Oddarray KOUTA, Os
eVEatTo TO Hocedave KaTa TOD Oivoudov, OTL
[41) Xpiras YauB pO 0 Oivouaos, anna KTELVOV
tous THS Immo apelas EpavTas ppovet Tots ToU-
TOV ax poOiviors apkT@V he NeovT@y ceparais
25 olov ot” Onpav TPNKOTES. Kal evXomevp TO
IléXor7re Ket Xpucovy appa eK Oararrns, 9 NTELpO-
Tat 6€ ol immroL Kal olou dvadpapetv TOV Aiyatov
auxunp@ T® aout Kal erahpdg TH om. O pev
30 ovv GOXos evSpoprjoer TO llévome, tov 8& Tod
Cwrypapou aOdov 9 mets eFerdbapen.
(2) Ov yap o LLLK POU oma ayovos im7rous bev
338 K. EvvGeivac TETTApAs Kal fL Evyxeae TOV oKEhov TO
Kata éva avta@v, éuBareiv b€ avtots peta TOU
1 Yoxtwv % Schenkl: arakrwv.
2 of added by Kayser.
1 Lit. ‘Good-bye to” ; Pelops (see next Description) was
famous for his ivory white shoulder, but the shoulders of
Perseus were more beautiful and w ithal more muscular.
118
BOOK I. 30
perisht when it comes to a comparison with the
shoulder of Perseus! for beautiful as he is and
ruddy of face, his bloom has been enhanced by his
toil and his veins are swollen, as is wont to happen
when the breath comes quickly. Much gratitude
also does he win from the maiden.
30. PELOPS
A delicate garment of Lydian fashion, a lad
with beard just beginning to grow, Poseidon smiling
at him and honouring? the lad with a gift of horses
—all this shows that it is Pelops the Lydian who has
come to the sea in order to invoke Poseidon’s aid
against Oenomaiis; since Oenomaiis accepts no son-
in-law, but slaying the suitors of Hippodameia he
takes pride in their severed members as_ hunters
who have captured game take pride in the heads of
bears or lions.* And in answer to Pelops’ prayer a
golden chariot has come out of the sea, but the
horses are of mainland breed, and able to speed over
the Aegean with dry axle and light hoof. The task
will go off well for Pelops, but let us examine the
task of the painter.
It requires no small effort, in my opinion, to
compose four horses together and not to confuse
their several legs one with another, to impart to
2 There are reminiscences of Pindar’s First Olympian Ode
in the language of this description, ¢.9. ayadAAwv, 19, and O/.
1. 139, épavras, 23, and Ol. 1. 127. Other echoes are noted
below.
3 Sophocles is said to have referred to this practice in his
play entitled Oenomaiis, cf. Frag. 482 N. For the chariot
race of Pelops and Oenomaiis see supra, p. 69 f., and
Philostratus the Younger, p. 331 f.
119
10
20
PHILOSTRATUS: IMAGINES
a / A \ \ lal a
Yarwod hpovnua otiaal TE TOV MEV EV ALTO TO [1p
’ fal /
Oéreww Ectavat, Tov © év TO Kpoatvey BovrAea Oat,
\ 5° > lal 1 ‘A Q e be / a ef
tov © €v TO... 1 TiecOat, o dé yavuTat TH Opa
tov IléXomros Kai evpetar avTO ai pives, doa ype-
/ Uy al e al
petifovte. (3)"Ete xaxetvo codias: o Hocedav
nr / 3 lal ee] / > A 73 \ /
TOU elpaKklou Epa Kal avadéepel avTo €s TOV AEBNTA
¢ / / an
kal THY KrXoOe, ote LléXo aotpawar done TO
/ al lal /
OO, Kal TOU meV Yyapelvy oVK aTayEeL avTo?,
\ val Ve ’ al
e€rreL0n) MpunKev, ayaTr@v S€ aAXAX epawacbat Tis
\ >] s lal lal A / id
yeupos eutrépuxe TH SeEva tod IléXotros wroti-
ral \ / e /
Oéuevos avt@ Ta és Tov Spopmov, o O€ UTéphpov
&
” en \ A Nie? 25 \ \ a
non Kat AdXgerov tvel, Kal 1) Oppus peta TaV
(/ / \ 4 \ \ / e \ lal
immov. PBréret Sé OU Kal pweTEWPOY UTO TOU
/ b] lal e e lal » LO c A
Tapa eTucoBelv, ns ola ypvoat AuBades 7 KOmN
al / / € a
TOU pelpaxiou atoatdfovaa pmeT@T@ OpodoreEl
a / lal
Kat lovkw ovvavOet Kal petatintovca Tbe
’ “A > an / / \ \
KaKeloe EV TO Kalplm pevel. (4) LAovtov Kat
« rol lal lal /
aTépva Kal doa Tept TOV yusvov tov ITéXorTros
, \
EXeEVOn av, KaXUTrTEL 7 ypapy* Ec Ons YeELpL, EaOns*
1 Schenk! would supply in the lacuna, e.g. rhy kepadrryv
hv.
2 yxeupl, éodns added by Schenk.
1 Benndorf observes that Philostratus is describing the
four-horse team as it is so often depicted on the vases of
the fifth century B.c., one of the four turning back his head
toward the charioteer, and one raising his head. The same
scheme appears on a coin of Syracuse, here reproduced; Fig. 16.
2 Of. Pindar, Ol. 1. 39f. The story that Tantalus served
his son Pelops to the gods at a banquet is denied by Pindar,
who explains it as malicious gossip ; but Pindar accepts the
I20
BOOK I. 30
them high spirits controlled by the bridle, and to
hold them still, one at the very moment when he
does not want to stand still, another when he wants
to paw the ground, a third when he [wants to lift
up his head], while the fourth
takes delight in the beauty of
Pelops and his nostrils are dis-
tended as though he were neigh-
ing.t This too is a clever touch :
Poseidon loves the lad and
brings him to the cauldron and
to Clotho, after which Pelops’
shoulder seemed to shine;2
and he did not try to divert him
from the marriage, since the lad is eager for it, but
being content even to touch his hand, he clasps the
right hand of Pelops while he counsels him about
the race; and already Pelops proudly “breathes
Alpheius,’* and his look follows the steeds. Charm-
ing is his glance and elated because he is proud of
the diadem, from which the hair of the lad trickling
down like golden sprays of water follows the lines
of his forehead, and joins the bright down on his
cheeks, and though it falls this way and that, yet
it lies gracefully. The hip and breast, and the other
parts of the naked body of Pelops which might be
mentioned, the painting conceals; a garment covers
“pure cauldron” from which Clotho, goddess of birth, took
Pelops with the ivory shoulder. Pindar also tells of
Poseidon’s love for Pelops, and of the gift of the golden
chariot with winged steeds by which Pelops won Hippo-
dameia.
* “‘breathes Alpheius,” as in Aristophanes, Birds, 1121,
of a runner at full stretch like an Olympic runner. The
Olympic race-course was on the banks of the Alpheius.
I21I
339 K.
PHILOSTRATUS: IMAGINES
avTn Kal KVM. Av6éoi yap kai! of ave BapBapot
cabeipEavres € és ToLaabe eoOhras TO KaNNOS Nap-
T pUVOVTaL Towoia de updo pacw € €vOv Aaprpuvec Gar
25 TH hvcel. Kal TA poev dda apavi Kal elow, TO dé
TIS oTONHS, evOa 0 @puLos O GpLa TEpOS, TEXYN
HMEANTAL, OS [1) KpUTTOLTO avToU 1 abyn vue
Te yap éméxet, Kal NauTpYVETAL TO BWpuw TO
LELPAKLOV, GooV 1) VUE TH EaTrEpH.
Aa AENIA
(1) Kadov cai cuxacat cai undé TadtTa Taped-
Oeiv agp wvous. odKa Hédava OT@ AevBomeva
TET @pEevTal fev emt pudrov aprédou, yeypamTae
bé pera T@V TOU PAOLO PNY HAT OD. Kal Ta pev
UTOKEXNVE TapanTvovTa TOU HENLTOS, Ta & vo
THS @pas olov écytoTat. To tov bé QuTa@Y
0£0s Eppim Ta pa Av ovK apyos ) KEVOS TOU
Kapton, oKxuater dé Kal obKa Ta ev Ona Kal
orAvvOous ett, Ta 5€ puoca kal eEwpa, Ta 6€
Umoc€éanre ® TapapaivorTa Tov yupLov TO avOos,
70 é em’ akpw tov ofov atpovbos Stopwpuxer,
a 6) Kal Hdvota cUKMV Soxel. (2) Kapvors dé
amav ETTpOTAL Tovoagos, @ @V TA Lev TapareT pur
Tal TOD €AUTpOV, TA O€ EyKELTAL MEp"UKOTA, TA OE
Tapempatver THY Siahury. aNXa Kal oyXvas én’
oyxvats Opa Kal wnra emt paprows TwpOUs TE aura
Kal dexddas, evWOn TaVTa Kal UTOYpUaa. TO ée
év avtois épevOos ovdé éemiBeBrAncOa does,
1 Only the inferior MSS. give «at, which seems necessary.
2 incoéonne Lindau: trocéonpe.
I22
BOOK I. 31
his arms and even his lower legs. For the Lydians
and the upper barbarians, encasing their beauty in
such garments, pride themselves on these weavings,
when they might pride themselves on their natural
form.1 While the rest of his figure is out of sight
and covered, the garment by his left shoulder is
artfully neglected in order that its gleam may not
be hidden; for the night draws on, and the lad
glows with the radiance of his shoulder as does
the night with that of the evening star.
dl. XENIA
It is a good thing to gather figs and also not
to pass over in silence the figs in this picture. Purple
figs dripping with juice are heaped on vine-leaves ;
and they are depicted with breaks in the skin, some
just cracking open to disgorge their honey, some
split apart, they are so ripe. Near them lies a
branch, not bare, by Zeus, or empty of fruit, but
under the shade of its leaves are figs, some still
green and “untimely,’? some with wrinkled skin
and over-ripe, and some about to turn, disclosing
the shining juice, while on the tip of the branch
a sparrow buries its bill in what seems the very
sweetest of the figs. All the ground is strewn
with chestnuts, some of which are rubbed free of
the burr, others lie quite shut up, and others show
the burr breaking at the lines of division. See,
too, the pears on pears, apples on apples, both
heaps of them and piles of ten, all fragrant and
golden. You will say that their redness has not
1 Cf. Hdt. i. 10: the Lydians consider it a disgraceful
thing for even a man to be seen naked,
2 The kind that are picked green and seldom ripen.
123
PHILOSTRATUS : IMAGINES
e / lal
15 adr évdov UrnvOnkévat. (3) Kepdcov 6€é tadTa
lal / © \ e
S@pa oTwpa Tis avtn Botpvdov év Taddpo, oO
/ \ > > / / -
Taddapos O€ OUK ANXOTPlwY TETAEKTAL AVYOD,
> lal lal lal \ x
aXX avtov Tov duTov. mpos O€ Tov avYderpov
TOV KANHUAaTwOY ef BAETrOLS Kai TAS éxKpEMapévas
> a \ e \ / lal
20 avT@Y oTapvAas Kal MS KATA pilav ai payes,
By , 5 /
aon Tov Avovuvaov oida Kal ® TOTUA BoTpvddwpeE
fal Ta / 3
Tepl THS ap7rédou é€pets. gains & av Kal Tovs
a a / 5 /
Botpus TH ypaphn edwdtmous eivat Kat Uroivous.
> la 4 p hie se | / A /
(4) Kaxetvo Aédvctov: et duvANwVY Kpadns pérL
\ > \ 4 la a \ >
25 yAwpov evdeduxos 6n TO KNPO Kal avaTTAnpE-
pupety wpatov, el Tis atroOdi Ba, Kal Tpodaris
3 x, ~¢ / / \ \ / \
ep eTepouv dudAov veoTayns Kal TadEVOVTA Kal
a a \
WuKtipes yadaxtos ov NevKod povov, GAAa Kal
aTiATVvoD' Kal yap atitBew éorxey UTO THs
30 émemoAalovans AUTO TLMENNS.
124
BOOK I. 31
been put on from outside, but has bloomed from
within. Here are gifts of the cherry tree, here is
fruit in clusters heaped in a basket, and the basket
is woven, not from alien twigs, but from branches
of the plant itself. And if you look at the vine-
sprays woven together and at the clusters hanging
from them and how the grapes stand out one by
one, you will certainly hymn Dionysus and speak of
the vine as “ Queenly giver of grapes.” 1 You would
say that even the grapes in the painting are good
to eat and full of winey juice. And the most
charming point of all this is: on a leafy branch is
yellow honey already within the comb and ripe to
stream forth if the comb is pressed ; and on another
leaf is cheese new curdled and quivering; and
there are bowls of milk not merely white but
gleaming, for the cream floating upon it makes it
seem to ‘gleam.
1 Aristophanes, Pax 520, where Eipyvn is addressed.
p , pn
125
Yottaas
a
silt ti e nicold ee sud PEO | ICT,
35 Sts asit 4959089 sit 1a ei jomn
| al adt § AR astentl a ni tiorpsad
tucouged set. Jat oaens {Wins heat
30 oS de sR stugh a Yofats* Aisest &
criteinit piglfaas ol 30 DEA arene :
Ya =u8 fra “Teta? ee elitr: ‘Ent! hawt
; att
ae eine or
° — = ' =. {, “» a PS
“
‘e
files ho fo cca sp assy. thessne we
here Ste hed it side SiS (ei 694; eR ot Ca
¢ bud ye “eed 26% ‘tn
ai sessile sel¥ano cee ee
isle) fits Cettao B45 Ws soit ipa a4
. t “+e 4s £ =m < <—Sis t7) 2 > ¥3 tsa : a
SP Jtsee 37 e 0) SiGe ++ Se ; es thisst = a
: teniivciait. Bes Portis n rae
be ot
+ e220 is Pd — . 7 >
wu ba fi ve FID. AUK. = af Mi ree > a
>: ’ i 7 ; en rn i Wyss 1S
~ Sect S58 a vieeis tis shtleas ‘yes .
3 te vy
or Co ts Feo < = ee
ables oF ysis cw feese sy
ian
eat
&
BOOK II
340 K.
10
20
BIBAION AEYTEPON
a’ TMNHTPIAI
(1) “Adpodirny ehepavtivay év 1 amanXois
puppwoow ¢ adoucLy arranal KOpal. 6uSacKanos
avTas ayel copy Kal ovee éfw pos edulaver yap
TLS Mpa Kat puTLoL T POTN, YNpos bev TO vmro-
geuvov €XKoVTa, TOVTM o av Kepavvica TO
o @lopevov THS AKLNS. Kal 70 pev oXHuA TIS
"Agpoditns Aidods, yup Kal EVTXNMOV, 7) 7 O€
tn avvOnkn pewuKkotos €AX€havtos. GAN ov
BovreTar yeypadGar doxety 7 Oeds, Exxertar O€
ola AaBéc Oat.
(2) Bovnrer Aorvyou TL émreret Sooper TO Boe ; ;
MiBaveorod yap ixavas exer Kal Kacias Kal
o LUPUS, Ooxet dé peo Kal Lan povs Tl avaTrvelp.
emaweréa Tolvuy » copia THs ypadbhs, mpeTov
pev OTL" Tas ayaTwpévas ALOovs TeptBarovdaa
OUK €K TOV YPWMATWY AUTAS euLuNnoaTO, AAN
é€x Tov gwtos, olov opOarwa Kévtpov TV
duavyerav avtais évOetoa, eita OTL Kal Tov
tuvov mapéxyer axovev. (3) “Adovat yap ai
maioes, adovol, Kal 7 OtddoKaXos vToBXéTreEL
Ti aTddovaay KpoTovca Tas KElipas Kal €s TO
1 éy added by Jacobs,
° dri added by Kayser,
128
BOOK II
1. SINGERS
An Aphrodite, made of ivory, delicate maidens
are hymning in delicate myrtle groves. The
chorister who leads them is skilled in her art,
and not yet past her youth; for a certain beauty
rests even on her first wrinkle, which, though it
brings with it the gravity of age, yet tempers this
with what remains of her prime. The type of the
goddess is that of Aphrodite goddess of Modesty,
unclothed and decorous, and the material is ivory,
closely joined. However, the goddess is unwilling
to seem painted, but she stands out as though one
could take hold of her.
Do you wish us to pour a libation of discourse
on the altar? For of frankincense and cinnamon
and myrrh it has enough already, and it seems to
me to give out also a fragrance as of Sappho.
Accordingly the artistry of the painting must be
praised, first, because the artist, in making the
border! of precious stones, has used not colours
but light to depict them, putting a radiance in
them like the pupil in an eye, and, secondly,
because he even makes us hear the hymn. For
the maidens are singing, are singing, and the
chorister frowns at one who is off the key, clapping
1 The edge of the painting seems to be adorned by painted
precious stones: Benndorf.
129
25
30
341 K.
10
PHILOSTRATUS: IMAGINES
péXOS iKav@s euBiBavovoa. <i bev. yap THIS
TTONS GmrepiT Tov Kal p21) be dydOV avrais, el
aOupoev, 7) TO eV xpe THs Caovns 7 TO els
Bpaxtova Tov XLtT@VOS i) WS avuTroonata Yatpov-
ow epertacat aTANH TOG KAL dvaypuxiy EXxovoat
Tapa Tis Spocov: erp’ TEO TEpL TAS eoOjyras Kal
Ta €v avTals YpomaTa, ws AAO AAXw eriTpéeTret,
dalpoviws éexpeuiuntar Ta yap cupBaivovta ot
Ln ypadovtTes ovK adynOevovow év tals ypadais.
Ta 6€ €ldn TOV Tapbévwy ef TO Ildpids 7) AAr@
T@ KPLTH €TLTpeTTOLWEV, ATropHaa. av doKel
Wndicacbat, TocovTOv auir@vTat podoTnyeLs
Kal EXLK@TLOES KAL KANALTApHOL Kai wEiPwvot:
Lamovs todo 67 To nou Tpocdeypma.
(4) Hapawarrer d¢ avtais “Epos davaxhivas
TOU ToEou TOV THXUY; Kal 1) peupa Tava pov Lev
adet Kat ono. Tavta éxew doa 1) AUpa, Taxeis
Te +O op Parpol tov Oeovd pvOmov tiva oi mae
dtavoovvtes. TL OTA abdovat; ryéypaTTaL yap
Te Kal wons’ THY °A gpoditny expovat THs
darattns Néyoucw atoppon tov Ovpavod. Kal
OTOU Mev TOV VHTwWY TPOTETYEV, OUTW AEYoUGL),
épovat O€ olmat Iladgov, THY yeveow dé ixavas
ddovow" dvaBheT ove at pev yap. eupaivovow,
OTL at’ ovpavod, Tas O€ Yelpas UmTTias UTroKI-
1 Editors note a lacuna here.
1 Praise of the maidens themselves seems to be missing at
this point.
2 Of. Sappho, Frag. 30: weddAryopdvas, ** gentle-voiced.”
Trans. Edmonds, Lyra Graeca I. The other epithets in this
passage are also familiar in the poets.
130
BOOK II. 1x
her hands and trying earnestly to bring her into
tune... >. Kor “asto. their garmentss they are
simple and such as not to impede their movements
if they should play—for instance, the close-fitting
girdle, the chiton that leaves the arm free, and the
way they enjoy treading with naked feet on the
tender grass and drawing refreshment from the
dew ; and the flowered decoration of their garments,
and the colours used on them—the way they
harmonize the one with the other—are represented
with wonderful truth; for painters who fail to
make the details consistent with one another do
not depict the truth in their paintings. As to the
figures of the maidens, if we were to leave the
decision regarding them to Paris or any other
judge, [ believe he would be at a loss how to vote,
so close is the rivalry among them in rosy arms
and flashing eyes and fair cheeks and in “ honeyed
voices,’ * to use the charming expression of Sappho.
Eros, tilting up the centre of his bow, lightly
strikes the string for them and the bow-string
resounds with a full harmony and asserts that it
possesses all the notes of a lyre; and swift are the
eyes of the god as they recall, I fancy, some
particular measure. What, then, is the song they
are singing? For indeed something of the subject
has been expressed in the painting; they are
telling how Aphrodite was born from the sea
through an emanation of Uranus. Upon which
one of the islands she came ashore they do not
yet tell, though doubtless they will name Paphos;
but they are singing clearly enough of her birth,
for by looking upward they indicate that she is
from Heaven (Uranus), and by slightly moving
131
K 2
15
ho
Or
30
342 K.
PHILOSTRATUS : IMAGINES
vovoat dnrodauv, Ott ex OaraTTns, TO werdiaya
\ >] nr / bu
d€ avTa@v yarns éeotiv aiviypa.
8 AXIAAEOS TPO®AI
(1) NeSpost nal Xayws, TaVTA Onpapata Tov
vov "Aytrr€ws, 0 5€ ye év’IXiw modes alpryoet
Kal imwmous Kal avd pov oTLX as, Kal ol ToTapol
avT@ HaxobvTat [1) eOUTE auTous pet, KaK ELV OV
pev TOV Epyov pra Bov aT oigeTat Boronida Kal
Tas ex Aéo Bou em TA Kat xXpucov Kat TpiTrobas
Kal TO TOUS 'Axavovs eT avTw elvau, Ta 6€ Tapa
TO Netpove TavUTa nN@Y Soxel Kal KNPLOvV aka,
al ayaTras, a) ‘Ayirnred, puKpa d@pa TONELS
drratwowv ToTE Kal TO KNOOS TOU ‘Ayapéepuvovos.
O pev ovv él THS Tappov Kal O Khivas TOUS
Tp@as ék povov tov Bonaoas Kal O KTELV@Y
emLa T pop aony Kal é€pv0patvav 70 TOU 2eapav-
dpou bowp U (1@7TOL TE abavarot Kal ErEets ‘Extopos
Kal 0 Spux@pevos él Tos TOU Ilatpoxdou
oTEpvoLs ‘Opnpe YEVpamrat, ypader 6€ avTov
kal ddovta Kal evXopevoy Kal ouwpoploy T@
II pune.
(2) Lourovi dé ovTw Evvévta aperis, arra
maida €Tt yadaxTe vTob peas Kal HUEA® Kal
péruTe O€dwKev 0 XNeipwy ypade atadov Kat
1 yeBpds Hercher: veBpol,
1 77. 11. 264, 270 mentions the seven Lesbian women,
the gold and the tripods among Agamemnon’s gifts to
Achilles.
132
BOOK Ti. 2
their upturned hands they show that she has come
from the sea, and their smile is an intimation of
the sea’s calm.
2. THE EDUCATION OF ACHILLES
A fawn and a hare—these are the spoils of
hunting of Achilles as he is now, the Achilles who
at Ilium will capture cities and horses and the ranks
of men, and rivers will do battle with him when he
refuses to let them flow, and as reward of those ex-
ploits he will bear away Briseis and the seven maid-
ens from Lesbos and gold and tripods! and authority
over the Achaeans ; but the exploits here depicted,
done at Cheiron’s home, seem to deserve apples
and honey as rewards, and you are content with
small gifts, Achilles, you who one day will disdain
whole cities and marriage with Agamemnon’s
daughter. Nay, the Achilles who fights at the
trench, who puts the Trojans to rout merely by
his shouting, and who slays men right and left,?
and reddens the water of the Scamander,*® and
also his immortal horses, and his dragging of
Hector’s body around the walls, and his lamentation
on the breast of Patroclus—all this has been
depicted by Homer, and he depicts him also as
singing and praying and receiving Priam under
his roof.
This Achilles, however, a child not yet conscious
of valour, whom Cheiron still nourishes upon milk
and marrow and honey, he has offered to the painter
* The word of Ilomer, ZZ. 10. 483.
3 Cf. Livad, 21. 21; 16. 154; 24. 50ff.; 18. 318 for the
phraseology as well as the story.
4335
10
ie)
20
PHILOSTRATUS : IMAGINES
b] / \ yd a > a \ »! €
wyépwxov Kal Hon Kodporv: evVOeia wev yap 1
/ 7 / , / \ € a , \
KVnLN TH Tarot, és yovu bé ai yeipes—ayabal
\ \ e al /
yap 6) avtat toutol tod Spdouov—Kopun Te
c lal \ > \ ’ / SA \ tA
noeta Kal oS axivntos—éoixe yap TpocabUper
e / /
o Cehupos EeTATATTELY AUTHV, WS METATILTTOVENS
cal a / na
THOE KaKEloe AAAOTE, AAXOS O Tais eln—Ert-
/ U \ \ / eS \ A
aKuvLov TE Kal Ovpoerdes Ppvaypa éote pev HOH
~ / of. \ > \ > / / x
TO TALL, Tpavver 6€ AUTO akaKkw BrEupaTe Kal
lal /- ie A
Taped wdra thew Kal TpogBaddovon TL ATAadOD
/ ¢e \ a 3 > / \ A
yeXw@Tos. 1 XAamvS O€, Iv auTéyvETal, Tapa TIS
\ 3 \ \ \ ¢ / \
HLNTPOS Olmal' KaXNn yap Kal adiTophupos Kal
\ an a
mupavyns éEadXdtToVvca Tov Kvavh eivat. (3)
/ \ ¢€ /
Kodaxever d€ avtov o Xelpwv olov Réovta
la) ¢ / \ A /
TT@KaS apmavey Kal veS8pois ouprrétec bar
\ a A ¢ \ e/ \ \ /
veBpov youv apts npnKws Kel Tapa TOV Xelpwva
\ b] a \ 4 ¢€ \ / > /
Kal atraTel TO APAov, oO SE Yalpet ATraLTOUpMEVOS
\ \ / ’ / > y ,
Kal Tous Tpoabious OKAdaas els icov KaMLoTATAaL
a 6d aN ’ \ lal ay >) / > fal
T@ Tall, w~HAA ATO TOV KONTTOV OpéywV avT@
\ \ aA \ \ a > a ”
Kaha Kal evw@dn—Kal yap TovTO avTa@Y EoLKeV
fs ’ / an f
eyyeypapGar—kai Knplov opéyer TH YELpl oTayoVa
a , , cal fal / \
AetBov du evvomiay TOY pEALTT@V. OTAaV Yap
moa ayabais évtuxotoat KuloKwaot, TEpiTANOH
\ / / \ > / \ / e
Ta Knpla ylveTaL Kal atTroBXVGoval TO péENL OL
od > a e \ Vem, wd / \
oixot avtav. (4) o dé Xelpwyv yéypartat pev
boa KévTaupos: adda inrov avOpoT@ cupBareiv
134
BOOK II. 2
as a delicate, sport-loving child and already light of
foot.t_ For the boy’s leg is straight and his arms come
down to his knees (for such arms are excellent
assistants in the race); his hair is charming and
loose; for Zephyrus in sport seems to shift it about,
so that as it falls, now here, now there, the boy’s
appearance may be changed. Already the boy has
a frowning brow and an air of spirited haughtiness,
but these are made gentle by a guileless look and
by gracious cheeks that send
forth a tender smile. The
cloak he wears is probably
his mother’s gift; for it is
beautiful and its colour is
sea-purple with red glints
shading into a dark blue.
Cheiron flatters him by say-
ing that he catches hares
like a lion and vies with
fawns in running; at any
rate, he has just caught a
fawn and comes to Cheiron to claim his reward,
and Cheiron, delighting to be asked, stands with
fore-legs bent so as to be on a level with the boy
and offers him apples fair and fragrant from the
fold of his garment—for their very fragrance seems
to be depicted—and with his hand he offers him
a honeycomb dripping with honey, thanks to the
diligent foraging of the bees. For when bees find
good meadows and become big with honey, the
combs get filled to overflowing and their cells pour
it forth. Now Cheiron is painted in every respect
like a centaur; yet to combine a horse and human
1 Cf. Fig. 17, Cheiron teaching Achilles.
ESAS ENS GY EN CYP EO
Poon UTIUIINNTTHT 2S
DSTO TUTTI =a}
x
£35
30
or
10
20
PHILOSTRATUS : IMAGINES
Gavpa ovder, cuvaneivrat pen Kal éevaoat Kal
vy Ala Sobvar audw Arye Kal apxerOar Kal
diahedyerv Tos opOarpovs, ef TO Téppa TOD
avO pwrrou éNeyyoev, ayabou oipa Corypadou.
Kal TO %LEpov 6é paiver bat TO TOU Xetpwvos
up epyafetar mev Kal 2) Suxavoc vy Kal TO ut’
; auriis meTvva Oat, TparTet dé kal ) THKTIS, UP
Ws EK MEMOVT@TAL vuvi O€ Kal vmroxopia mod Tb
aUuT@ ETETTLY ELOWS TOU O Xetpor, OTL Tous
Taidas TOUTO peltdiaoeTaL Kal Tpéder waAXOY 7
TO yada.
(5) Tavti per rept Ovpas TOU avTpou, 0 0 ev TO
med mais O immnoov € em TOU KEVTAUPOU dO dpov
0 avTos éTL" OddoKel 0 Xeipor Tov AXiEa
immaver Oar Kal expo Pau auT@ boa ine, Kal
TUMMETPELTAL “EV TOV SpomoV Els TO AVEKTOV TO
Tai, Kayxafovte b€ avT@ vm TOU 7dea0at
mpoo perdud peta tpepopevos Kal jLovov ovxt
Neyer “ido cor Kpoaiva aTAHKTOS, éov Kal
ETLKENEVOMAL TOL’ O iT@TTos O£Vs apa Kal apatpet
yerora. Aayapas yap Lot inna bes, Gete Tai,
Kal TOL@O inm@ TpeTrov oXnoN TOTE Kal eT
= abou kat Badrlov Kat TOANAS pev TONELS
aipnoets, ToANOVS O€ avdpas atroxtevels, Oéwv?
daa, Kal ouverpevyovtas. Tatra 0 Xetpo
pavTevera T@ Tait Kaa Kal evhnua Kal ovYX
ola 6 ZavOos.
1 yh Aia dovva: Jacobs: Siadodvai.
2 @éwy X, Oeby T.P. The text is corrupt.
1 Cf. 71, 19. 408, where the horse Xanthos prophesies the
impending death of Achilles,
136
BOOK II. 2
body is no wondrous deed, but to gloss over the
juncture and make the two into one whole and, by
Zeus, cause one to end and the other to begin in
such wise as to elude the eye of the observer who
should try to detect where the human body ends,
this seems to me to demand an excellent painter.
That the expression seen in the eye of Cheiron is
gentle is the result of his justice and the wisdom
that he has acquired through justice, but the lyre
also does its part, through whose music he has be-
come cultured; but now there is also something of
cozening in his look, no doubt because Cheiron
knows that this soothes children and nurtures them
better than milk.
This is the scene at the entrance of the cave; and
the boy out on the plain, the one who is sporting on
the back of the centaur as if it were a horse, is still
the same boy; for Cheiron is teaching Achilles to
ride horseback and to use him exactly as a horse,
and he measures his gait to what the boy can
endure, and turning around he smiles at the boy
when he laughs aloud with enjoyment, and all but
says to him, ‘ Lo, my hoofs paw the ground for you
without use of spur; lo, I even urge you on; the
horse is indeed a spirited animal and gives no
ground for laughter. For although you have
been taught by me thus gently the art of horse-
manship, divine boy, and are suited to such a horse
as I, some day you shall ride on Xanthos and
Balios; and you shall take many cities and slay
many men, you merely running and they trying to
escape you.” Such is Cheiron’s prophecy for the
boy, a prophecy fair and auspicious and quite unlike
that of Xanthos.
137
9 5
30
344 K.
or
10
PHILOSTRATUS : IMAGINES
y KENTATPIAES
(1) Sv pév mou TY TOV KEVTAUpOV ayedny
Opuay cxmepunévat Kai TeTpov 7 v1 Ala inmov
povov, ais TOV tov lEiovos eniepvued as pacw,
vp’ ov ol KevTaUpOL Evobévtes * Gov ets Kpaow.
Tois O€ apa Kal pnTtépes opopuror Ao av Kal
yuvaixes non Kal T@Nol ev elder Bpepaov Kal
0iKOS pOLa Tos" ov yap oi mat ce axPecbau TO
IInAtw Kal 7H év avr @ Ovaity Kal T@ Tis pedias
pute dvemort pepel OVTL Kal TA peXOMEV TO iOv
omod Kal TO pn KrAGCOaL ev TH aX ph. Kal Ta
avTpa KaANoTa Kal al Tnyal Kal ai Trap
auTots KevTauploes, eb pev eémriraGoipeOa TaV
immwv, otov Naides, ef dé peta TOV inroyv
auTas AoysloipweBa, oiov “ApaCoves® » yap rob
yuvacxetou eloous aBpoTns pwovvuTat oc vvopmmevou
AUTO Tou immou. (2) Kevtavpoe d€ TavTl Ta
Bpébn ta pev om apyavors eyKelTal, Ta dé TOV
omapry aver ume Over at, Ta O€ KAdELY EOLKE, TA
b¢ eV TPATTEL Kal EUpoovvTOS Tov patod peLola,
Ta 6é atannet vTO Tals ENTpaoe, Ta dé Tepl-
Barre avtas oxralovaas, 0 O€ és THY pNTépa
ALGov adinaw UBpifwv dn. Kal TO pev TOV
vnTiwy €i00s ovTw acades éuTAnMmUpOvVTOS
aUT@® TOU ydAaKTos, Ta O€ HON TKIPToVTA
expatvel TL Kab TPAaXUTNTOS, UTapXel 6€ auTots
xairn éd\OUTG, Kal oTAal amanat eTL.
‘Os kadai ai xevtavpides Kal év tois tmmots:
1 évw6évres Morelli after a correction in L: o’vwOévtes.
Various other emendations have been proposed.
138
Fic. 18.—Head of a Female Centaur.
[To face p- 139,
BOOK IL. 3
3. FEMALE CENTAURS
You used to think that the race of centaurs sprang
from trees and rocks or, by Zeus, just from mares—
the mares which, men say, the son of Ixion! covered,
the man by whom the centaurs though single
creatures came to have their double nature. But
after all they had, as we see, mothers of the same
stock and wives next and colts as their offspring and
a most delightful home; for [ think you would not
grow weary of Pelion and the life there and its wind-
nurtured growth of ash which furnishes spear-shafts
that are straight and at the same time do not break
at the spearhead. And its caves are most beautiful
and the springs and the female centaurs beside them,
like Naiads if we overlook the horse part of them, or
like Amazons if we consider them along with their
horse bodies; for the delicacy of their female form
gains in strength when the horse is seen in union
with it. Of the baby centaurs here some lie wrapped
in swaddling clothes, some have discarded their
swaddling clothes, some seem to be crying, some are
happy and smile as they suck flowing breasts, some
gambol beneath their mothers while others embrace
them when they kneel down, and one is throwing a
stone at his mother, for already he grows wanton.
The bodies of the infants have not yet taken on their
definite shape, seeing that abundant milk is still
their nourishment, but some that already are leaping
about show a little shagginess, and have sprouting
mane and hoofs, though these are still tender.
How beautiful the female centaurs are, even where
1 Centaurus, who united with the Magnesian mares and
begat the centaurs according to the version of the story here
referred to,
£39
PHILOSTRATUS: IMAGINES
e \ \ al ‘/ ’ / e \
ai ev yap NevKats imols éutedvKaciy, ai be
a / \ \ / /
EavOais cuvdttovtat, Tas O€ mTotkiitrXer per,
b / \ , lal ei? lal ’ A
atoatiNBer 5€ avT@yv olovy Te TaV év KOmLdF
¢/ ’ / \ z c/ \
iTTwV. ExTEpUKE Kal pedXalyNns LmTTOU EUKT
\ , lal
20 KeVTaUpLS Kal TA EVAVTLWTATA TOV KPwWMAToV
, nw / id cad
els THV TOU KadXOUS TUVONKHY O“odOYEl.
& INTWOATTOL
(1) To pev Onpiov apa! Oncéws, eumértoxe
6€ tots ‘Immodvtov immo év elder Tavpou
ANevKOD KaTa Tovs Serdivas, Heer bE ex OadatTns
\ rn , ’ fal / \ \
KaTa TOU melpaKiov ovdEemLa OiKN. pNTpULa yap
bo
Ou
/ al / 3 ’ ’ lal b] ” e
Maidpa EvvOeica oyov er’ AVT@® OvVK VTA, WS
\ > na c \ ane / > \ \ mw “~
6 ép@to vro ToD ‘ImmoVTOV—avTn O¢ dpa TOD
/ by) lal \ a
pelpaklov Hpa—aTatatar 0 Onaedrs TO OYw
Kal KaTapaTal TOD TraLdos TA OpMpeEva.
30 (2) OF pev 8% trot Opds ws aTimdoayTes TOV
= lad | pes s ss
\ D4 / y \ / b] be2
tuyov édhevbépav aipovor THv yaiTny, ov 5é* Kpo-
/ e e \ \ ” > ’
ALWOVTES WoTTEP Ol AaTTPOL KaL Euhpoves, AAX
’ / / \ / e / \ ’ lal \
éEnpuévot OB Kal TTOoLa, paivortes d€ app@ TO
= c , ,
345 K. mediov o pev és 70 Onplov érréoctpartar pevywv,
e b > / > > / e \ e / lal
0 8 dveckiptnxev és avto, 0 b€ UToPréTEL, TO
\ ’ \ / € \ / e la \
bé els THY OaddatTav 7) popa KabaTreEp EavTOV Kal
A re ’ / ral be > a J \
Ths yns éxrabouévw, pwuxTHpat Oe opots o€u
/ \ / al rn
5 ypemeTiCovow, €¢ ju1) Tapaxovets THs ypadis.
t / \ /
tpoxol & apyatos o pev €€nphootar Tas KYnuas
1 apa Reiske and Jacobs: &p2.
2 ob d€ Schenkl: ovde.
140
‘snphijoddiy fo yywaq 94 T—'6L ‘Oli,
ap ote ange Sen <<) a ee}
TW l 09," ~Lte Oe, ; My 7 °
fp “Onoooes \ - 5))) Sats wee ona y bhi \
POM SLIPS RED Soe aes te NPY AR St
V/A
[To face p. 141.
BOOK II. 4
they are horses; for some grow out of white mares,
others are attached to chestnut mares, and the coats
of others are dappled, but they glisten like those of
horses that are well cared for. There is also a white
female centaur that grows out of a black mare, and
the very opposition of the colours helps to produce
the united beauty of the whole.
4, HIPPOLYTUS
The wild beast is the curse of Theseus ;1! swift as
dolphins it has rushed at the horses of Hippolytus in
the form of a white? bull, and it has come from the
sea against the youth quite unjustly. For his step-
mother Phaedra concocted a story against him that
was not true, to the effect that Hippolytus loved her,
—but it was really herself that was in love with the
youth—and Theseus, deceived by the tale, calls
down upon his son the curse which we see here
depicted.
The horses, as you see, scorning the yoke toss
their manes unchecked, not stamping their feet like
well bred and intelligent creatures, but overcome
with panic and terror, and spattering the plain with
foam, one while fleeing has turned its head toward
the beast, another has leaped up at it, another looks
at it askance, while the onrush of the fourth carries
him into the sea as though he had forgotten both
himself and dry land; and with erect nostrils they
neigh shrilly, unless you fail to hear the painting.
Of the wheels of the chariot one has been torn from
1 Cf. Eur. Hipp. 1166f.; The description includes many
reminiscences from the play of Euripides.
* The bull painted white occurs on a vase-painting, Fig. 19,
Arch, Zeit. 1883, Taf. vi.
141
PHILOSTRATUS : IMAGINES
e \ lal a \ cca b] > , € ,
To ToD auyKALOnvar TO appa és avTov, o 8
exdeXoiT@s Tov afova gépetac Kal’ éavtov
/ > \ ” a / /
otpoBovons avtov ett THs Oivns. SvemtonvTar
\ e lal > a (/ \ \ \ >
10 Kal of Tov OTada@Y imtot Kal TOS MeV aTro-
/ \ S y Al “ny / i
ELOVTAL, TOUS O ayVoVTAaS Trot” On PeEpovat ;
(3) Xv dé, werpaxiov, cwhpoavyns epav adika
\ ¢ x n la 4 > / Was \
bev UTO THS pNTpULas Emrabes, adtK@TEpa SE UTFO
al / e ’ / \ e \ a /
ToD TaTpOS, WATE WOUPATO Kal 7 Yypady Ophvov
15 Twa ToiuntiKoy emt cot EvvPetoa. oKoTial pmev
\ ® ’ e > / \ ’ /
yap avtat, d¢ @v €Onpas adv “Aptéuss,
\ \ y ca
SpumtovTar Tas mTaperas év elder yuvarkar,
lal /
etw@ves 6 EV WPA pMELPaKLwY, OVS UAKNPaTOUS
’ / / bd \ \ \ yy A N d
avopates, wapaivovow eri col ta avon, Nvpdat
20 TEAL Gal TPOPOlL TOUTwVL TOY THYOV avacyovoal
oTapatTovat Tas Kopas amoBAVfovcat Tav
ral / ’ > /
patav vowp. (4) “Hyvve b€ coe ov8 1) avdpeta
ovoevy ovdé 0 Bpayiwy, aXXa col Ta pev €oTd-
Qn n \ / /
PAKTAL TOV MLEAV, TA O€ GUVTETPLTTAL, TEPUPTAL
= a ¢ / \ \ \ / ” ” /
25 6° KO py, Kal TO ev OTEpVOY EuTrvOUY ETL KABa-
\ / an nr \ \ wv
Tep 141) weOréwevov THS Yruxts, TO Sé Gupa TepLa-
a a a e/ Yi ,
Opet Ta TeTpwpéva. PEv THs WPasS, WS ATPwWTOS
a) / \
Tis €NeANOEL OVTA. OSE yap ViY aTroNELTEL TO
/ > ’ b] / \ val J
MELPaKLOV, ANN EmiMpéTEL TL Kal Tos Tpav-
30 pact.
142
BOOK II. 4
its spokes as the chariot has tipped over upon it, the
other has left its axle and goes rolling off by itself,
its momentum still turning it. The horses of the
attendants also are frightened and in some cases
throw off their riders, while as for those who grasp
them firmly about the neck, to what goal are they
now carrying them ?
And thou, O youth that lovest chastity, thou hast
suffered injustice at the hands of thy step-mother,
and worse injustice at the hands of thy father, so
that the painting itself mourns thee, having composed
a sort of poetic lament in thine honour, Indeed yon
mountain-peaks over which thou didst hunt with
Artemis take the form of mourning women that
tear their cheeks, and the meadows in the form of
beautiful youths, meadows which thou didst call
“ undefiled,’ 1 cause their flowers to wither for thee,
and nymphs thy nurses emerging fiom yonder springs
tear their hair and pour streams of water from their
bosoms.? Neither did thy courage protect thee nor
yet thy strong arm, but of thy members some have
been torn off and others crushed, and thy hair has
been defiled with dirt; thy breast is still breathing
as though it would not let go of the soul, and thine
eye gazes at all thy wounds. Ah, thy beauty! how
proof it is against wounds no one would have
dreamed. For not even now does it quit the body ;
nay, a charm lingers even on thy wounds.
se (OVNI ney iy VS
2 z.e. in lieu of tears.
1 rot Benndorf : mo:
143
10
PHILOSTRATUS : IMAGINES
é POAOTOTNH
(1) Kat to aiva mpos Ta XAAKD Kal Tais
powixior ™ poo Barret tu avOos TO oTpATOTEO®,
Kal Xaptev THS ypapns Ol aXXos dddws TET TO -
KOTES imTTOL TE ATAKTODYTES wer extra Eews Kal
TapepOopos vdwp Twotapmod, éb & Tadta, oi be
aiypwadwToL Kal TO ém avtois TpoTatov— Poédo-
yourn kal lépoa vixdow ’Appevious év otroveais
aTakTyoavtas, OTe 6n Aé€yetar 1) ‘“Podoyouvn
Kpathoar THS payns ovdé daov ta deta Tis
yaitns avaraBew Evyywpnoaca éavtH Bpaddvat.
) OVK €mnpTat Kal povel emi TH viKn Kal
Evvinow, ws Exotto aoidipos él TO Epyo Kal
év Ki0adpa Kai é€v avry® Kal €vOa “EXXnves ;
(2) mpooyéypartar d€ avth kal Nnoata inos
péXawva ert NEevKOLS TOLs TKENETL, KAL TA OTEpVA
NevKAa KAL TO TYEDMA ATO NEUKOU TOD pUKTHPOS
Kal TO pétwTov! év aptiw TO KUKA@. ALOwY
uev ovV Kal Gpuwyv Kal TaVTOS aTadOD KOTMOU
TapaxexwpnKkev 1 “Podoyotrn TO into, ws
ayarroTo Kal aBpas Tov yarivov dvaTrTvor
KkoxxoBagel oé Suet KaTadamres TAaVvTa TAY
TOU €AUTHS eldous” év 10eta bev TH Coun Kal TV
eo Oira HeTpovey és youu, ndeia Sé TH avatupis.
Kal TApeXOMEVY ypapas aro xepxidos, TO 6€ ato
@|LOU €S ayKava TOV XeTaOva diarelTovaat TopTrat
Evvartovew vTravcyovans évadd\ak Ths wrEVNS,
1 Aevxdv is to be supplied or understood after wétrwroyv. Cf.
supra 334, 15 K.
2 The text immediately following efdovs is apparently
corrupt.
144
BOOK II. s
5. RHODOGOUNE!
The blood and also the bronze weapons and the
purple garments lend a certain glamour to the battle-
scene, and a pleasing feature of the painting is the
men who have fallen in different postures, and horses
running wildly in terror, and the pollution of the
water of the river by which these events occur, and
the captives, and the trophy commemorating the
victory over them. Rhodogoune and the Persians
are conquering the Armenians who broke the treaty,
on the occasion when Rhodogoune is said to have
won the battle, not even having allowed herself to
tarry long enough to fasten up the right side of her
hair. Is she not elated and proud of the victory and
conscious that she will be celebrated for her exploit
with lyre and flute and wherever there are Greeks?
Her horse also is in the painting, a black Nisaean
mare with white legs; its breast also is white, its
breath comes from white nostrils and its forehead
is marked with white in a perfect circle. Nay,
Rhodogoune has bestowed upon the mare precious
stones and necklaces and every dainty ornament, that
it may delight in them and champ its bit delicately ;
and Rhodogoune is resplendent with scarlet raiment,
all except her face; she wears a charming girdle
which permits her robe to fall only to her knee,
and charming trousers in which designs are woven;
her chiton is fastened with brooches set at intervals
from shoulder to elbow, the arm showing between
1 Probably the Persian queen of whom Polyzenus 27 relates
that while washing her hair word was brought that a subject
tribe had revolted. Hastily binding up her hair and swear-
ing that she would not wash it until she had put down the
rebellion, she leapt upon her horse and went to battle.
145
L
25
30
or
10
PHILOSTRATUS: IMAGINES
eva 0 Secos, 0 O€ @pmos eyxertau’ TO ona
our ‘Apatovos. (3) Kai THS dom toos ayao Cat
xp? TO HETpLOV Kal aTOXpHY TH aTEpY@. Kal
THY LayvY THS ypadiis evratda ékerdoar’ Umep-
Bardovea yap ” apiorepa TOV TopTaKa EXeTaL
THS aix nis apistaca TOU oTEpvOU THY daonida,
OpOns O€ exxermevns THs iTvos OpaTat méev Kal Ta
éEw THs aomioos' 7) ov XYpuvca TavTa Kal olov
faa; ta O€ tow Kal évOa 1 xXeElp adoupya,
mpocavlet O€ aUTois 0 THYUS.
(4) Aic@avecOai pot doxeis, @ Tal, Tov épv
avTH KadXovs Kal BovrAecPal TL Kal TEpt TOVTOU
aKkovelv’ akove 67. o7révder pev éerl TH TOV
"Apueviovy TtpoTn, Kal évvola eVXOMEDNS®
evyeTal O€ aipety Tovs avdpas, as! vov npncev:
ov ydp por Ooxel épav Tod épacOar. Kal TO ev
cavern [LLevOV TOV TpLX@v aidot KEKOTMLNTAL TO
ayEpwXov coralovan, TO dé averov Baxxever
avTny Kal povyucr. Kal EavOov pev Kal ypucod
Tépa TO ATAKTOUY THS KOmNS, TO O€ el OaTEpa
Kelwevov EXEL TL Kal €S avynv® tTapaddaTTOV
UTO Tov TeTaYOaL. THY S€ OppiwY yapiev péeV
70 aTrO TOD avTov apyerOaL Kal omobev exTrepu-
KEVaL THIS. pos, Xapiertepov S€ TO Tepthy Oa:
Get yap avTas 1) mpoBeBrHa Oat TOV opParpav
HOvoV, adra Kal ee Ane a ate avtois. (5) ‘H
ws Olearius: ods.
2 last Jacobs: abrhy.
1 The dress of the Amazons was asleeveless chiton girded,
that did not reach quite to the knees.
2 Cf. Anacreontea, 16. 13 £.
Td wecdppvor Se un mor
didkomre unde move,
146
BOOK II. 5
the fastenings, though the shoulder is covered ; the
dress is not that of an Amazon.t One should also
admire the shield, of moderate size but large enough
to cover the breast. And at this point one should
examine carefully the effectiveness of the painting;
for the left hand extends beyond the handle of the
shield and grasps the spear, holding the shield away
from the breast; and though the rim is held out
straight, the outside of the shield is also visible—is
it not resplendent and as it were animate with life?
—while the inside, where the arm is, is of a purple
hue and the forearm shines against this background.
It seems, my boy, that you have a feeling for the
beauty in this figure and desire to hear something
on this point also, so listen. Rhodogoune is pouring
a libation for her victory over the Armenians, and
the artist’s conception is of a woman praying. She
prays to conquer men, even as she has now conquered
them; for I do not think she loves to be loved.
The part of her hair that is fastened up is arranged
with a modesty that tempers her high spirit, while
that which hangs loose gives her vigour and the look
of a bacchant. Yellow, even yellower than gold, is
her disarranged hair; while the hair on the other
side differs also somewhat in hue because of its
orderly arrangement. The way her eyebrows? begin
at the same point and rise together from the nose is
charming; but more charming still is the curve they
make; for the brows ought not only to be set above
the eyes but should also be set in an arch around
exéeTw 5’, Orws exeiyn,
Td AEANOOTWS THVOHpU
Brehapwv itus KeAauyn.
Her eyebrows neither join nor sever,
But make (as ’tis) that selvage never
Clearly one nor surely two.
147
Li2
PHILOSTRATUS : IMAGINES
Ta peLd be UmobexeTae pev TOV aTro TOV OMMAT@V
15 ijepor, evppaiver O€ TH ihap@—TO yap prroperdées
ev Taped pddita—kal 01 opParuol KEKPAVTAL
jev dro oO XapoTrod &s TO pédav, TapeXovTat
b¢ TO pev (Na pov aro TOU Katpod, 70 b€ @paiov
aro THS pucews, TO oe yadpov aro Tod dpe.
20 oT Oma dé aTanov Kal avaper Tov oT wpas Epwre-
Kis, pirfjoas per iOiotov, aTrayryetrar dé ov
paouov. a dé aTroxpn cot pwabety bpa, mavdtov"
yeikn avOnpa Kat ica, oT Opa oT UpeET POV Kal
mapapbeyyouevov THY eUX NY T® TpoTalw’ Kav
25 mapaxovaat BovrAnbapev, Taxa édAnveel.
s APPIXION
(1) ’Es aura TKELS ‘Odd prea Kal TOV ev
‘Odum rig TO KaAXLOTOV: ToUTL yap 67 avépiv
TO TaryKpaTLov. orepavoorat dé auto? °A ppixtov
ératolavav TH vikn Kal atepavol avTov oUTOGL
30 ‘Ed avodinns—arpexis dé Tm pooerpya 0 dua TE
TO émuperetobar ar betas Ola TE TO os EXELVOL
348 K. yeypapbar—ordorov Te 1) y) Oldéwow év am)
avrO@ve Kal elaexovon TocodTOV, Kal TO TOU
1 gitd Kayser: aire
1 Of. Pind. Jsthm. 2.6: ’"Agpoditas . . . adlorav omdpay,
2 The pancratium, so-called because it brought into play
all the powers of those who engaged in it, was a combination
of boxing and wrestling. It was permissible to maim or
choke one’s opponent, but only at Sparta was biting allowed.
The contest began with the opponents standing, while it
continued if one was thrown down and only ended when one
148
BOOK II. 6
them. As fer the cheek, it receives the yearning
that emanates from the eyes, yet it delights in
merriment—for it is mostly in the cheek that mirth
is shown—and the colour of the eyes varies from
light blue to black ; the joy they show is due to the
oécasion, their beauty is a gift of nature, while their
haughtiness arises from her authority as ruler. The
mouth is delicately formed and filled with “love's
harvest,’ 1 most sweet to kiss, most difficult to
describe. But you may observe, my boy, all you
need to be told: the lips are full of colour and even
the mouth is well proportioned and it utters its prayer
before the trophy of victory; if we care to listen
attentively, perhaps it will speak in Greek.
6. ARRICHION
You have come to the Olympic games themselves
and to the noblest of the contests held at Olympia;
for this is the pancratium? of men. Arrichion is being
crowned? for winning this event, having died just
after his victory, and the Judge of the Games yonder is
crowning him—let him be called “the strict judge, ’4
both because he sedulously strives for the truth and
because he is indeed depicted like the Olympic
judges. The land furnishes a stadium in a simple
glen of sufficient extent,®? from which issues the
was killed or acknowledged himself defeated by raising his
hand,
3 Cf. Paus. 8. 40. 2 records this fact ; see note 1, p. 152.
4 Cf. Pind. Ol. 3.21: arpexis EAAavodixas, referring to the
judge at Olympia.
5 The stadium at Olympia was not equipped with rising
tiers of seats like the one at Athens.
149
-
~
10
20
bo
Or
30
PHILOSTRATUS: IMAGINES
Argeiod vapa efepxerar Kovpov —TabTa ToL Kal
HOvos TOTALOY emt THS Jararrns oxXeltTaL—
KOTLVOL Te avT@ mepiTeO ao €v yavKk@ eldee
KANO! KAL KATA THY TOV GEN VOV OVAOTYTA.
>) 7 \ \ 5 \ \ / ’ /
(2) Tauri ev ody weta TO otadiov éticKEeWo-
pweOa Kal Toda Etepa, TO Se Epyov Tov
"Apptyi@vos, Tpiv 7) Tavaacbat avTo, cKoT@peEv.
EOLKE Yap [L7) TOD AVTLTANOV MOVOY, GAXA Kal TOU
“EXAnvixod KexpatynKévar’ Bo@at yoov avatrnbn-
cavtes TOV OadKoV Kal Ol meV TW YELpE avaceEiou-
av, ot d€ THv écOFTa, of b€ aipovtat ato THS
VAs, ot dé Tois mANoLOY (Napov TpooTadatouce
Ta yap ovT MS EXTANKTUKA ou TUYXwpel Tots
Geatais év TO Kabext@ elval. % Tis OUTwS
avaicOntos, @S 1 avakpayelv é7l TO AOXHTH ;
peydrou yap 6) avT@® UTdpyovTos TOD dis dn
VLKHTAL Ta ‘Odvpurrva peilov TOUTO vuvt, OTe Kal
THS WuXAs avTa KTNG AMEVOS els Tov TOV orBiov
TEMTETAL x.@ pov avTn Kovel. pn 6€ curTuxia
voeia0w TovTo: copwtata yap tTpovvonOn THs
ViKNS.
(3) Kat To madatopa; o8 TaryKpatra corres,
o Tai, KEK WOUVEUHLEV] T por XpOvrar TH mady"
def yap avtots UTOTlag Lav Te, Ol MN elow
aapanreis TO Tahavovrt, Kal TULTAOKODY, €v ais
mepuyives bat XP? olov mimtovta, bei dé avTois
Kat TEXYNS és TO adXOTE AANWS ayxew, ol O€
avtol Kal opuca@ Tpoomahatovar Kal THY KElpa
oTpeBrovar T poo OvTos TOU TraleLV Kau €vddXreo Oat*
Tavtl yap Tov mayKxpatiavew Epya mwAnVY TOD
2 Alpheius, an Arcadian hunter, fell in love with Arethusa,
who fled across the sea to Syracuse, where she was trans-
formed into a fountain on the island Ortygia. Alpheius
150
BOOK II. 6
stream of the Alpheius, a light stream—that, you
know, is why it alone of rivers flows on top of the
seat ; and about it grow wild olive trees of green-grey
colour, beautiful and curly like parsley leaves.
Now after we have observed the stadium, we will
turn our attention to various other points, and in
particular let us take note of the deed of Arrichion
before itis ended. For he seems to have conquered,
not his antagonist alone, but also all the Greeks ; at
any rate the spectators jump up from their seats and
shout, some wave their hands, some their garments,
some leap from the ground, and some grapple with
their neighbours for joy; for these reallyamazing deeds
make it impossible for the spectators to contain them-
selves. Is anyone so without feeling as not to applaud
this athlete? For after he had already achieved a
great deed by winning two victories in the Olympic
games, a yet greater deed is here depicted, in that,
having won this victory at the cost of his life, he is
being conducted to the realms of the blessed with
the very dust of victory still upon him. Let not
this be regarded as mere chance, since he planned
most shrewdly for the victory.
And as to the wrestling? Those who engage in
the pancratium, my boy, employ a wrestling that is
hazardous; for they must needs meet blows on the
face that are not safe for the wrestler, and must
clinch in struggles that one can only win by pre-
tending to fall, and they need skill that they may
choke an adversary in different ways at different
times, and the same contestants are both wrestling
with the ankle and twisting the opponent's arm, to
say nothing of dealing a blow and leaping upon the
adversary; for these things are a!l permissible in the
was changed into a river and followed her across the sea.
Cf. Pausanias 5. 7. 2.
151
35
349 K,
is |
10
15
PHILOSTRATUS : IMAGINES
Suxvewv 1) opvTTev. Aaxedatpovior péev ovv Kal
TavtTa vouivovaly atoyupnvalortes oluat EavTovs
és tas paxyas, "Hrelor S€ ayaves tauTi pev
adarpodor, TO 6€ dy Xxew emaivovay. (4) “O@ev
TOV ‘Appixiova Héoov 760 PNKOS 6 avtitanos
ATOKTEVaL EyYw Kal TOV Mev THX UY TH deph On
évéBarev atroppatTwv avT@ TO acO ua, Ta OKEAN
5€ toils KouBHaow éevapmocas Kal TepLo.etpas és
EXATEPAV AYKUANY AkKpW TW TOE TO pev TViypaTL
E€fOn avtov UTvnArOdD TO évTEeDOev Pavdtov Tots
aia Onrnpiors eVTPEXOVTOS, TH O€ é€miTdcEL TOV
oKENOV aveupery XPNT apevos OvK ep) TOV
Aoyio ov TOU "Appixi@vos: exAaxTioas yap Tov
Tapaov Tov Todos ’Appixiwv, vd’ ov éxrvduvevev
avT@® ta deEla Kpewavvupéervns On THs ayKUANS,
€xetvov pev cvvéxet TO BouBavi ws ovKET avTita-
Nov, Tois O€ ye aplatepois eviEnoas Kal TO
Tepl\TTOVY GKpov TOU Todds évaTroKAElcas TH
ayKvAn OUK €a pévery TH Ohup@ Tov adoTpayarov
imo THs els TO Ew Biaiov atoctpodhs: 1) yap
1 Paus. 8. 40. 2 describes an archaic statue of Arrachion
(whom Philostratus calls Arrichion) in the market place of
Phigaleia, which was erected for his victory in the pan-
cratium in the 55th Olympiad (B.c. 564). His adversary,
Pausanias says, got the first grip, and ‘‘twining his legs
around him held him fast, while he squeezed his throat with
his hands. Arrachion put one of his adversary’s toes out of
joint and expired under the grip that his adversary had on
his throat, but the latter in the act of throttling him was
obliged at the same moment by the pain in his toe to give in.
The Eleans crowned and proclaimed victorious the dead body
of Arrachion” (Trans. Frazer).
Philostratus refers to the story again, de arte gym. 21;
152
BOOK II. 6
pancratium—anything except biting and gouging.
The Lacedaemonians, indeed, allow even these, be-
cause, | suppose, they are training themselves for
battle, but the contests of Elis exclude them, though
they do permit choking. Accordingly the antagonist
of Arrichion, having already clinched him around the
middle, thought to kill him;?! already he had wound
his forearm about the other's throat to shut off the
breathing, while, pressing his legs on the groins and
winding his feet one inside each knee of his adversary,
he forestalled Arrichion’s resistance by choking him
till the sleep of death thus induced began to creep
over his senses. But in relaxing the tension of his
legs he failed to forestall the scheme of Arrichion ;
for the latter kicked back with the sole of his
right foot (as the result of which his right side was
imperilled since now his knee was hanging un-
supported), then with his groin he holds his ad-
versary tight till he can no longer resist, and,
throwing his weight down toward the left while
he locks the latter’s foot tightly inside his own
knee, by this violent outward thrust he wrenches
the ankle from its socket.2 Arrichion’s soul, though
and a brief account of it is given by Eusebius, Chron. 1. p.
202, Schéne.
2 The pair wrestle standing, the opponent on the back of
Arrichion with one arm clinched about his throat and the
other apparently under his armpit, and with the legs on his
groins and the feet twisted under the inside of his knees.
But when his opponent relaxes his hold in the belief that
Arrichion is conquered, the latter jerks back his right foot
(giving up his firm stance) and throws bimself over to the
left. The very weight of his body, as his strength fails,
helps the manceuvre. His opponent’s foot is caught the
more securely under his knee and the force of his leftward
thrust twists the ankle from its socket.
153
PHILOSTRATUS : IMAGINES
Wux7 amlovca TOU TWMATOS adpaves pev aUTO €pya-
erat, didwor d€ avTo tox veuv els 0 amrepetberau.
20 (5) Peypamrrac be 0 bev dmomvigas vEKP@
Elka at Kal TO dmraryopebov erionpatvov 7H
veupl, 0 Oe’ A ppixtan ¢ Oa Ol VIKOVTES yeypamrau
Kal yap TO alpa év T@ avOer Kal 0 (dpas
axpaipyns €TL, Kal perdi Kabarep ot Cavtes,
25 €mretdav vikns alcbavwrvTat.
t’ ANTIAOXOS
(1) Tov "AXAREA €pav Tov ‘AVTIAOXOU TEepa-
paxas oipae Tap ‘Ounpo, VEWTATOV Tov EXAnu-
KOU Opav Tov “Avtihoxov Kal TO NLT dhavTov
TOU XPVaOV EVVOMY TO ETL TH AYOVL. Kal aTay-
30 yeArNer 7TH "AYIAXEL KetcOar Tov IlatpoxXov,
copirapevov tov MevéX\ew mapapu0iav O“ov TH
ayyeria, peta Bre YravTos “AYIARES Els mraudiKa,
Kal Apnve €pmpevou emt TD mévOer Kal _Tuvexel
TO XEtpe, a) aTroKTEly EauTov, 0 & oipat Kal
350 K. admtopéve Xai per Kai Saxpvovre.
(2) Attract peév odv _Opnpou ypadat, To d€ TOU
Coypahov Opapa 0 Mépvov é& AlQotias
ah KOMEN OS KTeLvEL TOV “AvTihoxov 7 poBeBrn-
5 pbévov Tov TAT POs Kat TOUS ‘Ayatovs oiov Oeipa
ExTANTTEL—Tpo yap Tov Méuvovos pvdos ot
1 gira: Jacobs: adra.
1 Cf. Zl. 15. 569: ‘* Antilochus, none other of the Achaeans
is younger than thou, nor swifter of foot.” Trans. Murray,
LC. k:
2 Cf. 7. 23. 796: Achilles says, ‘‘ Nay, I will add to thy
prize a half talent of gold.” Trans. Murray, L.C.L.
154
BOOK If. 7
it makes him feeble as it leaves his body, yet gives
him strength to achieve that for which he strives.
The one who is choking Arrichion is painted to
look like a corpse, and as indicating with his hand
that he gives up the struggle; but Arrichion is
painted as all victors are; for his blood is of rich
colour, the perspiration is still fresh on his body and
he smiles as do the living when they are conscious
of victory.
7. ANTILOCHUS
That Achilles loved Antilochus you must have
discovered in Homer, seeing Antilochus to be the
youngest man in the Greek host! and considering
the half talent of gold? that was given him after the
contest. And it is he who brings word to Achilles
that Patroclus has fallen, for Menelaiis cleverly
devised this as a consolation to accompany the an-
nouncement, since Achilles’ eyes were thus diverted
to his loved one; and Antilochus laments in grief for
his friend and restrains his hands lest he take his
own life, while Achilles no doubt rejoices at the
touch of the youth’s hand and at the tears he sheds.4
Now such is the scene in Homer, but the events
depicted by the painter are as follows: Memnon
coming from Ethiopia slays Antilochus who had
thrown himself in front of his father,®> and he seems
to strike terror among the Achaeans—for before
Memnon’s time black men were but a subject for
3 Cf. ZI. 18. 1f. for the description of this scene.
4 Cf. 7. 18. 33 f.: ‘‘ Antilochus wailed and shed tears,
holding the hands of Achilles... for he feared lest he
should cut his throat asunder with the knife.” Trans.
Murray, L.C.L.
° Antilochus was the son of Nestor,
155
10
15
20
25
30
PHILOSTRATUS : IMAGINES
péXaves—xKpartodyTes O€ of “Ayatol TOD copmaTos
odvpovtat Tov ’AvTiroxov oi ’Atepetdat Kal 0 €x
ths l@axns cal 6} tov Tudéws cal of opo@vupor.
émlonros b€ 0 pev ‘IOaxyjoros aro Tov atpudvod
Kal éypnyopotos, 0 6é MevéXews ato TOD Hpépou,
o Oe ‘Ayapemver avo tov évOéou, Tov be Tob
Tudews ” edevPepia ypager, yvapitors S ay Kal
TOV Tedapovvor amo TOU Brooupod Kal TOV
Aoxpov amo tov étoimov. (3) Kai 7) otpatia
mevOet TO pelpadKloy TrEepleaT@TES avT@ Opynvew
apa, mitavtes b€ Tas aliypmas els Tovdagos
evahaTTovat T@ Tode Kal ortypifovtar emt
TOD aixmeov amepeloavres ol TAELoTOL dua pop-
oveas Tas Kepahas TO ayer. (4) Tov “AXUAREG
pn) amo THS KONS—olXETAL yap TOUTO avT@ meTa
tov IlatpoxXov-—anrXa TO €id0$ avTor évderxviTw
Kal TO péyeos Kal avo TO 22) Koma. Oonvel Oé
T POT KELLEVOS Tols oTépvols Tob ‘Avid Xov, Kal
Tupay omar emaryryedNer at Kal Ta €$ avTHY Kal
Ta OTAa lows Kal THY Kepanay TOU Meépvovos:
atrotetcat yap Kai Tov Méuvova ca Tov “Extopa,
w@s pnde tatita o *Avtirtoyos €EAXaTTOV TOU
Ilatpoxdov EXO. 0 0 év 7 Tay Ai@torrav
oT parte dewvos € EaTNKEV EXOD, ax may Kal NEovTHY
EVN MMEVOS Kal TETNPWS és Tov Ayirréa. (5 ) 2xeyr-
opeba obv Kal TOV ‘Avtihoxov" Bac Ket ev
vIHVNS T poo, Koma dé €v NMwOH KOMn. Kodpos
1) KvI}LM Kal TO coma OUHMET POV és paot@vny
5 TOU Penne kal TO alua olov em edXéhavTe ypapma
éx before rod deleted by Kayser.
1 i.e. the two Ajaxes, the son of Telamon and the son of
Oileus.
156
BOOK II. 7
story—and the Achaeans, gaining possession of the
body, lament Antilochus, both the sons of Atreus
and the Ithacan and the son of Tydeus and the two
heroes of the same name.! The Ithacan is made
known by his austere and vigilant look, Menelaus
by his gentleness, Agamemnon by his god-like mien,
while the son of Tydeus is marked by his nobility,
and you would recognize the Telamonian Ajax by
his grimness and the Locrian by his alertness. And
the army mourns the youth, standing about him in
lamentation ; and, their spears fixed in the ground
and their legs crossed, they stand, most of them in
their grief bowing their sorrowing heads on their
spears. You are not to recognize Achilles by his
long hair, for that is gone since the death of Patro-
clus, but let his beauty make him known to you, and
his stature, aye, and the very fact that he does not
wear long hair.2. He laments, throwing himself on
the breast of Antilochus, and he seems to be promising
him a funeral pyre and the offerings to be placed upon
it and perchance the arms and head of Memnon; for
he proposes that Memnon shall pay all the penalties
Hector paid, that in this respect also Antilochus may
have no less honour than Patroclus had. Memnon
stands, terrible to look upon, in the army of the
Ethiopians, holding a spear and wearing a lion’s skin
and sneering at Achilles. Let us next look at
Antilochus. He is in the prime of youth, just
beyond the period of downy beard, and his bright
hair is his pride. His leg is slender and his body
proportioned for running with ease,? and his blood
* Cf. Ji. 23. 141f. for Homer’s account of Achilles’
dedication of his long hair at the funeral pyre of Patroclus.
* Cf. If. 23. 756; Od. 3. 112.
ES]
PHILOSTRATUS: IMAGINES
351 K. nvOnkev EuTrecovons aUT@ KaTAa TOD aTépvoOU THs
aixXuns. Keita O€ ov KaTNPés TO MELPAKLOV OVE
a > , 5 \ 8 by 1 \ 5 “a \
vexp@ eikacal, datdpov 0 étt+ Kal perdi@v: THY
\ J \ a a
yap Oifat xapav THY éTL TO TOV TaTépa cHcal
— / > lal 5 e 3 / > " e \ a
5 hépwv ev T@ elder 0 ’AvTitoyos aT@XETO UTO TIS
fol \ /
aLXLNS, Kal TO TpdTwTOV 7 Wuyi) KATEALTED OVX
e ” b] ’ id > / \ > ral
was nXynoEV, AAX ws ETEKPATHGE TO Evppaivor.
7 MEAHS
(1) To pev tod "Evréws kai ws jpa 1 Tupw
n © € / /
Tov vdaTtos, Ounpw rA€éXexTat—Aéyer 5€ aTaTHv
] lal 3 \ »” A . € >
10 €« Hocevda@vos Kai To dvO0s Tod KUpaTos, Uh
? e > / e \ \ e / vf b] ’
@ 1 Evvyy—ovUTod! dé 0 ROyos ETEpOS, OVK éK
@ettarias, aN “lwvxos. Epa KpiOnis év
ral / ,
‘Iwvia tov MéAntos, 0 & ébnBwo Eorxe Kal
opatat 7 Oeatn Ordos, exel exBadrov GOev
15 apxetat. river 6€ ov dipaoa Kal AapBaverat
Tov voaTtos Kat KerapvfovTt mpocdraréyeTat
Kka@uTrep adovvTt, Saxpva Sé AelBer eEpwTiKa
T@ UVOaTL, Kal O TOTAMOS—aVTEpa yadp—xaipeL
avT@Y TH Kpace. (2) yapiev péev ovv THs
20 ypadfs avtos o MéAns €v KpoKwm Kal AwTa
1 § @r: Benndorf: 7: and te libri.
1 Cf. Zl. 4. 141f: ‘*As when a woman staineth ivory
with scarlet. . . even in such wise, Menelaiis, were thy
thighs stained with blood.” Trans, Murray, L.C.L.
158
BOOK II. 8
shines red, like colour on ivory,! where the spear-
point penetrated his breast. The youth lies there,
not sad of aspect nor yet like a corpse, but still
joyous and smiling; for it was with a look of joy on
his face (because, I fancy, he had saved his father’s
life) that Antilochus died from the spear-thrust, and
the soul left his countenance, not when he was in
pain, but when gladness prevailed.
8. MELES
The story of Enipeus and of Tyro’s love for the
river has been told by Homer,? and he tells of
Poseidon’s deception of her and of the splendid
colour of the wave beneath which was their couch
—but the story here told is a different one, not
from Thessaly but Ionian. Critheis loves the river
Meles? in Ionia, and it takes the form of a young
man and is wholly visible to the spectator, for it
empties into the sea in the region where it arises.
She drinks the water though she is not thirsty, and
takes it in her hands, and keeps up a conversation
with it as though the murmur of the water were
human speech, and sheds tears of love into the water ;
and the river, since it loves her in return, delights to
mingle her tears with its stream. Now a delightful
feature of the painting is the figure of Meles lying
2 Cf. Od. 11. 235. ‘‘She (Tyro) became enamoured of the
river. . . . and she was wont to resort to the fair waters of
Enipeus. But the Enfolder and Shaker of the earth took his
form, and lay with her at the mouth of the eddying river.
And the dark wave stood about them like a mountain, vaulted
over, and hid the god and the mortal woman.” Trans.
Murray, L.C.L.
3 A small river near Smyrna.
£50
25
10
PHILOSTRATUS : IMAGINES
KELMEVOS Kal vanivOw Naipeov be McKay TOU
avOous Kal TApEeKomevos eloos dB pov Kal pel pa-
Kuaes Kal ovoé acopov—elrrats av TOUS opOanr-
povs tod MéAntos avacKorrety TL «TOV
TOLNTLK@V—yaplevy 5€ AUTOU Kal OTL [2 Xa-
Bpovs Tas rnyas exdidwat, KabaTrep TOds apabels
TOV ToTaL@V ypadherGat vomos, AAXA THY YH
axpows Tots SaxTvUdols Ovapw@pevos UTréxer THY
Xeloa 7 bdate avvodnrti BrUCovre. Kal oparat
pty, @s TH YE KprO nib. vdwp ovTos Kal TapaKa-
Ontau ovei part, OS pacwy. (3) "AXX’ OUK evap
. TAUTA, @ K pcOnis, ovee ELS _vdwp TOV Epara TOU-
Tov ypaders: Epa yap cou 0 TOTALS, ev olda, Kal
copiterat TWA vaiy OaXapov Kbpa aipwr, up’
@ 7 EUV?) éoTal. et 6€ aTLOTELS, deEeo ool Kal
THY TOD Padapou TEX" Rew TI) avspa KUpa
vroépapodca epyagverar avo KupTov Kal TEpt-
nXxes Kat avOnpov étt 1 yap avtavyela TOU
ALOU Xpapa pod Barret METEWPO ™@ Beare.
(4) Te ovV, @ Tal, AapBavy pov ; TL 8’ obk eas
Kal Ta AoiTA SreErévat THS ypadis ; et Botre,
Kal THY Kpi0nida dvaypatroper, Emel) Yalpery
dys, OTav évad’n avtois 6 Royos. ReyécOw
1 The principal MSS. vary between &pois tots and &xpay
tots. The former seems to be confirmed by Eur. Bacch. 709
&kpotot SaktvAo: Siaudoa yOdva, obviously imitated by our
author. The Teubner Text reads &xpav, z.e. ‘‘ the surface
only of the earth.”
1 j.e., to those who look at the painting.
2 The Teubner editors suggest this explanation: ‘‘ The
delicate youth Meles, reclining on a high spot among
the flowers, by the striking disposition of the figure
provides a double charm; with his hand he lets the water
How very gently into the stream, on the bank of which at a
160
BOOK II. 8
on a bed of crocus and lotus blossoms and delighting
in the hyacinth because of its fresh young bloom,
and presenting an appearance delicate and youthful
and not at all lacking in cleverness—indeed you
would say that the eyes of Meles were contemplating
some poetic theme. It is a delightful feature also
that he does not pour forth turbulent streams at his
source, as boorish rivers are usually painted; nay, he
but cuts a passage through the earth with the tips
of his fingers and holds his hand beneath the water
as it trickles noiselessly by; and to us? it is clear
that, for Critheis, Meles is water and that it is a
dream,” as we say, beside which she is sitting. Nay
but, Critheis, this is no dream, nor are you writing this
love of yours in water ®; for the river loves you, I know
it well, and he is devising a chamber for you both by
lifting up a wave beneath which shall be your
couch. If you do not believe me, I will tell you
the very construction of the chamber ; a light breeze
running under a wave causes it to curve over and
makes it resonant and also of brilliant hue; for the
reflection of the sun lends colour to the uplifted water.
Why do you seize hold of me, my boy? Why do
you not let me go on and describe the rest of the
painting? If you wish, let us next describe Critheis,
since you say you are pleased when my tale roams
freely over such things. Well, let us speak of her;
lower level Critheis stays, giving herself up to her love ; and,
being unseen by her, rocks or bushes for example intervening
between them, he makesit clear to the spectators that to Critheis
he seems to be water and that she is dallying with a dream.”
The proverb seems to suggest that the reclining river was
dreaming of her, the beloved, while she sits at his side as a
Greek wife was wont to sit beside her sleeping husband.
* Another proverbial expression ; cf. Sophocles, frag. 742 n.,
Spkous ey yuvaikds eis FOwp ypadw, ‘‘ A woman’s oaths I write
in water.”
161
15
PHILOSTRATUS : IMAGINES
Tolwuy: aSpov pev avTn TO eldos Kal pdra
"lwvixov, aidws b€ TO elOeL emumpeTrel Kal aTto-
xpn_TodTo TH Taped TO avOos, Dy xaity dé
dveihnm rat fev UTO TO OvS, eTLKOT METAL be
Kal Kpndeuve aroupyel. d@pov Nypnidos a
Naiédos oijwar elvar TO KpnOeHvov" elKOS yap
auvyxopeveryv tas Yeas emt TH MéEdAnTL trape-
0 youévw Tas Tynyas ov TOppw TeV éx Borer.
bo
Cu
(5) Br€éres O€ ot Tw TL OU Kal apenés, @S pnde
vmo Tov SaKpvov eEadNar Tew TO iNew. Kal
n O€pn éTL nOlwy UTO TOD fun KEKoTpHaOaL
Oppo. yap Kal avyat Ow Kai Tepidépaca Tais
fev €v eTPLw TO KaAAEL yuVaLEly ovK anNdas
TpocavOodar Kal vy Av apas Tl és auTas
pépovow, aiax pais dé ral arya @patats avTi-
TpaTToucl Tas pev yap eXeyXOVIL, TOV o€
amayougl. Te xelpe dvacKoT@pev" dmarol oi
30 dadKTUAOL Kal EU [LI KELS Kal AevKol KATA THY
353 K.
@AEevny. opds 6€ Kai THY @NEVNV ws OLa evKijs
Ths éa0ATos NevKoTepa Umopaivetar Kal ol
pealot opOol vravyafovar.
(6) Te odv at Movoar Sedpo ; ti S€ eri tals
mnyais tod MéAntos; ~AOnvaior tiv ‘lwviay
OTe ata@xtfor, Movoar 'yoouTO TOU VAUTLKOU
ev elder HeTT Ov" EYaLpov yap t) lwvia dra
tov MérntTa ws Ky dicov Kal ‘OnXperod TOTL-
fwtepov. evTevEn wey ovv avTais Kal Kopevov-
gai tote éevtav0a, vuvi dé yéverw T® ‘Ounpo
ai Movcat crwOovar Moipais Soxodv, cai dwoces
1 Hair covering the ears was a mark of modesty in a girl
(Benndorf).
2 Rivers of Boeotia.
162
BOOK II. 8
her figure is delicate and truly Ionian, and modesty
is manifest upon it, and the colour we see in her
cheeks suffices for them; and her hair is caught up
under the ear! and adorned with a veil of sea-purple.
I think the veil is the gift of some Nereid or Naiad,
for it is reasonable to assume that these goddesses
dance together in honour of the river Meles, since
it offers them fountains not far from its mouth.
Her glance has something so charming and simple
about it, that even tears do not cause it to lose its
graciousness. Her neck is all the more lovely for
not being adorned, since chains and flashing stones
and necklaces lend a not unpleasing brilliancy to
women of moderate beauty and by Zeus they con-
tribute something of beauty to them, but they are
not becoming to ugly women or to very beautiful
women; for they show up the ugliness of the former
and detract from the beauty of the latter. Let us
examine the hands; the fingers are delicate, of
graceful length, and as white as the fore-arm. And
you see the forearm, how it appears yet whiter
through the white garment; and the firm breasts
gleam under the garment.
Why do the Muses come hither? Why are they
present at the source of the Meles? When the
Athenians set out to colonize Ionia, the Muses in
the form of bees guided the fleet; for they rejoiced
in Ionia, because the waters of Meles are sweeter
than the waters of Cephisus and Olmeius,? Some
day, indeed, you will find them dancing there; but
now, by decree of the fates, the Muses are spinning
the birth of Homer; and Meles through his son %
3 7.e. Homer; those who make Smyrna the birthplace of
Homer regard Meles as his father.
163
M 2
PHILOSTRATUS : IMAGINES
dua Tod tratdos 0 MéAns Inver péev apyupodivy
s , / \ / \ > / ’ lal
elvat, Titapnotw o€ Kovdw Kal evpopw, “Evitret
10 d€ Oelw Kai "A&i@ trayxdrw, doce Kal Bav0w
To ex Avos xkai ‘Oxeav@ ro €& avtod mavtas.
0 WANOEIA
(1) dvOeva 1) nad) Zevodavte wey aro tov
7 @o0us yeyparrat, 6te te “Apdotrav amnéiov cai
Kupou ovX 1)TTATO Kal ‘A Bpadary eBovrero KOL-
15 vny yay emecac bau omota b€ 7) 7 KOMM Kal y oppus
bon al olov éPrerre Kal ws eixe TOU TTOMATOS,
oUTw 0 Eevopav elpnKe Kaitou dewvos av Tepl-
Aahijoat TAUTQ, aX aynp Suyypagev pev ovx
ixavos, ypdpew oe ixavwtatos, avTn pev Llav-
20 Geta ovK evTvywr, Fevopavre 88 omedajoas
ypacer thv IlavOevav, oroiav TH Wuyn éTeK-
pnpato.
(2) Ta teiyn, ® Tat, Kal Tas éumiTpapévas
oikias Kat ai Avoal ai carat, Ilépcais tadta
25 ap@mev ayer Te Kal aipely O TL aUT@Y ado-
1 The chief river of Thessaly; for the epithet cf. J7. 2. 753.
* A river of Thessaly ; cf. //. 2. 751, where, however, the
epithet is iueprds, ‘‘ lovely.”
3 Also in Thessaly; cf. Od. 11. 238.
4 The chief river of Macedonia; cf. Z/. 2. 850, where the
epithet is naAAvoros.
5 The chief river of Lycia; cf. Zl. 14. 434.
6 Of. Il, 21. 195 f. "Oneavoto e€& otwep wayres moTauol. , .
vdovaw.
7 Cf. Xen. Cyr: 6: 1.31 £55. 1. 6; 6. 4.6 Accordiig
to Xenophon (Cyr. 5. 1. 1 f.) Pantheia, wife of Abradates,
164
BOOK II. 9
will grant to the Peneius! to be “ silver-eddied,” to
the Titaresius? to be “nimble”’ and “ swift,’ and to
the Enipeus® to be “ divine,’ and to the Axius* to
be “all-beautiful,’ and he will also grant to the
Xanthus® to be born from Zeus, and to Oceanus ®
that all rivers spring from him.
9. PANTHEIA
The character of Pantheia the beautiful has been
described by Xenophon,’ how she disdained Araspas
and would not yield to Cyrus and wished the same
earth to cover her and Abradates in the grave;
but what her hair was like, what the breadth of her
brow, what her glance and the expression of her
mouth Xenophon did not describe, though he was
particularly clever at telling of such things; but a
man not good at writing though very clever at
painting, who, though he had never seen Pantheia
herself, was nevertheless well acquainted with
Xenophon, here paints Pantheia as from her soul
he divined her to be.
The walls, my boy, and the burned houses and the
fair Lydian women—these let us leave to Persians
to ravage and to capture what of them can be
was assigned to Cyrus as his share of the booty, and was
entrusted by him to his boyhood friend Araspas, who fell
violently in love with her She repulsed his advances (6.
1. 31) and finally appealed to Cyrus; in gratitude to him for
his protection she persuaded her husband Abradates to de-
sert the enemy and make common cause with Cyrus. Then
Pantheia arrayed her husband for battle in purple raiment
and armour of gold, which she had had made for him, and
exhorted him to bravery. When he was killed in battle, his
wife brought back his body for burial, and plunged a dagger
in her own breast to die on the bosom of her dead husband.
165
30
Cr
10
15
PHILOSTRATUS: IMAGINES
tov. Kat 0 Kpotaos, éd ov 7 rupd, ovyt avTo
Eevop@vt1—ovKovy oloev avTov 7) Evyywpel TO
Kvp@—rov dé’ ABpadatny Kai THD arb avodcay
er avtT@ IlavOevav, éreidy TavTa ” ypapn
Bovrerau, Siarkeyraueba, olov TO Opa ma Tpev
ovTOL aXAnAwV Kal Tov Koo Mov ) «yuLn TOV
€auTis OTAa aUT@ EmoletTO euayeTo O€ apa
vmép Kupouv mpos Kpotcov éri tetpappupov
dppatos Kxal imm@v oxTw .. . véos ETL eV
avahkn TH vUmnvn, omoTe Kal ot TolnTal Ta
dévdpa ta véa eheewa Hyobvrar THs YAS eK-
mecovta. (8) Ta pev 67) TpPavpara, @ Tal, ola
eK | Maxatpopopov—To yap KATAKOTTEW T™ pos
TpoTou Th TOLAUTY paxn—roo b€ aimaros
aK parpvovs OVTOS 70 pev Ta OTA Xpatver, TO
é auTov, ear 6 0 Kal (Siéppavtar Kara TOU
Aodou, o 0 dé apa xpurod Kpavous avéoTHKEV VAKiV-
Owvos avT@ TO Xpyr@ eTATTPAT TOV. (4) Kara
pev ovv évtdia Kal Tavtl Ta OTAA TO Ye
pn) KATALTX WAT avTa pnoe arroBadovte év
Th mayn, TwodAa 6€ ‘Acovpd TE Kal Avé.a
Kipos avdpt ayabg bdpa aTayes Ta TE adAa
Kal Wappov Xpvoiy él appapmaéns éx Onoaupav
Kpoicou TOV apyav, HavGeva dé our Ta
Tpoapopa exew nryetT aL TOV Tapov, el uy) év-
Taplov TO "ABpadatn avTn YEVOLTO. TOV pev
57) axiwaknv SvednraKev On TOD oTépvov, aAN
1 Cf, Hdt. 1. 84, where the supposed impregnability of the
walls of Sardis is described.
2 Herodotus (1. 86) describes the pyre erected for Croesus;
but Xenophon (Cyr. 7. 2. 9 f.) says nothing about the pyre,
and in his story Croesus is not made prisoner.
166
BOOK II. 9
captured.t And so with Croesus, for whom the pyre
was destined,? though Xenophon himself does not
mention this—hence our painter does not know of
him and does not make him a prisoner of Cyrus.
But as for Abradates and Pantheia, who died upon
his dead body, since this is what the painting aims
to depict, let us consider them, the great tragedy
they enacted. These two loved each other and the
woman had made her own ornaments into armour
for him ;* he was fighting for Cyrus against Croesus
on a chariot with four poles and eight horses,*.. .
[and he was slain while] still a youth of downy beard,
of an age when the poets consider even young trees
which have been torn out of the ground to be objects
of pity.» The wounds, my boy, are such as swords-
men make—for it accords with this style of fighting
so to cut down the foe—some of his pure blood
stains his armour, some the man himself, and some
is sprinkled on the crest which rises hyacinthine red
from the golden helmet® and sheds splendour on the
gold itself. A beautiful burial offering are these
arms, for one who had not brought shame upon
them nor cast them away in battle; and Cyrus
brings many Assyrian and Lydian gifts to a brave
man, among other things a chariot load of golden
sand from the over-abundant treasures of Croesus ;
but Pantheia believes that the tomb still lacks the
offerings due it unless she gives herself as a funeral
sacrifice to Abradates. She has already driven the
dagger through her breast, but with such fortitude
3 Quoted from Xen. Cyr. 6. 4. 3.
4 Quoted from zbid. 6. 4. 2.
Cag Ll. Nida oor 1.
® Quoted from Xen. Cyr. 6. 4. 2.
167
bo
cu
30
PHILOSTRATUS : IMAGINES
OUTW TL EPp@MEVOS, OS poe olen )Y €T avuT@
pear. (5) KELTAL you”, 0 oro Evpperpiay
THY eavTou pudatrov Kal vy Av’ apar, 7s TO
avOos otTw TL él yeldeoLy, @S Kal TLwmTwons
exhaivecOat. amnptntat 6€ ov’Tw TOV aki-
vaknv, aX évepeloer ETL Evvéyouca Ths KWTENS
avTov—1 6é KOT pom are Xpve@ elkacra
opaparySive Tous ofous—aNX HOlovs ot daxrunot
—petaBéBrAnKke Te ovdSéev TOD eldous bro TOD
anyew, ye pndoée aryety Eotxev, aA atévat
Yaipovoa, OTL auTHY TéuTrEel. atretae O€ OvY
wotep 1) ToD IIpwreciiew Katactepbeica ois
€Baxyevoev, 0S watep 1) TOU Katravéws olov
Oucias otadeica” adr’ aoKevactTov TO KaNXOS
Kal olov émt tov "ABpadatouv Av durXatTet avTo
Kal aTayel, Nairny [ev ovT@ pedacvay Te Kal
appiraph TEplxeaca TOlS WpLOLS Kal T@ AVYXEVL,
d€pny oe Aevany umexpaivovoa, Wy eSpiyraro
fev, OV HV MS alcxydVaL’ Ta yap onpeia THY
ovuyav noiw ypadhs. (6) To d€ év TH ma pera
Epevdos ovee am oOvyaKkovcav Siahevyer, xopnyot
dé avTov Te wpa Kal 9 aldws. dod Kal
1 arnptntat Reiske and Jacobs: avnprnrat.
2 gradeioa Rohde, cf. infra 385. 11: apOetca. The
restoration is very uncertain.
1 Protesilaiis was the first of the Greeks to die before
Troy (Il. 2. 700 f.). The story of his wife’s death for love
of him as described in the tragedy of Euripides (ef. Mayer,
Hermes XX. 114 f.) is illustrated on a sarcophagus in Naples
(Baumeister, Denkmdler, fig. 1574). Laodameia, who was
celebrating Bacchic rites, sinks down in astonishment when
her husband, his prayer for a brief return to his wife being
168
BOOK IL. 9
that she has not uttered even a groan at the thrust.
At any rate she lies there, her mouth retaining its
natural shapeliness and by Zeus a beauty the bloom
of which so rests upon her lips that it shines forth
clear, silent though she is. She has not yet drawn
out the dagger but still presses on it, holding it by
the hilt—a hilt that resembles a golden stalk with
emeralds for its branches—but the fingers are more
charming still; she has lost none of her beauty
through pain, and indeed she does not seem to
suffer pain at all but rather to depart in joy because
she sends herself away. And she departs, not like
the wife of Protesilaiis,) wreathed with the garlands
of the Bacchic rites she had been celebrating, nor
yet like the wife of Capaneus,? decked out as for
sacrifice ; but she keeps her beauty unadorned and
just as it was while Abradates was alive, and takes
it thus away with her, letting her thick black hair
fall unrestrained over her shoulders and neck, yet
just showing her white throat, which she had torn
in her grief, though not in a way to disfigure it;
indeed the marks made by her finger-nails are more
charming than a painting. The flush on her cheeks
has not left her even in death; her beauty and
modesty have supplied it. Look at the moderately up-
granted, appears to her. When his day with her is ended,
she plunges a dagger in her breast to join him in Hades.
2 Eur. Suppl. 1054 f. Evadne, decked in festal attire,
appears on the rocks above the funeral pyre of her husband
Capaneus, and throws herself into the flames.
3 «*As in a picture” is a Greek phrase for something
beautiful ; cf. Aesch. Agam. 242, mpéroucd 0 ws ev ypagpais of
Iphigeneia. Benndorf compares the scars of wounds on the
well-known bronze statue of a boxer in the Museo Nazionale,
_ Rome, Ant. Denkm. I. 4. p. 2.
169
PHILOSTRATUS : IMAGINES
UKTHpes dveoTahpevor TO méTpLov Kal Baou TH
put TpatrTovTeEs, is @omep mropbor penvoeoets at
5 oppves UTO NEVUKO TO METOTM péAaLVAL. TOUS
dé ofOarpovs, @ Tai, m2) amo ToD peyéOous
pnd ef pédAaves, aXAa TOV Te vod Pewpaper,
bcos é€v avTois ear Kal vy Ala oT0ca TOV
THs puxis _ayabov éoT ac ay EAEELVOS fev Ola-
10 KELLEVOL, TOU 6€ pabpas EYELY OVK anyday LEevot,
Kal Oapoaréor pév, royiopod bé elow paddov
}) TOAmNS, KaL TOU pev Oavatou EvvLévTEs, OVTM
dé GTrLOVTES. omrados 6€ EpwTos (wEepos OUTW TL
eTLKEXUTAL Tots opParots, OS émudndotata 57)
15 ar avTav aTroar abet. (6) yéypamtat Kal 0
"Epos ev iaTopia Tov Epyou, yeypar Tal Kal u)
Avo.a TO alwa UTOCEVOMEVN KAL KPVTW Ye, ws
Opas, T@ KONTO.
uv KAZANAPA
(1) Oi Kel pevol KaT aos aXXo TOU avdpavos
Kal TO avapmle TO oivw alwa KAL Ol EXTTVEOVTES emt
20 Tpam elo KpaTnp TE OUTOGL NehaK TLE MEVOS vTr0
avdpos, 0 0S T pos avT@ omaipel, KOPN TE XPNT Mo-
50s THV OTOAND ELS méNeKUY ELTETOUMEVOY EAUTH
1 Cf, the nose of the Farnese Hera with nostrils slightly
curling up, or the head ona vase by Euphronius (Fig. 20),
Pfuhl, ” Maleret und Zeichnung der Griechen, Taf. 415 C.
2 Of. Eur. Hipp. 525 f. Epws, “Epws, 8 kat’ duudrov orders
1d0ov.
’ The text is rendered as it stands, but it is probably
corrupt.
170
ce up-curved
with
Fic. 20.—WNose
"is.
nost?
file
[To face p. 1
BOOK II. to
curved nostrils! that form a base for the nose from
which the crescent eyebrows spring like branches,
black beneath the white forehead. As for the eyes,
my boy, let us not consider them for their size,
nor ask if they are black, but let us consider the
great intelligence there is in them, and by Zeus all
the virtues of the soul which they have absorbed ;
for though their state excites pity, yet they have
not lost their look of gladness, and though they
are courageous, yet they show the courage of
reason rather than of rashness, and though they
are aware of death, they have not yet departed from
life. Desire, the companion of love, so suffuses the
eyes that it seems clearly to drip from them.? Love
also is represented in the picture, as a part of the
narrative of the deed ;? so also is the Lydian woman,?
catching the blood, as you see, in a fold of her golden
robe,
10, CASSANDRA
The men who lie here and there in the men’s
great hall, the blood commingled with the wine,
the men who sprawling on the tables breathe out
their life, and yonder mixing-bow] that has been
kicked aside by the man who lies gasping beside
it,° a maiden in the garb of a prophetess who gazes
at the axe which is about to descend upon her—
4 A Lydian woman representing the land of Lydia, which
was the scene of the incident depicted.
> Cf. the words of the shade of Agamemnon to Odysseus,
Od. 11. 419 f. ‘*Thou wouldst have felt most pity hadst
thou seen that sight, how about the mixing-bowl and the
laden tables we lay in the hall, and the floor all swam with
blood.” Trans. Murray, L.C.L.
171
PHILOSTRATUS : IMAGINES
/ \ ’ / e¢ > /
BXerrovca—tov ‘Ayapeuvova iKxovta €x T potas
¢ [7 / / / , 1 \
» KAutavnotpa Séyetat TovT@ TpoT@.+ Kal
~ \ \ / / / 7 ,
25 Tovs ev AXAOUS AAXNOL KTELVOVaLY OUTw pmEOU-
e \ 5) a
ovTas, ws Kal Tov Aiyicbov Capafoat TO Epyor,
id / \ / / \
» KaAvtaiuvnotpa o€ mémAOU TEXYH TLVOS
/ , al
amretpou Tov "Ayapéuvova tepiayovoa mméEKUY
, ’ \ e , / 4 A \ \ /
és avtov HKev audnkn TODTOV, ds Kal Ta Sévdpa
30 aipet Ta peyaddra, THv Te TOD IIptdpov Kopnv
/ lal ~
KaAMaoTnv vouicbetcav TH “Ayapeuvour xpne-
356 K. wovs Te amiotoupévous ddovcayv amroKTetve
a9 “ / \ > \ e an
Oepu@? TH meréxer. Kal ef pev ws Opapua
> / > a a / /
é€eralouev, @ Tal, TAUTA, TEeTPAywONTAL peyara
> an , ’ c / / b] > a bd
EV TULKP@, EL O ws ypadry, TAELW EV aUTOIS OYEL.
~ . = Lp f
5 (2) YKores yap: AapTrrhpes obTaL Yopynyot pwtos
—éev vuxtl yap Tadta tov—Kpathpes 8 éxetvor
\ al / an \ e a
yopnyot ToToU havoTepot Tov TUpOsS ol XpUCol,
/ \ / a ka >
mAnpes b€ dor Tpatrefat, Bactrels wv éat-
lal A
TOUVTO Hpwes, ev KOTUm Sé% ovdev TOVTWY* aTrO-
1 The text follows L, except that oftw uh before xal tobs
wey &AAouvs, Which is marked as wrong in L, is omitted
(following Kayser). The Teubner text (Benndorf-Schenkl)
reads tpédm@ ottTw weOdovta, &s cal, omitting all reference to
the companions of Agamemnon.
2 Gepug éri conj. Benndorf, cf. 366. 16, érs Gepu@ Dilthey,
ef. Theocr. xvii. 21, Plut. Fabius 26.
3 3€ Jacobs: Te.
1 There is no tradition that Agamemnon was drunk, as
the Teubner text is amended to say; rather, it is the
drunkenness and powerlessness of his followers which
Bef)
BOOK - TE 10
thus Clytemnestra welcomes Agamemnon on_ his
return from Troy. And while others are slaying
Agamemnon’s followers,! who are so drunken as to
embolden even Aegisthus for the deed, Clytemnestra,
enveloping Agamemnon in a device of a mantle
from which there is no escape,? brings down upon
him this two-edged axe by which even great trees
are laid low,? and the daughter of Priam, esteemed
by Agamemnon as of surpassing beauty, who chanted
prophecies that were not believed, she slays with
the still warm axe.* If we examine this scene as a
drama, my boy, a great tragedy has been enacted in
a brief space of time, but if as a painting, you will
see more in it than a drama. For look, here are
torches to provide light—evidently these events
take place at night—and yonder are mixing-bowls
to provide drink, bowls of gold brighter than the
torches’ flame, and there are tables laden with food,
the food on which hero kings were feasting ; but
all these things are in disorder, for the banqueters
embolden Aegisthus to carry out his plan. Apparently the
plan referred to is the ambush of warriors (Vd. 11. 529 f.)
who can successfully overcome the veterans from Troy only
because the latter are drunken.
2 Aeschylus (dgam. 1382) speaks of a net, Euripides
(Orest. 25) of a mantle, ‘‘ from which there is no escape.”
8 Soph. Zi. 92 f.
‘* All night I muse upon my father dead,
Not in a foreign land at Ares’ call,
But, here at home, by my own mother slain,
Her and Aegisthus, these adulterers twain ;
Felled by their axe’s bloody stroke,
K’en as a woodman fells an oak.”
Trans. Storr, L.C.L. Cf. Zl. 13. 390 f.
4 Cf. Aesch, Agam. 1278. ‘‘ Butchered by the hot stroke of
bloody sacrifice.” Trans. Smyth, L.C.L.
173
PHILOSTRATUS : IMAGINES
10 OvnoKovtes yap of Sartupoves TA ev AEAaKTIC-
\ fal r
Tal, Ta d€ cuVTéTpLTTaL, TA bE AT AUTOV KEtTAL.
Kal KUALKES O€ EK YELPwY TiTTOVaL TANPELS al
ToANal AVOpov, Kal aK? TOV aTroOvnTKOVTAV
ovdenia’ peOvovar yap. (3) Ta d€ Toy Ketméevwr
15 oxX7mata o pev extéTUNTAL THY hapuvyya ciToU TL
}) Toto EXxovaay, 0 8 atroxéxoTT Tal THY KEhardHV
és Tov KpaThpa KUTTwV, o O€ aTHpaKTaL THY
a / ” e \ > / \
yelpa épovoay éextrwpua, o de ehédXKEeTAL TH
tpatelav exTec@y THs KALWNS, OO Els @pmous Kal
20 xeharnv Keltat, Tointns av gain KvpBaxos,
6 0 amutel TO Oavdtw, o b€ ovK Eppwrat
~ * / ’ / > lal val
guyetv olov médns euBeSrnuéevns avT@® Tis
LQ ] \ be i) \ an / > 6?
méeOns' @xXpos O€ ovdels TOV KEetpmévMV, E7rELO)
Tovs ev olvw aTroOvnacKoVTas OvK EVOLS aTrONELTEL
25 TO avOos |
an al >
(4) To 6€ kupimtatoy Tis oxnvis “Ayapéuvov
” / > b] / a ’ \ ’ \
exer Keluevos ovK év trediows Tpawixots ovdé éml
Ss / 6 \ a} > / > ’ > ,
XKaudvdpov Tivost ioc, adr’ ev pecpaxiols
kal yuvatols, Bovs ert datyn—rtovTi yap TO meTa
30 TOUS Trovous Te Kal TO év delrvw—xKuUpL@TEpa SE
> ” \ a / e >’ A \
év oixtw Ta THS Kacdvdpas, ws éebéotnKe pev
avTH peTa TOD TredéKEws 1 KAvTamviotpa
1 Foerster suggests Siwevtos, the Homeric epithet, for
Tivés.
1 Cf. Od. 22. 19f. ‘‘And quickly he [Antinotis] thrust
the table from him with a kick of his foot, and spilled all
the food on the floor, and the bread and roast flesh were
defiled.” Trans, Murray, L.C.L. Benndorf points out that
174
BOOK II. 10
in their death throes have kicked some over,! others
have been shattered, others lie at a distance from
the banqueters. And cups, most of them defiled
with gore, fall from their hands; nor have the
dying men any power to defend themselves, for
they are drunken. As for the attitudes of those
that have fallen, one has had his throat cut as he
is partaking of food or of drink, another as he bent
over the mixing-bowl has had his head cut off,
another has had his hand lopped off as it carried a
beaker, another as he tumbled from his couch drags
the table after him, another has fallen ‘“ head
foremost,’ as a poet would say,” upon his shoulders
and head; one has no suspicion of death, and
another lacks the strength to flee since drunkenness
like a fetter has enchained him. Nor is any one of
the fallen pallid of hue, since when men die in
their cups the flush does not immediately leave
their faces.
The most prominent place in the scene is occupied
by Agamemnon, who lies, not on the plains of Troy?
nor on the banks of some Scamander, but among
boys and women-folk, like “an ox at the crib ” 4+—
for this means rest after toil and partaking of food—
but even more striking in its pathos is the figure
of Cassandra—the way Clytemnestra, her eyes
the description follows the scene on reliefs depicting the
death of the suitors of Penelope, particularly on the reliefs
from Trysa, Benndorf-Neumann, Das Heroon von Gjélbaschi.
2 Cf. Il. 5. 585 f. Exmece Sfppov kiuBaxos ev Kovinow,
3 Cf. Aesch. Choeph. 363f. Electra points the same contrast
between death on the battlefield and by treachery at home.
4 Cf. Od. 11.411. és ths te xatéxtave Boty én) pdtvn. Inthe
proverb the ox is at rest and eating, 7.¢. it means rest after
toil and enjoying food,
175
10
15
PHILOSTRATUS : IMAGINES
paveKoy Prerovea Kal ceo oSnpevn Tas yauTas
ral Tpayeta THY @dévnVv, AUTH O€ ws ABpas TE
kal év0éws éXovea TepiTrer ew @PUNKE TO
“Ayapepvove pitTovca ad’ aris Ta oTEMaAT A
Kal olov meptBaddAovca 77) TEXPN aUTOD, Sinp-
peéevou O€ 7160 TOU Teh EKews avaarpeper TOUS
opOarpovs éxel, Bod O€ ovTw TL OIKTPOV, ws
Kal TOV ‘Ayapemvova T@ oT TIS yuxis edeety
TAVTA UKOVOVTA* peLVHoETAL yap avT@v Kal év
Aidov mpos ’'Odvccéa ev Th ayopad Tov Wuxav.
ta ~=IITAN
(1) Tov Hava at Nvppar TOvnpas daciv
opxeto bar Kal €xmrndav TOU T POTN KOVTOS efaipovta
Kal dvabp@oKovta KATA TOUS aryEepoXoUS Tay
Tpayor, avtal 0 av peTad.0ag avev avTov érépay
opxnaw ndteo TO 701, _TpooeXovTe s avrais
oveer, GNAA TELP@VTL aUTAS Kal ATrOTETAMEV ED
Tov KONTOV émLTOevTaL KaTa peonuBpiar, ore
67) Aéyetar Kabevderr o Ilav éxreXoT@S THY
Onpav. (2) "Exadevde apa 7 por Epov ev
Gvel[LEVOS Te Kal ™ pdos THY fp piva Kal TO émixoXov
auThs Neaivav TO UTVO, T7)[L€ POV bé Umepxonae
Tpoomec ovoat yap avT@ ai Nupdat, TeplHnerar
pev On TW YeElpEe oO Ildv, dé5te 8€ él ois
1 Cf. Od. 11. 421. The soul of Agamemnon says, ‘‘ But the
most piteous cry that I heard was that of the daughter of
Priam, Cassandra, whom guileful Clytemnestra slew by m
side, And I sought to raise my hands and smite down the
murderess, dying though I was, pierced through with the
176
BOOK IT. a2
erazed, her hair flying, her arm savagely raised,
stands over her with the axe, and the way
Cassandra herself, tenderly and in a state of
inspiration, has tried to throw herself upon
Agamemnon as she hurls her fillets from her and
as it were casts about him the protection of her
prophetic art; and as the axe is now poised above
her, she turns her eyes toward it and utters so
pathetic a cry that even Agamemnon, with the
remnant of life that is in him, pities her, hearing
her ery; for he will recount it to Odysseus in Hades
in the concourse of souls.}
Pe eAN
Pan, the nymphs say, dances badly and goes
beyond bounds in his leaping, leaping up and
jumping aloft after the manner of sportive goats;
and they say that they would teach him a different
kind of dancing, of a more delightful character ;
when he, however, pays no heed to them but,
his garment extended, tries to make love to
them they set upon him at noon, when Pan
is said to abandon the hunt and go to sleep.
Formerly he used to sleep relaxed, with peaceful
nostril? and soothing his angry spirit with slumber,
but to-day he is very angry; for the Nymphs have
fallen upon him, and already Pan’s hands have been
tied behind his back, and he fears for his legs since
sword.” Trans. Murray, L.C.L. Cf. Aesch. Agam. 1262 f. ;
Eur. Troad. 450 f.
2 Cf. Theocr. 1. 17. ‘‘ No, no, man ; there’s no piping for me
at high noon. I go in too great dread of Pan for that. I
wot high noon’s his time for taking rest after the swink o’
the chase ; and he’s one of the tetchy sort; his nostril’s ever
sour wrath’s abiding place.” Trans. Edmonds, Greek Bucolic
Poets, L.C. L.
17]
20
30
358 K.
10
PHILOSTRATUS : IMAGINES
oKéXeowv, €mrerd») BovrovTat aipetv1 avTd. TO
dé 57 yéverov, o0 tAElaTOS AUTO oyos, eEvpytac
Haxatpioor eo BeBAnnudy és avro, pact be TV
@ dvaTretoew Umepopay Te avtTou Kal pnde
pbéeyyerOat mpos avtov ért. (8) Tadta a
Nvpgac Tavavel, ov 6€ KATA Snpous auras épa
TQ ev 1ap TOV NaiScov eld —pavidas aTroppat-
vovow avuTat THS Kojns—o dé meph Tais Bovkorars
aX [LOS ovdev pavrorepos Ths Spocov, ai be
‘AvOodcat Tas yaitas éxTrepvcacw vaxivOivos
omolws avOecty.
8’ TIINAAPO®S
(1) Olpat Padua cou eivat Tas peditTas obTw
yMaoxXpws yeypappmévas, OY ye Kal Tpovouata
5yAn KaL TObES Kal TTEPA Kal TO xpapma THS
oTOANS OVK aTaKTOUVGLW, iaa TH hvae SvaTroLKIn-
Aovans avTA THS ypaphhs. Tt ody ovK év cipProts
ai copat ; Tt O€ €v adoteL; KwualovaLy éml Tas
TOU Aaipavtov Ovpas—yéyove bé 70 llivdapos,
@S Opas—TNaT TE 5 aK vam tou avrov, wy
ELMENNS 78n Kal E[ OUT Os 7, Kal Tovovat rabra.
(2) To peév yap ratdiopr eis ddgyny a aToKetTat Kal
KNa@vas puppivns EvwBaddrouévou TOU TraTpos
¢ al , na “ > ’ 2 7 /
Lepov Tevgeo Gat TOU Tav60s, ag av KupPara TE
KAaTIXEL THs oikias, OTE ETLKTETO, Kal _TupTava
neoveto &€x ‘Péas, érXéyovto dé kai at Nupdar
1 So all the MSS. except F and P, which give afpew.
2 radrrewy Welcker: mAarrei.
1 Cf. Od. 6. 231. kéuas bakw0lvw avOcr duolas. Cf. supra,
p95, n. 1.
178
BOOK Wy
the Nymphs wish to seize them. Moreover, his
beard, which he values most highly, has been
shaven off with razors which have been roughly
applied to it, and they say that they will persuade
Echo to scorn him and no longer even to answer
his call. Here are the Nymphs in a group, but do
you look at them by classes; for some are Naiads—
these who are shaking drops of dew from their hair ;
and the lean slenderness of the pastoral nymphs is
no whit less beautiful than the dew; and the flower
nymphs have hair that resembles hyacinth flowers.1
12. PINDAR
I suppose you are surprised that these bees? are
painted with such detail, for the proboscis is clearly
to be seen, and feet and wings and the colour of
their garb are as they should be, since the painting
gives them the many hues with which nature
endows them. Why, then, are the clever insects
not in their hives? Why are they in a city?
They are going on a revel to the doors of
Daiphantes *—for Pindar has already been born, as
you see—in order to mould the babe from earliest
childhood that he may even now be inspired with
harmony and music; and they are busy with this
task. For the child has been laid on_ laurel
branches and sprays of myrtle, since his father
conjectured that he was to have a sacred son,
inasmuch as cymbals resounded in the house when
the child was born, and drums of Rhea were heard,
and the Nymphs also, it was said, danced for him,
2 Cf. Aelian, Varia Historia 12. 45 : Muwddapm tas matp@as
oiktas éxTeOéyTt méAitTaL Tpopol eyevovTo, bwEp Tov yadaxTos
mapatiOetoa wéAt. See Paus, 9. 23. 2; Dio Chrys. Or. 64, 22.
8 The father of Pindar.
179
N 2
15
bo
St
30
359 K.
PHILOSTRATUS : IMAGINES
Yopevoat ol Kal avackiptnocar tov Lava: daai
6€ auTov, OTE ITivdapos €s TO Trovety adptKeTo,
apehjoavta ToD oKLpTay ade Ta TOU IIivdapou.
(3) “H “Péa &e dyarpa EXTETOVNT AL Kal abi
Sputat péev avtovd Kal epi Ovpas, olwar dé xal
NiGov TO ayadma paiver bar Kater KdnKulas
evtaida THS ypapns Kal TL yap aXXo 7) efeo-
HEVIS 5 ayer Kal tas Nuvudas évd porous Kal
olas €x mnyav, o 6€ Hav éEopyettar pwév puO wor
57 Twa, patopov dé avT@ TO eldos Kal THs pLvos
ovdev yormdoes. (4) Al 5€ eiow pédLTTAL TeEpt-
epyatovrar TO TaLoLoV emBaddovo at TO HEM Kal
Ta KEVTPA avehKoveat d€et Too éyxpioat. e€&
‘Tyntrob TaYa HKOVoL Kal ato TOY uTrape@v
Kal aoloipwv: Kal yap TovTO omar avTas
evataéat Liwddapo.
wy’ TYPAI
(1) At tod redXadyous aveotynKkviar TwéTpaL Kal
» bCéovca mepl avtas OaratTTa pws Te Sevvov
Brérov él TOV TETPO@V Kai TL Kai hpovnwaTos
éyov émi tv Oaddattav—o Aoxpos BéBrAnTaL
jev THY éavtod vavy; cm pou € auTns amoTn-
dyjoas Omore KEeX@pnKe Tots KUMACL, TOV Mev
Ovexraiwn, Ta Oe ET LOT W[LEVOS, Ta 6é UTAaVTA@DY
TO otépvw, Tvupais 0 évtux@v—ai dé Tupai
1 Cf. p. 177 supra.
2 Pindar, Frag. 76 Bgk. ‘‘Oh! the gleaming, and the
violet-crowned, and the sung in story ; the bulwark of Hellas,
famous Athens, city divine.” Trans. Sandys, L.C.L,
180
BOOK II. 13
and Pan leaped aloft; nay, they say that when
Pindar began to write poetry, Pan neglected his
leaping and sang the odes of Pindar.
A carefully wrought statue of Rhea has been
set up by the very door, and methinks the statue
is clearly of marble, for the painting has taken on
a certain hardness at this point and what else is
it, pray, but carved stone? She brings both the
Nymphs of early morning dew and the Nymphs of
the springs, and Pan is dancing a certain measure,
and his expression is radiant and his nostril
without a trace of anger. The bees inside the
house are busily at work over the boy, dropping
honey upon him and drawing back their stings
for fear of stinging him. From Hymettus doubtless
they have come, and from the “ gleaming city sung
in story’; for I think that this is what they instilled
into Pindar.?
13. THE GYRAEAN ROCKS
The rocks rising out of the water and the boiling
sea about them, and on the rocks a hero glaring
fiercely and with a certain proud defiance toward
the sea—the ship of the Locrian? has been struck
by lightning; and leaping from the ship as it bursts
into fame, “he struggles with the waves, sometimes
breaking ie way through them, sometimes drawing
them to him, and sometimes sustaining their weight
with his Heiss but when he eae. the Gyrae—
3 Ajax, son of Oileus; the story follows quite closely the
Homeric account, Od. 4. 499 f. According to Hyginus
and the mathematician Hero, where the story is described
in scenes on the stage, it is Athena who causes the shipwreck
and death of Ajax because he had snatched the Palladium
from Cassandra (cf. Schone, Jahr. d. Arch. Inst. V. 73 f.).
181
PHILOSTRATUS : IMAGINES
/ ? \ ¢ / lal ’ / ‘
méTpat elolv UTEephaivovaat TOD Aiyatouv KOoXTrOU
’ / / val fal
—Noyous vUmépppovas Réyer KaTa Tav Oeav
lal , id n \
10 avtav, éf ols 6 Ilocevd@v adtos emi tas Tupas
/ / 9 lal al
atéAXeTat hoepos, @ Tal, Kal YELLa@VOS TAEWS
\ /, \
Kal Tas yaitas €Enpuévos. Kaitow Tote Kal
cuvenaye. TO Aoxp@ xata to “IXuov ppo-
May é p@ KaTa T Lov, swdpo
voovtt d€ Kal dedonpevw taV Oeav—éppovyu
evn Tov Oe €ppwvy
’ \ ~ / lal ] ’ \ ¢ /
15 avtTov TO oKnTTpe—,vov 6, émerdn UBpilovta
e A \ / > Pd > \ / \ /
Opa, THY TpLatvav eT avTOV PhépEL Kal TETANHEETAL
id 5) \ ~ / € ’ / \ bys e
0 avxyny THS TéTpas o avéxwy Tov Alavta, ws
aTOGELTALTO AVTOV avTH UBpeEL.
¢€ \ \, / Qn a ? /
(2) ‘O peév 67 Aoyos THS ypadis ovTos: Tobe}
x \
20 6 évapyés* NevK2 pev UTO KULaT@V 7 OdraTTA,
/ ’ e / \ \ SEN id / rn
omtddabes O al wéTpat dia TO aeEl paiverOaL, TOP
/ v a , A e
5€ €K MéoNS ATTEL TIS VEWS, ES 0 ELTVEWD O AVEMOS
al r ” id , / a
TAEL 1) Vvavs ETL KaDAaTEP LoTiW XpwLEVvNn TO
€ \ 5) /
mupt. o d€ Alas otov éx péOns avapépwy Trept-
a \ / b) a e la b) fol
25 aOpet TO TENAYOS OVTE VadY OpaV OUTE YHV, Kal
\ \ A / ’ >
ovde* tov Tloced® mpoctovta Sédoixev, adr
y / 4 ” \ le e
EoLKE OLATELVOMEVW ETL’ OUTW TOUS Bpaytiovas 1)
28 c / / ?
POUN ATOAEAOLTEV, O AVXIV TE AVETTHKEV OLS
aI lal \ a
emt “Extopa cal Todas. 6 pev 67 Llocedav
/
30 €uBar@v tiv Tpiaway amapaker® TO Tpudos
> a yy lal / e \ N id \
avt@ Aiavte tis métpas, ai b€ Tupat ai Noval
1 +/de Capps: 70 be, 2 ovdé€ Kayser: ode.
182
BOOK II. 13
the Gyrae! are rocks that stand out in the Aegean
gulf—he utters disdainful words against the very
gods, whereupon Poseidon himself sets out for the
Gyrae, terrible, my boy, tempestuous, his hair
standing erect. And yet in former days he fought
as an ally of the Locrian against Ilium, when the
hero was discreet and forbore to defy the gods
io Poseidon strengthened him with his
sceptre ;2 but now, when the god sees him waxing
insolent, he raises his trident against the man and
the ridge of rock that supports Ajax will be so
smitten that it will shake him off, insolence and
all.
Such is the story of the painting, but what is
shown to the eye is this: the sea is whitened by
the waves; the rocks are worn by the constant
drenching; flames leap up from the midst of the
ship, and as the wind fans the flames the ship still
sails on as if using the flames as a sail. Ajax gazes
out over the sea like a man emerging from a drunken
sleep, seeing neither ship nor land; nor does he
even fear the approaching Poseidon, but he looks
like a man still tense for the struggle ; the strength
has not yet left his arms, and his neck still stands
erect even as when he opposed Hector and the
Trojans. As for Poseidon, hurling his trident he
will dash in pieces the mass of rock along with
Ajax himself, but the rest of the Gyrae will remain
1 Located by the ancients near Myconos, or, more
commonly, off the Eastern promontory of Euboea.
2 Cf 7. 13.59. ‘‘Therewith the Shaker of Earth smote
the twain [the two Ajaxes] with his staff and filled them
with valorous strength.” Cf. p. 156, n. 1.
3 amapdée: Reiske, Jacobs: germane FL: apate P.
183
360 K.
or
10
PHILOSTRATUS: IMAGINES
re / ’ ¢ / \ ” e /
fevovot Te, €s Goov OdraTTA, Kal dovAOL Ect
£ovo. T@ Hocedave.
wo @OETTAAIA
(1) Aiyurrriater bev ” poo Bory THS ypapis,
oO AOyos S€ avTHS oOvK Aiyirr710s, arr’ olpat
Oettarav' Alyvmrtiow pév yap Tapa Tod
NeidXou 7) vy @ertanrots 6€ IInveros ov TUvEX@pel
Tahat yy EXEL, TmepiSeBAnuév@V Tos medtous
opa@v Kal Tod pevpatos emixdulovtos avTa b7r0
Tov wnT@ exParew. pyter odv o Ilocedav TH
Tplaivn TA Opn Kal TUAAS TM TOTAM@ épyacerTat.
(2) TovtTw yap vuvi 76 epyw epéotnxev abdov
avro Kal aVAKANUT TOY Ta media, Kal Ouhprac
fev 7 XELD Els TO dvappi§at, Ta O€ Opn, mply
TeTrHXOaL, duigtTatat TO aT ox pov T@ ToTaye
[eT pov. aryouilowerns dé mpos TO evapyes THS
TEXYNS Ta beEua TOU Tocevdévos omov Kal
UTEegTANTAL Kal _TpoBEBnxe Kal aretnrel THY
mayyny OUK amo THS XELpos, aXr amo Tov
/ /
TwWUATOS. yéeypaTTat O€ ov KUavEos 0Vde BadaT-
1 Cf. Od. 4. 505f. ‘* Poseidon heard his boastful speech
and straightway took his trident in his mighty hands, and
smote the rock of Gyrae and clove it in sunder. And one
part abode in its place, but the sundered part fell into the
sea, even that on which Aiassat...and bore him down into
the boundless surging deep.” Trans. Murray, L.C.L.
2 “That Egypt to which the Greeks sail is land acquired
by the Egyptians, given them by the river.” Hat. 2. 5.
* Cf. Hdt. 7. 129: ‘‘In ancient days, it is said, there
was not yet this channel, but those rivers . . . had the same
volume of water as now, and thereby turned all Thessaly into
a sea. Now the Thessalians say that Poseidon made this
184
BOOK IL. 14
as long as the sea shall last and will stand unharmed
henceforth by Poseidon.
14. THESSALY
This painting suggests Egypt at first view, but
the story it tells is not Egyptian; rather, in my
opinion, it deals with the Thessalians. For whereas the
land which the Egyptians occupy is a gift of the Nile,”
the Thessalians in early times were not permitted by
the Peneius to have any land at all, since mountains
encompassed the level spaces, which the stream
continually flooded because it had as yet no outlet.®
Therefore Poseidon will break through the mountains
with his trident and open a gateway for the river.
Indeed, this is the work which he has now under-
taken, the mighty task of uncovering the plains;
his hand is raised to break the mountains apart, but,
before the blow has fallen, they separate a sufficient
space to let the river through. In the painter's
effort to make the action clear, the right side of
Poseidon has been at the same time both drawn
back and advanced‘ and he threatens to strike his
blow, not merely with his hand, but with his whole
body. He is painted, not dark blue nor yet as a
passage whereby the Peneius flows; and this is reasonable ;
for whosoever believes that Poseidon is the shaker of the
earth and that rifts made by earthquakes are that god’s
handiwork, will judge from the sight of that passage that it
is of Poseidon’s making ; for it is an earthquake, it seems to
me, that has riven the mountains asunder.” Trans. Godley,
E.G.
4 Apparently the body, including the right side, is bent
backward in order to lend its force to the blow, while it it
twisted so that the right side is more advanced than the left.
185
PHILOSTRATUS: IMAGINES
TLOS, GAN HreipweTns. TH To. kal aomatetat Ta
Tedia Kal ouarta ldwy Kai evpéa, Kabdtrep
20 Gadattas. (3) Xaipee cal o rotapos olov
avyav! kal duraTTwY TO €s ayKoVAa —TOTAaL@
yap opbovc8at ov aivnGes—avatibetat Tov
Titapnotov ws Koddpov Kal motimwTEepoy Kal
omoroyes TO Ilocevdavu expunoecPat 06@ xpw-
25 pevos, avioxyer Kai 7 Oettaria ouvifavovtos
76) Tov VdaTos €Xaia KoUw@oa Kal aoTaXUL Kal
TwAov éhaTTouévn sUVavicxXoVTOS. EaTas yap
Kal intros avtTH wapa Tod Ilocesd@vos, 6tav THY
aTropponv Tov Oeod Kabevdovtos 1) yh UTobEeEnTaL
30 ets immov.
tc’ TAATKOS HONTIO2®
(1) Boowopov kat Xvprrnyddov 7 ’Apyw
SuexTAEVoaca péecov On Téuver TO poOLov Tod
361 K. [lovtov, cai OéXyee THY OaddXatTav ’Opdevs adwv,
1 For avxav Heberdey and others suggest Avéels (“‘set
free’’), Jacobs apOels (‘‘ elated”). Most MSS. give ai@s.
1 ¢.g. the river god Cephisus in the west pediment of the
Parthenon.
2 i.e. the river Titaresius is a tributary of the river
Peneius; the river and the river-god Peneius are identified
in a way somewhat confusing to the reader.
3 Glaucus, a sea divinity, is associated with Anthedon, a
city on the north coast of Boeotia near the Locrian border.
He was the son of Anthedon, eponymous hero of the city, and
Halcyone (the ‘‘kingfisher’’), A fisherman, he noted that
one of the fish he had caught came to life again by contact
with a certain herb and leapt into the sea. When he himself
tasted the same herb, he also plunged into the sea and became
a sea divinity.
186
BOOK IL. 15
god of the sea, but as a god of the mainland.
Accordingly he greets the plains as he sees that
they are both broad and level like stretches of the
sea. The river also rejoices as one exulting; and,
keeping the usual posture of resting on his elbow!
(since it is not customary for a river to stand erect),
he takes up the river Titaresius? as being light water
and better to drink and promises Poseidon that he
will flow out in the course he has made. Thessaly
emerges, the water already subsiding; she wears
tresses of olive and grain and grasps a colt that
emerges along with her. For the horse also is to be
her gift from Poseidon, when the earth shall receive
the seed of the god while he sleeps and shall bear
a horse.
15. GLAUCUS: PONTIUS?
After passing through the Bosporus and between
the Symplegadae the Argo is already cutting its way
through the midst of the surging Euxine and Orpheus
is beguiling the sea by his singing, moreover the Euxine
The story of the Argo and the golden fleece, the fleece of
the ram that bore Phrixus and Helle over the Hellespont,
belongs to the heroes of the generation before the Trojan
war, The keel of the Argo was fashioned of the oracular oak
at Dodona, the rustling of whose leaves made known the will
of Zeus in answer to those who consulted the god; sacred
doves made their home in its branches, and a sacred spring
welled up at its foot (cf. Description 33, infra p. 267). When
the ship Argo was completed, Jason set sail with the heroes
of his day as companions, including Castor and Pollux (the
Dioscuri), Orpheus, Heracles, Peleus and Telamon (son of
Aeacus), and Zetes and Calais (sons of Boreas). It was after
passing through the Hellespont and between the clashing
rocks of the Symplegadae, that they encountered Glaucus
Pontius in the Black Sea (Euxine). Cf. also pp. 49, 319.
187
cr
10
15
iw)
Cr
PHILOSTRATUS : IMAGINES
uh be axovet kal UTO TH Gon KELTAL 0 Ilov7os.
Ta pev 6) aywoyliua THs vews Atookoupor Kal
‘Hpaxdijs Ataxidat te Kal Bopeddat Kal door
THIS npeBéou popas vet, TpoTres 6 opryppoorat
7 vn dévdpov dpxaiov, & kata Awdevny o
Zeus €$ Ta pavTeta EXPHTO. (2) Dvepun dé és
TOV TAOUY 70° Xpuooby aTroKerT a TL ev Korxous
K@oLov KpLov dpxaiov, OS NeyeTal thy ” EXXnv
omod TO Ppikeo dua TOD ovpavod Top0 wevoat:
TOUTO Idcowv EXElV, @ Tal, Toletrar aOXov-—
dpovpos yap Tis avT@ Spaxov éumérreKTaL
Sewov Brér@v Kal UTEepop@yv Tod Kadevdetv—
d0ev apyer THs vews, érrecdn Bree és avTov 1
Tov TAov aitia. (3) Kai Tidus pév, @ rai,
xuBepva, réyeTat é ovTot T POT OS avO pwTav
dma Troupenyy Oappioat TD TEX, Avyxevs
6€ 0 o Adapéws é eTLTETAKTAL Th Tpw@pa Sewwos ov
€x TOAAOD TE LOElY Kal €s TOAU KaTaBréwau TOU
BaOovs Kai patos mev vTroKELméev@y EppaTwv
aiabécbat, tp@tos 5é Uropaivovcay yiv aora-
cacbat.
(4) "ANNA vov exTreT AN XO at pot OoKel Kal TO
TOU AuyKéws ¢ Opa TI m™ poo Bodayy TOU pacparos,
up’ ov Kal- ob TEVTIHKOVTA oX aT dpevor THY
elpeclav' ‘Hpakdijs [ev aT peTT OS pever To0
Oeapatos,) ate 61) TodXols opmoiots EvTVX@YV, OL
d€ AotTol Oadpua TL oluat TovTO RéyovCLY’
opatat yap avtois TAad«os o Lovtios, otkjoat
€ OUTOGL TroTE NEYEeTaL THY apyaiay "AvOndova
Kal tToas pév Tivos éml Oarattyns yevoacOat,
KUpaTos O€ UTodpamovTos avTov és Ta TOV
1 @eduatos Jacobs: Oavuaros.
188
BOOK II. 15
listens and is calm under the spell of his song.
The freight which the ship carries consists of the
Dioseuri and Heracles, the sons of Aeacus and of
Boreas, and all the offspring of the demigods who
flourished at this time; and the keel which had been
fitted beneath the ship was wrought of an ancient
tree, the tree which Zeus used for his oracular
utterances at Dodona. Now the purpose of the voyage
was as follows: In Colchis is preserved a golden
fleece, the fleece of the ancient ram that ferried Helle
with Phrixus across the sky, as the story goes. Jason,
my boy, undertakes the task of securing this fleece
(a task indeed, for to guard the fleece a dragon of
fear-inspiring look and disdainful of sleep holds it
encircled in his coils); for this reason he is commander
of the ship, since the responsibility for the voyage
devolves upon him. And Tiphys, my boy, is pilot of
the ship; and he is said to be the first of men to
have been bold enough for the art which was till
then mistrusted; and Lynceus son of Aphareus is
stationed at the prow, a man gifted in seeing far
ahead and in peering deep down into the depths,
always the first to discern submerged reefs and the
first to salute land as it dimly appears on the horizon.
But now, methinks, even the eye of Lynceus is
stricken with consternation at the approach of the
apparition, which also causes the fifty sailors to stop
their rowing; Heracles, it is true, remains unmoved
at the sight, as one who has met with many like
monsters, but the rest, I believe, are calling it a
wonder. For they see Glaucus Pontius. The story
is that he once dwelt in ancient Anthedon and that
he ate of a certain grass on the seashore, and that
when a wave came upon him unawares he was borne
189
30
362 K.
10
PHILOSTRATUS : IMAGINES
ixOvov amnvex On 70m. (5) Mapteverat pev
ovv péya Th, WS elKkos—rEepleg TL 14p avT@ Tis
TEXVNS—TO 6é Eidos Uypol pev avT@ yevelo
Bootpuxot, Reveol dé ideiv cabaTep Kpouvol,
Bapets dé TOKAHLOL KOMNS Kal TOls wLoLs eT OXE-
TevOVTES OcoV eam aoayTo Oardrrns" | oppds
Naolal, cuVaTTOVGaL _T pos aXdijras olov pia.
dev Tov Bpaxtovos, Os yeyupvac rat 7 pos THY
Oadaccay € EUTLTTWY GEL Tots KUpAaCt Kal Aealvor
aura és THY vIpELv. dev TaV TTEPVOY, Os axyn
fev avTots eyKaTeaTapTal Bpvov Kouooa Kal
hukiwv, yaotnp O€ vmoKELTAaL Tapadhatrovea
Kal arwodca 76. (6) Tx9ov d€ eivat TO owr@
TOV PAadKov dnAXot Ta oupaia éEnpuéva Kal
™ pos Thy Lévy ematpepovra, To d€ pnvoerdes
avTa@v adurrophupou Tt avOos EXEL. mepibeovar
8’ avtov Kal aAKvOvES omod ev dSoveat Ta TOV
avOpwrev, €& ov avTai Te Kal oO Pradcos
peOnppoaOnoay, opod oe EVOL ULEV aL TO ‘Oppet
THY EavT@v wonp, ds iv ode 7) OdXaTTA amovcs
EVEL.
ts’ JTIAAAIMON
(1) ‘O @tav év “IcOuod Shpwos—ein & av o éx
Ths KopivOou—kai Bacireds ovtoat tod }1)u0ov—
1 Palaemon is another name for Melicertes, son of Ino
Leucothea. Incurring the anger of Hera, Ino was stricken
with madness and taking her younger son Melicertes jumped
in the sea, whereupon she became the sea-goddess Leucothea,
190
BOOK II. 16
away to the haunts of the fishes. Now he is probably
uttering some great oracle, for he excels in this art.
As to his appearance, the curls of his beard are wet,
but white as gushing fountains to the sight; and
heavy are the locks of his hair, which conduct on to his
shoulders all the water they have taken up from the
sea; his eyebrows are shaggy and they are joined
together as though they were one. Ah, the arm'
how strong it has become through exercise against
the sea, continually battling against the waves and
making them smooth for his swimming. Ah, the
breast! what a shaggy covering of seaweed and
tangle is spread over it like a coat of hair; while
the belly beneath is undergoing a change and already
begins to disappear. That Glaucus is a fish as to
the rest of his body is made evident by the tail,
which is lifted and bent back toward the waist; and
the part of it that is shaped like a crescent is
sea-purple in colour. Kingfishers circle about him
both singing the deeds of men (for they like Glaucus
have been transformed from the men they once were)
and at the same time giving to Orpheus a specimen
of their own song, by reason of which not even the
sea is without music.
16. PALAEMON }
The people sacrificing at the Isthmus, they would
be the people of Corinth; and yonder king of the
and Melicertes the sea-god Palaemon. The worship of
Palaemon was carried on at the Isthmus of Corinth and at
various points on the shores of Greece. At the Isthmus the
Isthmian games apparently were established in his honour,
and only later were taken up into the worship of Poseidon.
IgI
9
vw
363 K.
|
PHILOSTRATUS : IMAGINES
yd ’ \ e / / be \
Lia udov aut ov HryopePa—rT EwEvos € TOUTL
Tlocerddvos pea TL Tpoanxovy Oararry—ai
yap TOY TUTVOY Koma TOUTO dSove1—ro.dde, &
TAL, onpaiver: » Ive THs vis eXTETOUTA TO Mev
éauThns Aeveobéa te Kxal tov tav Nypnidov
/ \ \ a \ id an 7 n
KUKNOoU, TO O€ TOV Tatoos 1) yA LladXalipou TO
/ / / \ v >
Bpéber xXpyjoeta. (2) Kataipes d€ dn és
b) \ ; es, va > iu \ e \ \
avuTiy émi Serpivos evnviov, kal o Seddis Ta
v@Ta UTOTTP@LYUS pepe cabevoovta Soda Pavev
avpopytl Ths yarayyns, OS Ln exTrETOL TOU brrvou"
TpooLovTLe d€ AUTO pyyvutat TL KATA TOV ‘To @ pov
G@OUTOV Stacyovans THs yas é€k Ilocedavos, ov
pot Soxet Kai Licvpw TovVTw TpoETEtY TOY TOD
y ty / a /
Tatoos elatwAouv Kal OTL OvEev avT@ déot. (3)
@Qver S€ Tavpov tovtovi uéXava atrooTracas
an na lal e
oimat avtov €x THs TOV Ilocerd@vos ayéAns. 0
pev ovv THS Ovsias Royos Kal 7) TaV OvcavT@Y
a \
écO5 Kal Ta évayicnata, @® Tal, Kal TO
/ a ,
oparreny és Ta Tod Iaratnovos atroxela Ow
dpyra—aepvos yap o Aoyos Kal KOWLON aroberos
ar arrobev@oavTos avT ov Luavpov TOU copov:
copov yap dn Tov dndXot avTov 1 émictpody
4 v \ \ a a * , \
Tov eldous—To b€ Tov Ilocerda@vos etdos, eb meV
\ \ / Xx \ \ v Cx
tas Lupas TeTpas i) TA Oerrarica opn pygeev
Euedre, Servos av Tov eypadero Kal oiov TT
TOV, Eévov dé Tov MeduKéptny TOLOUJLEVOS @S €V
TH yn EXOL, perdug KaBopyrfomevou Kal KENEVEL
tov “Ia@mov avatretdcat Ta oTépva Kal yevérOat
1 evayiouara and oparrew, like dpyia, refer to a class of
sacrifices offered to heroes and chthonic gods, but not to
Olympian gods,
192
BOOK II. 16
people, let us consider him to be Sisyphus; and
this precinct of Poseidon gently resounding to the
murmur of the sea—for the foliage of the pines
makes this music—all this, my boy, indicates the
following: Ino throwing herself from the land for
her part becomes Leucothea and one of the band of
the Nereids, while as for the child, the earth will
claim the infant Palaemon. Already the child is
putting in towards shore on a dolphin obedient to
his will, and the dolphin making its back level bears
the sleeping child, slipping noiselessly through the
calm water so as not to disturb his sleep. And as
he approaches, a sanctuary opens in the Isthmus as
the earth is split apart by Poseidon, who, I fancy,
announces to Sisyphus here the advent of the child
and bids him offer sacrifice to him. Sisyphus is
sacrificing yonder black bull which he has no doubt
taken from the herd of Poseidon. The meaning of
the sacrifice, the garb worn by those who conducted
it, the offerings,! my boy, and the use of the knife
must be reserved for the mysterious rites of Palaemon
—for the doctrine is holy and altogether secret,
inasmuch as Sisyphus the wise first hallowed it; for
that he is a wise man is shown at once, methinks,
by the intent look on his face. And as for the face
of Poseidon, if he were about to shatter the Gyrean
rocks? or the Thessalian mountains,? he would doubt-
less have been painted as terrible and like one dealing
a blow; but since he is receiving Melicertes as his
guest in order that he may keep him on land, he
smiles as the child makes harbour, and bids the
Isthmus spread out its bosom and become the home
2 Cf. supra, Description 13, p. 181.
3 Cf. swpra, Description 14, p. 182.
364 K.
15
20
25
30
or
PHILOSTRATUS: IMAGINES
TO Meduxéptn oixov. (4) ‘O &€ “Io@uos, & trai,
yéyparTar pev év elder Saipovos évuTTidfov
tal lal \ a
€avTOV TH Yh, TéeTaKTaL S€ Uo THs hvaews
> / \ ’ / / lal /
Atyaiov kat “Aépiov pécos KetcPar xalatrep
émefevypévos Tols Terdyeow. Eater b€ avT@
f \ b a / , / \ >
peetpaxiov pev év Seta, Aéyatov tol, Kopat dé ev
? ars | / BY: = \ A’ 2k lal
aptotepa’t OadatTat S€ avTal Kaa Kai iKaVas
evdto. TH TOV ‘laoPuov amopawovan yh Tapa-
KaO nvtat.
we) ~=NHZOI
(1) BovNe, & mat, KaOdtrep azro vews d1are-
, \ a /
youcla Tepl ToUTwYL TOV ViTwY, Olov TeEpt-
/ > > A 9 / / e \
TEOVTES aUTAaS TOU npos, OTE LZéedupos ihapav
épyatetat OaXatTavy Tpoomvéwy THs EauTOU
BA > > e € \ / an fel \
avpas ; a@XX ows exov AEANTH THS YS, KAL
/ / ’
Oaratta cor tavti doFe pyr éEnpyévn kal
> / ‘fj? e / \ / \
avayaitifovca pyiO vmtia Kal yadnv7, TMTH
/ Nee ” > AS ES s
dé tis Kal oioy éumvous. loov éuBeBAnxapev*
Evyywpels yap Tov; Kat vmép Tod TaLbdos
a /
atoxpwac8at' “Evyywp® Kal TAEwpEV.” 7
\ / e e a / A ee) > a
pev OdraTTAa, ws Opas, TOAAH, VpcoL O ev avTH
pa Av’ od AéaBos odd “IpBpos %) Anuvos, adr
lal / al
ayerXaiat Kal puxpat, KabaTrep K@pmal TLWeES 4)
otabpmoi 7) vn Ata éravAa THs OaXatTOHS.
(2) “H pév 62) tpadtn chav épupyyn Té éortt
1 Ladds Keyxypeal mov raya (‘‘ very likely Cenchreae”’),
which most recent editors delete as a gloss,
194
BOOK II. 17
of Melicertes. The Isthmus, my boy, is painted in
the form of a divinity reclining at full length upon
the ground, and it has been appointed by nature to
lie between the Aegean and the Adriatic as though
it were a yoke laid upon the two seas. On the right
it has a youth, surely the town Lechaeum,! and on
the left are girls; these are the two seas, fair
and quite calm, which lie alongside the land that
represents the Isthmus.
tf. ISLANDS
1. Would you like, my boy, to have us discourse
about those islands just as if from a ship, as though
we were sailing in and out among them in the
spring-time, when Zephyrus makes the sea glad
by breathing his own breeze upon it? But you
must be willing to forget the land and to accept
this as the sea, not roused and turbulent nor yet
flat and calm, but a sea fit for sailing and as it were
alive and breathing. Lo, we have embarked; for
no doubt you agree? Answer for the boy “I
agree, let us go sailing.” You perceive that the sea
is large, and the islands in it are not, by Zeus,
Lesbos, nor yet Imbros or Lemnos, but small islands
herding together like hamlets or cattle-folds or, by
Zeus, like farm-buildings on the sea-shore.
The first 2 of these is steep and sheer and fortified
1 Lechaeum, the north port of Corinth, on the Corinthian
Gulf; Cenchreae (represented by the ‘‘ girls ”’), the east port
of Corinth on the Saronic Gulf.
2 Welcker recognized the seven (or nine) islands of Aeolus,
described by Servius ad Virg. Aen. 1. 52; see Pereira, Jin
fieiche des Aeolus.
195
0 2
Il.
EY.
10
15
20
30
PHILOSTRATUS: IMAGINES
KAL ATOTOLOS Kal TELYNPYS THY PUL axpavuxiav
éfalpovea TAavoTTy Hocedave, KaTappous TE
Kal vypa Kal Tas pediTTas _Bookovea opetous
avOecw, wv SpémecOar kal tas Nnpnidas eikos,
Otay Th Oarattn émimaifwor. (3) Thy 6&6
vo ov THY Epes UmT Lay TE Kal yewdy ovaav
OLKOUGL bev aduets TE Kal yewpryot awa, EvpBar-
AovTat 6é ayopav aXdirous Ol MeV TOV yEewpryou-
pevov, ot de av iypevoar, Ilocesda@ S€ TovTort
yew pyov én pot pou Kal Cevryous iOpuvtae
AoyLovpevor avT@ Ta ex THS yhs, ws 6€ a)
opodpa YTELPOTNS 0 Toceday Paivorro, Tpopa
euBéeBrynTat TO apoTpe Kat THY viv pyryvuow
olov TED. (4 ) At d eXomevae TOUT@V vio ol
dvo pla pev appa TOTE OAV, paysion be vm
Tov TWéeNayous péon ToTam“ov Evpos EaUTIS
drnvexOn. TouTL © éoTL col Kal mapa THS
ypadijs, ® Tai, yevod Kely Ta yap éoXuopeva
THS VATOU Tapam yaa Tov opas Kal addr rOLS
Euppetpa Kal ola evapporar Koida EKKELMEVOLS.
TovTO Kat 1) Evpemrn mote rept ra Téurn ta
MettTariKa emabe: velo pol yap Kacelyny
advan TUEAVTES THD apmoviay TOV opay évaTreon-
[LnvavTo Tots T HMAC, Kal TETPGY TE oiKoL
davepol €Tt TapatAnotor Tais éEnppwoopévats
1 The type of Poseidon with right foot on the prow of a
ship is illustrated by the Vatican statue (prow and dolphin
restored). As Benndorf points out, the Poseidon of the
picture follows this familiar type; but the god is dressed
like a farmer, the ship’s prow has been transformed to serve
as a plough, and his foot is pressed on the plough like
a farmer’s in ploughing. The ‘‘yoke” seems to mean a
yoke of oxen. Cf. supra, p. 187.
196
BOOK II. 17
by a natural wall ; it lifts its peak aloft for all-seeing
Poseidon; it is watered with running water and
furnishes the bees with food of mountain flowers,
which the Nereids also doubtless pluck when they
sport along the seashore. The adjoining island,
which is flat and covered with a deep soil, is
inhabited by both fishermen and farmers, who offer
each other a market, the latter bringing of the fruits
of their husbandry, the former of the fish they
have caught; and they have set up yonder
statue of Poseidon the Farmer with a plough and a
yoke,! crediting him with the fruits of the earth;
but that Poseidon may not seem too much a
landsman, the beak of a ship is attached to the
plough and he breaks the ground as though sailing
through it. The two islands next to these were
formerly both joined in one;? but having been
broken apart in the middle by the sea its two parts
have become separated by the width of a river,
This you might know from the painting, my boy ;
for you doubtless see that the two severed portions
of the island are similar, and correspond to each
other, and are so shaped that concave parts fit
those that project. Europe once suffered the same
experience in the region of the Thessalian Tempe ;3
for when earthquakes laid open that land, they
indicated on the fractures the correspondence of
the mountains one to the other, and even to-day
there are visible cavities where rocks once were,
which correspond to the rocks torn from them,
2 Apparently the name of the island of Didyme (modern
Salina) suggested to the painter (or the writer) the
conception of two islands connected by a bridge: Benndorf.
3 Cf. supra, Description 15, p. 185.
Bi
10
15
PHILOSTRATUS: IMAGINES
a / e/ ’ e / / al
apav tétpats, DAN O, oTocnv cxtcbévTwYV TeV
a / > ”
opav éeriaTécOat ELKOS, OUTW AOnAOS: AElTrOVTAL
\ Ne e > \ a / \ \ >\ fol
yap 51) éTt ai evval Tov Sévdpwv. TO per 60 Tis
yNTOV m™a0os ToLovTOY nyepeba, Cedypa dé v vmep *
>
TOU TopO pod BeBrnrat, @S piay Ur avTov
. paweobar, Kal TO HED | UToTAEiTaL TOO Cevypatos,
To O€ dpakevera: opas yap TOU TOUS _Svapoirau-
TAS AUTO, WS s6orm pot Té EloL kal vavTal.
(5) Try dé voOV, @ Tat, THV myo tov Gatpa
ny@peba: Tup yap 67) UToTUdet avriny maoav
onparyyas Te Kal puxous UmobEsUKOS THs vnoou,
L OV WOTTEP AVAOV 7 prog diex Tater pvaKas Te
épyatetar Oewovs, Tap ov éxTintoval ToTaLol
Tupos peyaror TE Kal TH OadrdTTy éTLKUMAI-
, a \ / \
vovTes. Kal dhtrocodety pev BovXopmEev@ Ta
TOLAUTA VITOS aoparrov Kat Oelou Tapexouéevyn
gua, éreoav ud’ anos avaxpabh, ToNXols
exTrUpoUTaL TYEevLacL Ta THY UAnV éEepebiCovTa
A n \
Tapa THS OaXaTTns avacTaca. 1 ypadn 5ێ Ta
TOV TOLNT@V éeTaivovca Kal mvOov TH VHTw
> f. / \ a / b] lal
eTiypadel, yiyavTa pev BeBAHcOat Tote EvTavOa,
vabavatobytTs 8 avT@ Tv vicov étevexOnvat
a © bY U
decpov évexev, elxety O€ pnTw@ auvTOV, aAN
1 brtp Jacobs: trd.
1 The island may be the modern Volcano (the ancient
Hiera).
2 Pind. Pyth. 1.21. ‘‘Etna, from whose inmost caves
burst forth the purest founts of unapproachable fire.”
Trans. Sandys, L.C.L.
3 The story of Typho (Typhoeus), offspring of Gaia, is told
by Hesiod, Theog. 820f. In the battle of the Gods and the
Giants he is overthrown but not slain by a thunderbolt of
198
BOOK II. 17
and, moreover, traces have not yet disappeared of the
heavy forest growth that must have followed the
mountain sides when they split apart; for the beds
of the trees are still left. So we may consider
that some such thing happened to this island;
but a bridge has been thrown over the channel,
with the result that the two islands look like one;
and while ships sail under the bridge, wagons go
over it; in fact you doubtless see the men making
the passage, that they are both wayfarers and
sailors.
The neighbouring island, my boy, we may
consider a marvel;! for fire smoulders under the
whole of it, having worked its way into underground
passages and cavities of the island, through which
as through ducts the flames break forth and produce
terrific torrents from which pour mighty rivers of
fire? that run in billows to the sea. If one wishes
to speculate about such matters, the island provides
natural bitumen and sulphur; and when these are
mixed by the sea, the island is fanned into flame by
many winds, drawing from the sea that which sets
the fuel aflame. But the painting, following the
accounts given by the poets,? goes farther and
ascribes a myth to the island. <A giant, namely,
was once struck down there, and upon him as he
struggled in the death agony the island was placed
as a bond to hold him down, and he does not yet
Zeus, and a mountain is placed upon him to hold him
confined. While the story was first localized in Asia Minor,
it was transferred to Sicily, where the eruptions of Etna
were interpreted as the fire of his breath. The story of
Enceladus, the opponent of Athena in the battle of the Gods
and the Giants, was transferred from Attica to various
volcanic regions in Italy and Sicily.
a9
20
30
1Va.
PHILOSTRATUS : IMAGINES
, \ tal rf \ fal cal
avapaxer0at UTO TH YH OVTA Kal TO TUP TOUTO
\ > lal ’ val \ \ \ \ lal
avy amreirn extvety. TouTti dé Kat Tov Tud@
/ \
hacw év Xuxedia BovrecPat kal tov ’Eyxédadov
, / lal
év “ItaXia tavtyn, ods Hmetpol TE Kal vHoTOL
/ byA \ lal >» \ ’ /
mieCova. ovTw pev TEOVE@Tas, adel S€ atroOvn-
BY / S cal ’ e lal
aoKovtas. é€att b€ col, ® Tat, und UToNEEip-
lal / \ \ lal
Oat SoEar TAS paxns és THY Kopupynv Tov Opous
> l Z \ \ » 9 » A , e
aToBXéWwavte Ta yap én avTns haivopeva o
\ £ 5
Zevs abinot Kepavvovs eri tov yiyavta, o 6
/ n rn
amrayopever pev On, TeeTever O€ TH YN ETL, Kal
~ / an
) yj S€ ameipnkey ovK e@VTOS avTHnY éoTavat
a cal / \ lal /
tov Iloceda@vos. meptBEBrAnxe b€ avTots axXuy,
¢ . / vad xX / ,
@s Ouola yeyovodt padrAov 7 Yuvomevols Pat-
VOLTO.
, \ fal >’ A
(6) Tov &€ mepirXovy KoXwvov TodTOV oLKEt
/ / \ 3 / A e \ cal
Spaxwyv TovTOV TLVOS oipar pura€, Os UTE TH
A A a \ / \ '“ ”
yn Keita. TodTO yap NéyeTat TO Onplov evvouY
TE ElVAL TH KPUTO, Kal 6 TL ldn XpVTOdY, ayaTav
\ / , / wa / \ \
Kal OadXtrew* TO TOL KwWOLOV TO EV KorXyxOLS Kal Ta
al cm / val b] \ a) ’ /
tov ‘Korepidwy pra, érerd1) ypuoa éepatvorto,
Siutt@ avmve Evvetyov Spdxovte Kal éavTotv
, fd \ 4 / \ e a | A td
€mowovvto. Kal o dpaxwy dé o THS “AOnvas o
1 An indication that Philostratus is writing in Campania,
which confirms the statement in the Prooemium (295, 14,
p. 5, supra): Benndorf.
2Cf. Pind, Pyth. 1. 15 f. ‘*That foeman of the gods,
Typhon with his hundred heads, who was nurtured of old
by the famed Cilician cave, though now the steep shores
above Cyme, and Sicily too, lieth heavy on his shaggy
200
BOOK II. 17
yield but from beneath the earth renews the fight
and breathes forth this fire as he utters threats.
Yonder figure, they say, would represent Typho
in Sicily or Enceladus here in Italy,’ giants that
both continents and islands are pressing down, not
yet dead indeed but always dying.” And you,
yourself, my boy, will imagine that you have not
been left out of the contest, when you look at the
peak of the mountain; for what you see there are
thunderbolts which Zeus is hurling at the giant,
and the giant is already giving up the struggle
but still trusts in the earth, but the earth has
grown weary because Poseidon does not permit
her to remain in place. Poseidon has spread a
mist over the contest, so that it resembles what
has taken place in the past rather than what is
taking place now.
This hill encircled by the sea is the home of a
serpent,? guardian doubtless of some rich treasure
that lies hidden under the earth. This creature
is said to be devoted to gold and whatever golden
thing it sees it loves and cherishes ; thus the fleece
in Colchis and the apples of the Hesperides, since
they seemed to be of gold, two serpents that never
slept guarded and claimed as their own. And the
serpent of Athena, that even to-day still makes its
breast, and the column that soareth to heaven crusheth him,
even snow-clad Etna. ... And that monster flingeth aloft
the most fearful founts of fire. . .” Sandys in L.C.L.
3 Benndorf points out that to-day many Greek islands
abound, or are thought to abound, in snakes, so that such
names as Apakoviat, ‘Ogiovoca, “ipa, etc., are often applied to
them ; he also quotes Brunn’s suggestion that this ‘* home of
a serpent” may be the well-known island of Phoenicusa
(Filicudi) now called the *‘ grotto del bove marino.”
201
5
10
V
15
20
25
30
PHILOSTRATUS : IMAGINES
ETL KaL VUV €v akpoTroNe olK@Y SoKEl pol TOV
/ , a lal lal
"A@nvaiwv acracacbat Sfjmov éml TO XpUTO, OV
exelvol TETTLYAS Tals Kepadais ErroLOvYTO. €v-
tavla oé Xpucods avTOs 0 Opakwv’ THV 4p
Kepariy TIS Xeras UmepBarrer Sedi@s olpat
UTép TOU KATW TAOUTOV.
~ \ / \
(7) Katypepns 6€ KITT@ TE Kal oHIhaKl Kal
apTrehous HOE 1 VHTOS ovea Atovicwm pev aveia Bat
pnat, Tov Arovvaoyv & areivar vodv Kai ev HTElpo
Ov Baxyevew emitpevravTa TH Levrnv@e Ta
evTaiba aToppynta’ Ta O€ a amroppnta KipBard TE
tadTa Untia Kal KPaThpes VET T PA[LpLEvOL xpuaot
Kal avrol Geppol eTe Kal Ta TULTAVa ayropntt
Kel mera, Kal Tas veSpidas 0 Cedupos olov aipel
ato THS VAs, oders TE Ol pev eur hEKovTaL Tots
Ovpco.s, of & bd Tod olvov Tapetvtar Swvvucbat
ec \ A / /
avutous Tals Baxyats igeaek (8) Botpus
\ e lal
dé of pev [email protected], of 6&€ tepxafovcw, ot &
” e ? > ,
oupaKes, of 6 ae ole Soxovar cecodiopéevov
TOU Atovicov Tas @pas TOV auTédXwy, WS GEL
’ n ’ e/ e / e
Tpuyon. appira pets & ovtTw Te ol Bortpus, OS
Kal TOV TeTp@V aTnpTHaAar Kal TH GaratTn
emixpeuac Oar, om wpifovat TE T POT TET OMEVOL
GaratTioi TE Kal Tr eLpOT aL opyibes: Thy yap
dT edov 0 Avovucos Ta peXeL Koy maou TANV
THS yAauKos, exeivny S€ povnvy apa amrwUeitaL
1 The ‘serpent of Athena,” which was regularly
represented with the Athena of the Athenian acropolis, is
connected with the story of the snake-king Erechtheus.
Probably its home was the crypt beneath the north porch of
the Erechtheum. According to Plutarch, the story that the
honey-cake, with which this serpent was fed each month,
remained untasted at the time of the Persian invasion,
202
BOOK GE fs
home on the Acropolis? in my opinion has loved
the people of the Athenians because of the gold
which they make into grasshopper pins for their
hair. Here the serpent himself is of gold; and
the reason he thrusts his head out of the hole is,
I think, that he fears for the safety of the treasure
hidden below.
Canopied with ivy and bryony and grape-vines, this
next island claims to be dedicated to Dionysus, but
adds that Dionysus is now absent, doubtless revelling
somewhere on the mainland, having entrusted to
Seilenus the sacred objects of this place; these
objects are yonder cymbals lying upside down, and
golden mixing-bowls overturned, and flutes still warm,
and drums lying silent; the west wind seems to lift
the fawn-skins from the ground; and there are
serpents, some of which are twined about the thyrsi
and others, in a drunken sleep, are at the disposal of
the Bacchantes for use as girdles. Of the clusters
of grapes some are ripe to bursting, some are turning
dark, some are still green, and some appear to be
budding, since Dionysus has cunningly fixed the
seasons of the vines so that he may gather a
continuous harvest.2 The clusters are so abundant
that they both hang from the rocks and are suspended
over the sea, and birds of both the sea and the land
fly up to pluck them; for Dionysus provides the vine
for all birds alike except the owl, and this bird alone
was used by Themistocles to prove that the serpent and
Athena herself had deserted the city of Athens.
2 The golden cicada, worn by the Athenians before Solon’s
time, was an emblem of their claim to be autochthonous, for
the cicada was thought to be earth-born.
3 The author is influenced by Homer’s description of the
gardens of Alcinotis, Od. 7. 125 ff.
203
35
367 K.
on
10
20
PHILOSTRATUS: IMAGINES
TOV Borpuar, emevdn) Tots av parrous dca Barreu
TOV OlVOV. wa yap THs yNavKos e& haryor mavdtov
vyTLOVY TE Kart adowov, atexOavetat T@® oiv@
Tacav THY HALKiaY Kal OUT av Trio Kat hoBotTo
rovs peOvovtas. (9) Xv & ottw Tt Opacis, @
Tai, Os unde Tov LetdAynvov ToodTov, Tov puraxa
THS vnoou, doBeia bar peOvovTa TE Kal dnt o-
pevov THS Bdakyns. 9 0 ovK agvot és auTov
Prereny, ada TOU Avovicou epaca avatuTovrat
auTov Kal avaypader Kal opa L1) mapovTa’ TO
yap TOV oparpaov 70 05 Th Baxxyn petéwpov
pév, ov puny &&@ % EpOTLK@Y ppovtiowr.
(10) Tauri 6€ 7 dvats Ta épn EvrGeioa vijcov
elpyacrau dacelay TE Kal drys TED, oToon
KUTapPLTTOU TE bys Kal TEVKNS Kal €XaATNS
dpuay Te av Kal Ké pov: Kal yap Ta dévdpa
TOV €aUTOV yeypaT Tat TpoTror. Ta ev 67
évOnpa THS v7) a ov ovobfjpat TE avixvevouct Kal
eady Boro hoyxas enh Ta Onpia 7ippévor Kat
tofa €évtol. Kat aXatpas d€, @ Tal, Kal KOpu-
vas épovalv o1 ayyéuayor opov Kal Gpaceis,
dixtuad Te TavTa OujjKTau THS Dds Ta pev
eyxormiaac bat Onpior, Ta dé djoat, ta de cyely
TOD Opopov. KAL Ta peev ethyT Tat tav Onpiwyr,
Ta oe aXeT at, Ta oe pnKe TOV Baddovta’
évepyos 6€ mas Bpaxiov veavias, Kal ouvebai-
povot Bonv Kxvves avdpaciv, ws Kal THY XW
1 re xal L, te &t1 wal Mare. Cl. xi. 29, Jacobs conj. ér: kai.
The Teubner editors, while proposing rte kal &owov é&r,
delete from text vjmuov . . . &ovov, Which seem confirmed,
however, by Philost. Vit. Apoll, III. 40; see note under
translation.
204
BOOK f1,. 17
he drives away from the clusters because it gives
man a prejudice against wine. For if an infant child
that has never tasted wine should eat the eggs of an
owl, he hates wine all his life and would refuse to
-drink it and would be afraid of drunken men.! But
you are bold enough, my boy, not to fear even the
Seilenus here that guards the island, though he is
both drunken and is trying to seize a Bacchante.
She, however, does not deign to look at him, but
since she loves Dionysus she fashions his image in
her mind and pictures him and sees him, absent
though he is; for though the look of the Bacchante’s
eyes is wavering, yet assuredly it is not free from
dreams of love.
Nature in fashioning yonder mountains has made
an island thickly grown and covered with forest,
lofty cypress and fir and pine, oaks also and cedar ;
for the trees are painted each in its characteristic
form. The regions on the island where wild beasts
abound are tracked by hunters of boar and deer,
some equipped with hunting-spears and with bows.
Knives and clubs, my boy, are carried by the bold
hunters that attack at close quarters; and here nets
are spread through the forest, some to surround the
animals, some to entrap them, and some to check
their running. Some of the animals have been
taken, some are struggling, some have overpowered
the hunter ; 7 every youthful arm is in action, and
dogs join men in an outcry, so that you might say
1 Cf. Philostratus’ Li/e of Apollonius, III. 40 (Conybeare’s
translation, L.C.L.), where a father is enjoined to make his
infant son a teetotaler by this prescription: ‘‘ for if it is fed
upon them [owls’ eggs] before it tastes wine, distaste for wine
will be bred in it, ete.”
205
PHILOSTRATUS: IMAGINES
pavar EvpBaxyeverv TH Onpa. ta be peydra
TOV puTav OpuTopot omabact Siatéuvovtes, Kal
25 6 wev Staiper Tov TENEKUY, 0 be emBEBAnxer,
o 6é Onjyyer AaBeov ATES TOMLLT LEVOV UTO TOU
TANTTEW, O O eTLOKOTELTAL THY eNaTyy iorod
évexev TEK HLL POjELOS 1 TOU dvd pou Tpos TH
vadv, 0 6€ Ta véa Kal opOa Tay Sévdpwv TémveEr
30 és Ta EpeTLKa.
Via. (11) ‘H & dmoppoé wétpa Kal 0 Tov aidvidv
djmos Kal o év pécals Opvis ato Tov ToLOvdE
yéypattat Noyov. of avOpwrot tats aidviats
énitiOevtat pa At’ ov TOY Kpedv Evexa’ pédav
35 yap Kal voo des Kal ovoe rewa@vTe dv TO é&
aut av Kpéeas, yaorépa dé TapeXovTat maa W
~/
iaTpav, otav TOUS yevoapevous auras evaitous
368 K. aro paivety Kal Koupors, umnral obra Kal
TUPLARWT OL" VUKTOP yap avrais evar T pam ToUdt.
T poo dyovTat 6€ TOV KNUKa Opulv emt poipa TaV
CLO KOpEV OV pehed@vov elvat Kal T poeypnyo-
pevar chav. 0 o€ env Gararruos Mev, XpPNTT OS
dé dpvis Kal dim pay Lov Kal Onpacat bev TOL
aopayns, ™ pos dé ye Umvov EppWTaL Kat Kabevoes
opLUKpda. TAUTA TOL Kal aropua Boi Tous opGan-
pLovs exelvas. errevoav oby emt baita aToTTa-
10 ou, oO pev otKoupel mrepl TV TETpAY, ai Oo
HKovow €s éaTépavy atayovuca, SeKaTnY AUTO
Tov TeOnpauéevwy Kai Kabevdovo. On Trept
avtov ov KaGevdovta ovS av nttnOévta wmvov
or
1 Pikkolos would insert 7d uijKos before rod dévdpov, ‘‘ for
a mast, judging the height of the tree in relation to his
ship.”
1 See critical note.
206
BOOK II. 17
that Echo herself joins in the revel of the hunt.
Woodsmen cut through the tall trees and trim them;
and while one raises his axe, another has driven it
home, a third whets his axe which he finds dull from
hewing, another examines his fir tree, judging the
tree with a view to a mast for his ship,! and still
another cuts young and straight trees for oars.
The precipitous rock and the flock of seagulls? and
the bird? in their midst have been painted for some
such reason as this: The men are attacking the
sea-gulls, but not, by Zeus, for their flesh, which is
black and noisome and unpalatable even to a hungry
man; but these birds supply to the sons of the
doctors * a stomach of such properties as to assure a
good appetite in those who eat it and to make them
agile. The birds being drowsy are easily caught by
torchlight, for the hunters flash a light upon them
at night. But the gulls induce the tern with a part
of the food they catch to act as a warden and to keep
awake for them. Now though the tern is a sea-bird,
yet it is simple-minded, easy-going, and inefficient
at catching prey; but in resisting sleep it is strong
and in fact sleeps but little. For this reason it lets
out the use of its eyes to the gulls. So when the
gulls fly away after food, the tern keeps guard around
the home rock, and the gulls return towards evening
bringing to it a tithe of what they have caught;
they at once sleep round about the tern, and it stays
awake and is never overcome by sleep except when
2 On the island of Filicudi (the ancient Phoenicusa) visitors
are shown a cave near the shore, frequented by an immense
number of gulls. Pereira, Im Reiche des Aeolus, p. 90.
3 i.e. the tern mentioned below.
* i.e. the medical profession ; sons was the regular name
for disciples, e.g. ‘‘ Asclepiads” for disciples of Asclepius ;
and ‘‘sons of the prophets” for disciples of the prophets.
207
30
390
369 K.
5
PHILOSTRATUS : IMAGINES
TOTE, el hn) avtat Bovrovrat. el O€ dodov TOV
T POoLOVTOS aia boro, 6 sev avaBod Topov Te Kal
o€, ai & amo ouvOnuatos apbeioas pevyovow
dvéxoveat TOV Hehedwvor, él TET OMEVOS ATrELT OL
ToTé. adr évtavOa éEotnKe Kal Tas aidvias
Teplopa. eoTU 6” avtovu TO ev EV METALS éoTavat
Tabs OpvicLy O Ipareds 0 €v Tats dwxais, TO bé
pn Kabevdciv UTEp TOV Iparea.
(12) ‘Evtad0a 6€, G) Tal, Kal cab wopuiorar
nuiv, Kal 6 TL pev ovopua Th VNTW OVK olda,
Xpver) é av 7 pos ye € LOU ovopatorro, el pn
parny ol Toinral THY Tovavoe eT WVULIAV efev-
pyKact Tois KaXols TE Kal Cavuaciow Taow.
WKLOTAL pev on, or oon Bacirera pupa 6é€-
EacOar' ov yap apooet rye evravda TLS ovoe
AUTEROUPY TT EL, TepleoTL © avTH THYOV, wv
Tas pev axpatpveis Te Kal Wuxpas exdidoa,
Tas d€ eXTTUPOTATA. é€otw & OUTw TIS eUpous,
os Kal TH Oardoon ériTAnppmUpElY. TO TOL
pod.ov tovTo mHnyal UmoKupativovar Céovcar
kat olov éx r€BynTOs avatradropevai TE Kal
avaTnowoalt, wept as BéBrAnTar HE 1 VIGOS.
TO pev ovv Bada THS TaV THY@V éxddcEws
elTE THS Hs TpoonKe voile elite TH Oadacon
otxetooy, duxacer 66€ 0 Ipwrevs: Hees yap 87
Oeutotevowv tovto. (13) Ta &€ merodrcpéva
THS VNTOV TKOTa@pmEV. wKLITTAaL yap 61 ev AUTH
Tohkews KAaATS TE Kal AauTpPas EldwroV OaoV
b] \ . / /
oikia, Kat Baoidtkov elow TpépeTat Tratotor,
1 The reference is to Od. 4. 413 f.
2 On the modern Basiluzzo, one of the Liparian Islands
(‘‘Basilidin,”’ Geogr. Rev. V. 23, p. 406, 12), thereare still ruin
208
BOOK II. 17
they are willing. If it senses the approach of any
danger it raises a piercing shrill cry, and they rise at
the signal and fly away, supporting their warden if
ever it grows weary in flight. But in this picture
it is standing and watching over the gulls. In that
it stands in the midst of its birds, the tern is like
Proteus among his seals,! but it is superior to Proteus
in that it does not sleep.
On this island, my boy, we have put ashore;
and though I do not know what its name is, I at
least should call it “ golden,’ had not the poets
applied this epithet at random to everything beautiful
and marvellous. It is only big enough to have a
small palace ;? for no one will plough here or culti-
vate the vine; but it has an abundance of springs, to
some of which it furnishes pure cold water and to
some water that it has heated. Let us conclude that
it is an island so well supplied with water that the
water overflows into the sea. As for this surging
water, bubbling springs that leap up and bound on
high as from a cauldron cause the rippling waves, and
this island surrounds the springs. Now the marvel of
the source of the springs, whether one should assume
that they come from the earth or should locate them
in the sea, Proteus here shall decide; for he has
come to render judgment on this point. Let us
examine the city that has been built upon the
island. For in truth there has been built there a
likeness of a fair and splendid city no larger than
a house, and therein is nurtured a royal child and
of ancient walls and other remains from antiquity ; and along
its eastern shore gases are said to bubble up in thesea. Pereira,
Im Reiche des Aeolus, p. 90 (Benndorf). The plural faoidea
is used of one palace, ‘‘ royal quarters.”
209
PHILOSTRATUS : IMAGINES
oT \ > aA / / / ,
aOvpua 6€ a’T@® Torts. Oéatpa yap éotty,
id , /
omoca autoyv Te d€€ac0a Kal To’s cuuTaiotas
\ a e > / bd / /
ToUT@L Tatidas, immodpomos Te e€wKOdomNTAl
ol maivas, immoopopos Ewxoovopun
TIS —aTroxpa@v Tots Mendstatois Kuvidtois trept-
cal / ¢/ \ \ e Qn nr
dpapmety avtov' immouvs yap 61 oO mais tadTa
a re /
TollTaLl Kal auvéxer ohas Cuyov Te Kal appa,
yvioxnaovtar+ dé Uo TovT@Vl Tov TOnKwY,
ovs TO Tadiov Oepatovtas nyettar. (14)
Aaywos O€ oOvUTOTL xXGEs oipat ElowKiopéevos
e ~
Euvéyetar ev imavte howix@® Kxabdatep Kxvwv,
/ b] > > val \ an \
dedéa0ar 8 ovK« aktot Kai dtorktcOHaat Tovs
deapmous €OéXer TiaTEVwY Tols TpocOias TaV
va ,
Too@v, wWittakos Te Kal KitTa €V OlKioK®
TrEKT@ Leipyvev Sixnv év TH vycw adovor
v rer ay ee 5 © yA Sc: Se eee s
adel O€ 1) ev OTTOGA Older, O O€ OTOTA pavOavel.
in’ KYKAOY
(1) Ot @Oepifovrés Te Ta AHLA Kal TpYya@VTES
Tas apTréXous OUTE Hpocav, @ Tal, TaUTA oOUTE
éputevoay, adr avtTouata % yh ohicw ava-
Téumrel TavTa: eal yap 6) Ku«Awrres, ols ovK
oida €& OTov THY YyhV of Tontat BovrovTas
avtopud eivat wv pépet. metointar d€ avtovs
Kal Troumevas Ta TpOBata BooKovaa, ToTOV TE
TO yadda TOUTwWY HyobdvTaL Kat Gov. of & oT
1 jvioxhoovtat Schenkl and Benndorf: 7vioxjowv or
nvioxngov libri.
1 i.e. Maltese.
? The first section of the description is full of reminiscences
of Homer: e.g. Ud. 9. 108, the Cyclopes ‘‘ plant nothing
210
BOOK II. 18
the city is his plaything. There is a theatre large
enough to receive him and his playfellows, and a
hippodrome has been constructed of sufficient size
for little Melitaean’ dogs to run races in; for the
boy uses these as horses and they are held together
by yoke and chariot, and the drivers will be these
apes that the boy regards as his servants. Yonder
hare, brought into the house only yesterday, | believe,
is fastened with a purple leash like a dog, but it
objects to being bound and seeks to slip its bonds
with the help of its front feet; and a parrot and a
magpie in a woven cage sing like Sirens on the
island; the magpie sings what it knows, but the
parrot what it has been taught.
18. CYCLOPS
These men harvesting the fields and gathering
the grapes, my boy, neither ploughed the land nor
planted the vines,? but of its own accord the earth
sends forth these its fruits for them; they are in
truth Cyclopes, for whom, I know not why, the poets
will that the earth shall produce its fruits spon-
taneously. And the earth has also made a shep-
herd-folk of them by feeding the flocks, whose
milk they regard as both drink and meat. They
with their hands nor plough ; but all these things spring up
for them without sowing or ploughing, wheat, and barley, and
vines”; 112, ‘‘ Neither assemblies for council have they,
nor appointed laws,” but they ‘‘ dwell on the peaks of the
mountains in hollow caves”; 246 f., Polyphemus drinks
milk and eats cheese and (291) makes his supper on two of
the companions of Odysseus.
ZiT
Pp 2
PHILOSTRATUS: IMAGINES
ayopav yiweaKkovaoly ovte Bovreutyptoy, ovde}
OlKOV, AAXA TA pHYMAaTA ETOLKLTOGMEVOL TOU Gpous.
35 (2) Tovds pév adrous éa, Ilorvdypos b€ 0 TOD
370 K. Ilocesd@vos aypiotatos avTa@y oixet évtadéa,
play [ev Umeptetvav oppor TOU opParpod EvOS
OVTOS, Tharela dé TH pw értBatvov TOD xetdous
Kal TLTOU[LEVOS TOUS _avOparrous OoTep TOV
NeovTwy ol @p.ol. vuvl d€ améyeTat TOU TOLOU-
5 Tou oLttov, ws p41) Bopos mnoé ands patvorto’
epg yap THs Ladatetas maikovans és Toutl TO
TéNAYOS adi Topav auTiy amo Tod dpous.
(3) Kai 7 y) peev oupuyé é ere v70 Hadas Kat aT pEpel,
EOL & avTo TOLLEVUKOV ATMA, WS ever) Te €lN
10 Kal yavpos Kal 70t@v oppaxos Kal @s veBpous
TH Dadarteig oKUpEvEL Kal dpKTous. aoer Oe
vT0 mpl TadTa, ovd Omrou avre Ta mpoBara
Vé“eTaL EL6@S OVO OTTOGAa éaTiV obs’ Grou " yh
étt. Opevos Te Kal Oewvos yéypaTTae YaiTnY meV
15 dvaceiwy opOnv Kat audiradh titvos Stxny,
KapXapous oe bropaivey odovTas €« Bopod rob
YeVELOU, TTEPVOV TE Kal YATTEPA KAL TO Els GVUXA
AKOV NaaLos TavTa. Kal Brérrewy pev Hyepov Hyaw,
1 oi5: Kayser: otte.
CE Pheoer? date aieate.
‘“One long shag ey iba ear to ear my forehead o’er
doth go,
And but one eye beneath doth lie, and the nose stands
wide on the lip.”
Trans. Edmonds, Greek Bucolic Poets, L.C.L,
2 Theocritus has written the song of the Cyclop’s serenade
from which Philostratus draws freely in § 2: ef, Tdyli 11,
19 ff.
212
BOOK II. 18
know neither assembly nor council nor yet houses,
but they inhabit the clefts of the mountain.
Not to mention the others, Polyphemus son of
Poseidon, the fiercest of them, lives here; he has a
single eyebrow extending above his single eye and
a broad nose astride his upper lip,t and he feeds
upon men after the manner of savage lions. But at
the present time he abstains from such food that he
may not appear gluttonous or disagreeable; for he
loves Galatea, who is sporting here on the sea, and
he watches her from the mountain-side. And
though his shepherd’s pipe is still under his arm and
silent, yet he has a pastoral song to sing that tells
how white she is and skittish and sweeter than un-
ripe grapes,” and how he is raising for Galatea fawns
and bear-cubs.? All this he sings beneath an ever-
green oak, heeding not where fe flocks are feeding
nor their er nor even, any longer, where the
earth is. He is painted a creature ae the mountains,
fearful to look at, tossing his hair, which stands
erect and is as dense as the foliage of a pine tree,
showing a set of jagged teeth in his voracious jaw,
shaggy “all over—breast and belly and limbs even to
the nails. He thinks, because he is in love, that his
‘‘O Galatea fair and white, white as the curds in whey,
Dapper as lamb a-frisking, wanton as calf at play,
And plump of shape as ruddying grape, .. .”
nolwy dudakos seems to be a witticism suggesting Poly-
phemus’ idea of a compliment ; in Theocritus 1. 21 prapwrépa
dupakos w.as, ‘“ plumper of shape than ruddying grape,” is
found the clue to the interpretation of Philostratus.
2 Cf. Theocr. 11. 40,
‘And O, there’s gifts in store for thee,
Eleven Sons all white collars, and cosset bear’s cubs
four for thee.”
213
30
35
371 K.
5
said to have lived at Panopeus in Phocis, an
PHILOSTRATUS: IMAGINES
€TELO1) € epa, crypto be Opa Kal vroxabnpevov € eTL
Kabarrep Ta Onpia Ta avayKns NTT@OMEVA.
(4) ‘H 6€ €v amarh 7H Oaraoon Taifer
TET pov deApivor Evvaryouoa bpobvyouvrav
Kal TAUTOY TVEOVTOY, mapbEvor 8 avTous ayouot
Tpttwvos, at poal THs Tadaretas, ema Top
foucar ohas, el TL ayépwxov TE KAL Tapa THD
nvlav 7 paTToler. y) 6 Umep cepahis chet op-
pupov pev Ap Ovov és TOV Cépupov ai pet Kay
éav7 7) elvat Kal io Tiov TO dpmatt, ad ov Kal
avyn Tis €Tl TO MéeTwWTTOV Kal THY KEhadnY Ket
oUT@ ndtwyv! tod THs TapEelas avOous, ai Kopat
5 avtis ovx avetvtar TO Ledvpo bud Bpoxou
yap 6 elot Kal Kpe(tTOUs TOD aveé“ov. Kal pny
Kal ayKxwv deklos exxertat AevKoV StaxAlvwv
THYUY Kal avaTavev tors SaxTUNoUS pos
aATAA® TO Ow Kal @r€val UTOKVMALVOoVaL Kal
patos Umaviotatat Kal ovde THY émuyouvida
exAelTeL 1) WPA. O Tapaos dé Kal 7) TUVATTONN-
yovca avT@® xapis épadros, ® Tal, yéypaTTat
Kal emiwavel THS JaratTns otov cuBepvav TO
apya. Gatpa ol opOarpot- Prérovat yap UTEp-
Oplov TL KAL TUVATLOV TO [KEL TOD TEAAYOUS.
0’ ~=DOPBAS
c , 5 A . , ,
(1) ‘O pev rotapos, & rat, Knpicos Bovwtios
cal lal ’ ’ ~
TE KAL OV TOV amovswY, oKnVOvGL 6 eT AUT@
, » U e
Preyvar BapBapor ores ovTw GyTEs. of SE
«
1 ydiwy Hamaker: #diov libri.
~ ! Phorbas was a mythical king of the apes. ee who is
who made
214
BOOK Ii. 19
glance is gentle, but it is wild and stealthy still,
like that of wild beasts subdued under the force of
necessity.
The nymph sports on the peaceful sea, driving a
team of four dolphins yoked together and working
in harmony; and maiden-daughters of ‘Triton,
Galatea’s servants, guide them, curbing them in if
they try to do anything mischievous or contrary to
the rein. She holds over her head against the wind
a light scarf of sea-purple to provide a shade for
herself and a sail for her chariot, and from it a kind
of radiance falls upon her forehead and her head,
though no whit more charming than the bloom on
her cheek ; her hair is not tossed by the breeze, for it
is so moist that it is proof against the wind. And lo,
her right elbow stands out and her white forearm is
bent back, while she rests her fingers on her delicate
shoulder, and her arms are gently rounded, and her
breasts project, nor yet is beauty lacking in her thigh.
Her foot, with the graceful part above the foot, is
painted as on the sea, my boy, and it lightly touches
the water as if it were the rudder guiding her
chariot. Her eyes are wonderful, for they have a
kind of distant look that travels as far as the sea
extends.
19. PHORBAS1!
This river, my boy, is the Boeotian Cephisus,
a stream not unknown to the Muses; and on its
bank Phlegyans are encamped, barbarian people
who do not yet live in cities. Of the two men
the sacred way to Delphi unsafe for those who wished to
visit the shrine of Apolio.
215
10
15
20
25
30
PHILOSTRATUS: IMAGINES
TUKTEVOVTES Tov Te oipar ‘AmrohN ova opas, 0
S av PopBas early, ov eo TTAVTO ou Preywar
Baotréa, ered) péyas Tapa Tmavtas ovTos Kal
@moTaTos TOD éOvous. TuUKTEvEL be ‘Arro\N@Y
Tpos avTov UTEP TOV TAapodwV. THV yap evdv
Poxéov te Kal Ach pov odor KaTATX@V ouTE
Over Ilu@ot ovdeis ETL oOUTE TaLlavas aTayeL TO
Oe@, ypnomot Te Kal NOYyLA Kal Oudal Tpitrodos
exréret@Tar TavtTa. (2) Anorever 6€ TOV AAXOV
Preyuav anota~as éavtov' Tv yap Spi, @
Tal, TAVTHVY OlKOY TETTOLNTAL, Kal Tap avTOV
hoit@ow ot Preyvar Stxacopevot Sytov €v Tots
Bacirelots tovtos. Tovs b€ Badifovtas és TO
iepov AauBaveyv yépovtas pev Kal maidas eis
TO Kowov TOV Preyvov TéuTrer ANLecOal TE Kal
aTroWav, Tois O€ eEppwpmEeverTtépols avTaTroovEeTat
Kal TOUS [ev KaTAaTANALEl, TOUS O€ UTEPTPEXEL,
TOUS 6€ mayKpatie aipet Kal dmepBorats dioKwv
Kepaas TE ATOKOTTOV avaTrrel THs Spvos Kal
UTO ToUTM Ch TO AvEpe, al Oo AT NPT VTA TeV
rropOwrv pvdacat Kal Tas jev avous opas, TAS
dé Tporpartovs, ai o€ Eels Kkpavia TE PLKOUGL,
ceonpact 5€ Kal OAOAVEELY eoikacLW ElaTrVEoVTOS
avTas TOU avémouv.
(3) Ppovodyte dé avT@ Tabs ‘Ohupriaoe TaUv-
THUS TKEL 0 "Arr ohdwY ElKao as éauT ov petpaxtep
TUKT. Kal TO ev Tob Jeo eidos AKELPEKO MNS,
) Tal, yéypamtar kal Tas xaitTas aveidndos,
iva evlovw TH Kehadrn TuKTEvn, axTives 6€
aTavlatavtat TépiE! tod weTw@Trou Kal perdiawa
1 wep:& Benndorf and Miinsterberg: wepl, wapa, or amd.
216
BOOK II. 19
boxing you doubtless see that one is Apollo, and the
other is Phorbas, whom the Phlegyans have made
king because he is tall beyond all of them and the
most savage of the race. Apollo is boxing with him
for the freedom of the road. For since Phorbas
seized control of the road which leads straight to
Phocis and Delphi, no one any longer sacrifices at
Pytho or conducts paeans in honour of the god, and
the tripod’s oracles and prophetic sayings and re-
sponses have wholly ceased. Phorbas separates him-
self from the rest of the Phlegyans when he makes
his raids; for this oak-tree, my boy, he has taken as
his home, and the Phlegyans visit him in these royal
quarters in order, forsooth, to obtain justice. Catching
those who journey toward the shrine, he sends the
old men and children to the central camp of the
Phlegyans for them to despoil and hold for ransom ;
but as for the stronger, he strips for a contest with
them and overcomes some in wrestling, outruns
others, and defeats others in the pancratium and in
throwing the discus; then he cuts off their heads
and suspends these on the oak, and beneath this
defilement he spends his life. The heads hang
dank from the branches, and some you see are
withered and others fresh, while others have shrunk-
en to bare skulls; and they grin and seem to
lament as the wind blows on them.
To Phorbas, as he exults over these “ Olympian ”’
victories, has come Apollo in the likeness of a
youthful boxer. As for the aspect of the god, he is
represented as unshorn, my boy, and with his hair
fastened up so that he may box with girt-up head;
rays of light rise from about his brow and his cheek
217
—
1¢
20
bo
ur
PHILOSTRATUS : IMAGINES
A /
Oud osuvyKxexpamévov 1) Tapera Téurret, Borat
te ofOarpav evoxotor Kat avveEaipovoat Tats
/ e \ > / \ e / e ,
yepowv: ai 8€ évyyyavto Tovs ipavtas ndtovs
1 otépavot wept avtais joav. (4+) Ilemrue-
\ >’ \ v \ \ >’ \ r
TeuTat 6€ avTov dn—TO yap euBeBAnKOS THs
» bd
”» €b
a 5] \ ” a \ a \ ”
deEvas évepyov Ett Snot THY yYElpa Kai oUTw
, \ a eo c ,
KaTadvovoay TO oxXHMA, © NpnKev—o Pdeyvas
\ re ec U \ / fol lol
d€ KelTar 70n, Kal OTTOTOV meV eTEXEL THS YS
TomnTns e€pel, KeywpynKke S€ Els KpOTadoY aUT@
\ lal ee a /
TO Tpadua Kal TO aiwa worTep ex THYHS eKd«-
/ os =
doTat. yéypattar O€ wpmos Kal cuMdys TO Eldos,
2 4 rn \ / x ,
olos aottetcPat wadXov Tous Eévous 7) KTELVELV.
an lal \ lal
To 6€ €& ovpavod Tip oKnmTOS ert THY SpdV
\ \
hépetar cuudréEwv to Sévdpov, ov pv e&at-
a \ \ /
pPHTwWY YE THY ET AUTO “VHUNV' TO yap Ywpior,
2 A , lal » ee
€v @ Tavta, Apvos, ® Tat, kepada ETL.
« A'PAAS,
(1) Kai "ArXavte o ‘Hpakrs ot6€ tpoctak-
avtos Evpucbéws hpicev, @s TOV ovpavoy oicwY
= eat a, \ \ \ , ey
parXrov 7) 0 AtXas* Tov mev yap cuyKeKupoTa ewpa
1 4 added by Reiske and Hertlein ; ei Jacobs: oi.
1 For the ‘‘smile mingled with wrath ” Benndorf compares
the expression of Apollo Belvedere; rays of light emanating
from the forehead are seen on the head of Helios on later
coins of Rhodes, c.g. Fig. 21, Brit. Mus. Cat., Caria, Pl. XL.
218
BOOK II. 20
emits a smile mingled with wrath;1 keen is the
glance of his eyes as it follows his uplifted hands.
And the leather thongs are wrapped about his
hands, which are more beautiful than if garlands
adorned them. Already the god
has overcome him in boxing—
for the thrust of the right hand
shows the hand still in action and
not yet discontinuing the posture
wherewith he has laid him low—
but the Phlegyan is already
stretched on the ground, and a
poet will tell how much ground
he covers;? the wound has been
inflicted on his temple, and the blood gushes forth
from it as from a fountain. He is depicted as
savage, and of swinelike features—the kind that
will feed upon strangers rather than simply kill them.
Fire from heaven rushes down to smite the oak and
set it afire, not, however, to obliterate all record of
it; for the place where these events occurred, my
boy, is still called “ Heads of Oak.’ 3
Bre, 21.
20. ATLAS
With Atlas also did Heracles contend, and that
too without a command from Eurystheus, claiming
that he could sustain the heavens better than Atlas.
For he saw that Atlas was bowed over and crushed
2 Cf. Zl. 21, 406 f. ‘‘Thereupon she smote furious Ares
on the neck, and loosed his limbs. Over seven roods he
stretched in his fall.” Trans. Murray, L.C.L.
3 Cf. Hdt. 9. 39. ‘‘The pass over Cithaeron that leads
to Plataea, which pass the Boeotians call the Three Heads,
and the Athenians the Oaks’ Heads.”
219
10
15
PHILOSTRATUS : IMAGINES
/ / \
Kl TETTLET LEVOV KAL KELEVOV es youu OaTepov | Kal
/ a r \
pikpa KaTaNELTOMEVA AUTW TOU éEcTdval, AUTOS
\ \ lal
S av Kal petewpicar Tov ovpavoy Kal othoat
’ , 5) \ an ’ \ \ \
avaléuevos els aKpov TOV Xpovov. TO peV 67
/ a lal \ \
piroTLWoV TOUTO oOvdamod éexhaiver, dyai 4é
lal Vv ’ lal
cuvaryeiy te “AtXavts ef ois woxGet Kai peta-
a xX a ] A e , ef v
ayxelv av TOU aYOous avT@. 0 0 OUTw TLAGpEVOS
v ae / e . , hes.
ei\Anmatat tov HpaxrXéous, ws iketevery auvTov
TANVAL TAUTA.
(2) Léypartas 6€ 0 peév atrepneas, ws (dparTt
, id , ’ lal
auuBarrecOal, omocos an avtovd atate,
/ val / e lal lal
Bpaxtovos te Evvetvar Tpémovtos, o Sé épa Tod
aOdov. Snrot d€ TovTO 1 TE Opun TOD TPOTwTOU
\ cor A
Kal TO poTradov KataBeBdnpévov Kali ai yeipes
> a \ = \ \ \ \ ~
aTattovcat Tov aOXov. aKias b€ Tas pev TOU
¢ / ” U
Hpakdéous orm Oavpatew akiov, et Eppwvtar?
\ \ lal / te \
—Ta yap TOV KEelmevwv oXNpaTa Kal ot opOol
; ” \ \ > a“ a ”
pada evoKlol, Kal TO axpiBodv TadTa ovTw
/ e \ al v
aopov—ai de tov “AtXavtos oxial codias
/ iC \ lal s
TpooTw* OUTWaL yap Tov auVLtnKOTOS cUpmTit-
/, ’ / \ > \ lal > /
Tovol TE ANANAAaLS Kal OVOEV TOV EKKELMEVwOY
emiforovow, adr¥a has éepyafovtar Tepi Ta
1 @arepov Lobeck ; €repov.
220
BOOK II. 20
by the weight and that he was crouching on one
knee alone and barely had strength left to stand,
while as for himself, he averred that he could raise
the heavens up and after setting them aloft could hold
them for a long time. Of course
he does not reveal this ambition
at all, but merely says that he -
is sorry for Atlas on account of
his Jabour and would willingly
share his burden with him, And
Atlas has so gladly seized upon
the offer of Heracles that he
implores him to venture the
task.
Atlas is represented as ex-
hausted, to judge by all the
sweat that trickles from him and
to infer from his trembling arm,
but Heracles earnestly desires
the task. This is shown by
the eager look on his face, the
club thrown on the ground and the hands that
beg for the task. There is no need to admire
the shaded parts of Heracles’ body because they
are vigorously drawn—for the attitudes of re-
cumbent figures or persons standing erect are
easily shaded, and their accurate reproduction is
not at all a mark of skill—but the shadows on Atlas
show a high degree of skill; for the shadows on a
crouching figure like his run into one another, and
do not darken any of the projecting parts but they
produce light on the parts that are hollow and
me
Fic. 22.—Ailas.
2 After fppwvta: the MSS. have rod &Aov, 7d &PAov, and
toy ##Aov: Kayser and Jacobs delete.
221
£0
30
PHILOSTRATUS : IMAGINES
KoiNad TE Kal elaéyovTa’ THY yaoTépa Kal
mpovevevxoTos Tod “AtXaVTOS opav Te UTapyet
kat acOuatvovons Evrtévat. Ta TE EV TO OVPAVO,
Ov Peper, yéypartTat pev év aidépt, omrotos Tepi
aoTepas © Earn KeD, EoTL b€ Evvetvac Tavpov Te,
Os dn év ovpare Tabpos, apKT@V Te, oTolaL €Kel
op@vrar, Kal TVEULATWV TA pev yeypamtat Ebv
aXAnroLs, Ta O€ EE AAXAAOD, Kal ToOis pev Pirdia
mpos dAAnAa, Ta O€ owlelv EolKe TO EV TO
5 oUpav@ vElKos.
(3) Nov peév odv avabnoes tadta, ‘Hpakrders,
pet ov ToAdU S€ EvpBi@sels avTOis Ev TO OVPAVa
mTivev Kal TepiBadrrAwv TO THs “HBys Eidos: aEn
yap Tv vewTaTny Kal TpecBuTaTny Tav Gear,
du avtTnyv yap Kaxelvol véot.
ka ANTAIO®
/ 6 A
(1) Kows ofa é€v wadats éxeivats ert ty?
> , \ A ’ a c \ / \ 5
éXaiov Kal dvoiv aOdAnTaIiv o péev Evvdéwy TO ods,
1 gorépas Brunn : ards.
1 The understanding of shadows in this passage shows
acute observation. No shadow is unvarying solid dark
(black), though the shadows on a figure standing or lying
down are relatively simple. In the case of a crouching
figure the shadows are very complex because of light reflected
from the ground and from the figure itself ; protruding parts
catch more of this reflected light, but even the hollows get
enough to make their form visible.
Philostratus doubtless gives the reader the results of art
criticism current in his day, as interpreted by his own
observation. The difficulty with his statement is that he
makes the shadows the agent that fails to darken protruding
parts, and that produces light on the hollows, whereas in
222
BOOK II. 21
retreating.! The belly of Atlas, for instance, one
can see although he is bending forward, and one
can perceive that he is panting. The bodies in the
heavens which he carries are painted in the ether
that surrounds the stars; one can recognize a bull,
that is the Bull in the heavens, and bears, the kind
that are seen there. Of the winds some are
represented as facing in the same direction and
others as facing in the opposite direction, and while
some are friendly with each other others seem to
keep up their strife in the heavens.
You will uphold these heavenly bodies for the
present, Heracles; but before long you will live
with them in the sky, drinking, and embracing the
beautiful Hebe ;? for you are to marry the youngest
of the gods and the one most revered by them,
since it is through her? that they also are young.
21. ANTAEUS
Fine sand, like that found in the famous
wrestling places, hard by a fountain of oil,* two
athletes, one of whom is binding up his ears® and
fact these results are due to the modification of the shadows
by reflected light.
2 Cf. Od. 11, 602 f. ‘*For he himself (Heracles) among
the immortal gods takes his joy in the feast, and has to wife
Hebe of the fair ankles.” Trans. Murray, LC.L. Cf. also
Hom. Hymn 15, 7 f. 8 7.e. as the goddess of youth.
* Olive oil was used by the Greeks before athletic contests,
especially wrestling, to protect the perspiring skin from the
sun ; it was also used before and after the bath. So much
oil was needed that a tank for it was often provided.
> Wrestlers, especially boys, sometimes wore a cap, augwTis,
to protect the ears (cf. the red-figured kylix, Arch. Zeit. 1878,
Pl. XI and Schreiber, Kulturhist. Atlas, Pl. XXIV. 8).
Greek boxers protected their ears in this way, but in the
games it was not customary for wrestlers.
223
PHILOSTRATUS: IMAGINES
0 6€ aToNvwY AEoVTHS TOV @mov KOAWVOL TE
bd 10 1 \ a \ a /
374 K. emixnodetor~ Kal oTHAAL Kal KOlAa ypaymata—
kat AtBvn tadta Kal ‘Avtaios, ov Pi avnKE
aivecOat Tovs Eévous Anat pL} omar Tarn. (2)
"APXodrvTe Se auT@ TadTa Kal OamrovtTe ods
5 amodhve Tepl avr V, WS opas, THY TadatoT par,
ayel TOV Hpakréa 9 ” ypag Xpuca TAUTL Ta pra
pnKora 718 Kal KATA TOV ‘Eo repio@v g.60pevov
—ovuK exelvas éXetp Jada TOU ‘Hpaxdéovs, arr’
0 6pakav—xal ovoe youu pact Kaprpas aTrodvetas
10 pos Tov “Avtatov év T@ THS oS0rTropias aoOpuaTt
Telvayv Tovs OPGarpovs els vovy Twa Kal olor
/ lal / > / / e / a
duaoxewiv THs warns euBéSrnké TE Hviav TO
Ouud pn éxdépery avtov tov Aoytopod. wUrrep-
gpovav 5€ o 'Avtatos ériptat, dvatnvev Sé TE
to Xx 2 lal / \ \ € / > \
15 matdes 7)? ToLtovTOV TL Tpos TOV Hpakdéa €otKas
Every Kal pwvvvds avTov TH UBper.
(3) Ee mays TO “Hpaknei EwEAEV, OVK ANS
emrepunel 7) os yeypamrat, yéypattar O€ t tax upos
oios Kal TEXYNS EUTAES éu eVappootiay TOU
20 cwuatos, ein 8 av Kal TeAWPLOS Kal TO Eldos eV
UTEepBorn avOpwrov. éoTw avT@ Kali avOos
/ \ e / ’ > an fal
aipatos Kal at hréBes olov ev wdive Ovpov Tivos
e / > \ 4 /; VN A 2 a
UTodeduKoTos avTtas étt. (4) Tov dé ’Avtaior,
® tat, dédias oiwat: Onpiw yap* tut Eouxev
1 émixndero: Lindau: émf{rndeio.
2 4 added by Olearius.
3 &y after yap in F and P, omitted by editors.
* i.e. to kill the serpent, a terrible monster.
2 «To bend the knee in rest” is the Homeric phrase for
resting after labour, e.g. Z/. 7, 118.
224
BOOK II. 21
the other removing a lion’s skin from his shoulder,
funeral mounds and monuments and incised letters—
this is Libya, and Antaeus whom Earth bore to do
mischief to strangers by practising, I fancy, a
piratical style of wrestling. To the giant who
undertook these contests and buried those he slew
in the wrestling ground itself, as you see, the
painting brings Heracles; he has already secured
the golden apples here shown and has won renown
for his exploit among the Hesperid Nymphs—to
overcome them was not such an amazing feat for
Heracles, but rather the serpent.t Without even
bending the knee, as the saying is,? he strips to
meet Antaeus, while yet breathing heavily from
his journey; his eyes are intent upon some purpose,
as if in contemplation of the contest; and he has
put a curb upon his anger that it may not carry
him beyond the bounds of prudence. But Antaeus,
disdainful and puffed with pride, seems to say to
Heracles, “ Ye children of wretched men,’ * or some
such thing, confirming his own courage by his
insolence.
If Heracles had been devoted to wrestling, his
natural characteristics would not have been different
from those represented in the painting; for he is
represented as strong, and, in that his body is so
symmetrically developed, as abundantly endowed
with skill; he might even be a giant and of a stature
surpassing man’s. He is red-blooded, and his veins
seem to be in travail as though some passion had
stolen into them. As for Antaeus, I think you
must be afraid of him, my boy; for he resembles
3 The Homeric phrase used in addressing opponents
contemptuously, cf. 7]. 21, 151, dvaorhywy 6 Te maides eug@
péver AYTLOWOL.
225
25
30
35
375 K.
10
15
PHILOSTRATUS : IMAGINES
b] / ’ id 7 3 ~ / \ \ =
oALyov aTrodewy aos Elval TA unKEL Kal TO Evpos,
e 4 \ b] / lal
Kal 0 avynv eméfevKTat Tols WLOLS, MY TO TOAV
\ \ / an
€ml TOV aUXEVa KEL, TEpLAKTAaL 5€ Kal o Bpayior,
4 » are / \
Oa KAL Mol. OTEPVA Kal yaoTNHp TaUvTL opupy-
\ \ fal
AaTa Kal TO 1) OpOov THs KYHmNS, AAA avErEU-
> \ » ‘ , lal =
Oepov icyupov péev tov ‘Avtatoy oide, Evvdede-
\ \ 5)
Mévov LV KAL OVK Elaw TéxVNS. ETL Kal péXas
b] n / > ~ fa) id / > rs
Avtatos KeYywpnKoTOS avT@ Tov 7diov €s Badny.
\ Qn \ , \ /
TAUTL bev Appoty TA €s THY TAH.
¢ an \ a
(5) “Opds d€ avtovs Kai Tadatovtas, “addov
/ \ ¢ ~
dé memadatkotas, Kai tov “Hpaxréa ev TH
a / v a fal
Kpate. KataTadate. S€ avTOV avw THs Ys,
¢ ¢ an ~ > / / /
ote 7 [' 7H Avtaiw ouveTadate KupToupevyn
\ / > / ¢ / > lal
Kal peToxAlGovca avTov, OTE KéoLTO.1 aTopav
eg ~ ld a A -
ovv 0 Hpakris 6 te ypynoaito 7H In cuvetdnde
a / Ui lal
tov “Avtaiov pésov avw Keve@vos, évOa ai
/ \ \ n n J A¢ 29 > /
mXevpal, Kal KaTa TOU pnpod GpOov” avalé-
\ a / a." na
pevos, €TL Kal TM Yelpe EvpwRadwv, Tov THYxUY
qn \ > / aA Xe \
Aayapad Te Kal acOuatvovon TH yaoTpl UTOTXe@V
, / 4 lal \ DI] ’ x > n
exOri Ber TO TVEvUAa Kai AToo haTTeL TOV AvTaiov
ofeiats Tals TWAEUpais ETLTT pageiaats Els TO 1Tap.
€ na \ /
opas 5€ mov Tov pév oiwlovta Kai BXEtrovtTa es
\ 5 a > \ ’ a 3 a \ »~¢ /
tH hv ovdév avT@ ermapKkovaar, Tov 6 “Hpaxréa
> an n / \
iaxvovTa Kal pevdtavtTa TO Epyw. (6) Thv
\ a ” \ J n »” ’ ] b] A .3 >
Kopupnyv Tov Gpous f41) apy@s lds, aX’ €Kxel é
n c / la lal
avTns Oeovs UTovoEr TEPLaTNY EYELY TOU Ay@VOS*
lal / / Le
Kal yap ToL Ypucovy yéypaTTat védos, Up’ @
1 «éoiro Kayser: Kivoito.
= dp0dv Reiske and Kayser: 6p@bs or dpéas.
226
BOOK II, 21
some wild beast, being almost as broad as he is
tall, and his neck is attached to the shoulders in
such wise that most of the latter belongs to the
neck, and the arm is as big around as are the
shoulders. Yonder breast and belly that are
“wrought with the hammer’? and the fact that
the lower leg is not straight but ungainly mark
Antaeus as strong, indeed, but muscle-bound and
lacking in skill. Furthermore, Antaeus is black,
dyed by exposure to the sun. Such are the
qualifications of the two for the wrestling-match.
You see them engaged in wrestling, or rather
at the conclusion of their bout, and Heracles at
the moment of victory. But he lays his opponent
low at a distance above the earth,? for Earth was
helping Antaeus in the struggle by arching herself
up and heaving him up to his feet again whenever
he was thrust down. So Heracles, at a loss how to
deal with Earth, has caught Antaeus by the middle
just above the waist, where the ribs are, and set
him upright on his thigh, still gripping his arms
about him; then pressing his own fore-arm against
the pit of Antaeus’ stomach, now flabby and panting,
he squeezes out his breath and slays him by forcing
the points of his ribs into his liver. Doubtless you
see Antaeus groaning and looking to Earth, who
does not help him, while Heracles is strong and
smiles at his achievement. Do not look carelessly at
the top of the mountain, but assume that gods have
there a place from which to view the contest; for,
observe, a golden cloud is painted, which serves,
1 7.e. of wrought metal (not cast), ‘‘as strong as iron” ;
quoted from Theocr. 22. 47.
2 The contradiction in terms is of course intentional,
227
Q2
20
30
376 K.
10
PHILOSTRATUS : IMAGINES
na \ ae s ~
oluar oxnvovot, Kai o Epis ovtodt mapa tov
c / / / * an
Hpakréa ijKer otepavwowy avTov, OTL avT@
rn c / /
KANWS UTOKPLVETAL TV TAD.
«8 HPAKAHS EN HTCMAIOTS
(1) "Ev AtBin cabevdovte td ‘Hparre? pera
tov “Avtatov émitiOevtat ot Iuypator Tepoopety
To “Avtaiw pacKovtes: abed pol yap eival TOU
’Avraiov, yevvaior TLVES, ovK abryrat qev ovo
loom anels, ynyevels o€ Kal adws iaxupot, Kal
aYLOVT OY EK THS YS UroKkupaives 7 Wappos.
oixodat yap ot Iluypator thy yhv boa pUPENKES
Kal ayopav évaToTievTat," emartiovr ar d€ ovK
arAOT PLA, GNX’ olKEla Kal avtoupya Kal yap
omelpovat kal Oepifover Kai Tuy mae Cevyer
eperTaat, AeyovTat ¢ Kal TENEKEL xpnrac Gat
€ml TOV dotaXxuy Hyovpevor avTous devopa eval.
ada ToD Opacous: ert Tov ‘Hpakdéa ovtot, Kai
ATOKTELVAL xadevdovta: deicercav 8 av ovd
eypyyopoTa. (2) ‘O 6€ vy array TH Vane
cadevoet KapaTou aurov imodeduxdtos év maXy
Kal TaVTL TO oT Epyey TO dob ya epeAKeTaL Xavoov
eumimddpevos 70d Umvou, avTos TE O “Trrvos
eperTnKev aUT@ ev EldEL weya ol par TOLOU[LEVOS TO
EauToU eT TM TOU Hpaxnéous TTOPATL. KEiTAaL
Kal oO ’Avtaios, arr a TEXYVYN TOV peev ‘Hpakréa
{LT VOUV ypader Kal Geppov, Tov 0é€ “Avratov
teOpnkota Kal avovy Kal KaTaNeiTEL avTOV TH
ly.
1 So Reiske : am i1f@ev7a’.
228
BOOK. YE. ‘22
I fancy, as a canopy for them; and here comes
Hermes to visit Heracles and crown him because
he finds that Heracles plays his part so well in the
wrestling-match.
22. HERACLES AMONG THE PYGMIES
While MHeracles is asleep in Libya after
conquering Antaeus, the Pygmies set upon him
with the avowed intention of avenging Antaeus ;
for they claim to be brothers of Antaeus, high-
spirited fellows, not athletes, indeed, nor his equals
at wrestling, but earth-born and quite strong
besides, and when they come up out of the earth
the sand billows in waves. For the Pygmies dwell
in the earth just like ants and store their provisions
underground, and the food they eat is not the
property of others but their own and raised by
themselves. For they sow and reap and ride on a
cart drawn by pigmy horses, and it is said that they
use an axe on Stalks of grain, believing that these
are trees. But ah, their boldness! Here they are
advancing against Heracles and undertaking to kill
him in his sleep; though they would not fear him
even if he were awake. Meanwhile he sleeps on
the soft sand, since weariness has crept over him
in wrestling ; and, filled with sleep, his mouth open,
he draws full breaths deep in his chest, and Sleep
himself stands over him in visible form, making
much, I think, of his own part in the fall of
Heracles. Antaeus also lies there, but whereas art
paints Heracles as alive and warm, it represents
Antaeus as dead and withered and abandons him
to Earth.
229
15
20
25
30
PHILOSTRATUS: IMAGINES
(3) “H otpatia 6€ ot Ilvypaioe tov “‘Hpaxréa
TEPLOXOVTES pula pev avTH harayE THY apioTepav
yetpa BarXovoi, dvo0 5€ odTOL AOKOL TTPATEVOVGLY
evi THv OeEvavy @S pmadXOV éeppwpEvnv, Kal Tw
TOOE TodopKovat toforau Kal opevoovnt av
OxXOS EXT ANTT OMEVOL THY KYIV bom" oi d€ TH
xkeparn T POT [aX ofEvo TeTAKTAL ev evTav0a o
Baovrevs KAapTEpwTaTou AUTOS TOUTOU SoxobvTos,
emayouol 6¢ Kal olov AK POT ONEL pnxavas, Tp
eml THV Opn, emt TOUS opParpovs dinedray,
Guvpas Tivas © éml TO oT Opa. Kal Tavtas” THs
pivos oil“at muUAas, ws pn avatvedcar® oO
‘Hpakrys, éredav 1) Keparyn aro. (4) Tavti
67 4 wep Tov KaGevoorTa, idov S€ ws opOovTaL Kal
74 TWep : s opGodTat Ka
@s él TM KLVOUY@ YENA TOUS TE TOEMLLOUS TaD-
avol cudreEapevos €s THY NEovTHY éevTiOEeTaL Kal
oimat TO Evpuabet péper.
ky HPAKAHS MAINOMENOS
(1) MayeoOe, ® yevvaio, . . Tov “Hpakréa
\ / TAN 9 5 lal ye lal 60
Kat TpoBate. adr ovV® TOD AOLTTOD YE TraLdoS
aT OTXOLTO Ovoiv 76 KEL MEVOLD Kal otoxato-
pevns ® THs: YELPOS, os Kav “Hpaknrel. peyas
yuev Uu@V 0 GOXos Kal pelwy ovdev WV TPO THS
§bpas Schenkl: @vpa:; Tivas Capps: tives.
rautas Capps: Tas.
avanvevoat Schenkl: avarvedoo: and avamvevon.
5y Schenkl: d€ or per.
otv Reiske and others: ov,
/ ° / /
atoxaCouevns Morelli: oraCouevns or otoxaomevow.
n oo = oS ee
230
BOOK II. 23
The army of the Pygmies envelops Heracles;
while this one phalanx attacks his left hand, these
other two companies march against his right hand
as being stronger; bowmen and a host of slingers
lay siege to his feet, amazed at the size of his shin;
as for those who advance against his head, the
Pygmy king has assumed the command at this
point, which they think will offer the stoutest
resistance, and they bring engines of war to bear
against it as if it were a citadel—fire for his hair,
mattocks for his eyes, doors of a sort for his mouth,
and these, I fancy, are gates to fasten on his nose,
so that Heracles may not breathe when his head
has been captured. All these things are being
done, to be sure, around the sleeping Heracles ;
but lo! he stands erect and laughs at the danger,
and sweeping together the hostile forces he puts
them in his lion’s skin, and I suppose he is carrying
them to Eurystheus.
23. THE MADNESS OF HERACLES 1
Fight, brave youths, [surround]? Heracles, and
advance. But heaven grant that he spare the
remaining boy, since two already lie dead and his
hand is aiming the arrow with the true aim of a
Heracles. Great is your task, no whit less great .
than the contests in which he himself engaged
1 In early life Heracles by his prowess won the inde-
pendence of Thebes from Orchomenos, and received as a
reward Megara, the daughter of Creon, as his wife. The
end of this happy period in his life is attributed to the
jealousy of Hera, who made him violently insane, In his
madness he slew his young children and his wife Megara.
2 There is no clue to the word lost here.
231
PHILOSTRATUS : IMAGINES
, \ >
377 K. wavias autos 7OXncev. adrAa Setonte pmyoEv'
” € r bl / \ \ pI
ateatTw vuav “Apyos BX€éTTa@v Kat to’s Evpua-
Peidas atroxtetvat Ooxay, éyw 6€ HKOVTa avToOv
, ¢ /
tap Evpiridn cat appa nyoupévouv Kal Kévtpa
\ c/
5 és Tovs immous dépovtos Kal tHhv Evpucéws
’ fr
olklav aTreLNOUVTOS EKTEPTELVY’ ATAaTHAOY yap TL
, \ lal cal
pavia Kal Setvov €k TOV TapovTwV ayayelD Eels
\
Ta Nn TaporTa.
r \ 5 b / Las
(2) Tovtows péev odv atoxpn TavTa, coi de Mpa
/ n A ¢
10 yiveoOar THS ypadjs. o pwev Odrapos, ép’ Ov
w@pynke, Meyapav! exer Kai Tov Taida éTl, Kava
\ \ / \ b] \ \ / \ /
5€ Kal YépviBa Kal ovAAaL Kal oxiCal KAaL KpaTNP,
ro Yigil e
ta Tov Epxelov, NeXUKTLCTaL TravTa Kal O peV
A al / a lal
Tavpos €aTtnKe, lepela de TpocéppiTrTat TO POL@
‘ b] a 2 dA 3 \ al a U
15 Boépn evyevni? aya*® Kat TH REOVTH TaTpos:
/ 4 & e \ \ lal lal \ 5 : es
BéBrXnTat 0 MEV KATA TOV AALMOU KAL OL aTra-
lal lol e , /
Ans ye THs hapuyyos exdedpaunnev 0° oLaTOS,
6 6€ eis avtTo bvaTéTaTaL TO oTEpVOY Kal OyKOL
tov PBéXNovs péowry CiexTETTAlKAGL TOV OTOD-
¢ r \ / e
20 dvAwY, ws SFAAa els TAEVpaY Epplypevov.® at
lal / \ \ /
maperat 6€ avTav SaB8poxot, kat wn Savpacns,
7
’ cal a \ \
el €OadKpucay Ta Tépa TOU daKpvaaL'’ TraLal yap
1 Meydpay Olearius: péyaipar.
2 evyer7 Reiske: ayevy7. 3 gua added by Capps.
4 BéBAnra Valckenaer : mpooBeBAnrat.
> § added by Benndorf: 6 iotds F.
® éppiumevov Lindau: eppimmevav.
7 The text is Rohde’s: ei éSdxpvoav tt wept tov daxpicoat:
mato) yap xpucobv Td Sdkpvov, Kal wikpdy 8° tows Kal péeya.
232
‘saponuayy fo ssaupy]T—' eZ “DIsT
Z
[To face p. 233.
BOOK II. 23
before his madness. But fear not at all; he is
gone from you, for his eyes are directed toward
Argos, and he thinks he is slaying the children of
Eurystheus;+ indeed, I heard him in the play of
Euripides; he was driving a chariot and applying
a goad to his steeds and threatening to destroy
utterly the house of Eurystheus; for madness is a
deceptive thing and prone to draw one away from
what is present to what is not present.
Enough for these youths; but as for you, it
is high time for you to occupy yourself with
the painting. The chamber which was the object
of his attack still holds Megara and the child;
sacrificial basket and lustral basin and barley-grains
and firewood and mixing bowl, the utensils of Zeus
Herkeios,? all have been kicked aside, and the bull
is standing there; but there have been thrown on
the altar, as victims, infants of noble birth, together
with their father’s lion’s skin. One has been hit in
the neck and the arrow has gone through the delicate
throat, the second lies stretched out full upon his
breast and barbs of the arrow have torn through the
middle of the spine, the missile having evidently been
shot into his side.*? Their cheeks * are drenched with
tears, and you should not wonder that they wept
beyond the due measure of tears; for tears flow
1 Much of this description seems to be drawn from the
Heracles Furens of Euripides. Cf. 935 f.
**Suddenly with a maniac laugh he spake :
‘Why, ere Islay EKurystheus...’” Trans. Way, L.C.L.
2 The god of social institutions, and especially the family
and the home.
3 7.¢e., the barb is seen projecting through the spine at an
angle, showing that it entered at the side.
* For the thought Gomperz compares Herodotus, 3. 14.
233
PHILOSTRATUS : IMAGINES
»” \ 3 \ /
€UpouV TO OaKpUoV, KaV puLKpoV SElaowor KAY peya.
, r \ an ¢ a wn ¢
(3) Oltorpobdvte d€ TH “Hpaxrel wepixertat mas oO
L Ta b] lal ~~ ? / 7 e /
25 T@V olKeT@Y Ofuos olov BovKoXoL Tavpw UBpi-
an / lal
Covtt, djoat tis éemtBovrAevwy Kal KaTacyxely TIS
, = , Fe e
ay@va Trolovpmevos Kal KEexpayws €ETEpos, 0 O
A a A lal e \ e / e \
npTntTar+ Tav xetpav, o b€ UToaKedifea, oi Se
evadXovTat' TO 6€ aicOnots pev avTo@V ovdeuia,
30 avappimtet b€ Tovs mpocLovTas Kal oUpTaTel,
\ \ lal al a
TOAD fev TOV adpov dtaTrTVMY, peldi@v 6é€
Brooupor cai Eévov cat Tots obOarpots atevifov
’ > / aA lal \ \ fal / ”
els auTd, & Opa, THY de TOV BrEupaTos Evvotay
a lal
atayov eis & €—€nmdatntar. (4) Bovyaras dé 7
e / a
35 dapuyE Kal 0 avyny é€uTimAaTal Kal avoldodaw
e \ b \ / d e > \ / fol
ai wept avtov préBes, Ov wv és Ta Kaipla THS
a al ’ lal A / cal / \
378 K. cehadis avappel aca yopynyia THS vooov. THY
a r / \ fol
"Epwov 6€, 1) tav’ta ioyvoev, emt pev oKnvas
/ a 3 b) > >
€lO€S TTOANGKLS, evTavOAa dé OVK av lOoLS* Els AVTOV
A ’ / \ ¢ / \ x lal
yap elawkicato tov ‘Hpaxdéa Kai dota Tod
~ v a \
5 OTEPVOU YOPEVEL METW AUVT@ ElowW TKIPTHTA Kal
\ \ lal , / e /
Tov ANoytcpov Porovoa. pEeXpl TOVTwY 7» ypadgn,
Qn \ r \
Tomtal 6€ mpoomapowodar Kai Evvdovat Tov
a \ / /
‘Hpaxréa xal tadta tov Ipounfea pacxKovtes
Um’ avtTov NeAVa Oat.
1 #ptnTa Reiske and Jacobs: 7TTaTat or Aprat libri.
234
BOOK IL. 23
easily with children, whether what they fear be
small or great. The frenzied Heracles is surrounded
by the whole body of his servants, like a bull that
is running riot, surrounded by herdsmen; one tries
to bind him, another is struggling to restrain him,
another shouts loudly, one clings to his hands, one
tries to trip him up, and others leap upon him.
He, however, has no consciousness of them, but he
overthrows those who approach him and tramples
on them, dribbling much foam from his mouth and
smiling a grim and alien smile,! and, while keep-
ing his eyes intently fixed on what he is doing,
yet letting the thought behind his glance stray
away to the fancies that deceive him. His throat
bellows, his neck dilates, and the veins about the
neck swell, the veins through which all that feeds
the disease flows up to the sovereign parts of the
head.2, The Fury which has gained this mastery
over him you have many times seen on the stage,
but you cannot see her here ; for she has entered into
Heracles himself and she dances through his breast ®
and leaps up inside him and muddles his mind.
To this point the painting goes, but poets go on
to add humiliating details, and they even tell of
the binding of Heracles, and that too though they
say that Prometheus was freed from bonds by him.
1 Kur. Her. Fur. 934 f.
** While dripped the slaver down his bearded cheek,
Suddenly with a maniac laugh... .”
Trans. Way, L.C.L.
2 i.e. to the temples.
3 Eur. Her. Fur. 863: of eyo orddia Spauodma: otépyov eis
‘HpaxAéous (from the speech of the Fury).
235
PHILOSTRATUS: IMAGINES
Ks OEIOAAMAS
10 (1) ) Tpaxus obTos Kal 7 Au’ ev Tpaxera TH
yn ‘Podos yap avTn 1 VTS, AS TO TpaXxuTarov
Atvérot, vi) oTapioas bev Kal ovKa ayadn
dovvat, aporat 6€ OUK evOatmov Kal apagevoar
aTrOpOs. o 6€ oTpudvos Kal ev OME TO YPY
15 yewpyos voto He, Ocrodduarra TOV Atvécov el
Tov akovaas €xels. Adda TOD Opaaous: opyifeTat
TO “Hpaxret Oevodapas, OTL apovvTe auT@
e€mlaTas aToapatTeL TOV éTEpov TOV Boov Kal
CLTELT AL opodpa éOas av TOU TOLOUTOU oLTiOU.
20 (2) “Hpaxnret yap Tov Tapa Ilivdape EVETUXES,
OTOTE Els THY TOU Kopwvod ore yy aPtKOLeVOS
a.itettat Bovv Grov, ws mde Ta ooTa TepiTTa
nryeto Bau, Ocvodapartu 6€ wept BovAvtov é7ri-
poitncas Kal mip KOpaamevos—ayalou oe
25 eumupevoacbat Kal Boduroe \—amavé paxifer TOV
Boobv ATFOTELPW[LEVOS TOV TAPKOY, él HadaTTovTal
On, KAU jovov ovyxi eyeanrov WS Bpadet TO Trupt.
(3) Ta THS ypapijs ola unde TO €100S Trapewpa-
Keval THS YS OTFOV yap Tl Kal puck pov EAUTHS
30 dpocar Tapacdédmxev 1) YH, EolKev, EL TUVIN[LL,
1 BéAttut Benndorf : of Al@or.
1 In the more usual form of the story Theiodamas is king
of the Dryopes on the slopes of Parnassus ; in the service of
Apollo, Heracles with Deianeira and the boy Hyllus enters
the land of the Dryopians, asks Theiodamas for food, and,
when refused, consumes entirely one of the yoke of oxen
which the king i is driving. Philostratus follows the Rhodian
form of the myth; here Theiodamas is a peasant ploughing,
one of whose oxen Heracles consumes ainid the curses of the
peasant. This story is used to explain the worship of
236
BOOK II. 24
24. THEIODAMAS 1
This man is rough and, by Zeus! in a rough
land; for this island is Rhodes, the roughest part
of which the Lindians inhabit, a land good for
yielding grapes and figs but not favourable for
ploughing and impossible to drive over. We are to
conceive of the man as crabbed, a farm labourer of
“premature old age’’;2 he is Theiodamas the
Lindian, if perchance you have heard of him. But
what boldness! Theiodamas is angry with Heracles
because the latter, meeting him as he ploughed,
slew one of the oxen and made a meal of it, being
quite accustomed to such a meal. For no doubt you
have read about Heracles in Pindar,® of the time
when he came to the home of Coronus and ate a
whole ox, not counting even the bones superfluous ;
and dropping in to visit Theiodamas toward evening
he fetched fire—and even dung? is good fuel for
a fire—and roasting the ox he tries the flesh to see
if it is already tender, and all but finds fault with
the fire for being so slow.
The painting is so exact that it does not fail to
show the very nature of the ground; for where the
ground presents even a little of its surface to the
plough, it seems anything but poor, if I understand
Heracles, with sacrifice of an ox and curses, at the hot springs
(Thermydrae) near the harbour of Lindus, Cf. Anth. Pal.
LG 101.
2 Cf. Od. 15. 3857: év au@ yhpa.
3 The passage in Pindar is now lost; Coronus was king of
the Lapiths, enemies of the Dorians, who were said to live
near the pass of Tempe.
4 The use of dried dung in the East for fuel is very old ;
cf. Livy 38. 18. 4.
251
10
15
PHILOSTRATUS: IMAGINES
> \ > , € \ ¢ lal \ \ ’ /
ovdé atropw. o o€ Hpaxrjjs TO meV Eppwmevov
Tis diavoias éml Tov Body Eyer, TO 5€ pa@upov
aurijs tals TOU Ocrodapavtos dpais SéSexen,
. boov THY Taperav avetcbat, 0 yewpyos Sé ALGois
éml Tov ‘Hpaxhea. Kal 0 TpoTros. Tis oTONIS
Apvos, avX}L0s Te TH Koun Kal Tepl TO HeTOT ©
Tivos Kal émuyouvis Kal Bpaxtov, olouvs 7)
PirTAaTH yh TOUS EauTHs GOANTaS aroTEnel. (4)
Tobro TOD “Hpaxreous TO épyov Kal oO Oevodapas
OUTOS GE“VOS Tapa Auvoiors, oO ev Bovs pev aporns
“Hpaxret vera, KaTapXovTae éé ETAPWMEVOL,
boa Ola 0 yewpyos TOTE, YalpeL be 0 “Hpakrj7s
kal Awvdiors didwor catapwpévors Ta ayada.
xe ABAHPOT TA®AI
(1) Ma Tas (@imous, ® Tal, Tas TOU Atoundous
2 e , nr € / e \
aOXov * yyopeba TOU Hpaxneous, as ye Kal
HpnKev non Kal cuvTeT pipe TO poTad@—xal ?)
per Keita QUT OV, » O€ doTraipel, THY dé dvarrndav
épeis, 7) O€ mimter, BadpBapor tais xaitats Kal
és oTAnVY AdowoL Kal GAXws Onpias Patvat b€ ws
avaT ANEW EA@Y aVOpwTElwY Kal OOTOY Elo”, ots
1 Benndorf conjectures wixpdy after a@Aov.
1 Perhaps a reference to Sparta.
2 The story of Abderus was told to explain the founding
of the city of Abdera on the south coast of Thrace and the
institution of the Abderite games. The death of Abderus is
attributed to the mares of Diomedes, and it is Heracles’
desire to pay special honour to his young friend which led
him to found a city and to establish games which were
called by his name.
238
BOOK II. 25
the picture. Heracles is keeping his thoughts
intently on the ox, and pays but scant attention to
the curses of Theiodamas, only enough to relax his
face into a smile, while the countryman makes
after him with stones. The mode of the man’s
garments is Dorian; his hair is squalid and there
is grime on his forehead; while his thigh and his
arm are such as the most beloved land! grants to
its athletes. Such is the deed of Heracles; and
this Theiodamas is revered among the Lindians ;
wherefore they sacrifice a plough-ox to Heracles,
and they begin the rites with all the curses which
I suppose the countryman then uttered, and Heracles
rejoices and gives good things to the Lindians in
return for their imprecations.
25. THE BURIAL OF ABDERUS 2
Let us not consider the mares of Diomedes to
have been a task? for Heracles, my boy, since he
has already overcome them and crushed them with
his club—one of them lies on the ground, another
is gasping for breath, a third, you will say, is leaping
up, another is falling down; their manes are
unkempt, they are shaggy down to their hoofs,
and in every way they resemble wild beasts; their
stalls are tainted with flesh and bones of the
3 The slaying of Diomedes and the capture of his man-
eating mares was one of the twelve labours of Heracles; but
we are here asked to regard the second episode of it as
harder than the first, since the killing of the mares has
proved too easy to have been a ‘‘labour.” Benndorf’s con-
jecture (see crit. note), ‘‘a slight task,” seems unnecessary.
239
PHILOSTRATUS: IMAGINES
, \ e / , e Ul ’ ,
els THY immoTpopiay TavTnv o Aroundns €xpr)-
‘és e e /
gato, avTOS TE O immoTtpopos Kai! aypi@TeEpos
In A yn ety \ , > \
idety 7) al immol, mpos als méttT@Kev—adra
\ * , an
20 routovl Tov AOdov yaretrwtepov ypn Soxetv
vm / \ a ) / b] \ 2
Epwtos Te mpos ToNAOLS ETLTATTOVTOS aUTOV
a € lal U Q ’ ’ ’ lal 3 > lal
T® “Hpaxret poyGou te er avtT@® ov pixpov
v \ \ \ v Ses an /
dvtos. Tov yap 8) “ABédnpov o “HpakrgHs npmt-
/ A 6 ,
Bpwtov déper aToomdcas TaV imTerv, édatcayTo
ro \ ; \ c \ ” \ \ J / / \
25 6€ avTOV aTraXov ETL Kal TPO “I diTov vEéov, TovTL
\ a /
dé ote Kal Tois ANevfravois cuuBarécOar- Kara
a aA an \
yap 6) éte €v TH EeovTH Ketrar, (2) Ta pev
\ / \ ’ J ’ al \ , /
67 SOdakpva Ta ém avTois Kal et Oy TL TEpt-
/ b] a \ ’ / e \ \
emtvEato avT@v Kal oNopupopeEvos Elite Kal TO
lal , \ /
30 Bap tod mpocwtrov TO ert TéevOer ded0c8w Kal
a ” / \
didhrtw €pactn addw*t éevétw TL Kat 1) OTHAH
a A e J
380 K, yépas eheotnxvia xarovd® onuate’ o & ovy Strep
\ a / /
of moAXNol TOL TE TH 'ABSHpPw avicTnoY, iV
fal lal A BJ
at avtod Kadovmevr, Kal aywv TO ‘ABdnp@
6 , a
KelgeTal, ayovieital 6 é€m avT@® Tuypny Kal
, / \ ,
5 TayKpaTlov Kal TUudnY Kal Ta EvaywVLA TaVTa
\ ¢/
TAHNVY LTTODV.
kal Jacobs: as.
avtov Reiske and Heine: air@.
ait@ Jacobs, avrov.
orn
240
BOOK II. 25
men whom Diomedes used as food for his horses,
and the breeder of the mares himself is even more
savage of aspect than the mares near whom he has
fallen—but you must regard this present labour as
the more difficult, since Eros! enjoins it upon
Heracles in addition to many others, and since the
hardship laid upon him was no slight matter. For
Heracles is bearing the half-eaten body of Abderus,
which he has snatched from the mares; and they
devoured him while yet a tender youth and younger
than Iphitus, to judge from the portions that are
left; for, still beautiful, they are lying on the lion’s
skin. The tears he shed over them, the embraces
he may have given them, the laments he uttered,
the burden of grief on his countenance—let such
marks of sorrow be assigned to another lover; for
another likewise let the monument placed upon the
fair beloved’s 2 tomb carry some tribute of honour ;
but, not content with the honours paid by most
lovers, Heracles erects for Abderus a city, which we
call by his name, and games also will be instituted
for him, and in his honour contests will be cele-
brated, boxing and the pancratium and wrestling
and all the other contests except horse-racing.
1 While other labours were assigned to Heracles by
Eurystheus, the present ‘“‘labour”’ is difficult only because
of Heracles’ great love for Abderus.
2 xadds is here used for the youth who is beloved, as, for
instance, on Attic pottery vases.
3 je, the inscription reciting the exploits of the departed.
4 7.e. Abdera, a city on the south coast of Thrace.
4 a@\A@ Benndorf: &AAo.
5 xadod Lindau: Kadg@.
241
10
20
25
PHILOSTRATUS: IMAGINES
ks EENIA
(1) ‘O pev év 7@ oikicxw Aaywos StxTVOV O7-
pauwa, KaOntar b€ él TaY oKEAaY UTOKLWaV
Tous mpoaOious Kal Ureyelpwv TO ovs, GAA Kal
Brére. Tavti T@ BréEupati, BovretTar be Kal
KaToTi opav ov vTowiay Kal TO del mT}c0E,
0 0 éxkpewdpevos THs avouv Spvos aveppwyws TE
TH yaotépa Kal 61a Tow moboiv EKOEOUKWS
@KUTNTA KATNYOpPEL TOU KUDOS, Os U7r0 THs dpuos
KaOnrar ravaTravey €auTov Kal Ond@v {LOVOS
PNKEvAL. Tas An oLOv TOU Layo VNTTAS, apid-
pel de auras, déxa, Kal ToOvS OoauTep ai VNTTaL
Xivas ov O€¢ Brypatew ATOTETIATAL Yap AUTAV
TO Tepl TA oTEepva Tav €Kel TOlS TAWTOIS OpVLCt
TrEOVEKTOVENS THS TLmedys. (2) Ee dé Supitas
apTouvs ayaTas %) oxTaBrapous, exelvol TANGLOV
év Baber TO KAVO. KAL él peev OYvou TL xpngers,
avToUs Exets—Tod Te yap Hapaou (PeTEXOUGL
Kal TOU GeXLVoOU Kal erl THS LHKWVOS, HEP eaTly
Hovaepa Tov vmvov—e 6€é devtépas! tpaméfns
€pas, Toutl €s Odotrotols avaBadrov, ad be
giTov Ta atrupa. (3) Ti ovv ov tas Spumetets
1 Sevtépas added by Jacobs.
1 ““For when the Greeks became more luxurious.,.they
began to provide dining-rooms, chambers, and stores of
provisions for their guests from abroad, and on the first day
they would invite them to dinner, sending them on the next
chickens, eggs, vegetables, fruits, and other country produce.
This is why artists called pictures representing things sent
to guests ‘xenia’.” Vitruvius, VI. 7, 4, Trans. Morgan.
The account begins with a description of the painting, then
242
BOOK II. 26
26. XENIA
This hare in his cage is the prey of the net, and
he sits on his haunches moving his forelegs a little
and slowly lifting his ears, but he also keeps looking
with all his eyes and tries to see behind him as well,
so suspicious is he and always cowering with fear ;
the second hare that hangs on the withered oak
tree,? his belly laid wide open and his skin stripped
off over the hind feet, bears witness to the swiftness
of the dog which sits beneath the tree, resting and
showing that he alone has caught the prey. As for
the ducks near the hare (count them, ten), and the
geese of the same number as the ducks, it is not
necessary to test them by pinching them, for their
breasts, where the fat gathers in abundance on
water-birds, have been plucked all over. If you
care for raised bread or “ eight-piece loaves,’ ? they
are here near by in the deep basket. And if you
want any relish, you have the loaves themselves—
for they have been seasoned with fennel and parsley
and also with poppy-seed, the spice that brings sleep
—hbut if you desire a second course, put that off till
you have cooks, and partake of the food that needs
no fire. Why, then, do you not take the ripe fruit,
it passes over into an address to the owner of the farm in which
the painting itself is the speaker, and only in the last sentence
does the writer speak in his own name. Cf. supra, p. 123.
2 In early Greek art it was customary to represent trees
without leaves.
3 @uoted from Hesiod, Op. et Dies, 442, ‘‘a loaf of four
quarters and eight slices for his dinner.” In Hesiod the
loaf is marked with two intersecting lines which divide it
into four quarters; the scholiast explains the word here
quoted as ‘‘ giving eight mouthfuls,” but Philostratus uses
it as in contrast to leavened bread.
243
R 2
PHILOSTRATUS : IMAGINES
e / ? , ’ € / na \ @ >
aptates, apy ep ETEpov KAaVOU TwPOS OUTOS ; OUK
oia@ OTL pixpov VaTEpov ovKED omoiais evTEvEN
30 Tav ira is 8 ths Spdcov; Kai
TavTais, ara yupvais dn THs dpdcov; Kal
\ ‘ e / / /
nde Tpaynudtwv wrrepions, el TL GoL peomridov
/ \ \ 4 A / /
péerer Kat Atos Bardvav, as Tpéper ELvoTaTov
al lal /
gdutov ev oft TO EXUTPW KAaL ATOT@ REEL.
381 K. €ppéTw Kal TO “EAL? Tapovans TaAdOns TavTNOL,
KaXoupevns Kal 6 TL? av elrots' oTwS dv
Téupa. TeplapTiayer S€ avTnv PUA oOlKEla
an / /
TapéyovTa TH TANGOn THY Wpar.
5 (4) Oiuar tiv ypadynv atopépew ta Fema
~ lal lal € ra!
TauTl T@ TOD aypov SeamoTy, o € NovETaL TAXA
/ \ / / een al /
I] papvetovs 7) Oactovs PrETTWV Evov THS yUKELAS
Tpvyos emi TH TpaTrélyn Tiety, ws Els ATTU KATLOY
v \ a
001 oTEUPVAOV Kal ATpAayLOTUYNS Kal KATA TOV
10 datuTplBav epevyotto.
xt’ A@HNAS TONAI
, \ \ ,
(1) Of pev éxarAntTopevor Geoi Kai Geat, Tpo-
a / lal n >
eLpnuévov avtois unde Nuudas ametvat Tod ov-
a al tal cal Ka /
pavov, Tapetvar d€ avTois ToTapols, WY yworTal,
1 Aérew Schenkland and Benndorf: e¢imety or idezy libri.
® After wédr the MSS. give tijs Tay ioxadwy cuvOyKns,
which Jacobs deletes as a gloss on mada@ns, Hesychius giving
as a definition of radd0n: 7) Tay oiKwy O’oIS.
3 671 Jacobs: fre.
1 A popular term for sweet chestnuts.
* The hypothetical speaker uses the term palathe for the
confection as though he were not quite sure of its being the
244
BOOK II. 27
of which there is a pile here in the other basket ?
Do you not know that in a little while you will no
longer find it so fresh, but already the dew will be
gone from it?) And do not overlook the dessert, if
you care at all for medlar fruit and Zeus’ acorns,1
which the smoothest of trees bears in a prickly husk
that is horrid to peel off. Away with even the
honey, since we have here this palathe,? or whatever
you like to call it, so sweet a dainty it is! And it
is wrapped in its own leaves, which lend beauty 3 to
the palathe.
I think the painting offers these gifts of hospitality
to the master of the farm, and he is taking a bath,
having perhaps the look in his eyes of Pramnian or
Thasian wines, although he might, if he would, drink
the sweet new wine at the table here, and then on
his return to the city might smell of pressed grapes
and of leisure + and might belch in the faces of the
city-dwellers.
27. THE BIRTH OF ATHENA
These wonder-struck beings are gods and god-
desses, for the decree has gone forth that not even
the Nymphs may leave the heavens, but that they,
as well as the rivers from which they are sprung,®
right word. Its meaning is given by Hesychius as ‘‘a layer
of figs set close together.”
3 i.¢., attractiveness and freshness,
4 For similar expressions cf. Aristoph. Nuwb. 50,1008.
> Il, 20.7. To the council summoned by Zeus ‘‘there
was no river that came not, save only Oceanus, nor any nymph
of all that haunt the fair copses, the springs that feed the
rivers, and the grassy meadows.”’ Trans. Murray, L.C.L.
245
15
20
25
30
382K,
PHILOSTRATUS : IMAGINES
/ \ \ ) a yy fol lal \
ppittovar dé tnv ’AOnvav apte ths tod Atos
Ta c
Keparss év OmAos expayetcav “‘Hdaiotov pn-
Xavais, OS ono 0} médexus. (2) Thy dé bAnv
THS TavoTAlas ovK av cvuBdro Tis* Goa yap
THS iptoos YpoOuaTa TapaddaTTOVENsS eis ANOTE
aXXo POs, ToTav’TAa Kal TOV OTAWY. Kal O
e/ ’ a ” 4 \ \ \
Hdaiotos amopety éotxev, OT@ ToTE THY Oeov
TpocayayynTat’ TWpoavad\wTat yap avT@ TO
\ n c lal e
déXeap UTO Tov Ta OTAa cuVEeKhival ol. oO Sé
al , e /
Zevs acOuaiver ody ndovn, KaBatep ol péeyav
eml peyadkwo KapT@ dratrovincavtes aOXov, Kal
Tv Tatba éEtatopet dpovav TO TOK@, Kal OvVOE
rn e/ \ > lal e / 3 / c Xv
TAS “Hpas te decvov évtadda, yéeynbe O€, ws av
El KAL AUTHAS eyévETO.
(3) Kai Qvovow 76 ™ ‘AOnva dHwoe Ovo emt
Suvolv akpoTroAEwy, “AOnvaion Kal “Podzor, vn Kal
GaratTn, . . .*% Kal avOpwrror ynyevets, of pev
” - c \ \ > A c \ 9 , =
amupa lepa kal ater, o b€ “AOnvnot SHpos
Top €xel Kal KVvicav® iep@v. o KaTrVdos 6€ oto
EUMONS yeypan ra Kat peta THS KViTNS avap-
péwv. o0ev @S Tapa _copwtéepous adixeTo n
Geos nal Ovoavtas ev: ‘Podious S€ Réyerar
1 not 6 added after Jacobs (who puts nai after weAckis. )
2 An adjective describing the Rhodians seems to have
fallen out ; Jacobs and Schenk] suggest @adAatroyeveis. But
the lacuna may be more extensive.
3 «vicav Capps, xvioa Reiske and Heyne: kvicoa.
1 The account given has many reminiscences of Pindar, Ol.
7. E.g. 38: ‘Heaven and Mother Earth trembled before
her” ; 35: ‘* What time by the cunning craft of Hephaestus,
at the stroke of the brazen hatchet, Athena leapt forth from
the crest of her father’s head”; 48: ‘*Thus it was with
246
BOOK EL se,
must be at hand; and they shudder! at the sight of
Athena, who at this moment has just burst forth
fully armed from the head of Zeus, through the
devices of Hephaestus, as the axe tells us. As for
the material of her panoply, no one could guess it ;
for as many as are the colours of the rainbow, which
changes its light now to one hue and now to another,
so many are the colours of her armour. Hephaestus
seems at a loss to know by what gift he may gain
the favour of the goddess; for his lure? is spent in
advance because her armour was born with her.
Zeus breathes deeply with delight, like men who
have undergone a great contest for a great prize,
and he looks searchingly at his daughter, feeling
pride in his offspring ; nor yet is there even on Hera’s
face any trace of indignation; nay, she rejoices, as
though Athena were her daughter also.
Two peoples are already sacrificing to Athena on
the acropolis of two cities, the Athenians and the
Rhodians, one on the land and one on the sea, [sea-
born] and earth-born men; the former offer fireless
sacrifices that are incomplete, but the people of
Athens offer fire, as you see yonder, and the savour
of burnt flesh. The smoke is represented as fragrant
and as rising with the savour of the offerings.
Accordingly the goddess has come to the Athenians
as to men of superior wisdom who make excellent
sacrifices. For the Rhodians, however, as we are
told, gold Howed down from heaven and filled their
fireless sacrifices that, on the citadel, they laid out the sacred
precinct” ; 49f.: ‘‘ He (Zeus) caused a yellow cloud to draw
nigh to them and rained on them abundant gold.” Trans.
Sandys, L.C.L.
2 As when, for instance, he made a gift of golden armour
to Thetis for Achilles.
247
PHILOSTRATUS: IMAGINES
Xpuaos e& ovpavob pedoa Kal vam AHjoat opav
Tas oixias Kal TOUS oTEVOTrOUS" vedehny els
autovs pyEavtos tod Atos, OTe KaKetvot THs
5 "AOnvas Evvijcav. (4) ‘Egeornxe TH GK POTrONEL
Kal 0 daipov 0 IIXodTOos, yeypanrat € TTNVOS
bev @s €k vepar, Xpucods 6€ aro THs Dds, év
” epavn. yeypar ras Kal BXrETwY" eK Tpovolas
yap avtois adixeto.
on ILS VOR
10 (1) ‘Evel tov tis IIqverorns i (aTov aces evTE-
TUXNKOS ayaen ypapn Kal OoKet ToL mavra
(oToU exe, oTnpOoL TE (KAY OS evTETAT AL Kal
av0ea xettat Uo TOV pier Kal ,Lovov oux
umopOeyyera " KEpKis avr) TE 1 [I nvedomn
15 KNaLEL Sax pvors, ois THD XLova THKEL “Oxnpos,
Kal avadver a Siupnver. bpa KaL THY apaxyny
vpaivoveay Ex yerTover, el i mapupatver Kai
TV IInvedomny Kal TOUS {jpas ETL, @V Ta
uUmTéprkemTTA Kal pois opatd. (2) OlKias pev
1 7.e. wealth.
2 Plutus is usually conceived of as blind.
® Although Kayser suggests that the description of a
painting representing Penelope’s loom once preceded this
Description 28 and has been lost, Schenkl regards this
introductory paragraph as merely a ‘thetorical device of the
sophist. The writer assumes that ‘‘ the boy” has spoken of
a painting near by of Penelope’s loom, and uses this device
to enrich his description of the present painting.
Benndorf calls attention to representations of Penelope’s
loom in Mon. Jnst. IX. 42, and Froehner, Collection
Branteghem, Pl. 45; also to a painting of spiders’ webs,
Helbig, Campan. Wandmal. Pl. 99.
248
BOOK II. 28
houses and their narrow streets, when Zeus caused
a cloud to break over them, because they also gave
heed to Athena. The divinity Plutus! also stands
on their acropolis, and he is represented as a winged
being who has descended from the clouds, and as
golden because of the substance in which he has
been made manifest. Moreover, he is painted as
having his sight ;? for of set purpose he has come to
them.
28. LOOMS?
Since you sing the praises of Penelope's loom,
having found an excellent painting of it, and you
think the loom complete in all its parts—and it is
stretched tight with the warp, and lint gathers
under the threads, and the shuttle all but sings,
while Penelope herself sheds tears so hot that
Homer ‘4 melts the snow with them, and she unravels
what she has woven, look also at the spider weaving
in a picture near by, and see if it does not excel in
weaving both Penelope and the Seres® too, though
the web these people make is exceedingly fine and
searcely visible.6 Now this doorway belongs to a
4 Od. 19. 204f. What Homer really says is, ‘‘ Her tears
flowed and her face melted as the snow melts on the lofty
mountains. . . and as it melts the streams of the rivers
flow full: so her fair cheeks inelted as she wept.” Trans.
Murray.
°> The people of the country of silk (sericus), somewhere in
eastern Asia.
6 Cf. the description of the spider’s web in Od. 8. 284:
‘‘ When the snare was fashioned for Ares, many of the bonds
were hung from above, from the roof beams, fine as spiders’
webs, so that no one even of the blessed gods could see
them.” Trans. Murray.
249
PHILOSTRATUS: IMAGINES
20 ovK ev 7 patTovans mpomuhava TavTa: pycers
auTny Xnpevery SeomoTan, avr) dé Epnuos claw
Tapapaiverar, Kal ovoée ol KLovES avTny TL
épetovawy vm Tob ouvetavery Kal KaTappewv,
GX eat olKnTos apaxvals povas” pirer yap
25 TO S@ov €v Houxia SvaT NEKeLY. Opa Kal Ta
pnpvpata’ ToUTO avamTvovcal TO via Kab-
Laow els Tovdados—OerKvuel d€ auTas 0 Corypapos
KATLOVTaS bu avroo Kal avappiywpevas depot-
TOTHNTOUS KATA TOV ‘Haiodov Kai peheT@oas
30 meTeTOar—Kaul oikias € _Tpocudaivovar tais
yovias Tas _pev evpelas, Tas 6€ KolXNas* TOUTwY
ai ev evpetar Ypynotal Oepifew, ast b€ Koiras
33 Upativovawy, ayabov TovTO xYeiua@vos. (3) Kara
383 K, pev ovuv Kal TavTa TOU Corypagov" TO yap ovUT@
ydiax pws dpaxyny TE auTny dram ova KaL
otiEat Kata THvy dvow Kal TO éploy avTHAS
Uo “ox On pov ypayrat Kal To? ayptov ayabod
5 Snpuoupyod Kal dewvov THv adrnOerav. Oo 6 rpiv
Kal Ta rNeTTA OwUdynvev. dov" TET PA'YOVOS fev
avTn pnpwOos mepiBEeBryrar Tats yoviars otov
meiopa Tov ioToo, TEpiT Tat dé TH Mn pivd
AeTTOS (aTOS ToOAXOUS aT et as TOUS
1 @s Brunn: tas. 2 7b added by Jacobs.
1 One looks through the doorway into a court surrounded
by columns ; the wooden columns have given way, the flat
roof has fallen in, and the room is occupied only by spiders.
* Quoted from Hes. Op. et Dies, 777.
3 One must assume one of the three alternatives : (1) that
Philostratus did not observe accurately, for spiders do not
make their webs in squares, or (2) that tetpaywvos should be
amended, ¢.g. to some such word as terpamAacios (‘* woven of
four strands,” cf. Bougot, p. 552), or (3) that it should be
interpreted as ‘‘four-angled,” not with the usual meaning
250
BOOK II. 28
house by no means prosperous?!; you will say it has
been abandoned by its master, and the court within
seems deserted, nor do the columns still support its
roof, for they have settled and collapsed; nay, it is
inhabited by spiders only, for this creature loves to
weave its web in quiet. Look at the threads also;
for as the spiders spew out their yarn they let it
down to the pavement—and the painter shows them
descending on it and scrambling up and “soaring
aloft,” as Hesiod says,? and trying to fly—and in
the angles they weave their nests, some spread out
flat, some hollow; the flat
ones are good to summer in,
and the hollow sort they
weave is useful in winter,
Now the painter has been
successful in these respects
also: that he has wrought
the spider itself in so
painstaking a fashion, has
marked its spots with fidelity to nature and has painted
its repulsive fuzzy surface and its savage nature—all
this is the mark of a good craftsman and one skilled
in depicting the truth. And he has also woven
these delicate webs for us. For look! here is a
cord forming a square® that has been thrown about
the corners to be as it were a cable to hold the web,
and to this cord is attached a delicate web of many
“square.” In the latter case the web in the corners would
take the usual form. Bougot (p. 486) quotes Blanchard,
Metamorphoses des Insectes, p. 684, who describes the web of
the large Epeira as having clearly ‘‘a cable to hold the web.”
Cf. Fig. 24, which is drawn to represent a web of the Epeira
type, z.e., hung from ‘‘ cables,” the encircling lines in a
spiral, and the whole “‘ four-angled.”
251
PHILOSTRATUS: IMAGINES
10 KUKAOUS, Bpoxor 6é exTevels aTO TOU TpwrTov
KUKAOU HEX pL TOU o MLK poTaToU Svat NEKovTaL oua-
Neltrovtes at) aAXAjAwY Goov of KUKNOL. al SE
épiOar de adtav Badifover TEeLvOUTaL TOUS Ke-
yaracpevous TOV pita. (4) "ArdXrAa Kal pra Bov
15 apvvuvTal TOU Upaiverv Kal GLTODVTaL TAS puias,
€7reLOav Tots laoTots EMTAAKOGW. o0ev ovee THY
Onpav avToV Tmaph ev 0 Sorypagos® 7 pev yap
EXeTaL TOU Tod0S, 7) Oe dx pou TOU TTEPOV, n 6€
és OleTat TIS ceparns, aamaipouvat d€ Treipmpevat
20 dvaguyety, ¢ OWS OU TAapaTTova LV ovde dtadvVouGt
TOV LOTOD.
KO’ ANTITONH
(1) Tods nev audi Tudéa cai Karravéa kat et
67] tis ‘Immopédmv Kat Map evorratos evravda
‘APnvaior Oavyovow ayava dpa peEvot Tov UTrep
25 TOV TW LAT OV, Ilorvveixnvy 6€ tov Ordizrodos
‘Avtuyoun ) adehpy Oamrer VUKT@P expowtncaca
TOU TELXOUS KQLTOL KEKNPUYMEVOV em avT@ LN
OamTew avtov pnde EVODY TH YN; yy édovdodro.
(2 ) Ta pe 67) €v TO Tedlep vex pol él vexpois
30 Kal imTrol, @S ETETOV, Kal Ta Oma, OS dmreppun
TOV avdpar, vO pou TE oUTOGL TAOS, @ pace
tv ’Evum yxaipetv, vo b€ TO TELYEL Ta pev TOV
383 K, G\AwY AOKXayYoYV TwpaTa, jeryadou TE elo Kal
bre pBeBrnKores avOpar wr, Kamravevs 6€ yoyavre
elkactat’ mpos yap T@ peyéOer BEBAHTAL UTO
1 an’ added by Bentley.
252
BOOK II. 29
concentric circles, and tight lines, making meshes,
running from the outside circle to the smallest one,
are interwoven at intervals corresponding to the
distance between the circles. And the weavers
travel across them, drawing tight such of the threads
as have become loose. But they win a reward for
their weaving and feed on the flies whenever any
become enmeshed in the webs. Hence the painter
has not omitted their prey either; for one fly is
caught by the feet, another by the tip of its wing,
the head of another is being eaten, and they squirm
in their effort to escape, yet they do not disarrange
or break the web.
29, ANTIGONE
Tydeus and Capaneus and their comrades, and
any Hippomedon or Parthenopaeus that may be
here, will be buried by the Athenians, when they
take up the war to recover their bodies; but Poly-
neices the son of Oedipus is being buried by his sister
Antigone, who steals outside the walls at night,
though proclamation has been made that no one
shall bury him or commit him to the earth he had
tried to enslave. And so we see in the plain corpses
upon corpses, and horses lying as they fell, and the
arms of the warriors as they slipped from their
hands, and this mire of gore in which they say
Enyo! delights; while beneath the wall are the
bodies of the other captains—they are tall and
beyond the normal height of men—and also Capa-
neus, who is like a giant; for not only is he of huge
stature, but also he has been smitten by the thunder-
1 Goddess of war, the companion of Ares.
253
PHILOSTRATUS: IMAGINES
Tob Auos Kat ere Tuderar.! TOV Tlodvveteny be
5 ) “Avtuyovn péeyav Kai Kat exELVOUS ovTa Kal
dioipnras TOV eK pov Kal Gaer mpos TO TOU
"EteoxXéous onmare dradrXraT TEL nryoupern TOUS
adehpous, @s Rovrov étt.2 (3) Te pyoopen, @
Tai, Tv codtav Tis ypapys cednvn bev yap
10 tpoaBarre Has ovTH TLaTOV OpParpois, ETT?)
dé exTANEEWS » «KOPN Opnveiv Opunke Tept-
BarXovea TOV doer ov éppwuévols TOLS THXETL,
Kpatet € ¢ Oues tov Opnvov Sedorkuia Tov Ta Tov
puraKwy Ora, Tepuad peiv te BovrAopevyn Tavra
15 Ta mepeE Opos és Tov adeApov BrEtTrEL TO youu
es yn Ka TTOUG A.
(4) To bé THS povas Epvos avrogues, @ Tat,
AEyeTaL yap on) KNT EC aL avro “Epivvas éml TO
Tape, Kav TOU Kapmov oOTaoys, aiwa éxdiSorat
20 pov éTL. Gabdpa Kal TO Top 70 éml Tols eva-
ylopaciv' ov yap EvpBarre EavT@ ovde Evyxe-
pavvvatr tiv proya, TO evtedOev SE aXAHV Kal
aNXAnv TpéreTat Kal TO apuxTov Synrot TOU
Tagou.
Vv ETAANH
2 41) oH Tupa Kal Ta €5 avr eo paryweva Kal O
aTroKELmEevosS ETL TH TUPa pelCwy 1) avOpwrrov
1 gr, ruperar Wesseling and Reiske: émitigerat.
2 ér1 Salmasius: éotu.
1 As were the Giants in their battle with the Gods, cf.
supra, Description 17, p. 199 and note 1. For the fate of
Capaneus cf. p. 257.
2 Benndorf calls attention to the relief in the Villa Pamfili
(Robert, Sarkophagreliefs, II. p. 193, Pl. 60), where Antigone
254
BOOK ILI. 30
bolt of Zeus! and is still smouldering. As for the
body of Polyneices, tall like his associates, Antigone
has lifted it up? and will bury it by the tomb of
Eteocles, thinking to reconcile her brothers in the
only manner that is still possible. What shall we
say, my boy, of the merits of the picture? Well,
the moon sheds a light that the eyes cannot quite
trust, and the maiden, overcome with fear, is on
the point of uttering a cry of lamentation as she
throws her strong arms about her brother, but
nevertheless she masters the cry because, no doubt,
she fears the ears of the guards, and though she
wants to keep watch in every direction, yet her
gaze rests upon her brother as she kneels on the
ground.
This shoot of a mulberry, my boy, has sprung up
of itself, for the Erinnyes,® it is said, caused it to
grow on the tomb; and if you pluck its fruit, blood
spurts out even to this day. Wonderful also is the
fire that has been kindled for the funeral sacrifices ;
for it does not come together or join its flames into
one, but from this point on? it turns in different
directions, thus indicating the implacable hatred that
continues even in the tomb.
30. EVADNE®5
The pyre and the victims sacrificed upon it and
the corpse, laid on the pyre, which seems too large
is carrying the body of Polyneices ; and to Helbig’s discussion
of night-scenes (Camp. Wandmal. p. 363 f.).
3 7.e,, the avenging Furies.
4 The speaker apparently points to the place where the
flame begins as a solid mass, before it spreads out in
divergent directions.
5 Compare the story of the death of Evadne, Euripides,
Suppl. 990.
255
30°
35
385 K.
10
PHILOSTRATUS : IMAGINES
boEat veK pos ) yuvn TE 7 opodpov obT@ THONnUaA
és To TUp aipovea ert ToLoia Ge, o @ Tal, yeypar rat
Tov Katravéa oi T poo nKovTEs Oarrovew év TO
‘Apyet, atéGave O€ a apa év OjBas tro Tod Ards
em BeAnkas 70 TOU TeLXOus. TOUT OV yap Tov
nKouaaAS, as KOT AT AS Te €s tov Aia kepavyd
EBdIOn Kal _™piv és THY yn mec ely atéOavev,
ore 51) Kal of Noxayol of Now! UTO TH Kadpeta
ETec ov.
(2) Nexnoavtov 'A@nvatwv tadijvat opas Tpo-
Kketat 0 Kamavels Ta pev adda Exo@v wWoTEp
Tudeds kal ‘Immopuédwv kai of Nowrroi, Tout dé
UTep TavTas NoXayous Te Kal Bacir€as: Evadvy
yap » yuvn atoCaveity é7 avT® WpunKev ovTE
Eidos te emi tiv dSépnv EXxovca ovTEe Bpdoyou
TLVOS EAUTIY ATAPTA@CA, ola NoTATAaYTO yUVAalKES
ém’ avdpaciv, aA €s avTO TO TUP teTaL OUT MH
TOV avopa eEXew nryovpevov," el p47) Kal aur
EXOL. TO (fev 87) evTadvov 7® Karavei tovodror,
n O€ yuv7) cabarrep ol és Ta iepeta ® otTepdvous
Te Kal xpucov é€acKovrtes, ws hatdpa BvotTo
Kal €s yapw Tots Oeois, oUTws EavTHVY oTEihaca
Kal ovde édeevov BréTOVGA Hdd €s TO TIP
1 So F and the first hand in PL, jyounévn the other
MSS. (‘‘she . .. in the belief that she does not yet possess
her husband unless he likewise possesses her”). Some
editors would emend to yield the meaning, ‘‘ thinking that
her husband had not yet received due honours (ravta fxeww
Heyne, 7a mpdogpopa éxew Schenkl) unless .. .”
2 The MSS. read iepa, which all editors have corrected.
1 Philostratus apparently follows a different version of
the story from that of Euripides, for in the latter the burial
256
BOOK II. 30
for that of a man, and the woman who takes so
mighty a leap into the flames, make up a picture,
my boy, to be interpreted as follows. Capaneus is
being buried in Argos? by his kinsmen, having been
slain at Thebes by Zeus, as you recall, when he had
already mounted the walls. Doubtless you have
heard the poets? tell how, when he uttered a boast
against Zeus, he was struck by a thunderbolt and
died before he reached the ground, at the time
when the rest of the captains fell beneath the
Cadmeia.?
Now when the Athenians have secured by their
victory the burial of the dead, the body of Capaneus
is laid out with the same honours as those of Tydeus
and Hippomedon and the rest, but in this one point
he was honoured above all the captains and kings:
his wife, Evadne, has determined to die for love of
him, not by drawing a knife against her throat nor
by hanging herself from a noose, modes of death
often chosen by women in honour of their husbands,
but she throws herself into the fire itself, which
cannot believe it possesses the husband unless it has
the wife as well.4 Such is the funeral-offering made
to Capaneus; and his wife, like those who deck
their victims with wreaths and gold® that these may
go to the sacrifice resplendent and pleasing to the
gods, thus adorning herself and with no piteous look,
is conducted by the Athenians, whereas here Capaneus is
being buried by his kinsmen in Argos.
2 e.g. Aeschylus, Sept. in Theb. 423f.; Sophocles, Antig.
127f.; Euripides, Phoen. 1172 f.
3 The citadel of Thebes.
4 But see the critical note.
> Probably the reference is to gold-leaf used to cover the
horns of the victim, a practice often mentioned by Homer.
257]
PHILOSTRATUS : IMAGINES
n 3 \ ” ss \ \ , ”
Kandovoa oimat Tov avdpa’ Kal yap Bowan Eo.xev.
a / “ A“
15 doxet 8 av pot Kai THv Keparynv UTosTyElV TO
20
30
oKxnTT@ UTEp TOD Katravéws. (3) Oi d€ "Epwres
EAUT@V TOLOVMEVOL TaDTa THY TUpaY ato TOV
AauTadiwy amtovat Kal TO Tip ov gaat
/ b ees, 3 / / \ / Ud
Ypaivew, aAX’ Hdlovi Te Kal KaDapwTepw YpHaeo-
Bar Oawavtes avT@ TOVs KANwS XpNTAapEevoUS TO
epav.
ha OEMISTOKAHS
(1) “EdAnv év BapBapos, avnp év ovK avdpa-
1
A BJ , \ a b] a 4
OLY ATE* ATONWXOGL KAL TPUPWOLY, ATTLKWS EX@V
/ a / > ys \ > /
para Tov TplBwvos, ayopever copov oipat TL
~ a \ lal f
peTaTroL@y avTous Kal meOtaoTas Tov OpuTrTecOat.
An la) \ / val
Méo tadta Kail BaBvi@v péon Kai TO onpetov
\ / id a aN a / by \ wes
TO BactrELov 0 YpUaONS ETL THS TEATNS AETOS Kal O
r ¥, \ e ,
Baairevds emt ypucov Opovov attKTOS olov Taws.
ovK ak&vot émravetabat 0 Cwypados, et TLapAaV KAXNWS
/ \ / x / XN /
pemiuntar Kal Kadrdoipiy 7 Kavduv 1 Onpiov
TepaTwoers pophds, ola TotxiiXovot BapBapo.,
1 Gre added by Schenkl.
1 7.e., the fire of their torches which association with
death willin this instance not pollute, but render more pure.
2 Ostracized from Athens in 472 B.c., Themistocles went
first to Argos, then to Corcyra and Epirus and Ionia. When
258
BOOK II. 31
leaps into the flames, calling her husband, I am sure ;
for she looks as if she were calling out. And it
seems to me that she would even submit her head to
the thunderbolt for the sake of Capaneus. But the
Cupids, making this task their own, kindle the pyre
with their torches and claim that they do not defile
their fire, but that they will find it sweeter and more
pure, when they have used it in the burial of those
who have dealt so well with love.
31. THEMISTOCLES 2
A Greek among barbarians, a true man among
those who are not men, inasmuch as they are ruined
and dissolute, surely an Athenian to judge by his
coarse cloak, he addresses some wise discourse to
them, I think, trying to change their ways and make
them give up their luxury. Here are Medes and
the centre of Babylon, and the royal device—the
golden eagle on the shield,?—and the king on
a golden throne richly spangled like a peacock.
The painter does not ask to be praised for his fine
representation of tiara and tasselled cloak (halaszris)
or sleeved jacket (fandys) or of the monstrous shapes
of animals with which barbarian garments are em-
Artaxerxes came to the throne in Persia, Themistocles went
up to Susa and won favour with the new king; he was
assigned the government of the district of Magnesia, where
he died.
8 Xenophon, Anab. 1. 10. 12, uses these same terms in
describing the standard of Cyrus the Younger. ‘‘ They did
see, they said, the royal standard, a kind of golden eagle on
a shield, raised aloft upon a pole.” Trans. Brownson,
1.C.L:
259
s 2
386 K,
10
15
PHILOSTRATUS : IMAGINES
adr’ é€rraiveioOw pev ETL TO KXpvT@® ypadov
avTOV evnTpLoOV Kal ow@lovTa, 0 nYdyKacTal, Kal
vy Aia éml TO TOV EUVOUX@Y eldeu* Kal 7 avr
xpuan éatw—oxel yap en yeypab@ar’ Yeypanrae
yap ola exodophabar—Bavorod Te kal opvpYNsS
aicPavopela—ras yap TOV aépwv €devOepias
oUTw Tapapetpovaw ol BapBapo—xal dopv-
opos dAXos dAXW SiareyéoOw Trept Tod” EAAHvVOs
EXTANTTOMEVOL avTOY KaTa 6) Twa avVECLD
peyadwy avtov épywv. (2) Oeuwctoxréa yap
olmau TOV Tob Neoxdéous “A Orv Bev és BaBurava
iyeew META THY Zarapiva TH Ociav amopouvTa,
oToL cwOnceTtal TOTE THS ‘EXXddos, Kal bta-
rAéeyecOar Bacirel Tepl wY TTpPaTHYyODVTOS avTOU
o FépEns OVNTO. CKTANTTEL be avTov ovdev TOV
Mydicdv, Gna TeOaponker olov Kadectas él
TOD NLGov' Kal 1, pwvl ovK amo TOD jpedaTrod
TpoTrou" pn diSev o O OeniatoKrijs" eferrovnae yap
excel Hed he el O° amaTets, Opa TOUS daxovovTas,
as To! evévetov émlianmaivovat Tois dupacwr,
Opa Kal Tov MewictoKkr€a THY ev TOD TpoTwTrOU
oTdoW TapaTAnaloy Tols Aێyoval, TemAavy-
pévov d€ THY TV OPParpov Evvotay UT TOD
eye, ws weTewaber.
1 +> added by Kayser.
* On the dress of Cyrus the Great, see Xenophon, Cyr.
8. 3. 13: ‘Next after these Cyrus himself upon a chariot
appeared in the gates wearing his tiara upright, a purple
tunic shot with white (no one but the king may wear such
an one), trousers of scarlet dye about his legs and a mantle
(kandys) all of purple. He had also a fillet about his tiara,
and his kinsmen also had the same mark of distinction, and
260
BOOK II. 31
broidered ;1 but he should be praised for the gold
which he has painted as threads skilfully interwoven
in the cloth and preserving the design to which it
has been constrained, and, by Zeus, for the faces of
the eunuchs. The palace court must also be of
gold—indeed, it seems not to be a painting at all;
for it is so painted as to seem to be a real building—
we catch the fragrance of beth frankincense and
myrrh—for the barbarians use these to pollute the
freedom of the air; and let us infer that one spear-
man is talking to another about the Greek, mar-
velling at him from a vague knowledge of his great
achievements. For I think that Themistocles the
son of Neocles has come from Athens to Babylon
after the immortal victory at Salamis because he is
at a loss to know where in Greece he would be
safe, and that he is conversing with the king about
the services which he rendered to Xerxes while in
command of the Greek forces. He is not perturbed
at all by his Median surroundings, but is as bold
as though he stood on the Athenian bema; and this
language he speaks is not ours, but Themistocles is
using the Median tongue, which he took the pains
to acquire there.? If you doubt this, look at his
hearers, how their eyes indicate that they under-
stand him easily, and look also at Themistocles, the
posture of whose head is like that of one speaking,
but note that there is hesitancy in the thoughtful
expression of the eyes, due to his speaking a new
language recently learned.
they retain it even now. His hands he kept outside his
sleeves.” Trans. Miller, L.C.L.
2 Cf. Plutarch, Them. 126D, 7yv Mepoida yA@tTav azo-
xpwrrws expabaw evervyxave Baowrct dv’ avtod.
261
PHILOSTRATUS : IMAGINES
AB’ TAAATSTPA
(1) “O pev x@pos ’Apxadia, To KaddLoTOV
ox , / \ ? / e \ ,
25’Apxadias Kai © padtata o LZevs yaiper—
"Orvutiav avto ovouafoyev—aOrov Sé ovTw
Tans ovdé Tod Tadaiew Eépws, adr €oTat.
IlaXatotpa yap 1% ‘Epyod nBynoaca viv év
’ / / e \ id “ /
Apxadta madnv evpnKe, Kal 7 Yh Xalper tras
A e / b] \ / \ /
30 TO evpHuaTi, EmrELd7) TLONpOsS meV TrONEMLTTNPLOS
évaoTroveos atroKxeiceTat Tols avOpwTos, aTadia
\ eQ/ / / \ > a
d€ dim otpatotédwyv So0fer Kal aywviovvTac
387 K. yuuvot. (2) Ta pév 67 Tadaicpata tratoia.
TAaUTL yap ayépwxa oKipTa rept THY LlaXaiotpav
GdXro én’ addAdXw és ad’Tiy AvyifovTa, ein O av
A. \ \ ce ’ > / e 4 | Rls: | xX
ynyevy’ bnol yap v7’ avdpeias 1) Kopn pnt av
5 ynpacbai Tw éxodoa pnt av Texely. StatrépuKe
dé at adAndNOV Ta Tadaicpuata! KpdtLoTOY yap
To Evynupévoy TH TvyEN.”
(3) To 8€ eido0s THs IlaXaiotpas, et wev épnBo
, / / yy > A , / /
eleatolto, Kopn éaTal, et d€ els KOpnY AapBa-
1 Schenkl and Benndorf think that something has been
lost from the text after maAalouara—an enumeration of the
kinds of wrestling ending with the pancratium, a combina-
tion of wrestling and boxing (Plato; Rep. i. 338c).
2 muvyun Kayser: mdAn.
1 Pelops, near whose tomb the Olympic games were cele-
brated, seems to have been originally a deity of the pre-
Dorian population of Arcadia and Pisa ; in the earliest form
of the legend he was the son of Hermes, the autochthonic
262
BOOK ILI. 32
32. PALAESTRA
The place is Arcadia,! the most beautiful part of
Arcadia and that in which Zeus takes most delight
—we call it Olympia—and as yet there is no prize
for wrestling nor even any love of wrestling, but
there will be. For Palaestra, the daughter of
Hermes, who has just come to womanhood in
Arcadia, has discovered the art, and the earth seems
to rejoice at the discovery, since iron as an instru-
ment of war will be laid aside by men during the
truce, and the stadium will seem to them more
delightful than armed camps, and with naked bodies
they will contend with each other. The kinds of
wrestling are represented as children. For they leap
sportively around Palaestra, bending towards her in
one wrestler’s posture after another; and they may
be sprung from the earth, for the maiden shows by her
manly aspect that she would neither marry any man
willingly nor bear children. The kinds of wrestling
differ from one another;? indeed, the best is the
one combined with boxing.®
The figure of Palaestra,* if it be compared with a
boy, will be that of a girl; but if it be taken fora
god of Arcadia. In locating Olympia in Arcadia rather than
Elis, Philostratus follows the pre-Dorian story of the origin
of the Olympic games.
2 See critical note.
3 The reference seems to be to the pancratium ; see critical
note.
4 Fréhner (Gaz, arch. XIV, 1889, p. 56) published a Roman
terracotta vase with medallions, in which are depicted
Schoeneus, Atalanta with an apple, the victorious Hippo-
medon carrying a palm branch, and Palaestra, a seated
young woman nude to the waist and carrying a palm
branch (Fig. 25, p. 265).
263
PHILOSTRATUS : IMAGINES
10 vorto, épnBos Soke. Koun Te yap oon pnd
’ / v bd , an ” »'
avaThéxecPatr dupa Te aupotépw TO HOE Kal
, \ / \ > , e a) \ ,
oppus ola Kal EpwvTw@Y UTEpopay Kal TradaLov-
tov’ dnol yap mpos audw ta EOvn éppwaabar
a »>OQ7? KN / rn rn
palay Te ovd av TAaXalovta Oiyeiy TLva, TOTOUTOV
Ss A tal al /
15 avTH Tepleivar THs TéxXvNS. Kal avTol b€ ot
na € a
pafol uixpa THS opuns Tapadaivovow watrep ev
pelpakiw atrar@, OnrAV Te érraivel ovdEev, GOEV
ovde AevKwAEvOS Oéder Eivat, ovdée Tas Apuddas
rf e »\ al
ETALVELV EOLKEV, OTL ANEUKAIVOVGLY EaUTAS €v Tals
20 oxtais, aAXa Tov “Hoy ate Koidnv ‘ApKadiav
bo
Or
’ a > a la) e ’ - 7 ’ ,
oikovaa aitet ypOua, o 8 olov avOos Te étayet
1TH Kal powwitTEer THY KOpHV peTpla TH eldrn.t
abth Kal jv Kopnv petpia TH etry.
a lal \ /
(4) KafjcPar 6é, trai, THY KOpny Tavaodov Tt
a / “ a \ a / e
Tov Cwypapou' melatar yap Tots KaOnpévors ai
\ \ \ An Q > as? e a“ A
oKlal Kal TO KAOHGVaL avTH” ikavas EeVaXNMOY,
la c \ an
TMpatter O€ TovUTO Kat oO Oaddos Ths €Xatas ev
nr an / > / / \ \
yULV@ TO KOATI@O. aotaleTat O€ TOU TO huTOV
cr ¢ , \
tovto » IlaXatotpa, érerd) TaN TE Apyyer Kal
a Yi
Yyalpovow avT@ Tavu avOpwrot.
1 eiAn Heringa and Reiske: 15n.
2 ait Kayser: aitijs or avrots.
1 Cf. p. 263, note 4.
264
BOOK II. 32
girl, it will seem to be a boy. For her hair is too
short even to be twisted into a knot; the eye might
be that of either sex ; and the brow indicates disdain
for both lovers and wrestlers ; for she claims that she
is able to resist
both the one
and the other,
and that not
even ina wrest-
ling bout could
anyone’ touch
her breasts, so
much does she
excel in the
art. And the
breasts them-
selves, as in a
boy of tender
years, show but
slight signs of
beginning full-
ness. She cares for nothing feminine ; hence she
does not even wish to have white arms, and
apparently even disapproves of the Dryads because
they stay in the shade to keep their skin fair; nay, as
one who lives in the vales of Arcadia, she begs Helius
for colour, and he brings it to her like a flower and
reddens the girl with moderate heat. It shows
the skill of the painter, my boy, that the maiden is
sitting, for there are most shadows on seated figures,
and the seated position is distinctly becoming to
her; the branch of olive on her bare bosom is also
becoming to her. Palaestra apparently delights in
this tree, since its oil is useful in wrestling and men
find great pleasure in it.
265
30
388 K.
PHILOSTRATUS : IMAGINES
Ay AQAQNH
(1) “H pev ypuvoh médera &7 eri tis Spvos év
Aoylots » copy Kal ypnopmoil, ods éx Ards ava-
péyyetat, Kettat & obTos 6 TéNEKUS, OV MEOHKED
‘EXXOs 0 Sputopos, ad’ ob Kata Awdevny oi ‘EXXol,
oTéupata O avamtat THs Spvos, emrerdn Kabatrep
0 IlvO0t tpirous ypnopods éexdhéper. gota 8 o
pev €pécOar Te avTnv, o dé Ovaat, Kal xYopos
e \ a a nr x PS lal ,’ vA
5 ovtoal €x OnBav teptectadat Thy SpvY oOlKELOV-
10
pevot THY codiav Tov dévdpou, oipmar Sé Kal THY
Ypuahy opviv éxel rarevOnvar. (2) Oi & vrodh-
tat Tov Atos, ods aviTrToTrodds TE Kal Yamatevvas
éyvo “Opunpos, avtoayédioi Tivés elo Kal ovTm
KaTecKevac évot Tov Biov, Pact de und av KaTa-
axevdcacbat' tov yap Ala yalpev odio,
émevon aomalovtat TO avTodev. epeis yap
oUTOL, Kal O pev TOD épérar KUpLos, Oo Sé Tod
katevEacOa, Tov! 8 és? romava yp TpaTTEY,
Tov 6€ és ovAAaS Kal Kava, 6 S€ Ove TL, 0 & ov
mapicer éTépw Selpat TO lepetov. évTavOa Se
(éperat Awdavides ev otpudv@ TE Kal lep@ TO
1 roy Reiske and Kayser: 7T@. 2 8 és Schenkl: 6e.
1 Dodona was the seat of the oracle of Zeus, reputed to be
the oldest oracle in Greece (cf. Zliad 16. 233) ; it was situated
in Epirus near the modern Janina. Hesiod places it in
Hellopia (Cat. of Women and Eoiae, 97): ‘* A rich land on the
border of which is built a city, Dodona ; and Zeus loved it
and (appointed) it to be his oracle, reverenced by men... «
And they (the doves) lived in the hollow of an oak (pnyod).”’
Trans. Evelyn-White, L.C.L. Herodotus (II, 55) speaks of
the holy doves who first called attention to its mantic power,
The oracles were answers to questions, in the form of a
266
BOOK II. 33
30. DODONA?
Here is the golden dove still on the oak, wise in
her sayings; here are oracles which are utterances
of Zeus; here lies the axe abandoned by the tree-
cutter Hellus, from whom are descended the Helloi
of Dodona; and fillets are attached to the oak, for
like the Pythian tripod it utters oracles. One comes
to ask it a question and another to sacrifice, while
yonder band from Thebes stands about the oak,
claiming as their own the wisdom of the tree; and
I think the golden bird has been caught there? by
decoy. The interpreters of Zeus, whom Homer
knew as “men with unwashen feet that couch on
the ground,”? are a folk that live from hand to
mouth and have as yet acquired no substance, and
they assert that they will never do so, since they
think they enjoy the favour of Zeus because they are
content with a picked-up livelihood. For these are
priests; and one is charged with hanging the gar-
lands, one with uttering the prayers, a third must
attend to the sacrificial cakes, and another to the
barley-grains and the basket, another makes a sacri-
fice, and another will permit no one else to flay the
victim. And here are Dodonaean priestesses of
rustling of the oak’s branches. (Cf. supra, Description 15,
p- 187.) A spring at its foot inspired those who drank of it.
The priests, called by Homer ‘‘ Selloi” (here Helloi), found
favour by depending wholly on Zeus for their food ; the fact
that they slept on the ground suggests contact with the god
in sleep (incubatio) as a means of learning the divine will.
2 This would naturally mean in Thebes. The allusion is
uncertain. Benndorf thought that the reference was to
Egypt, where, according to Aelian, De Nat. An. 6. 38,
birds are brought down from the sky by a kind of magic.
3 Quoted from Jliad 16. 235.
267
389 K
PHILOSTRATUS : IMAGINES
eldet' €olxacr yap Oupliapwatwyv Te avatvely Kal
crovday. (3) Kai ro Xwptov de avTo Ouddes, @
20 mal, yeypamrat Kal ours [EaTOV, XarKn TE
"Hy €y auT@ TETL[NTAL, iy oma opas €TTL-
Baddovoar THY Xelpa TO TTOMATE, eel
XarKelov AVEKELTO TO Au kata Awd@vny 7X 0dv
eS TONV THS nmEepas Kal, “EXPL NABoOLTO TLS aVTOD,
25 11) TLWTOV.
AO = OPAT
(1) To péev eri tats “Opatrs eivar Tas Tob ovpavod
TUNAS ‘Oppo ap@mev eldévat Kal EXEW—ELKOS
yap Tou avTov Evyyever Oar tats “Opais, ote Tov
aibepa éXaye—rouTl 6€ TO otrovdalomevov vUTO
30 THS ypapis Kal avO pwr EupPanreiv paszov. at
yap 67 “Opat adtois elOeo eS Thy yy apiKo-
pevar EvvaTtovoar Tas xXelpas éviavTov oipat
EXiTTOVTL Kal 1) y} Goh? OvTA Evhopel a’Tais Ta
é€piautov twavta. (2) “M7 ateite thy vaxwOov
) Ta poda” ovK épW TPdS Tas HpLVas* Ud yap
Tov Tateta0at noiw fhaivetar Kal avT@Y TL TOV
5 Opa j6Lov mel. Kal “1 éuBaivere atrarais
Tals apovpars’ OUK €p@ 7 pos Tas XElpeplous
apa TO yap mareta bar avTas v7ro Tav “Opav
Toinoer actaxuy. al EavOai d€ avtat Baivovow
1 Many attempts have been made to emend fd:ov mver: vh
A? avarvet Jacobs, vy Aia mvet Westermann (‘‘exhale, by
Zeus, a fragrance of the Horae themselves”).
1 The Seasons.
* Cf. Iliad, 5. 749: ‘The gates of Heaven which the
Horae had in their keeping, to whom are entrusted great
268
BOOK II. 34
stiff and solemn appearance, who seem to breathe
out the odour of incense and libations. The very
place, my boy, is painted as fragrant with incense
and replete with the divine voice ; and in it honour
is paid to a bronze Echo, whom I think you see
placing her hand upon her lips, since a bronze
vessel has been dedicated to Zeus at Dodona, that
resounds most of the day and is not silent till some-
one takes hold of it.
34. HORAE
That the gates of heaven are in charge of the
Horae! we may leave to the special knowledge and
prerogative of Homer,? for very likely he became an
intimate of the Horae when he inherited the skies ;
but the subject that is here treated in the painting
is easy for a man? to understand. For the Horae,
coming to earth in their own proper forms, with
clasped hands are dancing the year through its
course, I think, and the Earth in her wisdom brings
forth for them all the fruits of the year. “ Tread
not on the hyacinth or the rose”’ I shall not say to
the Horae of the spring-time ; for when trodden on
they seem sweeter and exhale a sweeter fragrance
than the Horae themselves. “Walk not on the
ploughed fields when soft” I shall not say to the
Horae of the winter-time ; for if they are trodden on
by the Horae they will produce the ear of grain.
And the golden-haired Horae yonder are walking on
heaven and Olympus, whether to throw open the great cloud
or shut it to.” Trans. Murray.
3 It is implied both here and in the phrase ‘‘ inherited the
skies ” that Homer became a god after his death ; and works
of ancient art depict his apotheosis.
269
PHILOSTRATUS : IMAGINES
err THS TOV aa Taxvov KOMNS, OU pV ws Kraoat
10 7) Kapryat, GAN’ eialy obTw TE ehadpat, @s poe
ETNLVELY TO Ayvov. ‘ xa plev UMLOV, @ GpuTenot, TO
AaBec Gat TOV oTr@pwav eOédewv’ pate yap mou
tov “Opov, ote buds épyafovtar Karas Kal
nOvolWous.
15 (3) Tauri fev ovv Olov Yyewpytat THS ypadis,
avtat 6 al “Opat para noetae Kal Satpoviou
TéeyyNs. olov pev yap avr av TO adew, oia 6€ 1
divn Tod KUKXOU Kal TO KATOTLY juiv pndemeas
daives Pat vm Tou Tacas otov epxerOar,
20 Bpaxtov b€ a avo Kal edevdepia apéTou KOuNS Kal
Tupera Pepper) UTrO Tov Spopmov Kal oi od0arpot
ovyXopevovTes. TaXa TL Kalb pvdoroyijaat
TvyYwpovay vTrep TOU Corypagou' Soxel yap mou
Xopevovaars Tats “Opass evTuX@v cevoOhvar UT’
25 avTov els Thy TéxvnV, lows aiviTTOMevwv TOV
Jew, OTL Yp7 TLV Wpa ypadety.
1 7d Anuv Schenkl: 7G 7HAlw or 7G Anlg.
1 Cf. Iliad, 20.227: ‘* Would course over the topmost ears
of ripened corn and break them not” (said of the mares of
Krichthonius). Trans. Murray.
* The word is taken from Homer, Jliad, 2. 148.
3 The interpretation of Benndorf, who compares supra p.
302, 4K, and p. 311, 23. The painting furnishes the writer
with fruits to gather as the fields yield a harvest to the
farmer.
BOOK II. 34
the spikes of the ears, but not so as to break or bend
them ;! nay, they are so light that they do not
even sway the stalks. It is charming of you, O
grape-vines, that ye try to lay hold of the Horae of
the autumn-tide ; for you doubtless love the Horae
because they make you fair and wine-sweet.?
Now these are our harvestings, so to speak, from
the painting; but as for the Horae themselves,
they are very charming and of marvellous art. How
they sing, and how they whirl in the dance! Note
too the fact that the back of none of them is turned to
us, because they all seem to come towards us; and
note the raised arm, the freedom of flying hair, the
cheek warm from the running, and the eyes that join
in the dance. Perhaps they permit us to weave a
tale about the painter; for it seems to me that he,
falling in with the Horae as they danced, was caught
up by them into their dance, the goddesses perhaps
thus intimating that grace (hora) must attend his
painting.*
According to Benndorf, whose interpretation is here
followed, ce:cOjva: (for évoerc9jva:) seems to mean that one
of the surrounding spectators has been caught up by the
dancers and made to share their dance. Benndorf interprets
in this way a relief found on the Athenian Acropolis (pub-
lished by Lechat, Bull. corr. hell, xiii. Pl. XIV, p. 467 f.),
where Hermes with a flute is leading the dance of three
Charites, the third of whom is initiating a small figure, 7..
not a divine being but a man, into their dance. Lechat calls
attention to the essential likeness of Charites, Horae, and
Nymphs, but names these figures Charites because the latter
were worshipped in mysteries ‘‘in front of the entrance to
the Acropolis ” (Paus. 9. 35. 3).
271
ME Os Evade WS
THE YOUNGER
IMAGINES
WITH AN ENGLISH TRANSLATION BY
ARTHUR FAIRBANKS
27a
TAOAIE ee
an Alea
INTRODUCTION
PHILOSTRATUS THE YOUNGER
In his preface to this, the second, series of Jmagines
the younger Philostratus states his intention to
“vie with earlier writers”’ in his description of
paintings. Specifically he is following in the steps
of his grandfather, the author of the earlier series
of /magines, though we find nothing like slavish
imitation of that work. His high regard for
the older Philostratus is stated in the eulogy of
his preface; it is indicated by the frequent use
of phrases borrowed from his predecessor, inten-
tionally or unintentionally ; and it is clearly shown
by his choice of subjects. While he also frequently
quotes from classic authors, the phrases taken from
the older Philostratus number rather more than
phrases or quotations from all other authors put
together. As to his choice of subjects, ten of his
seventeen descriptions deal with themes suggested
by his predecessor.
PHILOSTRATUS THE YOUNGER. PHILOSTRATUS THE ELDER.
3. Hunters resting. I. 28. Preparation for and
progress of the hunt.
5. Heracles in swaddling I. 26. Hermes in swaddling
clothes. clothes.
6. Music of Orpheus; ani- I. 10. Musie of Amphion ;
mals and trees. stones of Thebes.
275
, 2
INTRODUCTION
PHILOSTRATUS THE YOUNGER. PHILOSTRATUS THE ELDER.
9. Pelops, Hippodameia and I. 17. Hippodameia, Pelops
Oenomaiis. and Oenomaiis.
10. Pyrrhus and Eurypylus. I. 7. Memnonand Achilles.
11. Departure of the Argo. II. 15. Arrival of the Argo.
12. Hesione freed. I. 29. Andromeda freed.
13. Sophocles and bees. I]. 12. Pindar and bees.
14. Hyacinthus before death. I. 24. Hyacinthus after
death.
15. Meleager and the Caly- I. 28. Boar hunt.
donian boar.
None of them is a copy of the material he found,
but all treat the same or similar themes in a way
that invites comparison.
The most striking difference from his predecessor
lies in the fact that the later writer makes far less
effort for rhetorical effect. The sophist, the lecturer
for display, has retreated into the background. We
find none of the “curious knowledge”’ that was
scattered through the works of his grandfather ;
the studied simplicity is no longer noticeable ; the
“boy”’ and the effort to show a_ conversational
manner rarely appear. In general the description
is much more definite, as though he wished to
make clear the particular pictures he is describing,
although some of the descriptions confuse the story
and the picture (cf. la, Achilles on Scyrus), sometimes
confusing elements are introduced into the picture,!
and sometimes two or three scenes are described
in the same picture without indicating the transition
from one to another.2. Moreover, he takes satis-
1 Three figures representing the river in the contest with
Heracles, in No. 4; three goddesses, not Athena alone, seek
to bribe Eros to help Jason, in No. 8.
* Eros with Ganymede, and Eros clinging to the skirts of
Aphrodite, in No. 8; the single combat of Pyrrhus, and the
outcome of the combat, in No. 10.
276
INTRODUCTION
faction in filling out the details of the description
(ef. Nos. 5; 15),1 when the elder Philostratus de-
scribed only the main points as illustrating the story
of the painting.
While the elder Philostratus constantly stressed
the illusion of reality in the paintings, perhaps as
an inherited rhetorical device, his grandson rarely
mentions it. He does speak of the hands and feet
and garment of Orpheus as in motion (No. 6), of
reflections on the ball offered to Eros when it is
tossed into the air (No. 8, 5), of the rapid motion
of Aeétes’ chariot (No. 11, 5), and the waves made
by the onrush of the monster that attacked Hesione
(No. 12, 4), but he does not suggest that the
painted object could be confused with the object
itself. His figures of speech are relatively few.
Under the spell of Orpheus’ music the trees weave
their branches to make a music-hall for him (No.
6, 2), the tail of the monster attacking Hesione
is like the sail of a ship (No. 12, 4), the legs of
Meleager are firmly knit, “ good guardians when
he fights in the hand-to-hand contest” (No. 15, 5).
He makes less use of literary allusions than does his
predecessor, though his method of handling them
is similar.2, His one excursion into literature is his
1 References to the descriptions of the younger Philo-
stratus are here given by the number (or number and
section) of the description.
2 It should be noted, however, that the range of literary
allusion is neither so wide nor so free as in the case of
the older Philostratus. Nearly half the allusions are to the
Imagines or the Heroica or the Lives of his grandfather ; as
the Shield of Achilles is based on Homer, so the account
of the babe Heracles is based on Pindar (No. 5), and the
account of Medea (Nos. 7, 8) on Apollonius of Rhodes; and
217
INTRODUCTION
somewhat dull rendering of the scenes on the Shield
of Achilles (No, 10, 5f.); this may be based on a
painting or relief reproducing Homer, though the
evidence for such a view is not convincing; but
it is certainly written for readers who know well
the Homeric passage. He does not dwell on the
drawing of the pictures, on symmetry or proportion,
or on special devices used by the painter; and his
allusions to colour do not suggest that colour
interested him as an important factor in painting.
In one instance (No. 3, 2) he follows the method
of his grandfather (e.g. Phil. Sen. I. 14, 3) in de-
scribing the beauty of a grove, but the beauty of
nature does not seem to appeal to him personally.
Perhaps the most interesting example of his
relation to the older Philostratus is found in his
panegyric of Sophocles (No. 13 infra). Because the
elder Philostratus wrote a panegyric of Pindar in the
form of a description of a picture, the younger writes
a panegyric of Sophocles in the same manner,
Nevertheless there is a striking difference in that
the Pindar is hardly a picture, while the Sophocles
takes clear form as a picture. The only pictorial
elements in the Pindar! are the bees and a statue
of Rhea before the house of Pindar’s father; the
bees are there, their stings extracted, to apply
their honey to the newborn babe and instil their
1 supra, p. 179.
of the relatively few allusions that remain, his references to
the Greek tragedians are curiously, with one exception,
references to fragments preserved in other literature (four
times) and to the opening lines of plays by Sophocles or
Euripides (six times). One cannot attribute to him the wide,
intimate acquaintance with classical literature which was
shown by his grandfather.
278
INTRODUCTION
sweetness into him as he lies on laurel branches in-
side the house, but the babe is not in the picture ;
and Pan, we are told, will stop his leaping to sing
the odes of Pindar, but apparently Pan is not in
the picture. The Sophocles is no less a panegyric
than the Pindar; bees are flying about anointing
Sophocles with mystic drops of their own dew,
as though they might sting the onlooker; Asclepius
himself will listen to a paean of Sophocles; but
here we are presented with a definite picture of
Sophocles standing modestly before a Muse in the
presence of Asclepius.
This dependence of the younger Philostratus on
his grandfather, which is most evident in his choice
of subjects and in particular in the description of the
picture of a poet just described, may well raise the
question whether the later author is describing real
pictures or imagining pictures to suit his literary
purpose. In spite of the logical and often detailed
descriptions, the latter view seems perhaps the more
reasonable. None the less it may be said of him
as of his predecessor, that his paintings are so
genuinely conceived in the spirit of the age that
they may be treated as sound data for the student of
late Greek painting.
In his Introduction the younger Philostratus, after
his eulogy of his grandfather, outlines succinctly a
theory of pictorial art which may also be regarded
as an expression of the thought of his age. It is
the function of painting, we are told (§ 3), to set
forth the character and the inner life of the persons
represented ; (§ 4) to produce the illusion of reality,
that “charming deception” by which men are led
to think that things exist which do not exist;
279
INTRODUCTION
(§ 5) to follow the rules of symmetry and harmonious
relation of parts, which have been laid down by
men of old time; and (§ 6) to present to. the eye
the same play of the imagination which is character-
istic of poetry. Of these several factors which
enter into painting, only one seems to have made
a deep impression on the personality of our author,
namely the delineation of character and inner ex-
perience. The nature of Diomedes and Odysseus
(No. 1), the state of the mind of Marsyas and the
barbarian and Apollo (No, 2), the character of the
different hunters and the thoughts they are ex-
pressing (No. 3), the spiritless and dejected Oeneus
and the frightened blushing Deianeira (No. 4), the
fright of Alemene, the courage and_ intelligent
caution of Amphitryon (No. 5), the love of Medea
and Jason (No. 7), the haughty spirit of Pelops, the
modesty of Hippodameia, and the wildness of
Oenomaus (No. 9), and similar features in later
descriptions, are what the younger Philostratus
chooses to dwell on. For him the art of the painter
consists in the ability to delineate the character,
the thoughts, the intentions, the emotions of the
persons represented. While the older Philostratus
continually stressed the illusion of reality in paint-
ing, his grandson grouped the art of painting with
dramatic literature as forms of art to be judged by
their success in presenting personalities.
280
PHILOSTRATUS
THE YOUNGER
ITPOOIMION
390 K. (1) My adaipopeba tas tTéxvas TO ae a@leo-
Oat dvcavTiBrerTov nyovpevot TO TpecBUTEpOV
und, el T@ TOV TadaLloTépwY TpoEiANTrTAL TL,!
TOUTO on Novy KaTa OUVapL perowpeda OX page
5 edmpeTel TO palupov brroxopeSopevot, aX ém-
Sadopev TO Oacarre: TUXOVTES 14p oKOTTOU
aEtws Ndyou mpagouer, el O€ TH Kal oparjvar
EupP Bain, 70 ryouv emarvovrTas © haivesbar fn-
ody Ta EV EyovTAa EavTols SwHcoper.
10 (2) Te 89 pos tavTi T poavakeK povaTat : éoTrov-
dacrat Tus ypaduxijs epyov exbpaces TOMO
OMMVU LD Te Kal LNT poTaTopL Lav ‘ATTUKOS Tis
yorrns éXovea fur Opa Te TMponymevy Kal
TOVO. TAUTNS KaT ixyn Xwphoae Gehnoavtes
15 avayKny Eo XopueEv T™ po TNS oANs emeBorijs Kal
Tmept Forypapias Tiva dvedOety, @S AV Kal O orvyos
EX THY oixetav UAnv ehappoTToveay Tols UTrO-
KELILEVOLS.
(3) Zwypadias dpa Tov Kal ovK eml ouexpots
20 TO eT UT OEULA* (xen yap Tov op0as Tpoora-
TEVTOVTA THS TEXVIS puvow TE avO por etav ev
dueaKxepbar Kal (xavov eival yopatedoat nO av
EvuBora Kal ciwTevtTwy Kal TL meV EV TrapEL@v
1 7, added by Olearius.
> émawvovvtas Reiske, Heyne: ératvotvra.
282
PROOEMIUM
Let us not deprive the arts of their chance to be
kept up for ever, on the ground that we think the
earlier period hard to match; and let us not, just
because we have been anticipated in any undertaking
by some writer of former time, refrain from emulating
his work to the best of our ability, using a specious
pretext with which to gloss over our indolence; but
let us rather challenge our predecessor for, if we
attain our goal, we shall accomplish something worth
while; but if at any point we fail, at least we shall
do ourselves the credit of showing that we strive for
the noble ends we praise.
Why have I made this prelude? A certain de-
scription of works in the field of painting was written
with much learning by one whose name I bear, my
mother’s father, in very pure Attic Greek and with
extreme beauty and force. Desiring to follow in
his footsteps we felt obliged before setting out on
the task to discourse somewhat on the art of painting,
in order that our discussion may have its own
matter in harmony with what is proposed.
Most noble is the art of painting! and concerned
with not insignificant matters. For he who is to be
a true master of the art must have a good knowledge
of human nature, he must be able to discern the
signs of men’s character even when they are silent,
and what is revealed in the state of the cheeks and
1 /“t. ** figure-painting.”
oS ro)
283
25
391 K.
Or
10
20
PHILOSTRATUS THE YOUNGER
KataoTtacel, TL O€ ev OPOarpav Kpacel, Ti dé év
odpvwv Oe Kettar kal Evverovte eitreiv oTOca
és yvouny Telver. TovTwy O€ ixavas Eyov Evv-
aLpNTEL TAVTA KAL AplaTa UToKpWweitaL 7 Kelp
TO OlKelov ExadoToU Opaua, MeuNVOTAa EL TUYXOL 7)
opytlomevoyv 7) evvouv %) Yalpovta % opuntiy 7)
épavTa, kal kabdara£t TO dppod.ov ef EéxdoT@
ypawer. (4) “Héeia dé nai 4 év avt@ atratn Kal
ovoev dverdos hépovea: TO yap TOLs OVK OVALY @s
oval Tpocectavar Kai ayecOat Um’ avTaY, ws
eivat voutfe, ap ov BaBos ovdéy, THs Ov ruxa-
yoynoat ixavoy Kat aitias éxtés ;
(5) Aoxotdor 6é jot tradatoi te Kat codol
avopes ToAXa UTrep Evypetpias THs ev ypadicy
yparvrat, olov vomous tiOévtes THS ExdoToU Tov
MEA@Y avadoyias Ms OUK évOY THS KaT &vvotay
KLWITEWS ETLTVYELY AplaTa jun Elaw TOD ék
pvcews ETPOV THS Appovias KOVENS: TO yap
expurov Kat Ew pétpou ovK atobéxerOar v-
cews op0as éxovons kivnow. (6) XKxorodvte 6é
Kat Evyyéveray Tia Tpos TounTiKnY Evyew 1
TEXYN EUplaKETaL Kal KoLVv)n TIS ado elvat
davtacia. Oewv Te yap Tapovaiay oi Tontal
és THY EAUTOV OKHNVHY égayovTal Kal TaV’TAa boa
v / / /
OYKOU KAL DEMVOTHTOS Kal Wuyaywylas EyeTAL,
* Plutarch (Jor. 348 C) discusses the ‘‘ deception ” inherent
in the art of the drama, in particular tragedy, quoting Gorgias
to the effect that the poet who deceives is wiser than the one
284
PROOEMIUM
the expression of the eyes and the character of the
eyebrows and, to put the matter briefly, whatever has
to do with the mind. If proficient in these matters
he will grasp every trait and his hand will successfully
interpret the individual story of each person—that a
man is insane, perhaps, or angry, or thoughtful, or
happy, or impulsive, or in love, and, in a word, will
paint in each case the appropriate traits. And the
deception? inherent in his work is pleasurable and
involves no reproach ; for to confront objects which
do not exist as though they existed and to be
influenced by them, to believe that they do exist, is
not this, since no harm can come of it, a suitable and
irreproachable means of providing entertainment ?
Learned men of olden times have written much, I
believe, about symmetry in painting, laying down
laws, as it were, about the proper relation of each
part of the figure to the other parts, as though it
were impossible for an artist to express successfully
the emotions of the mind, unless the body’s harmony
falls within the measurements prescribed by nature ;
for the figure that is abnormal and that exceeds
these measurements cannot, so they claim, express
the emotions of a rightly constituted being. If one
reflects upon the matter, however, one finds that the
art of painting has a certain kinship with poetry, and
that an element of imagination is common to both,
For instance, the poets introduce the gods upon
their stage as actually present, and with them all
the accessories that make for dignity and grandeur
and power to charm the mind; and so in like manner
who does not ; and that the hearer who is deceived is wiser
than the one who is not, in that he is easily moved by his
pleasure in what he hears.
285
25
30
PHILOSTRATUS THE YOUNGER
ypapexy TE omolws, a eyew ol TomTal €xXovot,
TavT €v TO ypampare onpaivovod.
(7) Kat ri ypy Aéyerv Tept TOV apugndws
elpnLeveov TOAXOLS 7) TAELOVAa AeyovTa Ooxeiv eS
eye@pea iaote aca Tod TPayHatos ; apKei
yap Kal TavTa SeLKVUVaL TO omovdalouevoy 7 npty
@S OUK am oBeBrjaerat Tol, él Kat" Kopo7)
o [LK pa Ypappace yap 7 pooTUX@Y XELpos a-
creas, ev ois apyaiar mpakes ove apotows
eXoveat Hoay, ou nglooa TLwoT mapenGeiv
Tavra. GAN’ iv Hpi pn) ed’ Evos TO ypanpa
T poiot, EOTW TLS UTOKELLEVOS, 7 pos ov xp? Ta
Kal éxaoTa dtapOpovv, iv ovTw Kal Oo OYoS TO
apmoTTov exoL.
a AXIAAETS EN SKTPOI
(1) A KOMOTA 7H) oxo jpwivy—opas yap
TOU TID UTO TH Oper aTuppav To loos Kal
eotadpévny Kvave—SKidpos, © Tai, vioos, iy 6
Getos LoporrAs dvewodea KANEL. err S avri
Kal mTopbos eddas €v Taiv YeEpotv Kal drrehou
K\Hua. oO 8 vo TOls TpoTroaL TOD dpous TrUp-
1 ¢i kal Jacobs: 4}.
1 Cf. Plutarch (Mor. 748 A), who discusses the relation of
poetry, dancing, and painting. ‘‘For dancing is silent
poetry, and on the other hand poetry is a dance of speech.
. It would seem that as poetry resembles the use of
colour in painting, so dancing resembles the lines by which
figures are defined.”
“2 Cf. the same sentiment, Od. 12, 451 f.
286
ACHILLES ‘ON ‘SCYROS. ‘a
does the art of painting, indicating in the lines of
the figures what the poets are able to describe in
words.
And yet why need I say what has been admirably
said by many,? or by saying more give the impres-
sion that I am undertaking an encomium of painting ?
For even these words, few indeed though they be,
suffice to show that our present effort will not have
been wasted. For when I have met with paintings
by a clever hand, in which ancient deeds were treated
not without refinement, I have not thought it right
to pass them by in silence. But in order that our book
may not proceed on one foot,? let it be assumed that
there is a person present to whom the details are to
be described, that thus the discussion itself may have
its proper form.
1. ACHILLES ON SCYROS4
The heroine crowned with reeds—for doubtless you
see the female figure at the foot of the mountain,
sturdy of form and dressed in blue—is the island of
Seyros, my boy, which the divine Sophocles calls
“ wind-swept.” > She has a branch of olive in her
hands and a spray of vine. And the tower in the
foot-hills of the mountain—that is the place where the
3 7.e., as a discourse of one person.
4 While the Homeric poems tell nothing of Achilles’ con-
nection with Scyros, later writers say that Peleus sent him
there to king Lycomedes at the age of nine in order to keep
him out of the expedition against Troy. There he was
brought up in maiden’s garments with the daughters of
Lycomedes, till Odysseus and Diomedes (or Ajax or Phoenix
and Nestor) were sent at the bidding of Calchas the prophet
to fetch him. The scene was a favourite one with Greek
painters from Polygnotus on.
* Soph. Frag. 539 N.
287
PHILOSTRATUS THE YOUNGER
yos, wap0evevovta évtad0a ai tod Avxopndous
Kkopat Evy TH doKovcn Tapa @Béridos Heew. (2)
To yap tot Moipav emi tH radi Soypa Tod
10 matpos Nnpéws 7 Oétis padodoa Kat ws er
aupw TeTpwuevov avT@ ein 7) Env areas 1)
evKred ryevomevov TaXlaTa TeheuTay, atrobeTos
aura 0 tats Evy tats Aveourdous Juyatpacty
év XKvUpo KPUTTETAL, Kopn bev eivat Sox@V Tals
15 arras, plav dé aut av THY m™ peo Butatny (Ebp
aTroppnt © yvovs port, Kal Tpowwy ye és TOKOU
@pav 0 XpoVvos Tov Ilvppov EKOWCEL. (3) "ANN
ovux evtav0a Tadra. evp@v dé _Tpo TOU Tupryou
—émiTndeios yap oO TOTS THIS vnoov Kopats
20 avdav apOoviay dSovvai—kKat opds ye, @s aAH
adNayooe atTrocKiévavTat Ta avon atTroKEipovoaL.
KadXOS MEV ODY AauNXaVOY aTAaTaV, GAN al mev
aTtexvas €s Ondevav wpav aroKkdivovat Borais
Te Ob0arXpav ara éxBXeETTOVAaLS Kal TapELas
25 avOer Kal TH Tpos Exacta opyH ED para TO
Onrv er€yxovoa, Hdl dé 1) avaxaitifovca THv
KOLNV Kal Brooupa ou aBpornte auTixa, para
deheyyxOjoeTau THY pow Kal To Evy avayKy
éemimaa tov exddoa TOV “AXUAREa exdet Feu Aovyou
30 yap és tovs “EXXnvas éumecovtos Tov THs
@éridos aroppytov atéAXeTar Aroundns Evy
‘Odvacet eri tiv Xkvpov dueréyEovtes, Orn
TaUTA EXEL.
393 K. (4) “Opds dé ape TOV meV Kal BeBvOto pevov
Tv TOV OfGarpav axTiva d1a Tavoupylay oipat
1 Cf. Iliad 9. 410f. ‘* Thetis telleth me that twofold
fates are bearing me towards the doom of death: if I abide
288
ACHILLES ON SCYROS. 1
daughters of Lycomedes tollow their maidenly pur-
suits with the seeming daughter of Thetis. For when
Thetis learned from her father Nereus the decree of
the Fates about her son—that one of two things had
been allotted to him, either to live ingloriously or
becoming glorious to die very soon1—her son was
put away among the daughters of Lycomedes on
Seyros and now lives hidden there; to the other
girls he seems to be a girl, but one of them, the
eldest, he has known in secret love, and her time is
approaching when she will bring forth Pyrrhus. But
this is not in the picture. There is a meadow before
the tower, for this part of the island is a garden
made to produce flowers in abundance for the
maidens, and you see them scattered here and
there plucking the flowers. All are surpassingly
beautiful, but while the others incline to a strictly
feminine beauty, proving indisputably their feminine
nature by the frank glances of their eyes and the
bloom of their cheeks and their vivacity in all they
do, yet yonder girl who is tossing back her tresses,
grim of aspect along with delicate grace, will soon
have her sex betrayed, and slipping off the character
she has been forced to assume will reveal Achilles.
For as the rumour of Thetis’ secret spreads among
the Greeks, Diomedes in company with Odysseus
sets forth to Scyros to ascertain the truth of this story.
You see them both, one keeping the glance of his
eyes * sunk low by reason, I think, of his craftiness
here and war about the city of the Trojans, then lost is my
home return, but my renown shall be imperishable ; but if I
return home . . . lost then is my glorious renown, yet shall
my life long endure.” Trans. Murray, L.C.L.
2 For the phrase thy tay dp0aduay axtiva, cf. the elder
Phil. Vit. Soph. 61, 3, and Jmag. 311, 18K.
289
5
10
15
20
PHILOSTRATUS THE YOUNGER
Kal TO d1a0 peiv Te cel, 0 d€ TOD Tudéws Eudpov
ev, ETOLwos dé THY yveuny Kal TO dpactnpiov
Tporelvav. KaToTw d€ avTa@v Kal o OTH oahmeyye
onuatvwv tL 61 BovreTar Kal TL TO OOS THS
ypadns ; (5) Sodos dv ’Odvaceds Kai ixavos
T@OV adydwv Onpatyns Tpos Tov TOY Onpwomeveov
éNeyxov pnxavarar Ta viv: pias yap és TOV
Neruoava Taddpous TE Kal 60a Tratol _kopaus és
Tatotay eum peTrh) Kat TavoT May, at (pev ovv
Avxopundous és TO oixetov Xwpodawy, 0 6é Tod
IInréws Tadapots ev Kal KEpKiol Xatpeww ever
TApPANLT@V aura Tals Kopaes 700; és dé TH
TavoTAlav Opunoas yuuvovTal Te TO évTED-
Gey * *2
(ho ateoe Door IT¥ppos OUK GY POLKOS éTl
ovo év avXue oppryav, ola Bovkodwv veavieu-
para, aX’ 716m TTpATLOTyS. EoTN jev yap
aKOVTL@ é€mEepelcas EéavTOY Kal aTroBXéTwV €5
THY vadv, eo Ois d€ avT@ porvixis ef @pou
aK pou és THY apiorepav dverdnppern yetpa kat
AevKos UTEp youu XUT@D, TO 6€ Opa avT@
yopyov mév, ovK év opp é, arr’ év dvaBoXats
1 Jacobs saw that the end of this description and the
beginning of the next have been lost.
1 The same phrase is used by the elder Philostratus, V7t,
A poll. II, 20 (62, 24 Sy
2 Cf. Soph. Ajax 2, where the word Onpa@uevoy, ‘ever on
the prowl,” is used by Odysseus.
8’ Pyrrhus (Neoptolemus) was the son of Achilles by
Deidameia, daughter of Lycomedes. Born after the de-
290
PYRRHUS ON SCYROS. 1
and his habit of continual scheming, the other,
Tydeus’ son, prudent, ready in counsel and intent on
the task before him. What does the man behind
them mean, the one who blows the trumpet? and
what is the significance of the painting ?1 Odysseus,
shrewd and an able tracker of secrets,2 devises the
following plan to test what he is tracking out; when
he throws down on the meadow wool-baskets and
objects suited to girls for their play and a suit of
armour, the daughters of Lycomedes turn to objects
suitable to their sex, but the son of Peleus, though
he claims to find pleasure in baskets and weaving-
combs, forthwith leaves these things to the girls, and
rushing to the suit of armour he divests himself of
the feminine attire he has been wearing. . . .
[PYRRHUS ON SCYROS]3
... And Pyrrhus is no longer a country boor
nor yet growing strong amid filth like brawling sons
of herdsmen, but already he is a soldier. For he
stands leaning on a spear and gazing towards the
ship; and he wears a purple mantle brought up
from the tip of the shoulder over to his left arm
and a white tunic that does not reach the knee;
and though his eye is flashing, it is not so much the
eye of a man in full career as of one still holding
parture of Achilles, the boy was brought up by Lycomedes
till, at the bidding of the seer Helenus, Odysseus and
Phoenix came to fetch him to accomplish the capture of
Troy. His victory over Eurypylus is described below (No. 10,
p.325f.). The departure of Pyrrhus from Scyros, his assistance
to Odysseus in securing the bow of Philoctetes, and his
exploits at Troy are scenes frequently depicted on Greek
red-figured vases.
291
u 2
25
30
394 K.
or
10
PHILOSTRATUS THE YOUNGER
ETL KaL TO AayddXEW TH TPLBH Kal avaTuTrOt
Te 1 «yvoun tov év “IXi@ puxpov tatepov.
) KON vOV pev novyalovTos eTLKpe“aTal TO
METOTO, OPunoavTos b€ aTtaKTHae! GuVaTrO-
vevovaa tais ToD Oupod Kivynoeoiv. (2) Ad be
aVACKLIPT@TAL AVETOV aiyes Kal TA ATAKTODYTA
Boveola Kal 7 €v pécots Eppipévn Kopvvyn
aby KadavpoTt Tolovde, @ Tai, Aoyou éyeTat’
axOouevos TH NTPL Kal TO TaTT® Ths év TH
vnow edpas, éemerdn em” “Axirret TeOvew@te Set-
~ a \
TAVTES TEDL TO TALOL AT@pmOTOV eTTOLNTAVTO THY
tod Ilvppouv é€odov, aimroXtous te Kat Bovolv
€avtov édiotnow atavyevifwy Tovs aTipmd-
Covtas THv ayédAnv Tavpous, of 61 Tpos TO ev
deEad Selxvuvtar oper. (3) Aoytov 6€ és Tovs
"EAAnvas éutecovtTos, @S OUK ANXW TW AAWTOS
€xoto 17) Tpota Any tots Alaxidais, cTéANETAL
0 Point és thy XKdpov avaEwy tov Taida Kab
Kaboputoapevos évTvyyavet Ol OvVK ELOOTL OUK
eld@s TANY Goa TO aB8pov Te Kal adpov TOD
eldous Umedeixvu avtov 'AxiAr€ws evar taida,
KavTed0ev yvwpicas, Os Eel, ExTUaTOS yivETat
to Te Avxounoer kal TH Anidapeia. (4) Tard”
» Téexvn Bpaxet ToVTwW ypdupate avadidacKev
Has eOérer, yéypartas O€ ws Kal ToLnTais @dnv
TAapad VEL.
292
PYRRHUS ON SCYROS. 1
back and vexed at the delay; and his mind images
something of what will happen a little later in Ilium.
His hair now, when he is at rest, hangs down on
his forehead, but when he rushes forward it will be
in disorder, following, as it tosses to and fro, the
emotions of his spirit. The goats skipping about
unchecked, the straying herds, and the shepherd’s
staff with its crook lying among them where it has
been thrown! imply some such story as this, my
boy :—Vexed with his mother and his grandfather
for being kept on the island, since after the death
of Achilles in fear for the boy they had sworn that
Pyrrhus should not depart, he set himself over the
goats and kine, subduing? the bulls that scorned
the herd—the bulls that may be seen on the mountain
at the right. But when the oracle came to the
Greeks that Troy would be captured by none other
than the descendants of Aeacus, Phoenix is sent to
Scyros to fetch the boy, and putting ashore he en-
counters him, each unknown to the other except in
so far as the boy’s graceful and well-grown form
suggested that he was Achilles’ son. And as soon
as Phoenix recognized who he was, he himself be-
came known to Lycomedes and Deiodameia. All
this is what art would teach us by means of this
small picture, and it is so painted as to furnish to
poets also a theme for song.
1 Iliad 23. 845-6: ‘‘ Far as a herdsman flings his crook,
and it flieth whirling over the herds of kine. . . .”
2 Lit. ‘‘turning back the neck” and thus throwing them
to the ground ; cf. Philostratus, Her. 190, 1, where the same
phrase had been used.
1 Ggrakthoe Jacobs: arakrhcese.
293
PHILOSTRATUS THE YOUNGER
B’ MAPZTA>
£ A
15 (1) Ka@ypntac o Ppv&, Brérer yovv amo-
\ ” \ lA e / \ e
AwAOS 776y Sta Evverivy wv TeiceTaL Kal VoTtaTta
67) avA\noat wetlatevKey oUK &€s KaLpov és TOV
ths Antods Opacvuvdpevos, Eppimtat Te avT@ oO
> \ A \ > a lA e \ lal > /
avAOS ATLLOS [1 AVAELY ETL, WS Kal DOV aTradwV
I, \ / \ A , 9.23: 2
20 EANAEYKTAL' KAL TAPETTHKE EY TH TITUL, ap 1S
kpewacOnoecOar oid€ TavTHY éavTOD KaTadiKa-
odpevos diknv acKos dedapOar. (2) “TroPXéres
dé és tov BapBapov todtov ty akuny THs
paxalpas Tapakovwmevov és avTov: opas yap
~- “ / a
25 Tov, WS al pev YElpes eS TIVY AaKOVHY aUT@ Kal
\ / > / \ ’ \ uA
Tov atonpov, avaBrérmer 5é €s Tov Mapavav
ral \ >] \ \ / \
yAavxiav To Ob0arpo Kal Kounv Twa dLav-
loTas aypiav Te Kal avywwoav. TO O€ eT
4 lal Lal S
THS tmaperas EpevOos ovavtTos oat Kal 1
bd a be e / a v > > \ 1
30 oppds O€ UépKertar TOU Gupatos és avynv
, \ a / la 5 ae, 2 5) \
Evynypevn Kali didodcd TL TO Oup@ 700s, adra
/ \ lal / fal
Kal céonpev AYpPLOV TL UTTO TOV MEANOVT@Y AUTO
Laiyny F: airhy suggested by Jacobs, dpyhy by an
anonymous critic.
1 The story is that Marsyas presumptuously undertook to
prove that the music of his flute was superior to Apollo’s
music on the lyre. Defeated in the contest, he was flayed
alive. Cf. Xen. Anab. I. 28: ‘‘It was here (at Celaenae),
according to the story, that Avollo flayed Marsyas, after
having defeated him in a contest of musical skill; he hung
up his skin in the cave from which the sources issue, and it
is for this reason that the river is called Marsyas.”
294
MARSYAS. 2
2. MARSYAS!
The Phrygian has been overcome; at any rate
his glance is that of a man already perished, since
he knows what he is to suffer, and he realizes that
he has played the flute for the last time, inasmuch as
inopportunely he acted with effrontery towards the
son of Leto. His flute has been thrown away, con-
demned never to be played again, since just now
it has been convicted of playing out of tune.
And he stands near the pine tree from which he
knows he will be — sus-
pended, he himself having
named this penalty for him-
self—to be skinned for a
wine-bottle.2 He glances
furtively at the barbarian
yonder who is whetting the
edge or tne, knite) Lo ibe
applied to him; for you see,
I am sure, that the man’s Fic, 26.
hands are on the whetstone and the iron, but that
he looks up at Marsyas with glaring eyes, his wild
and squalid hair all bristling. The red on his
cheek betokens, I think, a man thirsty for blood,
and his eyebrow overhangs the eye, all contracted
as it faces the light? and giving a certain stamp
to his anger; nay, he grins, too, a savage grin in
anticipation of what he is about to do—I am not
2 j.e. in case he should be defeated by Apollo in the
contest. The expression is current in classical writers, ¢.g.
Solon. Frag. 33, 7 Bergk. ; Aristophanes, Nwb. 442.
3 A similar expression is used by the elder Philostratus,
Vit. Apoll. 283, 10K (VII. 28).
295
PHILOSTRATUS THE YOUNGER
épac Gat, OUK OLO’ él TE xalipov elTE KAL AVOLOOVENS
€s TIV opayny THS yvopns. (3) ‘O be ‘Amron-
Aov YEYPaT TAL LavaTrav@y éauTov emt TéeTpas
TLVOS, ) AUpa 6€ év aptotepa Keupeyn ETL TIT
TeTat UTr0 THIS Yelpos THs NaLas EMTUTTOVTNS
pewatws Kai oiov dvaparrovons. opas 6€ kal
5 paOupov TO TOU oo eldos Kal perdiapa eT av-
10
20
Body TO TporwT«,! ) TE Kelp 7 beEva emixerTat
TO KONTO, T Paws Evvexovoa 70 TIKT POY,
katappabvpoupery vTo TOD és THY vixny Xa-
povros. avuTov Kal O ToTapos TOD Mapova
em @VULLAV dweiran. (4) “Opa poe Kal THY TOV
Latvpov ayedny, ola Opyvodvres TOV Mapovav
yeypagarat, OS emepaivovres TO ayépwxov Kal
aveckipTnkos Evy TO ariacOat.
y KTNHTETAI
(1). Te & ove av elas meph TOUTOD, ovs ayer
bev ato Onpas 1 ypady, THhynv oO avTois ava-
6idwow aKparpyh Tori WOU Te Kal Suavyods
VUMATOS ; opas b€ mov Kal 70 _Tepl THV TY HY
adoos, pucews Epyov oimat THs codts: (kav?)
yap tavta, doa Bovrerau, Kal deirau TEXYNS
ovoév, 1) ye Kal TEXVALS avuTats apxn Kabat Ke.
(2) Té yap EVOEL T pos TH THs oKLAS TAPATKEUID ; :
aldol pev nmepioes aypiat ave épTucacat” TOV
dévdpwv EvpuBeBAnKacL Tos TOY KANLaTwY
KopvuuBovs adXov AdArXw auvdéovaat, cpirak é
1 rpocwmw Olearius: acd,
* avw épricaca Arnim : avepricacat.
296
HUNTERS. 3
sure whether because he is glad or because his mind
swells in pride as he looks forward to the slaughter.
But Apollo is painted as resting upon a rock; the
lyre which lies on his left arm is still being struck by
his left hand in gentle fashion, as though playing a
tune. You see the relaxed form of the god and the
smile lighting up his face; his right hand rests on
his lap, gently grasping the plectrum, relaxed be-
cause of his joy in the victory. Here also is the
river which is to change its name to that of Marsyas.1
And look, please, at the band of Satyrs, how they
are represented as bewailing Marsyas, but as dis-
playing, along with their grief, their playful spirit
and their disposition to leap about.
3. HUNTERS?
Is there any praise you would withhold from these
men whom the painting is bringing back from the
hunt? And it causes a pure spring of sweet and
pellucid water to gush for them from the earth.
And no doubt you see the grove around the spring,
the work of wise Nature, I believe; for Nature is
sufficient for all she desires, and has no need or
art; indeed it is she who is the origin of the arts
themselves. For what is lacking here to provide
shade? Those wild vines climbing high up on
the trees have brought clusters of shoots together,
fastening them to one another; while the bryony
1 Ovid, Metam. VI. 383 f., after describing the death of
Marsyas, tells how the tears of his companions gave rise to a
river which bore his name.
2 Cf. the treatment of the same theme by the elder
Philostratus, Jmag. I, 28, p. 107f.
297
25
30
396 K.
10
15
PHILOSTRATUS THE YOUNGER
avtn Kal KLTTOS ood Te kal Ka@” év diac yovTes
TUKVOV twa TodTov Kal nol@ TéxVnS opopov
mpd TapeXOvel. 0 b€ Tay an dove Xopos Kal
Ta TOV AdAWY OpvéwY povaeia cadas Hpuiv Ta
ToD eAtypotatov Lodhoxr€ovs emt yA@TTav
aryel
muKvoTTepo! &
ela@ KAT AUTOV EvoTOLOVG anodoves,
ELT OVTOS.
(3) “AAN 0 ye TOV Onpevtav Gpurdos nOdets
pev Kal oTuppot * Kal TVEOVTES Ett Tov ev TH Onpa
Oumov, adros dé ado Tl T parrovTes dravarrav-
ovat ohas avtovs. olov, ® Oeot, Kal ws 760 TO
cahes THS TEXVNS Kal WS EaTLY Opay THY ExadaTOU
TUynVY. aTiBas pev avToayedios avtn SuxTU@V
oimar EvyKerwevn aie TOUS apyovtas, KaNov
evTreiy, THIS Onpas. (4) Kal mévte pev ovtot.
opas: dé Tov peraiTarov avtar, @S dteyeipas
EavTOV EXTPATTAL TPOS TOUS UTEPKATAKELMEVOUS
Tov €auToOv, por Soxelv, ADXov adyyovperos Kal
TO cataBanety Oatepov tov Onpiov 7 pOTos, a
6 TOV Cpuay (eEpTyt ar Sux TvoLs, EXados oimat
kal ods éykelweva. 1) yap ovK em pbat cot
Soxel Kat yxalpe TO Epyw; of S artevés pev
opaaow és avTov adnyovmevov, aTepos b€ chav
évaTrokNivas éavtov TH oTtBade dStavatraver Tov
Kal avtTos Taxa avaypayev? te ths Onpas
oixetov épyov. Odtepov 5€ Tov Evaaitiou Képas
1 ruxvémrepo Olearius from Sophocles: wukvétepoy, muxvd-
TEpol.
2 grippot Olearius: orpipvol.
3 dvaypaywv Reiske: dvaypagpav.
298
HUNTERS. 3
yonder and the ivy, both together and separately,
provide for us over there a close-knit roof that is
more pleasant than art could produce.t The chorus
of nightingales and the choirs of other birds? bring
clearly to our tongues the verses of Sophocles,
sweetest of poets: “And within (the copse) a
feathered choir makes music.” ?
But the band of hunters, charming sturdy youths
still breathing the excitement of the hunt but now
variously engaged, are resting themselves. Ye gods!
how wonderful and how charming is the clearness
of the painter's art, and how well we may discern
the story of each one! This improvised couch, made
of nets, [ think, receives those whom we may rightly
call “the leaders of the hunt.” They are five in
number. You see the midmost of them, how he
has raised himself and has turned towards those
who lie above him, to whom, it seems to me, he is
relating the story of his contest and how he was
first to bring down one of the two wild beasts which
are suspended from the trees in nets, a deer ap-
parently and a boar. For does he not seem to you
to be elated* and happy over what he has done?
The others gaze on him intently as he tells his
story ; and the second of them as he leans back on
the couch seems to be resting a while and planning
soon to describe some exploit of his own in the
hunt. As to the other wing of the company, the
1 The description is based on a passage in the elder Philo-
stratus, Vit. Apoll. 49. 23 f K (II, 7).
2 Eur. Frag. 88. 2f. has the phrase ‘‘choir of nightin-
gales.”
3 Quoted from Soph. Oed. Col 17 f.
4 For this use of éraipew, cf. Phil. Imag. 347, 7 K.
299
PHILOSTRATUS THE YOUNGER
ol mpos T@ MEecalTaT@ KUALKOS Hwideods év
20 Oaté c iy ov nv dekvav vrré
Tépa Taiv YeEpo vons THV TEP
a \ \ +, / ”
Keparys Tepiayayov thy “Aypotépav adew jot
a t \ > \ / e lal rf s
Soxel, 0 5€ és Tov Sidxovoy opav coBeiv Kerever
THV KUALKA.
(5) Xodos te 0 Swypados Kai axpiBys tHv
lal La \
25 yelpa’ avacKoTrobyTL yap TavTa TaparéerTrat
b \ a > / > / eQay \ \ /
ovde TMV OTTACVMY OvVdEV: Od meV yap TpUdos
/ \ / b] /
dévdpov Kateirndws KaOntat, éverxevacpévos
e <5 > a \ \ / PS , > 2
ws elyev €v TO TrEpi THY Onpav Spomo, KaK
Typas evnupevns avT@® Sevtva@v: duveiv dé Kuvav
¥ \ ’ 6 e \ \ > lal b] / e \ a
30 0 ev ExTElvas EavTOV TPO avTOV é€aOeL, o dé TOS
’ , > / > See f \ , > ,
omiabiows evokXdcas avéyes THY Sépynv évdeyo-
/ € lal
pevos® ta és avTov atoppiTTovpeva, o b€ Tp
avawas Kat évOeis TOY TKEVMY, OTA TPOS TOUTO
/ \ \ \ 5 a ” /
Xpnotd, Ta pos tHhv daira adGova Trapéexet
& / / ’ , SN e , ’ ,
35 opiot dda emiaTépXwV aUTOS EaUTOV, ATKOS
anw rm - 7 -w 4 \ ’ al a
397 K. TE OUTOS ELK EppiTTTaL TOTOY aTavTNElvy TO
€
/ an Ud \ \
Bovdopéveo, dvety te Oeparrovtow o ev SatTpos
> fel /
oiwat motpas téuvery dyol ths icaias émtpedov-
b] a > / c , e / \ e ,
fevos €v TO aTroTémew, 0 O UTéyEL TO UTobe~eO-
5 evov Tas polpas ioas Tov aTatT@Y €elvat. TO
\ >’ / / lal / > 4
yap ev Onpa Kata ye TodTO diadXraTTOV es TYYHV
OvOED.
300
HUNTERS. 3
man next to the central figure, a cup half full in
one hand and swinging his right hand above his
head, seems to me to be singing the praises of
Artemis Agrotera,) while his neighbour, who is
looking towards the servant, is bidding him hurry
the cup along.
The painter is clever and exact in his craftsman-
ship; for if one examines the whole picture, nothing
has been overlooked, not even as regards the attend-
ants. The man yonder, having found a branch broken
from a tree, sits on it, dressed just as he was in the
chase after the quarry and making a meal from the
pouch which hangs at his side. One of the two
dogs, stretched out in front of him, is eating, while
the other squats upon his hind legs and stretches
out his neck to catch the morsels that are being
thrown to him. A second man kindles a fire, and
putting over it some of the pots adapted to this
use he makes ready for the hunters the abundant
food, hurrying at his task ; this wine-skin has been
thrown down here at random for anyone that wishes
to draw drink from it; of two other servants, one,
the carver I suppose, tells us that he is cutting
portions with due care to make them equal, and the
other holds out the platter that is to receive the
meat, doubtless demanding that the portions be
equal; for in this matter at least the management
of a hunt leaves nothing to Fortune.
1 Artemis the goddess of wild beasts whom the hunter
must propitiate.
1 6 added by Olearius.
2 kak Jacobs: kal.
3 éySexduevos added by Arnim.
301
PHILOSTRATUS THE YOUNGER
5 HPAKAH> H AXEAQIOS
/ / ¢e / ™ U
(1) Znreis tows, Tis » Kowwwvia dpaxovTos Te,
0s €vTadOa TOUS avéaTHNKEY eyElpas TOV THKXUY
\ A \ 4 / \ e 2° “a
10 kata vata Sadowwos Kal yévera KaOlels UT’ OpO7A
Kal TpLoveThn TH Aodid PrEéTTMOV TE SeLVas Sedop-
Kos Kal t(kavoy els éxTAnEW ayayeiv, Tavpou
Té, OS UTO TOTAUTH KEpala yupwaas TOV avyéva
Kal SiackaTTT@V THY ev Troal ynv ws és éuBornv
15 terat, Kal avdpos TovToU iuiOnpos: BovTpwpa
bev yap avT@® TpocwTa” Kal yeveras audiradis
/ na fal
THYAL TE VAMATwY EXTANMBLUPOVTAL TOU yEveElov.
TO TE TUvEppUNKOS ws és Oéav TAHOOS Kal 1) év
pécors KOPN, vUudN TLS Olwat, TouTL yap yp?
20 voety TO aud avtnv KOTMM, Kal yépwv ovTOS év
bd / lal y f fol
adupw To elder veavias Te éxduopevos EovTHS
Kal poTtanov ev Taiv yepoiv Exar, Hpwivyn Té TLS
1 ravpov Wakefield : yavpod. 2 apdcwmra Morelli: dowma.
1 The contest between Heracles and Achelotis was a
favourite subject in art from early times (cf. Paus. 6. 19,
22 for the description of a group at Olympia, which included
Ares, Athena, Zeus and Deianeira as well as Heracles and
Acheloiis). In early drawings Acheloiis is given the form
of a centaur, but by the fifth century he is regularly repre-
sented as a bull with a human face. As pointed out by Jahn
(Eph. Arch. 1682, p. 317f.), Acheloiis here has the form of a
man, but with the horns of a bull springing from his fore-
head. While the presence of the serpent and the bull with
Acheloiis is not explained in the description, apparently the
painter intended to depict two of the forms that the river
assumed during the struggle. The failure of Philostratus to
understand what he described may be regarded as direct
evidence that he was dealing with an actual picture, Evi-
302
HERACLES OR ACHELOUS. 4
4, HERACLES OR ACHELOUS1
Probably you are asking what these three figures
have to do with each other—a serpent “ruddy of
back”? which rises there lifting its long form, a
beard hanging beneath an erect serrated crest, its
glare terrible and its glance one that cannot but
work consternation; a bull that curves its neck
beneath those mighty horns and, pawing the earth at
its feet, rushes as for a charge ;* and here a man that
is half animal, for he has the forehead of a bull and
a spreading beard, while streams of water run in
floods from his chin.¢ The multitude that has
gathered as for a spectacle; the girl in their midst,
a bride, I suppose (for this must be inferred from the
ornaments she wears); an old man yonder of sad
countenance ; a youth who is divesting himself of a
lion’s skin and holding in his hands a club; and
here a heroine of sturdy form who has been crowned
dently the picture gave two scenes (if not three): first the
situation before the conflict, and secondly the outcome of
the conflict; for the latter can hardly be treated as mere
rhetoric on the part of Philostratus. The subject is depicted
on a tripod base in the Constantinople Museum (Jitth. d.
deutsch. Palaestina-vereins VII, Pl. III), where Acheloiis
appears as a bearded man with horns of a bull; one horn
lies at the feet of Heracles, and blood spouts from the head
where it had been broken off. (Benndorf.)
2 Quoted from Homer, //. 2. 308.
3 Cf. Eur. Her. Fur. 869: ‘‘ Like a bull in act to charge.”
4 Of. Soph. Trach. 8f.: ‘‘ For my wooer was a river-god,
Acheloiis, who in three shapes was ever asking me from my
sire—coming now as a bull in bodily form, now as a serpent
with sheeny coils, now with trunk of man and front of ox,
while from a shaggy beard the streams of fountain-water
flowed abroad.” ‘Trans. Jebb.
3°93
PHILOSTRATUS THE YOUNGER
aitn otippa Kal mpos Aoyou TO pvOw Tis
‘Apxadov tpodhs dyny@ éoteupévyn. Karvdwv
25 olwat TavTa.
(2) Tis oe Oo THS ypadis Noyos } "AXeA@os O
TOTALOS, @ Tat, Anavetpas Tis Oivéews epav TOV
yauov omevoer kal IlecOw ev atrectt TOV Spw-
Evan, adros b€ aAXOTE SOKaV LTO ois opi-
30 jeévous elder ex Ay) Fer nyeirat tov Olvéa.
TOUTOV yap eivau yivacke Tov é€v TH yan,
Katyn) én emt TH mavol Anuaveipa ab pas
K, TOV punaThpa Opoon. YEypaTrTat yap ovK aidot
TH Tapevay efavOobaa, GXAA TeEploens ola
TeloeTAL T@ Tapa vow THs cutvyias. arr
6 pev yevvatos ‘Hpakdrs od00 trapepyov paciv
5 éxovalws Upiatata Tov aOXrov.
(3) Kat ta pev év avaBo\ais Tatra, idov d€ Kal
ws EvvestiKacw 6n, kal dca wey ev apxais THS
d1rapayns Geod Te Kal QT PET TOV Tpw@os vTro-
vociaOw, To 6 av TENS 0 mev és Roveepav
10 dvapoppacas éauTov 0 ToTamos él Tov
‘Hpakr€a BpUnreV, 0 6é€ TH Nard tod deEvod
NaBomevos KEPOS Outepov T@ porado TOV KpO-
Tapov ExT pewviCel, KavredOev o pev aipatos 70
pad hov ) VasaTOS aging Kpouvous damayopevor,
150 6é ‘Hpaxnijs yavupevos TO Epy@ és TH Anu-
verpav Opa Kal TO pev porradov aUT@ es YyHY
EppuTTat, TpoTetver 6é avTH TO TOU *Ayedwou
Képas olov &dvov Tov yapou.
1 §) Schenkl: de
304
HERACLES OR ACHELOUS. 4
with beech leaves in harmony with the story of her
Arcadian nurture—all this, I think, is Calydon.
What is the meaning of the painting? The river
Acheloiis, my boy, in love with Deianeira the daughter
of Oeneus, presses for the marriage ;1 and Persuasion
has no part in what he does, but by assuming now
one and now another of the shapes we see here, he
thinks to frighten Oeneus. For you are to recognize
the figure in the painting as Oeneus, despondent on
account of his daughter Deianeira, who looks so
dolefully at her suitor. For she is painted, not
with cheek reddening through modesty, but as
greatly terrified at the thought of what she will
suffer in union with that unnatural husband. But
the noble Heracles willingly assumes the task as
an “incident of his journey,’ to use a popular
phrase.
So much by way of prelude; but now see how
the contestants have already joined battle, and you
- must imagine for yourself all that has transpired in
the first bouts of the struggle between god and
irresistible hero. Finally, however, the river, as-
suming the form of a horned bull, rushes at Heracles,
but he, grasping the right horn with his left hand,
uproots the other horn from its forehead with the
aid of his club; thereupon the river-god, now
emitting streams of blood instead of water, gives
up the struggle, while Heracles, full of joy at his
deed, looks at Deianeira, and throwing his club on
the ground holds out to her the horn of Acheloiis
as his nuptial gift.
1 Tt must be remembered that Deianeira had been promised
to Acheloiis by Oeneus.
ais
PHILOSTRATUS THE YOUNGER
e HPAKAHS EN SIAPPANOIS
(1) "AGupets, © Hpaxnets, adupens Kal yeras 76
20 Tov aPXo», €v omapyavors @v Kal TavTa, Kal TOUS
é& “Hpas dpdxovtas éxdtepov Exatépa Yetpl atro-
AaBav ovdév eriaTtpéhy THs uNTpos Ex povos Trape-
oTwWONS Kal TEpLOEODS. GAN’ ol EV On TapetvTat
UNKUVAVTES €S YY TOUS OAKOUS Kal Tas Kehadas
25 émikAlvavTes Tals TOU vyTioV YEepaiv vTopaty-
ovoas TL Kal TMV OOOVT@Y' Kapyapot dé OUTOL Kai
iwders Nodal Te avTols vo Tov BavaTouv és
Oatepa émixpepels Kal Ta Oppata ov dedopKoTa
i Te horls ovx eEavOodca ypvc@ Kal otvixt
30 Ete OVOE TrPOS TAS KLVNTEWS TpOTTAaS UTTaVYyafovaAa,
aXr’ bmrwXpos Kal €v TO Sagow@ TENLOVY}.
(2) To 6é¢ THIS Ad«uions €l00$ avaaKOTOUYTL
ava epelv pev amo THS Tpworns exTrANHEEWS Ooxel,
399 K. amotel O€ viv ois On Opa, 7 8 ExTTANELS avriy
ovOE NEYW Keto Bat Evvexwpnoen opas yap Tov, ws
aBdavTos Kat HOvOXLT@Y avarnojcaca THS
evs gUV ATAKT® TH KOMN Tas yeElpas exTreE-
5 tacaca Bod, Jepirawat Té, Ocal Traphoav
TURTOUT DN, exTrAayetaat adn ArAXO TL Tpoodia-
éyovtat TH TWANGiov. (3) Oi dé év GroLs OVTOL
1 Cf. the treatment of the birth of Hermes by the elder
Philostratus. 1, 26, p. 99.
The description of the scene follows closely the story as
told by Pindar, Nem. I. 41 f., viz. the attack of two serpents
on the new- born babe, Alcmene’s rush to the rescue, the
approach of Theban chiefs led by Amphitryon, and the
prophecy of Teiresias. Theocritus, XXIV. 55f., gives the
story in much the same form, except that here the babe
306
HERACLES IN SWADDLING CLOTHES. 5
5. HERACLES IN SWADDLING CLOTHES!
You are playing, Heracles, playing, and already
laughing at your labour, though you are still in
swaddling clothes; and taking the serpents sent
by Hera one in each hand you pay no heed to
your mother, who stands near by
crazed with fear.2. But the
serpents, already exhausted,
are stretching out their coils
upon the ground and drooping
their heads towards the babe’s
hands, showing withal a
glimpse of their teeth; these
are jagged and poisonous, and
their crests sag to one side as Pig, 27.
death approaches, their eyes have no vision in them,
their scales are no longer resplendent with golden
and purple colours, nor do they gleam with the
various movements of their bodies, but are pale and,
where they were once blood-red, are livid.
Alemene, if one looks carefully at her face, seems
to be recovering from her first fright, but she now
distrusts what she really sees, and her fright has
not permitted her to remain in bed even though
she has lately given birth to a child. For doubtless
you see how, leaping from her bed, unsandalled and
only in her shift, with disordered hair and throwing
out her arms she utters a shout, while the maid-
servants that were attending her in her travail are
in consternation, talking confusedly each to her
neighbour. Here are men in armour, and one man
Heracles is ten months old. Cf, Fig. 27, from a coin of
Thebes.
Sy,
10
PHILOSTRATUS THE YOUNGER
\ c A a / t/ id \ /
Kal o yunvoa T@ Evher EtoLpos, oc pev OnBaiwv
” A P , © [Nd sre. t es \
Exxpitot BonBovovtes ‘Auditpvwv, 0 8 vad THY
/ /
TpwTnvy ayyediay otacdpuevos TO Eidos eis
id ial nr
GLUVaV O§OD ETrégTH TOLS SpwpLEVOLS, KAL OVK O10
” / 5) /
elite exTréTTANYEV ELITE Yalper NoLTrOV: 7 peVv yap
\ te > fal i: / ¢ \ a ’ a
yelp €T €v TO ETOiMw, 1) O€ TaV OdOarpav
4 A /
évvola Yaya TH KXElpl EhlaoTnaty, ovde EXoVTOS
6 Te Kal auvvatto, Kat xpnopmov TpopnOeias
/ e fal lal
Seoueva Ta Tapovta op@vtos. (4) Tatra tot
\ e€ @ , ¢ y , , 5
Kal @0l wAnciov oO Teipectas Oeorifwv oimar
e lal x
OTOgOS 0 VOY év UTTAapydvols OV ErTal, yéeypaTTaL
\ / -
6€ €vOcos Kal pavtixov érmacOuaivor. (5)
e ’ e lel
20 Téypartar cat 17) NvdE év elder, ev 4 TadTa,
bo
OL
/ / e / e \ b] ‘
AauTabdio KaTAaNauTOVGAa EAUTHV, @S ML) ApLap-
Tupos TOU TraLdos 0 APXoOs yévynTat.
s OPOETS
(1) "Opdhéa tov tis Movons OérEar TH pov-
OlKN Kal TA Ln pbETEXOVTA AOYOU NoyoTroLOL pact
mavTes, Neyer OE Kal 0 Ewypados: A€wv TE OvV
Kal ods avT@® TANGiov axpoatal Tod 'Opdéws
kat €Xados Kal Naywos ovK aTroTNSaVTES TIS
1 The phrase is taken from the elder Philostratus, Her.
182. 14K.
* The phrase is from the elder Phil., Zmag. II. 21, p. 386,
OLX.
% For ev efSec in this sense, see the elder Phil., Zinag.
p. 376, 5 K.
4 Cf. the elder Phil. I, 10, p. 45, on the power of music.
Priest, seer, founder of mystic cults in many parts of Greece,
308
ORPHEUS. 6
who stands ready with drawn sword ;! the former
are the chosen youth of the Thebans, come to the
aid of Amphitryon; but Amphitryon has at the
first tidings drawn his sword to ward off danger
and has come with them to the scene of action;
nor do I know whether he is overcome with fear
or rejoices; for his hand is still ready to act, but
the thoughtfulness revealed? by his eyes sets a curb to
his hand, since he finds no danger to ward off, and
he sees that the situation before him needs the
insight of an oracle to interpret it. Here, in fact,
is Teiresias near at hand, foretelling, I think, what
a hero the babe in swaddling clothes will become ;
and he is represented as divinely inspired and
breathing out prophecies. Night also, the time
in which these events take place, is represented in
human form?; she is shedding a light upon herself
with a torch that the exploit of the child may not
lack a witness.
6. ORPHEUS *
That Orpheus, the son of the Muse, charmed by his
music even creatures that have not the intelligence
of man, all the writers of myths agree, and the
painter also so tells us. Accordingly, a lion and a
boar near by Orpheus are listening to him, and also
a deer and a hare who do not leap away from the
Orpheus is here simply the ‘‘son of the Muse,” the singer whose
music had power to charm nature, animate and inanimate, as
wellas men. As a musician he was closely associated with
Helicon and the Muses, and in this capacity he went on the
Argonautic expedition. In wall-paintings, on painted vases,
and in mosaics, Orpheus the musician was a favourite
subject.
399
30
400 K.
10
PHILOSTRATUS THE YOUNGER
t ~ a / \ e/ ’ / \ e
opuns Tod A€ovTos, Kal Gaoois ev Onpa Sevos o
‘ / > A ¢ / a Le
Onp, Evvayedafovtar avT@ pabvuw viv pabvgmo..
\ \ \ \ bd > lal ” % \
av 6€ pyndé Tos dpviBas apyas idns, wn TOdS
\ / a lal /
fLovaolkous povov, ols évevaTomely Tols aNoEoL
” > bed \ \ / \ \
€O0s, AAN Opa “ol KAL TOY KpayEeTHV KOXOLOV Kal
\ / > \ \ \ a \ b , €
THv NaKképulav avTny Kai Tov Tov Aros aeToV. oO
‘ c an Sy A \ / 4 »” l
LEV, OTTOLOS Audw TH TTEPVYE TAXaVTEVGAS, EEwW
€ fa] > x ») \ ’ / / o. 2
€avTov ateves és Tov ‘Opdea PrETrEL, ovd emt-
a / » e
otpepomevos TOU TTwWKOS TANGLOV oVTOS, ot OE
, x / ee 5 7 Jess lal /
EvyxXNeloavtTes Tas yevus OdoL* Eval TOV PEdXyov-
/ 2. \ A > / ?
TOS, AVKOL TE OVTOL Kal apves avauLe, H TEOn-
/ / r ¢€
motes. (2) veavievetac Sé Te Kat petfov o
/ / \ ’ / lal € lal
Cwypados: dévdpa yap avactacas Tav pilav
rn A a /
axpoatas aye TavTa TO Opdet Kai Tepiiatynoww
aUT@. TEVKN TE OY KAL KUTTApLTTOS Kal KANO pos
Kal alyetpos altn Kal doa adda Sévdpa EvpBa-
/ \ , e a \ \ ’ /
Novta Tovs TTOpHous otov yelpas Trept TOY Ophea
6 A b]
éotnKke Kal TO Géatpov av’T@ EvyKXelovawv ov
6 6, v ? a
Senbevta téxvns, iv of te dpyiles em auTav
/ ‘ ’ a ¢ \ A /
xabeCowro Kal €xelvos UTO oKLa fovgoupyoin.
‘ \ / > / \ ’ /
(3) O 6€ Ka@ntat aptiyvouy peéev éexBadrrv
7 > / a lal - \
lovkov émippéovTa TH Tapeld, Tidpav é
1 €w Piccolos: éé.
2 6Ao Morelli: 6 followed by space for three letters.
(Juoted from Pind. Nem- IIT. 82.
(uoted from Hesiod, Opp. 747.
Cf. Pind. Pyth. I. 6f. and schol. The notes of Apollo’s
lyre cause the eagle to sleep on the sceptre of Zeus.
* Orpheus is frequently represented in art as wearing the
tiara or Phrygian cap, apparently because of his associations
310
1
2
3
ORPHEUS. 6
lion’s onrush, and all the wild creatures to whom
the lion is a terror in the chase now herd with him,
both they and he unconcerned. And pray do not
fail to note carefully the birds also, not merely the
sweet singers whose music
is wont to fill the groves,
but also note, please, the
“chattering daw,’ 1! the
“cawing crow,’ ? and the
eagle of Zeus. The eagle,
poised aloft on both his
wings,’ gazes intently at
Orpheus and pays no heed
to the hare near by, while
the animals, keeping their
jaws closed—both wolves
yonder and the lambs are
mingled together—are
wholly under the spell of
the enchanter, as though
dazed. And the painter ventures a still more
striking thing; for having torn trees up by the
roots he is bringing them yonder to be an audience
for Orpheus and is stationing them about him.
Accordingly, pine and cypress and alder and
the poplar and all the other trees stand about
Orpheus with their branches joined like hands, and
thus, without requiring the craft of man, they en-
close for him a theatre, that therein the birds may
sit on their branches and he may make music in
the shade. Orpheus sits there, the down of a first
beard spreading over his cheeks, a tiara 4 bright with
Fic. 28.
with Thrace and Asia Minor. Cf. Fig. 28, wall-painting of
Orpheus charming animals and birds.
Bust
ho
fo |
30
401 K,
PHILOSTRATUS THE YOUNGER
Ypvoavy? el xepanijs aiopav 70 Te up auT@
Eup aBpornte evepyov Kal evOeov ael THs yreuns
els Geohoyiav TEWOUONS. TUXa dé Te kat viv
ade Kat 7 oppds olov dTroonpjaivovea Tov vobv
TOV do warov eos Te avT@ petavodca Tpos
TAS THS KIVNTEWS TpoTas, Kal Toi modotv O pep
aos arepelOov els THY Yhv avéxer THY KLOapay
UTep penpov KeLpevny, o de&L10s O€ dvaBarrerar
Tov puOmov ET LK POTOY Tovdagos TO TedLNO, at
yetpes 5é 7) pev deka _Evvéxouca ample TO
TAHKT Pov eTLTETATAL Tots pboyyots EXKELMEVD
TO ayKOve Kal KapT@ low VEVOVTL, 1) Nava b8
spGois TANHTTEL TOLS Saxtvhous TOUS LUuTOUS.
aX éotar Tis aroyia Kata cov, @ ‘Opded:
Kal vov ev Onpia Geryeus Kal dév6pa, Oparrats
€ yuvar Ei EK MEANS dofers Kal Ovagmdo ovrar
Ta, @ Kai Onpia POeyyouévm evpevets axoas
Taped YEV.
¢ MHAEIA EN KOAXOI>
re \ / \
(1); 4 oNabes ” Soo vpov ev ETLOKUVLOV vTmep
op0arpov aipovoa, Thv O€ op pov evvotas Heat?
Kal (epom pers TIV Komny TO TE Opa OvK oid’
elite €pwrixov Hon el’te Te EvOcov UTropaivovca
Cf. the description of Amphion, the elder Phil. mag.
p. 43. The erect tiara was the prerogative of royalty in
Persia and Near East kingdoms.
* The phrase is taken from the elder Phil. Imag. 324, 26 K.
3 Apparently the left arm steadies the lyre, which rests
on the left thigh.
312
MEDEA AMONG THE COLCHIANS. 7
gold standing erect upon his head, his eye! tender,
yet alert, and divinely inspired as his mind ever
reaches out to divine themes.2 Perhaps even now
he is singing a song; indeed his eyebrow seems to
indicate the sense of what he sings, his garment
changes colour with his various motions, his left foot
resting on the ground supports the lyre which rests
upon his thigh, his right foot marks the time by
beating the ground with its sandal, and, of the
hands, the right one firmly grasping the plectrum
gives close heed to the notes, the elbow extended
and the wrist bent inward, while the left with
straight fingers strikes the strings.? But an amazing
thing will happen to you, Orpheus: you now charm
wild beasts and trees, but to women of Thrace you
will seem to be sadly out of tune and they will tear
your body in pieces,* though even wild beasts had
gladly listened to your voice,
Tt. MEDEA AMONG THE COLCHIANS
Who is the woman with a grim frown above her
eyes,° her brow charged with deep thought, her hair
bound in hieratic mode, her eye shining either already
with love or with inspiration, I know not which, and
4 The story of Orpheus’ death at the hands of the Thracian
women was widely current in Greece, but it is told in most
various forms and explained in different ways. Commonly
it is stated that. he was torn in pieces by the women of
Thrace, as Pentheus was torn in pieces by the Bacchantes,
while the Muses, the animals and trees, and even the rocks
joined in mourning his death. Cf. the version of Ovid, Jet.
11, 1-66
° Lit. “lifting the ridge of skin above her eyes in a grim
frown.”
323
10
—
)
29
PHILOSTRATUS THE YOUNGER
avyny TE dppntov exderxvioa TOU T poo wm ou
tv G€ap ; TOUTL 67 70 TOV ‘HAcadeor yopto pa
Myjdecav oi mat xP” voeww TID Aujrov. (2)
‘Evoppto dpevos yap TO Daor6s 0 TOD ‘ldcovos
TTONOS, OTE TO ypUvcodY pmeTHEL Oepas, Kal els
THY tov Aintov TapeOov TONW, ep 1 Kopn
Tov Eévou Noyig 0s Te Umevow aQuTny anOns, Kal
) Tl ev émov ev, OUK oldeV,” ATAKTEL be Tas év-
vovas Kal TH Wuyn anrvet. eoTaATaL d€ OUK evepyos
voV oveé é ev Evvovota TOV K peLTT OVOP, aX’ ws Kal
5 ToAXOlsS opay. (3) To 6€ Tod ‘ldcovos elO0s
d Bpov bev, ov pay é&w Tov €ppoaPat, Opa TE
avuT@® XapoTroy UmoKevTal T@® THS oppvos 70eu
dpovovens Te Kal TavtTos UTEepatpovans Tob
av7tEoou, lov TE 700 Bpver Kabéprrovrt Kal 1
Kou EavOn émucarever T@ peToTw, Ta O€ YE
THS OTOATS AevKov xeTava eEwarat NeovTiy
eEnptnmevos Kal KpnT ida evATTAL, aKOVTiM TE
eTrepeloas: Eautov EaTnKe: TO TE 700s TOD 7 poo-
wou? oloy pte wtepdpovety, aideitar yap
unte vuToKxeicOa, Oappet yap tov aOrov. (4)
wm \ e fal lal na \ a /
Epws O€ éavtov Tolettat TavrTa Kal TO TOE@
, / te \ ] \ & \ 7) vA ‘
eTepelaas €auTov evarra€ Tw TOdE laTNOL TO
/ ’ \ rn / b] \ ’ >
AapuTao.ov €s THY Yihv TpéWas, émrevdyn €v avaBo-
lal » \ ae.
ats ETL TA TOU EpwTos.
1 a?y jv Gomperz: adriy. 2 ofdev Jacobs: o:8a
3 rpor@rov Morelli: acémov.
1 Cf. Apollonius Rhodius, Argon. IV. 726f. Circe
recognises Medea by this characteristic, ** And she longed to
hear the voice of the maiden, her kinsw oman, as soon as she
314
MEDEA AMONG THE COLCHIANS. 7
with an ineffable radiance, when she permits her face
to be seen? This in truth is the distinguishing
mark of the descendants of Helios!; I believe one
must recognize Medea, the daughter of Aeétes. For
now that the expedition of Jason, on its quest of the
golden fleece, has come ashore at the river Phasis
and has arrived at the city of Aeétes, the girl is in
love with the stranger, and unwonted reflections
enter her mind; and though she does not know
what has happened to her, her thoughts are all
confused and she is distraught of soul. She is not
now dressed for her priestly functions, nor as if she
were in the company of her superiors, but in a
manner suitable for the eyes of many. ‘The form of
Jason is slender, but not at all lacking in strength ;
his flashing eye is overhung by a brow that is
haughty and defiant of all opposition ; the first beard
creeping over his face grows luxuriantly,? and his
light-brown hair tumbles down upon his forehead ;
as for his dress, he wears a white tunic fastened by a
girdle, over which a lion's skin is flung, and on his
feet are laced boots; he stands leaning on his spear ;
and the character revealed by his face is that of one
who is neither over-proud, since he is modest, nor
meek, since he is bold for his undertaking. Eros is
claiming this situation as his own, and he stands
leaning on his bow with his legs crossed, turning his
torch towards the earth, inasmuch as the work of
love is as yet hardly begun.
saw that she had raised her eyes from the ground, For all
those of the race of Helios were plain to discern, since by the
far flashing of their eyes they shot in front of them a gleam
of gold.” Trans. Seaton, L.C. L.
2 The phrase is taken from the elder Phil. Her, 141, 27 K.
315
402 K.
10
PHILOSTRATUS THE YOUNGER
7) A@TPONTES
¢ \ a /
(1) Of év Atos adrAH aOvpovtes, “Epws oipar
cai Tavuprndns, el te ypn Tov pev TH Tlapa
a \ \ An A lal
voeiv, Tov © amo Tov Togov Kal TOY TTEpwY és
, / / iy
eriyvoow ayew. advpovat pev ody aaTpaydXots
’ e lal
ovtol,! yeypadatar & o pev UBplaTtiKa@s eETrI-
twhatwv o “"Epws Kal wAnpNH THs viKns Tov
e lal ‘
KOATOV avaceiwy, 0 S€ dvEely AoTpayado ETL
\ A \ > \ bd / \ ’ >’ ,
Tov pev Kal avTov atrodkwrexws, Tov 8 éd
id / fal
opoia mpotéumwv édmidr. Katndys S€ avT@
\ a ‘ / an
Tapela Kal 1) TOV OupaTtos aKTis KalTot aBpod
v / \ fal rd
dvtos BeBvOtopévn? TO THs avias émlonpatvet.
. a e an
(2) @eai te tpels avtar éhbectaoat odio, at
\ »o) 9 / / b] a x
pev OVO edhepunvevovtos déovtat, AOnva Te yap
3 \ e ,
avtTobev idovte ONAN THY OMoyVYLOY ToLnTal pace
/ \ fel
TavoTAlav apmTexyouern Kal yNavKoY UT THs
/ e an lal lal
xopuvbos opaca Evy appevwT@ Te TO HOEL THV
\ ’ / € \ \ 9S \ \
Tapevay éeTihoivittovada, nol € avd TO Piropedes
1 obra Morelli: odor.
2 a and P give BeBuiiouevoy ; cf. supra 393, 1 K., p. 288.
1 Eros and Ganymede are associated apparently as the
two young boys in the company of the gods, who play
together in Olympus. Ganymede, son of Tros (or Laomedon)
was snatched away by Zeus from the hills near Troy to be
the cup-bearer of the gods, since he was the most beautiful
of mortal men. As coming from Asia Minor rather than
Greece proper, he wears a tiara.
2 The account follows closely the description of Eros and
Ganymede playing dice in Apoll. Rhod. Aryon. II. 117 f.
Cf. Fig. 29, boys playing dice.
° Because ‘‘born” with her when she sprang from the
head of Zeus,
316
BOYS ‘AT PLAY. 8
o. BOYS At BELAY
The boys who are playing in the palace of Zeus
are, I suppose, Eros and Ganymede,! if the one may
be known by his tiara and the other identified by
his bow and his wings. They are playing with dice ;
and Eros is
represented as
taunting the
other insolently
and as shaking
the fold of his
garment, full as
it is of his win-
nings, while his
companion is
represented as
having lost one
of the two dice
‘left to him and
as throwing the
other with no
better hope.?
His cheek is downcast and the glance of his eye,
albeit a beautiful eye, indicates by its despondency
his vexation. And these three goddesses standing
near them—they need no interpreter to tell who
they are; for Athena is recognised at a glance,
clothed as she is in what the poets call the “ panoply
of her race,”? casting a ‘“‘bright glance” 4 from
under her helmet, and ruddy of face as well as
masculine in general appearance; the second one
Fic. 29.
4 Referring to the Homeric epithet yAave@ms, ‘‘ bright-
glancing,” if this interpretation of the word be accepted.
317
PHILOSTRATUS THE YOUNGER
UTO TH Tov KET TOU iuyye Kav TO ypaupare
onpaiver, “Hpav 6é ye tiv TplT nD elva TO oeMVOV
Kal BaoidKov Tov Eldous dyat.
20 (3) Te 6 Bovrovtat Kai tis 4) THS Evvovaias
avtats avaykn; adyovca Tovs TevtTynKoYTa 1
"Apy@ eva » DPacds Bo ) l
py® EvOpmLaTaL TO oomopov Te Kal
Euymdyyadas d1efe Oodca. opds 6€ Kal Tov
TOTAMOV avTOV éV Babei Sdvaxe Kelwevov, €v
25 Brooupo@ TO eldet, KOM Te yap aupirapns
avr Kal aveoTnkvia yevedas TE Umoppitrovea
Kal yNavKt@vtes OdOarpol, TO Te AOpoov Tov
PpevLaTOS OVK ATO KddTLOOS Ex XEOMEVOY, nTrEp
ovv eiwOev, adr amTro TAVTOS ex AN LD POV
30 évvoety didwaotv atv, o7rocos emuxetTa TO
Ilovtw. (4) Tov b€ tis vavtidtas GOXov axovers
Oimal KaL TOLNT@Y TO XpuaodY Oépas AEYOovTwY
Taot médovoay Te THY Apyw Kal ‘Opnpov w@dal
ppafovawv. ard ot pev THs "Apyods vavBatat
35 ev eTLoKéer TOV KaTELAnpoT@Y, ai Oeai bE és
iKeclav TOU “Ep@ros ieovow aitovoat EudraBeiv
403 K. ohiow eri cwTnpla TOV TROT POV THY Abjrou
Mjdevav yetedOovra, pucOov S€ of THS vmoupyias
) eATHP o paipav mpodetkvucr Aros avtny
aduppa yeryovevau A€youca. (5) OpGs Kal THY
5 TEXYNY év (TH Ypahh Xpucod fev avrn, padn
d€ avTH ola voetabar parrov 1) opacBaL, EdXtKas
1 The epithet applied to Aphrodite in Homer, e.g. Iliad
3. 424.
* The ‘‘ magic of her girdle” is described, Jliad 14. 214 f.
* On the representations of the river Phasis, cf. Purgold,
Archaeologische Untersuchungen zu Claudian und Sidonius,
p. 34f. (Benndorf). The type of the recumbent river god is
318
BOYS AT PLAY.
even in the painting shows the “laughter-loving +
disposition caused by the magic of her girdle ;? and
that the third is Hera her dignity and queenliness
of form declare.
What do the goddesses desire and what necessity
brings them together? The Argo carrying its fifty
heroes has anchored in the Phasis after passing
through the Bosphorus and the Clashing Rocks.
You see the river himself lying on his deep bed of
rushes ;? his countenance is grim, for his hair is
thick and stands upright, his beard bristles, and his
eyes glare; and the abundant water of the stream,
since it does not flow from a pitcher as is usually the
case, but comes in a flood from his whole figure,
gives us to understand how large a stream is poured
into the Pontus. You have heard, I am sure, about
the prize which was the object of this voyage, since
poets tell of “the golden fleece,’ + and the songs of
Homer also describe the Argo as “known of all.’’®
But while the sailors of the Argo are considering
the situation, the goddesses have come as suppliants
to beg Eros that he assist them in saving the sailors
by going to fetch Medea, the daughter of Aeétes;
and as pay for this service his mother shows him a
ball which she says was once a plaything ® of Zeus.
Do you see the clever art of the painting? The
ball itself is of gold; the stitching on it is such
as to be assumed by the mind rather than seen
found in description of Meles, the elder Phil., supra, p. 159,
and again in the description of Xanthus, infra, p. 325.
4 The word for the golden fleece, Sépas, is the one regularly
used by the poets, e.g. Eur. Med. 5.
5 Quoted from the Odyssey, 12. 70.
§ Here also the account closely follows Apoll. Rhod. Argon.
III. 132.
a9
PHILOSTRATUS THE YOUNGER
Te Kuavov ep eauThs éXitTovea! Kal davappupetaa
Taxa Tou TO amoxwpoby oéhas Happapuyais
aatépwv eixavey adtnv? doce. (6)°O b€ tovs
10 pev aotpayadous ove opg ETL, piyas oe avTous
yauate efijpTn tar ToD THs PNT pos memhou ér-
arn bedoat THV UTOT ETL AUTO, OV yap éAreEiWety
Tov aOXov.
0 WEAOW
(1) ‘O pev vmép TET P@pw@v be NTE pov Means
15 immevoe LEARY vm op0n Tua pa cai Avodia
oTON}, Iléxo oipat, Opacus nvloxos Kandov
elmretv. i@uve yap Tote Kai dua Jaracons TouTl
TO appa, Tocedavos Oimat OovTos, apg TH TOU
Tpoyov ayidy tm advavtm afore Ta THs yarnvns
20 dvabewv VOTA. (2) "Oppa O° avTo yop7yov Kal
auxny AVETTNKDS TO THs yvoOpuns ero.pov ehéyyxer
i) Te odpvds Umepaipovoa dnrot Katadpovetcbat
tov Oivopaov wv7ro Tov pepaxiov. gppovet yap
Tols ‘mols, émeld7n Uavyevés TE Kal TOAXAOL
TOV fUKTHpAa Kal KOtNOL THY OTANV Kal TO Oupa
Kuadveot TE Kal ETOLYWoL yaiTnv Te audirdady
bo
co
1 €Xirtovoa Olearius: €Aitrovear.
2 adtiv Jacobs: adry.
1 The description should be compared with the treatment
of the same subject by the elder Phil. mag. I. 17, p. 69. The
scene is laid at Olympia and pictures the preparation for the
race.
* The upright tiara was the prerogative of royalty, cf
p. 260, n. 1.
3 Quoted from Jliad 8. 126.
4 Iliad 13. 127. Poseidon in his car ‘‘set out to drive
over the waves . . . and the axle of bronze was not wetted
320
PELOES: Q»
by the eye, and spirals of blue encircle it; and very
likely, when it is tossed in the air, the radiance
emanating from it will lead us to compare it with
the twinkling of stars. As for Eros, he no longer
even looks at the dice, but throwing them on the
ground he clings to his mother’s dress, begging her
to make good her promise to him; for, he says, he
will not fail in the task.
2: PELOPS=
The man mounted on a four-horse chariot who is
setting out to drive across the mainland, wearing an
upright tiara? and Lydian dress, is Pelops, I believe,
a “bold charioteer’’? it is fair to call him. For he
once guided this chariot even across the sea, doubt-
less because it was the gift of Poseidon, speeding
over the back of the calm sea on the very edge of
the wheel and keeping the axle unwetted.* His
flashing eye and erect head attest his alertness of
mind, and his haughty brow indicates that the youth
despises Oenomaiis.® For he is proud of his horses,
since they hold their necks high, are broad of nostril,
hollow of hoof,§ dark-eyed and alert, and they lift
beneath ” ; cf. the description of Pelops’ chariot, the elder
Phil., supra, p. 71. In Greek story, Pelops is associated with
Asia Minor, usually with Lydia, from which he came to the
Peloponnesus, which bears his name. Because he was the
favourite of Poseidon, the god gave him the chariot which
bore him across the sea from Asia Minor to secure Hippo-
dameia as his bride.
5 The father of Hippodameia.
§ Xenophon, Art of Horsemanship 1. 3: ‘* For high hoofs
have the frog, as it is called, well off the ground. . . . More-
over, Simonides says that the ring, too, is a clear test of
good feet ; for a hollow hoof rings like a cymbal on striking
the ground,” Trans. Marchant, L.C.L.
321
404 K,
10
15
PHILOSTRATUS THE YOUNGER
Kvav@V aTrampovrTes avxXevor, ds 8) Oartacciwv
TpOoTros. (3) IIAnoiov 6€ adtav ‘Inmodapeca THY
pev Ta pevay aldot ypadhovaa, vuudnys é oToNy
GpTrEX OWED) BrEroved Te opOanpois olous
ai peta Ba TO TOU Eévov paddov. pa TE yap
Kal TOV ‘yevunyTopa puodrrerar TOLOUTOLS de pobc-
vious ppovodrta, a 67 Kal opas, Kkeparas TavTas,
tav TpoTuNat@y dvnmwevn éxdo7n, Kal ox Twa
cédmKev 0 Xpovos idtov, Ov ExaaTos aT@XETO
ope. TOUS yap 67 penoThpas THs Ouyatpos
ieovTas KTELVOV dydderat Tois Yopic nace TOU
gdovov. (4) Kidwra b€ vrepirtTdpeva ohav
oAopupeTat Tov éavT@V ayava TH Tob ryapou
EvpBacer epupmvovrvta: EvpPipae yap 67) 0
IléXow, @s edevOépa AowTov 1) ais ein Tov
aXdatopos. Kal o Muptiros dé Evvictwp Tis
EvpBacews avtoiv éotiv. (5) ‘O 8 ov« atrobev
0 Olvopaos, add’ EtoLmov avT@® TO Gpua Kai TO
dopu vmeptétatat Tod dSippov KatadaBovtt TO
pelpakiov xKTelvat, o 6€ TO TraTpl Ovwyv “Apes
oTEvoeL ayptos idety Kal hov@v TO dupa Kal TOV
Mupridrov eémiotrépxet. (6) “Epws 5&€ xatndrs
1 A relative like dy seems to be required before réay;
or possibly we should read avnupévas (Reiske) éxdorore
(Capps).
1 i.e. she sides with Pelops, while her father is hostile to
all the suitors.
* The covenant of marriage seems to mean in the first
instance the agreement that a suitor should win Hippo-
dameia if his chariot should outrun that of Oenomaiis, while
otherwise he should be slain by Oenomaiis. In the case of
Pelops the covenant includes Pelops’ promise to Hippodameia
to free her from the curse due to the death of her former
suitors,
322
PELOPS. 9
their abundant manes above their dark necks as is
the manner of sea-horses. Near them stands Hippo-
dameia; she colours her cheek with a modest blush,
wears the raiment of a bride, and gazes with eyes
that choose rather the stranger’s part.t For she
loves him and she loathes the parent who takes
pride in such spoils as indeed you see—these heads
which have been suspended one after another from
the gateway, and the time which has elapsed since
each of the men perished has given them each a
distinctive appearance. For Oenomaiis slew those
who came to sue for his daughter’s hand and he de-
lights in the tokens of their death. But their shades
hovering over the place lament each the contest in
which it took part, as they descant upon the cove-
nant of marriage;? for Pelops, they recount, has
made a covenant, promising that henceforth the
girl will be free from the curse. And Myrtilus is
witness to the covenant of the twain. Oenomais is
not far away; nay, his chariot is ready, and on the
seat is laid the spear with which to slay the youth
when he overtakes him;? and he is hurriedly
sacrificing to his father Ares, this man of savage
aspect and with murder in his eye; and he urges
Myrtilus on. But Eros, sad of mien, is cutting * the
3 Cf. Rhod. Argon. I. 756f.: ‘*‘ And therein (on the mantle
of Pallas) were fashioned two chariots, racing, and the one
in front Pelops was guiding, as he shook the reins, and with
him was Hippodameia at his side, and in pursuit Myrtilus
urged his steeds, and with him Oenomais had grasped his
couched spear, but fell as the axle swerved and broke in the
nave, while he was eager to pierce the back of Pelops.”’
* The action of Eros may be ascribed to the love of Pelops
for Hippodameia, or we may think of the love of Myrtilus
for Hippodameia as the reason for the betrayal of Oenomaiis
by his charioteer (Benndorf).
373
Wiz
20
25
30
5
PHILOSTRATUS THE YOUNGER
Tov a€ova TOU Appatos évTéwver ExaTEpov SLO0vsS
voetv, OTL TE Ep@aa 1) KOpNn TOV ép@vTos! éml Tov
matépa EvpPaiver kal Ta péAXoVTA Tepl THY
IléXo7ros oixiay éx Mopov yiverOat.
¢ IITPPO> H MTZ01
(1) Ta Evpurvrov cai Neortoréuou tromntav
Umvel Yopos Tatpwlew TE avTovs audw Kal THY
xelpa eVS0KLLOUS Kar ioxov eivat, gnat 5€ Kal
”) ypapn TAaUTA’ 7) TUXN yap THY € am aons yns
aper ny és play rod cuveveycovaa ol pev OUK
akNeels olyovTat, aA olou Tpos TOAKOVS dvaTH-
vov 6€ Te Tatdes eltely of Eu@ mévEer AVTLOWOL,
of O€ yevvaios yevvaiwy KpaTovat.
(2) Ta pév 67 epi tov ev TO viKav ETEpa,
vuvl € Tepi Tous Evverta@Tas v7] Oéa. rodws pev
abrn “Dos _oppucecca, Kad “Opnpor, mepiOet
dé auraV TeiXos oiov Kal Oeovs m1 arrakiaoat
THS EaAUT@V YELlpos, vavaoTaOuov Te él Oatepa
Lo i] /
. Kal otevos “EXXAnordvtov diadppovs *Aciav
/ al
Edparns dreipyov. TOUV péow O€ TeOlov TOTAL
duarpettar Eavde, yeypamrae d€ ov HopHUpev
adp@, ovd' oios et Tov Tov IInrdéws ErAHupupeEV,
> > b] \ \ >] lal \ \ / \ id Qn
GX’ evv7) MEV AUTO AWTOS Kal Opvoy Kat aTraXov
rn /
Sovakos Komal, KATAKELTAaL O€ “WAAXOY 1) AVETTNKE
1 €pavros Jacobs: épwrtos.
: In the later years of the Trojan war the son of Telephus,
Priam’s nephew Eurypylus, leads the Mysians to the aid of
the Trojans, where he is slain by Achilles’ son Neoptolemus
(Pyrrhus) at the head of the Myrmidons. Cf. the account
of Achilles and Memnon, supra, p. 29.
* The reference is to the heroes gathered at Troy.
324
PYRRHUS OR THE MYSIANS. 10
axle of the chariot, making clear two things: that
the girl in love with her lover is conspiring against
her father, and that the future which is in store for
the house of Pelops comes from the Fates.
10. PYRRHUS OR THE MYSIANS!?
The story of Eurypylus and Neoptolemus is sung
by a chorus of poets, who tell us how each resembles
his father and is famous for the prowess of his arm;
and this painting also relates this tale. For when
fortune has gathered into one city the valour of
every land,” some go away not inglorious but able to
say to the world, “children of wretched men are
they who encounter my wrath,’ * and men of noble
birth overcome men of noble birth.
The account of the victory is another tale, but the
scene before you now has to do with the combatants.
Here is the city of “beetling Ilium,’ as Homer?
calls it; and a wall runs round about it such as even
the gods disdained not to claim as the work of their
own hands. On the other side is the station of the
ships and the narrow strait of the Hellespont that
separates Asia from Europe. The plain between the
city and the strait is divided by the river Xanthus,
which is represented, not as “roaring with foam” é
nor yet as when it rose in flood against the son of
Peleus,§ but its bed is lotus grass and rushes and
foliage of tender reeds; it reclines instead of stand-
3 Quoted from Ziad 6. 127. Cf. supra, p. 225n.
4 Ibid. 22. 411.
5 Jbid. 18. 403, where the phrase is used of the stream of
Oceanus: cf. 21. 302f.
8 For the attack on Achilles by the river Xanthus see
Iliad 2\. 212. For the personification of the river, cf. supra,
pp. 159 and 319.
375
PHILOSTRATUS THE YOUNGER
Kai Tov Toba e€mrexel Tais myais UTrep fup-
peTplas vov di.ypaivev av’Ta ... vapatos TO
pedua pétpov.t (3) 2 Tparia TE Exarepwber
10 Mucov te Eup Tpact Kat _Eddyver € €x Garépou,
of pev KEeKunKoTes 76n Of Tpa@es, of O€ axuATes
| Ely Evputidw. opds € atdtav, @s of mév
€v Tols OTAOLS KAOnYTaAL Taya Tov TodTO Edpu-
TUNOU ait iT aVvros, Kal xYalpovat Th avakax 7, ol
15 be exOupot TE KAL eFoppavtes OL Mvooi | levTAaL
TO TE TOV “EXAqver €V omota KAaTATTagel Tous
Tpwoty OvT oY TAY tov Mupuddvev evepyot
yap Kal Tept TOV Tluppov ¢ ETOLLOL.
(4) To veavia 66, Kaddous pev EveKeV edepun-
20 vevorT av ovder, emet0n €v OmrAOls Ta vod»,
peyanrou ye pay Kal UTép TOUS adXous* HALKA
Te dappoiy ion Tas TE TOV opGarpav Boras
evepryot Kal ov HEdAOVTES. yopryov yap TO Oupa
UTO TIS xopubos ExaoTO, Kal OUVATOVEVOVTES
25 tals TOV NOdwv KUHoEat Kal oO Oupos éemiTpéerer”
ohict ovyn Te wévea TvEloval éoikact. Kal Ta
émAa O€ audoiy TaTp@a, aXXr oO pev Evpvrrudos
dono EoTAaNTal Kal TapadAaTTOVEL THY avynV
61 Te Kal Otrws KLWolTO, 7 ipis, TO Lvppw é
30 ta €€ ‘Hdaiotov madpeotiv, éxaotdas ToT avTav
’Odvaceds Kai atevEdpevos Tiv éavTov viKnv.
1 ueérpwv P and Morelli: uérpov. The text is corrupt.
2 émimpéme: Olearius : émitpére.
1 Cf. the account of the sources of the Nile, the elder
Phil., swpra, p. 21.
* See critical note
3 Quoted from Jliad 3. 8.
* For a garment compared to the rainbow ef, the elder
Phil., Imag. p. 67 ; Her, 200, 2f.
326
PYRRHUS OR THE MYSIANS. 1o
ing erect, and presses its foot on the sources! to
keep them within bounds, now moistening . . . the
stream keeps within bounds.? On either side is an
army—of Mysians together with Trojans, and oppo-
site them of Greeks; the Trojans are already ex-
hausted, though the Mysians under Eurypylus are
fresh. You see how the former sit down in their
armour, no doubt at the command of Eurypylus, and
how they enjoy the respite from fighting, whereas
the Mysians, full of spirit and impetuous, rush for-
ward; and how the Greeks are in the same state as
the Trojans with the exception of the Myrmidons,
who are active and ready for the fray under
Pyrrhus.
As for the two youthful leaders, nothing can be
made out regarding their beauty, since they are clad
in armour at this time, but they are certainly tall
and overtop their fellows; the age of the two is
the same, and to judge by the glance of their eyes
they are active and unhesitating. For the eyes of
each flash beneath their helmets, they bend their
heads with the waving of their plumes, and their
spirit stands out conspicuous in them, resembling as
they do men “ who breathe out wrath in silence.’’ ?
Both wear the armour of their fathers; but while
Eurypylus is clad in armour bearing no device,
which gives forth, like a rainbow,* a light that
varies with his position and movements, Pyrrhus
wears the armour made by Hephaestus, which
Odysseus, regretting his own victory,® has yielded
to him.
5 i.e. his victory in the contest for the arms of Achilles,
which were by vote awarded to him as the bravest warrior,
as against Ajax, who committed suicide because of his
defeat.
5 |
PHILOSTRATUS THE YOUNGER
(5) Ocwpav d€ Tis Ta Ora eiTrOV evpnoet
t@v “Opnpov éxtuT@LaToV oveen, GND’ ax pi Sas
Dy _TEXYN deixvuce TaKeiOev Tayra. TO 7 yap
35 ys Te Kal Oaracons Kal joupavod oxHpa ovoe
fhpalovtos oipuaue denoer TWvOs, 7” eV yap avTobev
406K. (OovTe Ody THD EauThs Xpoav UTrO Tob On-
poupyod AaBodoa, Thy oS al Toners Kal Ta eV
aurh yi ypapovor Kal pK pov ye boTepov Teva}
Tépl EXAoT OD, ovpavos 6¢ ade. opas Tou TOV Te
5 Tov nLov KUKXNOV, WS akKdpas év avTO, Kal TO
THS ‘Tavaedjvou parépov. (6) "AAXa@ por Soxets
mept Tov Kal’ Exactov aotpwv Tobey axodaat
TO yap S:adXatTov avT@Y THY aiTiav cot
Tapéxel THS Tevoews' aldol pév aot IIderddes
10 oropov TE Kal auntod EvuBora Svopevar H ad
Tad éxpavas éxovoal, ws dv Kal TA THS Wpas
autas ayn, ‘Tddes 5 él Oartepa. opas Kal Tov
‘Opiwva, tov dé ém@ aitT@ poOov Kal thy év
adoTpow aitiay és éTepoy avaBarwpcla, ® Trai,
15 KaLpov, WS av pn) ATayoLmev ce TOV VOV ev THOM.
1 aitas &yn Kayser: avr’ &y, adrijs &ye1, OY adtois wyet.
1 It is clear that the scenes on the shield of Achilles as
described by Homer were represented in painting and
sculpture, for we still have fragments of the so-called
Tabulae Iliacae depicting this subject (cf. Jahn-Michaelis,
Griech. Bilderchroniken, IL B, p. 20, and fragments in the
Capitoline Museum, Rém. Mitth. VI. 183f., Pl. IV). The
shield described by Philostratus agrees with these repre-
sentations in that the different subjects are depicted, not
in concentric zones or circles, but in bands one over the
other, so that the sky is not found in the centre of the
shield as in Homer, but rather at the top of the shield.
Just as the painter based his work on the Homeric
328
PYRRHUS OR THE MYSIANS. ro
If one examines this armour he will find that
none is missing of the representations in relief
which Homer describes, but that the work of art
reproduces all that Homer gives. For the repre-
sentations of earth and sea and sky? will not, I
think, require anyone to explain them; for the sea
is evident at once to the observer, since the crafts-
man has given it its proper colour; the land is
designated by the cities and the other terrestrial
things, and you will soon learn all about them; but
here is the sky. You see here, of course, the orb
of the unwearying sun and the brightness of the
full moon. But I believe you want to hear about
the stars in detail, for the differences between them
provide a reason for your inquiry. Here are the
Pleiades, signs for sowing and for reaping? when
they set or when they appear once more, as the
changing seasons bring them; and opposite them
-are the Hyades. You see Orion also, but the story
about him and the reason why he is one of the
stars we must defer to another occasion, my boy,
that we may not divert you from the object of -
description, so Philostratus, in describing the painted pic-
ture, works in many details drawn directly from Homer
(Benndorf).
* Iliad 18. 483: ‘‘ Therein [on the shield of Achilles] he
wrought the earth, therein the heavens, therein the sea, and
the unwearied sun, and the moon at the full, and therein
all the constellations wherewith heaven is crowned—the
Pleiades, and the Hyades, and the mighty Orion, and the
Bear, that men call also the Wain, that circleth ever in her
place, and watcheth Orion, and alone hath no part in the
baths of Ocean.” Trans. Murray, L.C.L.
3 Cf. Hesiod. Op. 383f.: ‘* When the Pleiades, daughters
of Atlas, are rising, begin your harvest, and your ploughing
when they are going to set.” Trans. Evelyn-White, L.C.L.
oe3
30
PHILOSTRATUS THE YOUNGER
of 8 em’ avT@ aartépes apKTOS 7) et duakay Kadetv
BovXovo. pagal dé ary Kal povny ov dvec0at
év ‘Oxeav@, add adtny trepl abtiv atpéperbar
olov pudaka TOU ‘Opievos.
(7) ‘Teper 6) Aowtrov Sia ys adépevot TOV
avo Kal TOV ye EV Yh KaddLOT OV Ge@peba Tas
TONELS. opas pev S57}, @s Suttat tives adtac
ToT épay obv ™ poTepay adepunvevOhvai got Bov-
Nee 7) TO TOV AapwTadov Pas Kal TO TOV
Umevatov pehos Kal O TOV avhov 71X05 Kal } THS
KiBapas Kpodars Kab 0 TOV opxoupevev pud wos
és auTd oe ayer; opas dé Kal Ta yovaca Tay
TpoOupev & @S Sragaivovrae Gavpatovra Kal ovov
OUK exBoavra UTO Yapmovas. yauor Tabra, o
Tai, Kal TpaTn Evvosdos vupplov Kal aryovrat
TAS voupas | ol yapBpot. TO d€ TIS aidods Kal
TOU LMLEpOU, @S ET UT peTreL EXAOTO, Tapinut Eye”,
copwrepov avTa Tob Snpuoupyod aiveEapevov.
(8) “AM idov Kal bixaornpLov Te kal Evvédpa
Kowvn) Kal YEpovTes TeuvoL TELVOS 7 pox abn wevor
TOU optdov. TO b€ ev pécw YpUciov TadXavTa
pev Ovo tavT’ ove old éf dtw 7, vy Al,
elxdoat XPM» @s piabds 7@ op0 bs EXOLKACOVTL,
Os av Ke pos S@pa TLS Ty ouK * evOetav Pépor.
tis & » dixn; Siettol péev ev péow tives ovTOL,
1 ovx added by Schenkl.
1 Iliad 18. 490: ‘* Therein fashioned he also two cities of
mortal men exceeding fair. In the one there were marriages
and feastings, and by the light of the blazing torches they
were leading the brides from their bowers through the city,
and loud rose the bridal song. And young men were whirl-
33°
PYRRHUS OR THE MYSIANS. 10
your present desire. The stars next to Orion are
the Bear, or the Wain if you prefer that name.
Men say that this constellation alone does not sink
into Oceanus, but revolves about itself as a guard
over Orion.
Let us now make our way over the earth, leaving
the upper regions, and let us examine the most
beautiful of things on the earth, namely, the cities.1
As you see there are two of these. Which of the
two do you wish explained to you first? Do the
light of the torches, and the marriage hymn, the
sound of the flutes and the twanging of the lyre
and the rhythmic motion of the dancers attract
your attention? You see also the women visible
through the vestibules as they marvel and all but
shout for joy. This is a marriage, my boy, the first
gathering of the bridal party, and the bridegrooms
are bringing their brides. I shall not attempt to
describe how modesty and desire are clearly de-
picted in each, for the craftsman has suggested this
with great skill. But look! Here is a court of
justice and a general session, and dignified old men
preside in a dignified manner over the gathering.
As for the gold in the centre, the two talents here,
I do not know what it is for, unless, by Zeus, one
may conjecture that it is a reward to be paid to
the judge who shall pronounce true judgment, in
order that no judge may be influenced by gifts
to give the wrong judgment.? And what is the
case? Here are two men in the centre, one of
ing in the dance, and in their midst flutes and lyres sounded
continuously.” Trans. Murray, L.C.L.
2 The natural explanation of the ‘‘two talents” would
be to regard it as the ‘‘blood-money” referred to in the
next sentence,
331
10
20
to
t
o
30
PHILOSTRATUS THE YOUNGER
Soxeiy éuol, hovixov &yxAnma oO pev erraywv
Gatépw, tov & opads, ws EEapvos éotiw* ov yap
aitiav éyew @vrep! av’T@ Tpopéper 0 KaTHYOPOS,
xatabels 5€ Ta Urodovia Kaapos Kew. opas
Kai Tovs eémiBonOodvtas éxatépw Siyn Kal
véu“ovtas THY Bonv, OTw hirov: adr H ye Tov
KNPUKwWY Tapovola Kabiatnow avTovs Kal els
TO NovKXaloV ayEel. TaUTL wey OY TOL péoN TLS
ToNeu“ou Kal elpnvns ev Ov TOAEMOUMEVN TrOAEL
% ,
KaTaocTaols.
¢ / \ e A e / /
(9) “Erépav 6€ opds, ws Tecxnpns, Kal TO YE
lol ’ lal
Telyos ws ol OL ALKLAY ATOMaYOL Ppovpovor dra-
Ud / / \ 4 a aA > /
AaBovtes, yUvara TE yap EoTLY Ov TaV éeTarEEwv
Kal yépovTes ovTOL Kal KOMLOn TraLdla. Tot 1)
r lal ¢ /
TO payimov avtois ; evtavla evpots av ToUTOUS,
" My. As. 8 Se. \ /
ot 61 “Apes te cat AOnva Erovtat. toutl yap,
oe Ooxetv, » TEXVN HHaL TOVS fev YPUT®@ TE Kal
/ , \ 2 A \ \ ¢
peyebes SnAWocaca Oeovs eivat, Tois 6€ TO UToO-
a a , \ lal
Se€atepov Ov ats Sodaa. é€iacr S€ THY TOV
> / bf / / / \
evavtiwy ov deEdpevor TpoKAnaw, véwetOar yap
\ wn Qn \ / lol
TOV EV TH TONEL TAODTOV 1) LN VEMOMEVMY EV TOLS
aA /
6mrots elvat. (10) Aoyov 6% Statdttovew *
évtev0ev TouTi yap, por Soxelty, ) Tpos Tats
wv ’ / / e \ /
oxOats aivitterar ox, OD bn KAPwTALC LEVOUS
\ ¢ al / ,’ cal
avToUs opds. arr ovK av eyyévort adtots
1 aitlay €xew @vrep Kayser: katacxeiy brep F, €xer vov
émep aP.
9 , r /
2 diatatrovew Kayser: diaAAarrovewy.
337
PYRRHUS OR THE MYSIANS, 1o
whom, I believe, is bringing a charge of bloodshed,
and the other, as you see, is denying the charge;
for he claims that he is not guilty of that which
the accuser brings against him,! but that, having
paid the blood-money, he has come free of offence.
You see also the adherents of each man, in two
groups, who applaud according to their preference ;
but the presence of the heralds checks them and
restores them to silence. This scene, accordingly,
represents a state of affairs midway between war
and peace in a city that is not at war.
The second ? city is walled, as you see, and those
unfitted for war by reason of age guard the walls
at intervals; for there are women at certain points
on the battlements, and here are old men and even
children. Where, pray, are their fighting men?
Yonder you may find them—the men who follow
Ares and Athena.? For this is what the work of
art means, | believe, indicating by the use of gold
and by great stature that the leaders are gods, and
giving to the others their inferior rank by this
device. They are issuing forth for battle, having
refused the proposals of the enemy, namely, that
the wealth of the city be apportioned among them,
else, if it be not so apportioned, it shall be the
prize of battle. Accordingly, they are devising an
ambush on this side; for that, it seems to me, is
suggested by the thicket along the banks of the
river, where you see men under arms. But it will
not prove possible for them to profit by the
1 7.e. voluntary homicide; but he acknowledges by his
payment of the ‘‘ were-geld” or blood-money the commission
of involuntary homicide.
2 Cf. Iliad 18. 509 ff. for the Homeric description.
5 Here a goddess of war.
35
408 K,
10
15
PHILOSTRATUS THE YOUNGER
yencac0at TO AOYw"! O yap ToL ENrUS oTPATOS
TKOTOUS Twas xabicas Nelav ehacaa bat Tept-
voel. Kal 57) 06 pev ayouor vomeis TA Opémpara
UTO cupiyyov. % ov mpooBadrreE oe TO ALTOV
Kal avtodves Tis pwovons Kal aTeyvas dpelov ;
borata dé Xpng apevot TH HovoLKh be aryvoway
Tov €m% avtois ddXoU reOvaow, @S opas, TOV
TONEMLOY | eTmeAOovTwv, Kal aTeNavveTal Tes eta
Tpos avT@v. hynun 67) TOV mpaxOevrav € és TOUS
Lox @vTas €Modca aviotavTat ovToL kal éd’
(mm @v €s TOV TOAELOV Xwpovar Kal Tas Te ox Pas
éotiv loety Tajpets TOV Max omev@v Kat Bar-
NovTwy és avTovs. (11) Tovs 6€ €v avtois ava-
aTpepopevous Kal THY Tmepouverywevnv AVE pe@
Satpova avTaD Te Kal THY ecOijra TL epodpen ;
"Epes Kal Kudorpos Tavra Kal Kijp, ug’ y Ta
TONE MOU TavTa. opas ydp ToL, os ov play odov
Yo pet, aXN’ OV [meV aT pwrov és. Ta Eihy) 7 po-
Barret, os 8 UpEAKeT aL uT aQuTny vexpos, ov b€
Kal veoTpwtov éeTmLaTréepyel. ol O avdpes hoBepoi
THS opuns Kal Tov Bréupatos as oo88y dianr-
AaTTELY enol CwvT@V €v Tals Oppats Soxodatr.
1 r7dxq@ Morelli: Aoxyua.
+ The difficult passage in the Iliad (18. 509-534) was
variously interpreted by the ancient grammarians. Of their
three interpretations as stated by Porphyry and repeated
by Eusebius, none agrees with the description in Philostratus,
while one phrase of Alexander Cotyaeus (p. 195, 5 Dind.), od«
ed€XovTO. THY mpoKxAnow, ‘‘ they refused the pa Pa of the
enemy,” actually recurs in Philostratus. Evidently the latter
conceived the scene as follows:—The inhabitants of the city
devised an ambush against the army that threatened them,
but without avail; for the enemy, after disposing its scouts
334
PYRRHUS OR THE MYSIANS. 10
ambush; for the invading army, having stationed some
scouts, is contriving how to drive off the booty.
Indeed, we see here shepherds herding their flocks
to the music of pipes. Does not the simple and
ingenuous and truly highland strain of their music
reach your ears? But they have made their music
for the last time ; and through ignorance of the plot
devised against them they die, as you see, for the
enemy has attacked them, and a portion of their
flocks is being driven away as booty by the raiders.
A report of what has occurred has reached the men
in ambush, and they rise and go into battle on horse-
back; you can see the banks of the river covered
with men who are fighting and hurling javelins at
the foe. What shall we say of those beings who
pass to and fro among the combatants and of that
spirit whose person and clothing are reddened with
gore? These are Strife and Tumult, and the third
is Doom, to whom are subject all matters of war.
For you see, surely, that she follows no one course,
but thrusts one man, still unwounded, into the
midst of hostile swords, a second is being dragged
away a corpse beneath her, while a third she urges
onward wounded though he is. As for the soldiers,
they are so terrifying in their onrush and their fierce
gaze that they seem to me to differ not at all from
living men in the charge of battle.
shrewdly, rushed on the flocks of the citizens as they were
feeding by the river and slew the shepherds, who were
ignorant of their danger. Thereupon those in ambush arose
and joined battle with the enemy. Such is the transforma-
tion by Philostratus of the somewhat confused account in
Homer, in which the city-dwellers set an ambush, send out
scouts, and capture the flocks and herds of the besiegers.
2 Cf. Iliad 18. 541 f.
335
20
25
30
35
409 K,
10
PHILOSTRATUS THE YOUNGER
(12) ° AXX’ idov maXwy elpruns Epya vELos yap
avTn _Svapaiverar TplTOXOS Olpal TLS, El TL xP?)
T@ TOY GPOT POY EvxuBarreabar TAO EC, Kal Td
ye fevyn tav Bowv Capa avaarpepet ev TavTy
KUNLKOS TLVOS exKdEYOMEVNS apoTHY emt TO THs
avraxos TEXEL, meg TE SoKel 1 Tov ypucov
mepiayifovaa.” (13) RE} 0 opds Téuevos Baciréws
olwat Tivos Texunpacbai, 0s TO yeynBos EXeyKeTAL
THIS Wuxijs UTO THs €v Ores pabpornros. Kal
THY ye alTiav THs Xapas aude enrelv xp7" TO yap
TOL ArjLoOv TOAAMD TO METPW THY OTTOpaV UTrEp-
Bareia Gat Siedeyyovow ov Te a orrovdys
GuOvTes Kal of Tals auddals TA KELpomEva TOV
Spayuatwv déovtes, ols ETEpoL Tpocayovot Kal
uara avytoves. (14) ‘H bé Opbs. OUK aKaipws
evrabd0a ovo e&w Noyou" oKd TE yap aupiragis
vn aur yh Yuxaoas Tols €v TO Epye Kapovor Kal
Bods ovToat TLOV cabtepwbels UTO TOV KNPUKOD,
ods Opas, U0 TH Sput dals mporiberar ® Tots TEpt
TH ovAROYHY ToD Tupov Kauvoucl. Ta dé yuvara
Ti bys; ap ovK emtonabat oot Soxet Kal dvake-
Never Oar GAAHAOLS TUXVA MaTTELY TOV additav
detmrvor elvat Tots epiOass ; (15) Ei d€ «al om pas
denoel, maperTt got aden) * XpuoH pev TOY
duTENOY, pehatva d€ TOU KapTov. to O€ THS
KaTETOU KUQV OV eTexVON ola TO Onpcoupy®
pos Onproow ToD ev aurh Babovs: apKet yap
TOL TO TeEpl Tals NuEploLy EpKos eV TM KATTLTEPW
1 S0x<t added by Westermann.
2 rep.cxi€ovca Jacobs: mepioxoica.
3 mporidera: Morelli: mpoorideta.
336
PYRRHUS OR THE MYSIANS. 1o
But look again at the works of peace. This is
clearly fallow land, to be thrice-ploughed, I think,
if one may judge at all by the number of the
ploughmen; and in the field the ploughman fre-
quently turns the yoke of oxen back, since a wine-
cup awaits the plough at the end of the furrow ;
and the plough seems to make the gold turn black
as it cleaves the soil. Im the next scene you
perceive a ___domain—a king’s, as I think you may
infer—and the king who attests the gladness of
his spirit by the radiance of his eyes. The cause
of his delight is not far to seek; for that the crop
greatly exceeds the sowing is proved by the workers
who busily cut the grain and by those who bind
the bunches of cut stalks into sheaves, while others
very zealously bring them more grain to bind.
The oak tree stands here not unfittingly nor without
good reason, for there is abundant shade beneath it
for the refreshment of such as grow weary with
their labour; and yonder fat ox, that has been
consecrated by the heralds whom you see, is ap-
pointed as a meal beneath the oak for those who
labour at harvesting the wheat. And what do you
say of the women? Do they not seem to you
to be full of excitement and to be encouraging each
other to knead plenty of barley meal as a dinner
for the harvesters? If there should be need of
fruit as well, here you have a vineyard, golden for
the vines and black for the grapes. The dark blue
inlay of the ditch is the device, methinks, of
the artificer to indicate its depth; and you have
no difficulty in recognizing in the tin inlay the
4 GAw) Jacobs: airy.
Dou
PHILOSTRATUS THE YOUNGER
voeiv. 0 © apyupos 0 €v TO AuTENOML, KaMAKES
TAaDTA, TOD fr) Xapal KNLOHVaL Ta huTa Bpicavra
TO KapT@. TiO dp Eitros TEpl TOY TpYYOYTOD ;
ol 61) d1a THS oOTEVTS TaUTS ElaodoU EladpHnoavTes
15 €avTous Tardpors evarrorievrau TOV KapTrov para
noels Kal mpocpopot THY ALKiaY TO Epyo.
(16) TapGévor Te yap Kal ni0cor eviov Kal
Baxxtxov ev pvOue@ Bativovaw évd.id0vtos avbtois
Tov puOmov étépov, dv oipar Evvins amo TE THs
20 ctBapas Kal TOD NEeTTOV Tpocadety SoKety Tots
PO oryyous. (17) Ee 6é Kal TH ayedny evvorja elas
tov Body, ab 61) T™ pos” THY vouny leva eTOMEVOV
avTals TOY VoMewY, THS mev KpGas ovK av Bav-
pdcelas, eb Kal YpUTOD Kal KaTTLTEpOU Taaa, TO
25 6€ Kal wuKMpév@v WaoTEp aKovely ev TH ypady
Kal TOV TroTamoV KedXaoorTa eivat dSoKetv, Tap dV
Boes, TOs ovK evapyelas Tpocw; Tods 6é
A€ovtas ovd av adepunvedoai pot TUS errakiws
doKet Kal TOV UT avrois Tavpor, 6 pev yap
30 wewvKévar Oox@v Kal _oTraipew oT aparTeTal On
Tews €uTepukoTwv Tois €vToTOLdlois TOV NEOVTMY,
ol oe KUVES, evvea 8 oipat ovToL, ErrovTat TH
dyédy Kal mapa TaVv LOvvoYTwY aUTOUS VO MEwV
410 K. éyyvs ev leprae TOV NEovT@Y vhaky 1TOELV
ePeXovTeEs aurous, Tpoo pryvuvar & ov TOAMMOL
eT La TEPXOVTOY avTovs Kal TadTa TOV vopéwr.
opas 6€ Kal OracKipTavra TOU Gpous Opeupara
5 Kal TOUS aTabpous Kal Tas oKINVAS Kal TOUS
onKkovs' OlKOV TroLmViwY VvoEL TAUTA.
1 Cf. the ‘‘silver props” on the shield of Heracles, Hesiod,
Scut. 298.
338
PYRRHUS OR THE MYSIANS. 10
barrier surrounding the vines. As for the silver
in the vineyard, these are props,! to keep the vines
which are laden with fruit from being bent to the
earth. And what would you say of the men
gathering the grapes? Making their way through
this narrow passage they pile the fruit in baskets,
charming persons of an age adapted to their task.
For young men and maidens move forward in
rhythm, with Evian and Bacchic step, while another
gives them the rhythm, one whom you doubtless
recognize, not only from his lyre, but also from
the fact that he seems to be singing softly to the
lyre’s notes. And if you should also notice the
herd of cattle which press forward to their pasture
followed by the herdsmen, you might not, indeed,
marvel at the colour, although the whole scene
is made of gold and tin, but the fact that you can
almost hear the cows lowing in the painting and
that the river along the banks of which are the
cows seems to be making a splashing sound,—is
not that the height of vividness? As for the lions,
no one, it seems to me, could in a description do
justice to them or to the bull beneath them; for
the bull, that seems to bellow and quiver, is being
torn to pieces, the lions having already laid hold
upon its entrails. The dogs here, I believe there
are nine of them, follow the herd and at the
command of the herdsmen who set them on they
rush close up to the lions, wishing to frighten them
by barking, but they dare not come to close quarters
though the herdsmen urge them even to that.
And you also see sheep leaping on the mountain,
and sheep-folds, and huts and pens; you are to
recognize herein the home of the flocks.
339
PHILOSTRATUS THE YOUNGER
(18) Aovwros oipat yopos tis ovTOal tpoco-
povos TH Aaidadov, daci 8 avrov ‘A peddvy TH
Mivw mpos avTov dob jvat. tis 8 9 TEXYN] 5
10 map0évors 7teou Tas yetpas emimréeEan tes Nopev-
oval. av 0, os E0LKEV, OVK apKedOran TOUT,
el un TOL Kal TA THS EcOHTOS eEaxpiBwoopal TO
Noy: ovKodY aldl péev dOovats HaOnvTat ate-
duvas él tals Keparals ypvaas hépoveat, Tois
15 6 €UNT plot pev Kal Reman TEPLKELVTAL YLT@VES,
Haxaipas d€ TOV punpov! efNpTyvrat Ypuaas
apyupav TENAMOVOV Evvexovrov avtas. (19)°"AXX’
eV KUKX pev lovT@n, TOUT exeivo, Tpoxod TEpt-
divnow opas vonoel KEpapews Epyov TLVOS, El 1H
20 ducKkoXws i) en TOU Tepilety EXOL, TELPOVTOS.
oT OLX OoV dé Lovt@y adOis TOA TL YpHma émup-
pel, Omws €xouct TEPYEOS, emLonAOUYT WL" Kal
yap TUES €V (LET OLS OUTOL KuBur raves Kal GAXNoTE
array opxnow CTLOELKVUMLEVOL CLyELY foe capas
25 avtovs és TO Padua Soxovow. (20) “H 6é 67)
KUKXW THS AVTUYOS Paracons elK@Y ov OdratTTa,
@ tTrat, ‘Oxeavov S€ voety xp” Gpov eivat TeXV?-
Oévta THs ev TO Take ys. tkavas Eyes TOV
A
EXTUT@MLATOV.
30 (21) “A@pe oy) Kal Ta mepl ToUs veavias, Eby
OTOTEPH AUTO 1) vie: idov yap Kal aby pntat”
o Etvptmunros Kata THs wacKXadys WaaVTOS AUTO
xatptav tov Uvppov cai xpovyyndov éexyeltat TO
aia, KEITaL TE AVOLMMKTL TOAVS KATA THS Ys
35 éxyvOets, povov ov d0dcas Thy TANY)Y TO
; unpay + Jacobs: xeipav.
2 kaOypnra Morelli: caOrjpnurat or Kabripnvrat.
340
PYRRHUS OR THE MYSIANS. 10
One more scene remains, I think—a troup of
dancers here,! like the chorus which Daedalus is
said to have given to Ariadne, the daughter of
Minos. What does the art represent? Young men
and maidens with joined hands are dancing. But
apparently you will not be content unless I go
on and give you an accurate account of their gar-
ments also. Well, the girls here are clothed in fine
linen and wear golden crowns on their heads;
while the young men wear delicate thin chitons,
and golden swords hang at their sides held by silver
belts. But as they move in a circle, behold the
result—you see in imagination the whirling of a
wheel, the work of a potter making trial of his
wheel to see whether or not it turns with difficulty.
And as they advance again in rows, a great crowd
of men approaches, who show how merry they
are ; for some who here in the centre are turning
somersaults and exhibiting sundry kinds of dancing
seem to me evidently to fill the dancers with
wonder. The image of the sea on the circle of
the rim is not the sea, my boy, but you are to
imagine that Oceanus is designed by the artist to
repr een the boundary of the land depicted upon
the shield. Enough has been told you of the scenes
in relief.
Now turn your glance to the youths themselves
and note with w fen of them the victory lies. For
behold, Eurypylus has been laid low, Pyrrhus having
given him a fatal wound in the armpit, his blood
pours forth in streams, and he lies without a groan,
stretched at full length upon the ground, having
1 For the description of the dance in Homer, see Iliad
18, 590 f.
341
411 K,
10
PHILOSTRATUS THE YOUNGER
TTOMATE dua TO €5 KaLpov TOU TPAvHLATOS. ér
ev TO THs TANYTS 6 Ilvppos oXmaTe _Peomevos
THY xXElpa TO AVEPW TOAD KATA TOD Eipous
evexOevre, ol Mvooi TE OUK dvacxera Hyyoupevou
TavTa €rrl TOV veavlay Xwpovow. 08 és avTous
Brooupor opa@v proud Kal Upiorarat TO oripos
Kal Taxa Trou Kpuret TOV _Evpumvnou Vek pov
cwpndov ém avT@ Tovs vexpovs vynaas.
wa «60APTO H AIHTHS
(1) “H écextraiovca TOD ToTapob vas umd
TOARD TO pobie TIS ELpealas Kopn Té TLS abr
eml THS 7 pUmUNS omTALTOU 7a tov Kal 0 €uperes
T poo dowv Tots THs KB dpas Kpovpace Evy op0n
TLdpa O TE UTEP THS lepas éxelyns Gnyoo Spake
TOAD oT ElpapLare KEXVMLEVOS Kal TI Kepariy
els Th ynv vEevov imve BpiOovear, Tov ToTawov
pev Daou yivooxe, Mrjderav 5é TAUTNY, 0 6 én
5 THs 7 pULYNS oT ALT NS ‘Tdcwr & av ein, KiOapav oe
Kal TLdpav opavTas Kal TOV év awdoiv KOO Lov-
pevov ‘Opdevs UTrEeLolv eas o THs KadXorns.
pera yap Tov emi Tots TAVvpOLS aOrov OérEaca
els Umvov TOV épaxovta TOUTOD 1) M7jdera oeoVAN-
TAL fev TO XpuTopanrrov TOU KpLov vaKkos, duy7
b€ i ievTau AOLTOV OL THS ‘A pyods TROTHPES, emer)
avatruata tots Koryo cal to Aintn Ta Tis
1 Cf. the account of the voyage of the Argo, the elder
Phil. II, 15, swpra, p. 187; also p. 319.
2 For the tiara of Orpheus, cf. notes on pp. 310, 312 supra.
% Apoll. Rhod. Argon. 156f.: ‘* But she [Medea]... .
drawing untempered charms from her mystic brew, sprinkled
342
THE ARGO OR AEETES, 11
fallen almost before the blow was struck, so deadly
was the wound. Pyrrhus still stands in the attitude
of striking, his hand all covered with the copious
blood which drops from his sword, when the
Mysians, thinking this unendurable, advance against
the youth. But he, looking at them grimly, smiles
and takes his stand against their ranks; and doubt-
less he will soon bury the body of Eurypylus by
heaping over it a mound of dead bodies.
11. THE ARGO OR AEETES!
The ship, which forces its way along the river
with much splashing of the oars, a maiden yonder
at the stern who stands near a man in armour, the
man with erect tiara? who sings in tune with the
notes of his lyre, and the serpent which sprawls
over the sacred oak tree over here with many a coil
and bows to the earth its head all heavy with sleep 3
—in these you should recognize the river as the
Phasis, the woman here as Medea, the armed man
at the stern would be Jason, and when we see lyre
and tiara and the man who is decked out with both
it is Orpheus, son of Calliope, who comes to our
mind. For after the contest with the bulls Medea
has charmed this serpent to sleep, the “ ram’s fleece
of golden wool’’* has been seized as booty, and the
crew of the Argo have now set forth in hasty flight,
the serpent’s eyes, while she chanted her song; and all
around the potent scent of the charm cast sleep ; and on the
very spot he let his jaw sink down, and far behind . . . were
those countless coils stretched out.” Trans. Seaton, L.C.L.
4 Quoted from Pindar. Pyth. 4. 68.
343
PHILOSTRATUS THE YOUNGER
KOpNs. (2) Kal ta pev TOV THIS A pyovs vauBa-
TOV TL av oot NEYOUpLe 5 opds yap Bpaxtovas bev
25 eE@oncotas avTols vTro Tob els THY elpectav
Evytovov, Ta b€ TpocwTra ola yévolT ay EavTovs
OTEpYOVT@Y, TO Oé€ TOU TOTaLOD KAVOWVLOY
umepxay Aalov TOU TIS VE@S €u30X0v KaTapepo-
evs Eur TOXNI ™) pupn TAXOUS Ociypa. n Kopn
30 O€ a dna ov Twa v ovv Oetxvuct ex TOD ) TporwTou,
uma pev yap auTh bedaxpupevov és yh opa,
412 K. mepighoBos b€ é€oti tm’ évvoias av ded paxe Kal
Noyla pov TMV MEAXOVT@Y TANPNS,! AUTH TE TpOS
éauTyv avakukrelp doxel ot Tas évvoias Siopwca
TH Wuyy Exacta kal TeTnyvia Tas TOV OfOapav
5 Boras és Ta THs Wuyis amoppynta. (3) ldocwv
d€ auth ™Anotov Eup omAows ETOLMOS és dpvvay.
odt dé TO evdootpov Tois epeTats aoet, bpvovs,
joe Ooxeiy, avaKPOVOMEVOS ets TOUS pev
Xaprotnptovs, ep’ ols catopbaxact, Tous 6€ €$
10 ixeoiav TelvovTas, ep ols detolkacw. (4) ‘Opas
dé Kab tov Ainrny émt TETPM@POV eyav TE KAL
UTepaipovta avOpwrous, STAA pev evdeduKOTA
apna yiyavTos oimal TLvos—To yap UTép avOpw-
Tov TovO ayeicOat Sidwor—Ovupuov b€ TO Tpo-
15 cwrov TAHpYH Kal povoy ov Tip efvevta TOV
opPahpav, Raper do.ov Te TH Se&va aiwpodvra,
éumpyocey yap avtois mAwTHpar THv 'Apyo,
1 rAnpns Olearius: mAnpous.
1 The phrase is taken from Hom. Odyss. 11. 274.
2 The phrase is from the elder Phil., Jinag. 315, 7 K.
8 The phrase is from Homer, /liad 6. 340.
344
THE ARGO OR AEETES, 11
inasmuch as the maiden’s deeds have become known !
to the Colchians and Aeétes. As for the crew of
the Argo, what need that I should describe them to
you? For you see that the muscles of their arms
are swollen? with the strain of their rowing, and
that their faces have the look of men who are
urging one another to haste, and the wave of the
river which foams about the beak of the ship be-
tokens that it is rushing forward with great speed.
The maiden shows in her face a certain desperation
of mind, for while her eyes filled with tears gaze
towards the land, she is frightened at the thought
of what she has done and is preoccupied in planning
for the future, and she seems to me to be turning
over her thoughts all to herself as she beholds in
her mind each detail and has the gaze of her eyes
steadfastly fixed upon the hidden secrets of her
heart. Jason, who stands near her fully armed, is
ready to defend her. Yon singer gives the rhythm
to the oarsmen, striking up hymns to the gods, I
should say, partly of thanksgiving for the success
they have so far had and partly by way of supplica-
tion with reference to the fears they cherish. You
also see Aeétes on a four-horse chariot, tall and
overtopping other men, wearing the war-armour?® of
some giant, methinks—for the fact that he exceeds
human stature leads to this impression—and _ his
countenance is filled with wrath and he all but
darts fire from his eyes, and he lifts a torch aloft in
his right hand,* for he intends to burn the Argo,
* Cf. the description of Aeétes in Apoll. Rhod. Argon.
222f ‘*In his left hand he raised his curved shield, and in
his right a huge pine torch, and near him in front took up
his mighty spear.” Trans. Seaton.
345
30
413 K.
PHILOSTRATUS THE YOUNGER
To Oopu € av’T@ UTép THY avTUya TOD didpou
Tpoxelpov taTaTau.
(5) Te 8% modes TOV YEYPALMEVOY 5 7) TO TOV
imma 3 HUKTHpES (meV AVATETTTAMEVOL TOUTOLS
Kal averTnkas avyny Bora Te 0fOarpov Ero. poe
aArXws Te Kal evepyol viv ovtcat—bidwot yap
TouTl Oewpeiv 7) ypady—ro b€ dcOua éEatpatto-
Lev €s TOV Spomov TH paoreye UTO TOU ‘Aup-
tov—rapaBareiv yap TooTOD pact 7 Aijty—
Umo TavTos ENKOLEVOV Tov oTépvov Kal » TOV
Tpoxav divy {Lovov ov Tpoc Baroboa TO apwareiep
cvppate Tas akOas TO TAXOS didwat ylv@ocKely.
n yap Stavictapévyn Kovis Kal (dpacw éenravOovca
Tols immo apvdpav Ths ypoas trotvet THY dua-
oKewly.
(8 HSIONH
(l) Tauri pév odd éritattovtos olpai Tivos
6 yevvaios “Hpaxrrs poxOet od Eotw eireiv,
e b] \ ’ ” nw > lal ,
ws Evpuabeds &° dyXov viv adTte, deorrofery
6€ Tv apetnvy éavtovd taktas é0eXovacious
y e , a / \ \ Ca
aOXovs vToméver. 7) TL pabav poBepov obTw
KATOS Upiatarar ; (2) “Opas yap, omg OL bev
5 avT@ ol opParpor KUKOTEpI) Tt av Thy oi
aTroTopvevovTes Kal devas és ToAV SedopKoTeES
1 Xenophon, Art of Horsemanship, 1. 10: ‘‘ A wide dilated
nostril is at once better than a contracted one for respiration,
and gives the animal a fiercer aspect.”
2 Cf. the description of Amphiaraiis driving his chariot,
the elder Phil. Jmag., supra, p. 105.
3 If[esione was the daughter of Laomedon. The story is
that Poseidon, angry with Laomedon for breaking his promise
346
HESIONE. 12
sailors and all, and his spear lies ready to hand on
the chariot-rail.
What, now, do you still wish to hear about the
painting? Shall I describe the horses? Their
nostrils are dilated,! their heads erect, the glance
of their eyes alert and particularly now when they
are excited—for the painting makes you infer this—
and the panting? of the horses which are being
lashed to full speed by Apsyrtus till they are red-
dened with blood—for it is he, they say, who is
charioteer for Aeétes—the drawing of their breath
from the entire chest, and the whirling of the
wheels that almost brings to your ears the rumble
of the chariot, all this makes you realize the swift-
ness of the motion. Indeed, the spreading cloud
of dust that sprinkles the sweating horses makes it
difficult to determine their colour.
12. HESIONE?
It is not, I think, at anyone’s command that the
noble Heracles is undertaking this labour, nor is it
possible to say this time that Eurystheus is causing
him travail; rather we must say that, having made
valour his master, he is submitting to tasks of his
own choosing. Else why is he confronting so
terrible a monster? For you see what big eyes it
has, that turn about their encircling glance and
glare so terribly, and that pull down over them-
about the walls of Troy, sent a sea-monster to ravage the
country. When an oracle promised relief if Laomedon gave
his daughter to the monster to be consumed, Laomedon left
her chained to the rocks on the coast ; but Heracles appeared
to free her and to slay the monster. Cf. the account of the
freeing of Andromeda, the elder Phil. I, 29, supra, p. 115.
347
PHILOSTRATUS THE YOUNGER
ET LOK UY LOD TE of pvev axavOades Kal _aypiov ep’
EAUTOUS EAKOVTES, OT WS be o€eia TOD OTOMATOS
exBorn Kapydpovs Kat TpliaToiyouvs dddvTas
10 expatvoved, @V Ol wey AY KUTT POOELS Kal ave-
TT papwevot KaTéxel Ta AngGerta, oi O€ o&ets
TV ai yey Kal €s TOND aVvETTOTES, don 6€ 1
xepadi aKOALOD Kal Uypod Tod avdyévos eEtovca.
(3) MéyeGos b€ amTLOTOV meV ElTrEety EV pLKP@, 1) OE
15 owes YUKA TOUS amloToUVTas. EXKUPTOUMEVOU
yap Ovx, ara, aAAa KaTa TOANG sépn TOD
KNTOUS TA pev Udara Stapaiverat TO ax puBes THS
Owews KET TOVTA TO Baber, Ta S€ avioyer
mnaides av Tois drreipobadarrous dofavra, (4)
20 “Atpeuodvte TpoceTUYopev TO KNTEL, KLVOUpEVOV Oé
vuvl apodpoTaTy pun TorLY éeyetper PoOiov KTU-
Tov €v yadHvn Kal TadTAa, Kal KAVOwY OvTOS UTO
THS EuBorAHs avtTod ravigTadpevos O ev TrEpl Tols
Exalvomervols mépeoe KUpAalvEL TEPLKAVCwY avTa
25 kal SiadevKaivoyv Kadtwbev, o € TAS HOvas Tpoc-
BéBXnKEev } TE TOV OVpaiwy avaxracts éml TOAD
Thv Oddaccav &€s Dros avappittovvTer iatia
vews av atretkac bein TolKitws TpocavyalorTa.
(5) "AX ove éxtrANTTeTaAL TadTAa 0 OeaTéctos
30 ovTOs, adr’ 7 fev AEeovTH) Kal TO poTradov év
TOOL AUT@ EToLMA TPOS THY KXpElaVv, Eb TOUTWY
denaeten, EaTNKEe 6€ yupvos év TpoBorh TOV pev
apiaTepov mpotewas T0ba oxnpa elvat TO TavTl
414 K, TWOMATL peOrrraperep ™ pos TO THS KLIN TEDS
ofUppotov, Kal THs mAEeUpas Sé THs apLtoTepas
1 (Quoted from Odyss, 12. 91.
348
HESIONE, 12
selves the overhanging brow all savage and covered
with spines ; and how sharp is the projecting snout
that reveals jagged “teeth in triple row,’! some
of which are barbed and bent back to hold what
they have caught, while others are sharp-pointed
and rise to a great height; and you see how huge
a head emerges from its crooked and supple neck.
The size of it is indeed incredible, when briefly
described, but the sight of it convinces the in-
credulous. For as the monster’s body is bent not
at one point alone but at many points, the parts
which are under the sea are indeed visible, though
in a way to deceive the accuracy of vision because
of their depth, while the other parts rise from
the water and would look like islands to those
unacquainted with the sea. The monster was at
rest when we first encountered it; but now it is in
motion with a most violent onrush and raises a
great noise of splashing even though the weather
is calm, and yonder wave which is raised by the
force of its charge surges, on the one hand, around
its exposed parts as it flows over them and makes
them show white beneath, and, on the other,
dashes against the shore; and the bending of its
tail, which tosses the sea far aloft, might be com-
pared to the sails of a ship shining with many
colours.
This wonderful man, however, has no fear of
these things, but the lion’s skin and the club are
at his feet ready for use if he should need them;
and he stands naked in the attitude of attack,
thrusting forward his left leg so that it can carry
the whole weight of his body as he shifts it to secure
swiftness of movement, and while his left side and
349
10
15
20
PHILOSTRATUS THE YOUNGER
aya TH xerpl T poKerpevs * ™pos TI émitagi
Tod ToEOU Ta beEud bméorantat THS deEras yewpos
T™ pos TOV pacrov THY veupav EdKovans. (6) Thy
S aitiav, @ mat, a) on7@wev TOUTWY, v7] yap T@V
TeTPOV ayn upevn KOPN TPOKELTAL T@ KNHTEL Bopa,
‘Hotovny & avtiv Aaopédovtos maida voutlw-
pev. Trot de ovTOs ; elow, pot doxety, Tob THS
TONEWS TeLXOUS ev TEPLOT?) TOV T PAT TOMEVOD.
(7) ‘Opds yap TOhEWS KUKNoV Kal Tas emankers
avOpereov peoTas Kal @S avateTaKacw és ovpavov
EVYOMEVOL TAS xelpas Taxa Tou dedorxotes UT
exTr An Fews TEPLTTHS, pn) Kal ™poo Baror TO
TEtXel TO KHTOS, €mreLon os Xepaedaov Oppyne.
(8) To 6€ THis Kopns KadXos ) KaLpos epepunvevery
eT axpuBes ovK éd, TO yap TEpL TH ux d€os Kal
0 €ml TOLS OPWLEVOLS ay ov aTropapaiver ev TO TAS
@pas avOos, Sidwot 8 Guws Tois op@ow €x TaV
TApOVTwY TO EVTEAES TTOXdTAGPaL.
vy’ SOPOKAHS
(1) Ti dcapérreus, @ Oeve Lopoxnres, Ta TIS
Medropeéevns déyer Oar d@pa; TLO és yhv opas ;
Os eyoy ouK oida, eite aOpoitwy évvoias dn eid”
UTrO THS Tpos THY Oeov exTTAHEEWS. adda Oadpoet,
1 rpoxeimevns Salmasius : epixeimevns.
1 Cf. the account of the birth of Pindar, the elder Phil.
II, 12, p. 179; and Introduction, supra, p. 278.
2 The ‘‘ gifts” were probably honey in the comb, such as
Cheiron fed to the young Achilles (the elder Phil. Imag.,
35°
SOPHOCLES. 13
left hand are brought forward to stretch the bow,
his right side is drawn back as his right hand draws
the string to his breast. We need not seek the
reason for all this, my boy, for the maiden who is
fastened to the rocks is exposed as prey for the
monster, and we must believe her to be Hesione,
the daughter of Laomedon. And where is her
father? Within the walls of the city, it seems to
me, in a look-out where he can see what is going
on. For you see the circuit of the city and the
battlements full of men, and how they stretch out
their arms towards heaven in prayer, overcome no
doubt with prodigious fear lest the monster even
attack the city wall, since it rushes forward as if it
meant to go ashore. As for the beauty of the
maiden, the occasion precludes my describing it in
detail, for her fear for her life and the agony
occasioned by the sight she sees are withering the
flower of her beauty; but nevertheless those who
see her may conjecture from her present state what
its full perfection is.
13. SOPHOCLES!
Why do you delay, O divine Sophocles, to accept
the gifts of Melpomene?? Why do you fix your
eyes upon the ground? Since I for one do not
know whether it is because you are now collecting
your thoughts, or because you are awe-stricken at
the presence of the goddess. But be of good heart,
supra, p. 135). Cf. also supra, p. 163, where the Muses in
the form of bees are said to lead the Athenian ships to
Ionia to found a colony; and supra, p. 179, where bees
anoint with honey the infant Pindar. (Benndorf.)
35!
PHILOSTRATUS THE YOUNGER
25 @ ‘ya, Kal déyou Ta Sid0Meva. aT oBhnta yap
10
15
ovK evar TA Oe@y ddpa ola Oa Tov é€ EVOS TOV
Kadnsomns OracwTav axovoas. (2) ‘Opés yap
Kal Tas HEAT TAS, @S UTEepTéTOVTAaL cou Kal Bo Ofl-
Botow HOU TL Kal Getov éminelBovaat oTayovas
aToppitous Tis oikelas Spdcou: TouTl yap Kal
THS o7s TOLITEDS drapicer Gat TavTos HGXov.
(3) "H ov tus Kal avapbeyEerat pix pov UVoTEpoV
emit col Movoawp EUKON@Y av O prjvvov éyov Kal
dedorkevar TO TApeyyunoel, un 17 AaOoL TIS
EKT TATA TOU cov oTOMaTOS HEAT TA Kal TO
KEVT pov apudaKtos € eyxpioaca. (4) ‘Opas 6é TOU
Kal Tv Oeov aQuTny TO pev vYrryopov Kal emnp-
pEevov TIS yvouns anoberov exovaay els b€ vv
Kal pLelorapate EU MEVEL TO da@pov peTpovoar.
“AgKANT LOS dé olpae ovTOS Tea maLaya Tou
Ta peyyveov ypagev Kal KNUTOMNTNS > OUK aTraEcav
Tapa cov axovoat, Bréupa Te avrov ™ pos oe
hardpoTyte [og Lbry [LEVOV Tapa juKkpov UeTtepov
eTiEEv@Ooels ALVITTETAL.
© «6pTTAKINOOSD
(1) [lv@e@peba tod perpaxiov, @ TaLdiov, Tis
Te autos ein Kal Tis aitia THs *“AToOAN@VOS
avT@® Tapovaias, Gaponoe yap nuas yoov
mpooBr€Wwar. (2) Od«ody o pev ‘TaxuvOos eivai
1 «Auvréuntis conj. Bergk, cf. Hom. Hymn. 19, 1.
1 Iliad 3, 65: ‘‘Not to be flung aside . .. are the
glorious gifts of the gods.”
* Cf. the elder Phil., Her. 217, 2; Amazons anoint their
infants ‘‘ with mare’s milk and the dew’s honeycomb.”
352
HYACINTHUS
good sir, and accept her gifts; for the gifts of the
gods are not to be rejected,! as you no doubt know,
since you have heard it from one of the devotees
of Calliope. Indeed you see how the bees fly above
you, and how they buzz with a pleasant and divine
sound as they anoint you with mystic drops of their
own dew,” since this more than anything else is to
be infused into your poesy. Surely someone? will
before long cry out, naming you the “honeycomb
of kindly Muses,” and will exhort everyone to be-
ware lest a bee fly unnoticed from your lips and
insert its sting unawares. You can doubtless see
the goddess herself imparting to you now sublimity
of speech and loftiness of thought, and measuring
out the gift with gracious smile. This is Asclepius
near by, I think, doubtless urging you to write a
paean,* and though ‘‘famed for his skill’’® he does
not disdain to listen to you; and his gaze that is
fixed upon you, suffused as it is with joy, dimly
foreshadows his visit to you a little later as your
guest,
14. HYACINTHUS®
Let us ask the youth, my boy, who he is and what
is the reason for Apollo’s presence with him, for he
will not be afraid to have us, at least, look at him.
Well, he says that he is Hyacinthus, the son of
3 Probably Aristophanes or some other writer of the old
comedy; cf. Com. Graec. Frag. Kock, III. 402 (Mein. IV.
655).
“Cf. Philostr. Viz. <Apoll. 96, 26: ‘‘The paean of
Sophocles, which they sing to Asclepius at Athens.”
5 Quoted from Hom. Hymns XIX. 1.
® Compare the treatment of the same theme by the elder
Phil. /mag. I. 24, supra, p. 93 f.
353
PHILOS. AA
PHILOSTRATUS THE YOUNGER
pnow O OiBarou, padovras dé TovTO xpn
RouTrov Kal THY aiTiay THs Tov Beod Tapovotas
20 yuvwoKxerv' ep@v o THs Antovs Tod peLpaKtev
Tavta dwce avT@ dno, doa Exe, TO Evvetvai
oi mpoceuéevw, Tokeiay Te yap Kal povaltKnv
dvdakeuv Kal HAvTLKTs emTalely Kal AUpAS pf?
aT@Ooov Eval Kal Tots angi TahatoT pay emt
25 oTnaev, dwoev Se UTEP KUKV@V QUTOV oxov-
jevov mepuTronely Xo pia, doa ‘ArroNwvos ira.
(3 ) Tauri pev 0 Geos, yeypan rar 6€ _ AKELPEKOUNS
HEV, TO el@Oos, paibpav b€ oppor t UTep op Parpav
eyel(p@Vv, OV axrives olov €xXapTrovcl, Kal pel-
30 Oud pate nor TOV ‘TaxOov Oapovver TT po-
TELVwV pev THY beEtay emt 7 auri aitig. (4)
To HeLpaKvov dé és viv ev aTEVvES 0a, TON
416 K. be 7 ) TOV opOarpav eEvvola, yavutat Te yap 颒
ols GKOvEL, Kal TO Oapoos ere HEANOV aidot
piypuary. gotyKke O€ TA pev apiorepa TOU
TWMATOS adumoppupe xAavid« KandvTTov, & 62)
Kal UméeaTadtal, aKovTi@ dé tHv decay érrepetder
EKKELMEVO TO yrouT@ Kal TH Theupa Svop@pery,
Bpaxtov TE OUTOGL yupvos didwou mpi es Ta
Opwmeva Aevery.? o pupov pev avTo Kovpov em
evdeia Th even Kal emruryouvis arn ‘éhadpa vTrép
10 KVMS penpot TE aTrEPLTTOL Kat loxiov avexov
TO NouTrov capa ™evpa Te €UTVOUV amor op-
vevouoa TO oTépvov Kal Bpayiwov Evv dmanornte :
oppuyov Kal avyny avETTNKOS TO HET pLov Dh
KOMLN TE OUK HypOLKOS OVOE EV AVYW@ averTHKvia,
or
1 Jacobs would emend to kal Ta wh dpdueva erdéyxew, ** to
judge also of the parts not seen.” The text as it is can
hardly be sound.
2 araddéryrt Olearius: amAdrnri.
354
HYACINTHUS
Oebalus; and now that we have learned this we
must also know the reason for the god’s presence.
The son of Leto for love of the youth promises to
give him all he possesses for permission to associate
with him ; for he will teach him the use of the bow,
and music, and understanding of the art of prophecy,
and not to be unskilful with the lyre, and to preside
over the contest of the palaestra, and he will grant
to him that, riding on a chariot drawn by swans, he
should visit all the lands dear to Apollo. Here is
the god, painted as usual with unshorn locks; he
lifts a radiant forehead above. eyes that shine like
rays of light, and with a sweet smile he encourages
Hyacinthus, extending his right hand with the same
purpose. The youth keeps his eyes steadfastly on
the ground, and they are very thoughtful, for he
rejoices at what he hears and tempers with modesty
the confidence that is yet to come. He stands
there, covering with a purple mantle the left side of
his body, which is also drawn back, and he supports
his right hand on a spear, the hip being thrown
forward and the right side exposed to view, and this
bare arm permits us to describe what is visible.t
He has a slender ankle below the straight lower leg,
and above the latter this supple knee-joint; then
come thighs not unduly developed and _ hip-joints
which support the rest of the body; his side rounds
out a full-lunged chest, his arm swells? in a delicate
curve,®> his neck is moderately erect, while the
hair is not unkempt nor stiff from grime, but falls
1 See critical note. For the attitude, cf. p. 91, supra.
2 Compare the description of Hyacinthus by the elder
Phil. Jmag., supra, p. 95.
3 i.e. robust for all its delicacy; the phrase is from the
elder Phil., Her. 151, 28K.
B50
AA 2
PHILOSTRATUS THE YOUNGER
15 addr eT LK PEMALEVT) 7 HETOT YD, ouvaTrovevovca
6é tais Tod lovov dpxais. (5) “O & ev Toot
dioxos éxav Kal oKxoT . . ‘= Tt mepl EaUTOV
“Epos TE KAL TaVU pardpos dpa Kal KaTn ps,
Kal Ledupos Ex TEPLOTS aryptov vTopaivev TO
20 dupa, aivitTeTa O Sorypagos THY aTwdetav TOU
pelpaxiou, ducxevovTe O€ TO ‘ATrO\NOVE TAAYLOS
euTvevoas éuBarel TO ‘TaxivOe Tov OicKov.
te MEAEATPOS
(1) Oavpuaters 0 opa@v és TOT OUTOV ayova Kopny
oppacay, drypiov TE OUT ov0s Kal TOT OUTOU
25 oppiy VploTaperny ; ; opas yap, @S bpacpov pev
auT@ TO Opa Aogud TE ppitrovea Kal TORUS
O Kara TOV odovTov adppos és TOU dverTnKOTOV
Kal THY ax way aT plLTTwY, TO Te Evpos, ws
pos oyou TH Bacet, iv 61 Kal Ta ixyn Tavtl
30 detxvuct TAUPOV arrodéovTa ovdev ovde yap TOU
TwV TapeéNTE TL O Coypados evTuT@aas auTa
K. 7H ypagy. (2) Ta de opa@weva Kal dewa 718"
EMT ET TOKOS yap 0 avs ‘AyKaiw TovT@ Kara
TOV pnpov, KelTaL 0 veavias GOpoov éxpéwy TO
aiwa Kal €s TOAD aveppwyes TOU pnpov, O0ev
5 é€v yepolv dn To AOAov dvTos 1) wev “ATaddvTn,
1 Lacuna of one letter in F., cxdme: P.
1 The story is that Zephyrus had been a lover of Hya-
cinthus, and out of jealousy deflected the discus of Apollo
to kill the youth.
* The Calydonian boar, according to the usual form of the
story, was sent by Artemis to devastate the crops of the
country because she had been neglected by the King Oeneus
in a harvest festival. His son Meleager, himself a great
356
et A ee
die
or
>)
To face p.
|
MELEAGER
over his forehead and blends with the first down of
his beard. The discus at his feet . . . about him-
self, and Eros, who is both radiant and at the same
time downcast, and Zephyrus,t who just shows his
savage eye from his place of look-out—by all this
the painter suggests the death of the youth, and as
Apollo makes his cast, Zephyrus, by breathing athwart
its course, will cause the discus to strike Hyacinthus.
15. MELEAGER2
Are you surprised to see a girl entering into so
great a contest and withstanding the attack of so
savage and so huge a boar? For you see how blood-
shot is his eye, how his crest bristles, and how
abundant is the foam that drips from his long upright
tusks, which are unblunted at the point; and you
see how the beast’s bulk is proportional to his stride,
which indeed is indicated by these tracks that are
as large as those of a bull. For the painter has not
failed to embody any of these points in his painting.
But the scene before us is already terrible. For the
boar has attacked Ancaeus here in the thigh, and
the youth lies pouring out his blood in streams and
with a long gaping wound in his thigh; therefore,
now that the contest is already under way, Atalanta
hunter, summoned the heroes of Greece to take part in the
destruction of the boar. Theseus came among others, and
Jason and Achilles’ father Peleus and Ancaeus with his niece
Atalanta, herself a huntressand beloved of Artemis. Atalanta
wounded the boar with an arrow, and Meleager finally killed
it.- Philostratus does not take up the rest of the story which
dealt with Meleager’s love for Atalanta. Cf. Fig. 30.
Cf. the account of a boar hunt by the elder Phil. (Imag.
I. 28, supra, p. 107).
357
PHILOSTRATUS THE YOUNGER
TAUTNV yap elvat THY Kopny voeiv XPN» T POYELpov
emeica Th veupad TO Bénos adpnoew MéANNEL.
(3) "EoraArat 6é eo Oijre pev UTep youu, KpnTida
d€ Totv modoiv ev TAL Kal al yetpes és @ mov
10 yupval dua TO évepyol eivat THS ea Oijros eKeL és
Tepovas Evvexopevns, TO be KardOS appeveorrov
eK puoews dv aviotnow 6 Katpos él fanrXdov
ovK écimepov Prerovens, ara Tas TOV opOan-
pov Boras és THY TOV Spo wéveov évvolav
15 tetvovons. (4) Ot veaviar dé obtor Medéaypos
kai IIndevs, TovTous yap 61 Tovs KabeXovTas
Tov oop pnoww » ypadby, o pev émrepetoas €v
7 poor T@ NaL@ Todt EauTOV oO Mendéaypos
Kal THY Bdow THpHT as aaparas EXOEVETAL THY
20 oppnv TOD cvOsS AoyNXIV brootiaas.
(5) Dépe 67), Kal Ta Tepl avTov el @ ev"
aT Lppos pev O veavias Kal TaVvTn op pryav,
KVi pau C avT@ evTrayets Kal 6p0ai pepew Te
vy tots! Spduou ixaval kal UpiaTapmév@ Tov
25 €x yelpos ayava dUAaKes ayabai, unpos Te Edy
eruyouvids o“oroya@V Tols KaTw Kal iaylov oto
did0ovat Oapoety ws ovK avaTtpaTnaooméevou v0
THS TOV avos é€uBor7rNs Tod veaviov, mrEevpa TE
Babeia Kal yaoTnp GME PLT TOS Kal otépva TO
30 HET plov T poeKKelweva Kal Bpaxteov SinpOpo-
HEévos Kal dot Tpos avyéva éeppwmevov Evp-
amtovTes Kal Bdow avtT@ didovtes, Koun TE
NULBTa Kal averTHKULAa ViV LTO TOU THS opmns
évepryoo Kal Xaporov iKavas dedopxos TO Oupa
35 7) «TE op pis OUK caVELLEVN), arn’ év 7 dupe
Taga Kal TOU T OO WT OV KaTaoTAaols ovde
418 K. Euyywpotdoa tepl Kaddous TL Eye Ota TO
358
MELEAGER
—for we must recognize that the girl is she—having
put to the bowstring the arrow she has ready, is
about to let itsfly. She wears a garment that does not
reach the knee and boots fastened on her feet; her
arms are bare to the shoulders for freedom of move-
ment, and the garment is fastened there by brooches ;
her beauty, which is naturally of the masculine type, is
made more so by the occasion, since her glance is
not alluring, but she strains her eyes to observe
what is going on. The youths here are Meleager
and Peleus, for the painting tells us that it is they
who have slain the boar; Meleager in an attitude of
defence throws his weight upon his left foot, and
watching closely the boar’s advance, awaits his onset
securely with couched spear.
Come, let us describe him in detail. The youth
is sturdy and well developed all over; his legs below
the knee are firmly knit and straight, well able to
carry him in the foot-race, and also good guardians
for him when he fights in the hand-to-hand contest ;
the upper and lower parts of the thigh are in harmony
with the lower leg, and the hip is the kind to make
us confident that the youth will not be overthrown
by the boar’s attack ; his flanks are broad, his stomach
lean, his breast protrudes a little, his arms are well
articulated and his shoulders join in a strong neck,
providing it with a firm foundation ; his hair is ruddy,
and at this time stands erect because of the vehem-
ence of his attack; the flash of his eye is very
bright, and his forehead is not relaxed but all instinct
with passion; the expression of his face does not
permit a word to be said of its beauty because it is
1 re before rois deleted by Kayser.
359
10
20
PHILOSTRATUS THE YOUNGER
emiteTacOat, ec Ons be NEV? Umrep youu Kal
Kpntis uTép apupoyv épercopa dopants ™ Bace,
xAapvda Te KoKKoBahh UTrEp avyevos KoATMTAS
To Onpiov Upiorarat,
(6) Tauti pév cor ta Tov Olvéws, IInreds dé
ovTos mpoBeBrnras powwtKoov papos, paxatpa
be avTo ” Tap Hatorou €v XEpoiy exdeEo-
Levep THY TOD ov0s opi}, TO dé Oompa aT peTTOS
Kal 0&0 op@v Kat olos unde wrepoptov aOXov
rov es Kodrxyous avy “lacow Setoat.
is -NEXSTO>
(1) My) 6€6u8t, o Tai, TOV Evnvov ToT a pov
TOAND KUMaLvovTa Kal Umép Tas ox 8as aipo-
fevov, yéypatTat Yap, arra Had)ov Ta év
avT@ dvackevrwopeba, On Te Kal Srrws Exe TA
tol \
THS TEXYNS* 1) Yap OUK eTTLATPEpEL aE TpOS EAUTOV
€ al ¢ A ef bp] \ / a
0 Oeitos Hpaxds OUTWS eu 3eBnkas féc@ TO
TOTALO Kal TUp exhduTrov ato TOV bpOarwav
TOV oKOTTOV HET poUvT@Y TOEOV TE EX@Y é€v TH
Aaa TpoBeBAnpevn, Ett Kai THhv deErav ev TO
THs adécews Tod Bédovs Eyov oxnpuate; €¢
\ a e/ / ’ x yv \ ip]
palov yap avtn. (2) Ti & ap eltrois epi tis
veupas ; ap ovx aicbavecbar Soxeis emnxovons
TH TOU olaTOD adéoet; trod b€ ovTOS ; Opds TOV
vaTatov avacKkipt@vta Kévtavpov ; Néaaos dé
1 i.e. the Argonautic expedition, cf. pp. 187, 343, swpra.
* The death of Heracles was attributed to the poisoned
arrow with which he shot the centaur Nessus. The story is
that Nessus gave Deianeira some of his blood to use as a love-
charm in case the affections of Heracles strayed to another
woman, When Deianeira had occasion to use 1t, she anointed
a garment with the charm and sent it to Heracles ; but when
360
NESSUS
so tense; he wears a white garment that does not
reach to the knee, and his high boot that reaches
above the ankle gives him secure support in walk-
ing; and letting his scarlet mantle hang in a fold
from his neck he awaits the beast.
So much for the son of Oeneus; but Peleus here
holds his purple mantle out before him; and he
holds in his hand the sword given him by Hephaestus,
as he awaits the rush of the boar; his eye is un-
swerving and keen of glance, and he looks as if he
did not fear even to cross the borders and go with
Jason on the adventure to Colchis.}
16. NESSUS?
Do not fear? the river Evenus, my boy, though it
rises in great waves and the water overflows its banks,
for it is a painting; rather let us examine its details,
to see how and in what manner they are represented
in art.4 Does not the divine Heracles attract your
attention as he advances thus into the middle of the
river, his eyes flashing fire and measuring off the
distance to the mark, while he holds the bow in his
outstretched left hand and still keeps his right hand
in the attitude of one who has let fly the arrow ?5
for he holds it close to his breast. And what would
you say of the bowstring? Do you not seem to hear
it sing as it lets ly the arrow? Whither is it aimed ?
Do you see the centaur giving his last leap? This
he put on the garment, the poison caused his death in agony,
and Deianeira in remorse hanged herself.
3 The phrase is from the elder Phil., Her. 196, 20f.
* Cf. supra, 410, 8 K for this use of réxv7.
5 Cf. the elder Phil., 2mag., p. 219 supra, for this device
of the painter, who chooses the moment when an action is just
completed to suggest the action itself.
361
30
419 K,
10
PHILOSTRATUS THE YOUNGER
oimat ovTOS dtaduywv é€x THS Porons tv “Hpa-
4 lal e lal
KNElav fLovos xElpa, OT ErtyelpodvTES AdiKwS
avT@ duehuyev ovdeis mrNV OUTOS. olyeTar é
\ e 16 ’ > \ / ,
Kal oUTOS adtKos és avTOV haves: topOmevovTos
yap Tovs Sdeouévous TovTOUV émiatas 0 ‘HpakdAs
Evy 7H yuvacki Aniaveipa cai TO Tabi” TAX,
€meLon TOPOS O TOTApMLOS epaiveTo, THY yUVaiKa
TopOuetoat Tapeyyvad, avtos Sé émuBas Tod
didpov Edy TO tratdl éxwper Sta TOU ToTAamoD,
KavTav0a o péev KaKwsS lOwY THY yUvaiKa aTO-
a > e \ fol
Tow émeToAua THS bxOns émiBas, o Sé Bons
e a \ ~
axovaas 0 ‘Hpakds tokever cata tod Néooov.
(3) Teypadatar b€ 7 wev Anuidverpa €v TO TOD
KIVOUVOY TX MaTL Kal TrepLdoens é€s TOV ‘Hpakréa
cal tc /
Tas ‘xeipas telvovoa, 0 b€ Néooos apt Tov
’ \ / \ \ € a 5 /
olatov deEdpevos Kal mepi éavT@ aophadalwv
” Py r \ e a 50 i | > 50 ’
ovmTm, Soxelvy, TOV EavTOD AVOpov! amobeToV Es
lal \
‘Hpaxréa 7H Antaveipa Sedwxas. (4) To de
lal /
madiov o “TrAXros éebéotnke pmey TO TATPWYH
a ef >
Sidpw Kata THs avtuyos SeOévtTwV, WaTE aTpeE-
a rn A , to
uelv, TOV intwr, Kpotet Sé Ud HOovAS TAS
al / \ A / A
yelpas yédX@te dovs a pNTw EppwTal.
1 AvOpov Jacobs : dipor.
362
at.
SUS.
Nes
31.—Deianeira at the Death of
Fic.
[To face p. 363.
NESSUS
is Nessus, I think, who alone escaped the hand of
Heracles at Pholoé,! when none but he escaped of
those who wickedly attacked the hero. And he too
is dead, caught in a manifest wrong to Heracles.
For Nessus ferried across any who called for this
service, and Heracles arrived, together with his wife
and his son Hyllus; and since the river seemed
unfordable, he entrusted his wife to Nessus to carry
over, while he himself mounted his chariot along
with his son and proceeded to cross the river.
Thereupon the centaur when he reached the bank
east wanton eyes on the woman and dared a
monstrous deed; and Heracles hearing her cry shot
an arrow at Nessus. Deianeira is painted in the
attitude of one in danger, in the extremity of her
fear stretching out her arms to Heracles, while
Nessus, who has just been hit by the arrow and is in
convulsions, apparently has not yet given his own
blood to Deianeira to be put aside for use on
Heracles. The boy Hyllus stands on his father’s
chariot, to the rail of which the reins are fastened so
that the horses will not run away, and he claps his
hands in glee and laughs at what he has not yet the
strength to do.
1 When Heracles came to Pholoé, Pholos the centaur
opened the cask of wine which Dionysus had given him
long before with instructions to keep it till Heracles visited
him. Drunken with the wine the other centaurs attacked
Heracles and were slain by his poisoned arrows with the
exception of Nessus who escaped. Vholos, like Cheiron, is
described as a different type of centaur; he met his death
accidentally with one of the poisoned arrows. Cf. Fig. 31.
363
PHILOSTRATUS THE YOUNGER
it’ PIAOKTHTHS
(1) ‘O pep emt T@ oTpatnye apret Kal TOUS
Ex MediBotas emt Tpotav ayov TLL@POVS Me-
vedkaw Kata ToU Ppvyos PiroKxtHTHs 0 Tod Iol-
avtTos yevvaios mov Kal avadépwy és THv Ud
20 “Hpaxret tpodyv—leparav 6n yevéobar TO
‘“Hpakret 0 PiroxtyTHs €x vniov, 6TE Kal
dhopevs elval of tav ToEwy, a 8 Kal batepov
picOov rAaBety Tap’ adtovd Ths els THY Tupav
UToupyias—o dé vov evtavda EvpmenT@KOTL bua
THY vooov TO Tporwre Evyvepy) op pov ert
TopGarpe ebAdkov KaT@ TOU kat ev Baber
ovTas Kal dev nvov Op@VvTas, KounY Te AVOpov
Kal avx nov ™ajpn SevKvUS Kal THY yeverada
UTAVETTIKOS Kal ppitrar Kal paxia autos TE
30 GPT LT XO LEVvos Kal TOY TapooV KaXUTT@V TOLOVOE,
@ Tat, didwat oyov. (2) ’Avatrheovtes és
Tpotav ot "Axatot Kal TpoaayovTes Tabs vycots
420 K. €aaTEvOVTO TOV THs Xpvons Bopor, ov “lacwv
TOTé (OpvcaTo, OTE €5 Kodyous emt, Pido-
KTHTHS Te ek THS Evv “Hpaxre? pvynuns Tov
Bapov Tots ent over devxvus eyXplipavros auT@
5 Tov bopov TOV tov eS Garepov Tol Trodotv ol
pev el Tpotay of “Ayatot otéd\XovTat, o dé év
Anpve TaVvTy KetTal, dia Bopp dyoi Lopoxrr‘s
Kkatactalwv (@ Tov he
bo
Or
1 &pr. Hamaker: €r.
2 The rest of the MS. is lost.
1 The story of Philoctetes was treated by Aeschylus and
Juripides, as well as in the extant drama of Sophocles,
364
PHILOCTETES
tf, PHILOCrETES
The man who but recently was in command of an
army and led the men of Meliboea against Troy to
avenge Menelaus on the Phrygian, is Philoctetes the
son of Poeas, noble of birth, no doubt, and one who
owes his upbringing to Heracles—for Philoctetes
became the servant of Heracles from early youth
and was the bearer of his bow and arrows, the bow
which later he received from his master as a reward
for his services in lighting the funeral pyre ; but now
with downcast face because of his malady and with
clouded brow above lowered eyes, hollow eyes that
glare with wrath, showing hair that is full of filth
and grime, his beard unkempt, shivering, himself
clothed in rags and with rags concealing his ulcered
heel, my boy, he supplies the following story :—The
Achaeans, when they sailed for Troy and put in at
the islands, were earnestly seeking the altar of
Chryse, which Jason had formerly erected when he
made his voyage to Colchis; and Philoctetes, re-
membering the altar from his visit to it with Heracles,
pointed it out to the searchers, whereupon a water-
serpent drove its poison into one of his feet. Then
the Achaeans set sail for Troy, but he was left here
in Lemnos, “his foot dripping with devouring
poison,’ 2 as Sophocles says. .
When the Greeks learned from an oracle that the bow and
arrows of Heracles were necessary for the capture of Troy,
Neoptolemus was sent to get Philoctetes and these weapons
from Lemnos. Neoptolemus won his confidence and received
the bow and arrows, but refused to betray the trust. Only
when Heracles appeared from heaven to direct Philoctetes to
let them go were they secured for use against Troy.
2 Quoted from Soph. Phil. 7.
365
(Was
CALLISTRATUS
DESCRIPTIONS
WITH AN ENGLISH TRANSLATION BY
ARTHUR FAIRBANKS
i
y
INTRODUCTION
CALLISTRATUS:
CaLuistRaTus is known to us only through the
Descriptions. His quotations from the younger as
well as the older Philostratus furnish evidence that
he was familiar with the works of both writers,
and therefore that he himself wrote not earlier than
the latter part of the third century A.p. ; on grounds
of style Schenkl and Reisch! point out that pre-
sumably the work should be dated at least a century
later. Of his life we only know that he writes as if
he had himself seen statues which he describes as
existing in Sicyon (No. 6), in Athens (No. 11), in
Egyptian Thebes (No. 1) and in Macedonia (No.
13). There is, of course, nothing improbable in the
belief that he had travelled to this extent.
The present Descriptions belong to the same class
of rhetorical literature as the Jmagines of the older
and the younger Philostratus, in that they are
essentially examples of the rhetorician’s skill rather
than of serious art criticism. While it would be
possible to draw comparisons more or less close
between these Descriptions and the Jmagines, such
a procedure would probably be misleading. Doubt-
less the present work is one of many in which
1 Introduction, pp. xxii—xxiii, Cf. W. Meyer, Der
accentuirte Satzschluss in der griechischen Prosa vom LV bis
XVI Jahrhundert, Gott., 1891.
369
PHILOS. BB
INTRODUCTION
paintings and sculpture were praised; doubtless it
is far truer to dwell on the influence of Philostratus
the elder on this whole branch of later rhetoric than
to attempt comparisons between any two examples
of such rhetoric. In fact the study of Callistratus’
work brings out the differences between him and his
known predecessors quite as much as his dependence
on them.
In general his descriptions have so little to say
of the statues described that the name of the work
seems inexact; his aim is rather to praise, and the
description is quite subordinate to his rhetorical
encomium of the sculptor’s marvellous success in
his work. Apparently he is as much indebted to »
writers who have praised works of literary art as
to those who used painting and sculpture for their
themes. His method is quite simple. He begins
with the name, the ___location, and often the material
of a statue; after some general remarks he praises
the success of the artist in making the material
express the living being he depicts; and in con-
clusion he adds some general remark on art or the
artist which the statue had suggested. We find
none of the rhetorical devices of the older Philo-
stratus—the ornate language, the complicated effort
for a conversational style, the mixture of actual
description with other elements of the story which
are not represented in the picture ; the ‘‘ boy’ who
served as the audience has all but disappeared (but
cf. & véor, p. 428, 1K.); the numerous allusions to
classical literature and the constant use of phrases
from the poets are no longer found. Nor do we
find the careful descriptions of the later Philo-
stratus; his aim is to praise the success of the
37°
INTRODUCTION
artist, and to this end is directed all the elo-
quence he can command. Callistratus is primarily
not a student of art, but a sophist who displays
his powers in these encomia. Like his predecessors,
he held that literature as well as sculpture and
painting was an inspired art ; he too competed with
the works of art he described in the effort to make
his descriptions equally works of art; like the
poets and the historians, like Demosthenes and
Euripides (cf. Nos. 2, 8, 13), he would speak with an
inspiration similar to that of sculptor or painter.
While the elder Philostratus emphasized the
realism, the illusion of reality in the paintings he
described, and at times mentioned the technique
by which this illusion was produced; while the
younger Philostratus treated paintings primarily as
expressing the character and the inner experience
of the persons represented, it was the aim of
Callistratus to glorify the success of the sculptor
in making bronze or marble all but alive in the
figures he created. Briefly, he points out in each
case how art almost transformed dead matter into
the living beings which the artist represented,
apparently endowing the material with the softness
and colour of flesh, with sensations, with emotions,
with passion and intelligence, and with the power
to move; and because the statues were all but
living beings, they represented the character and
inner experience of these beings. There is a
certain sameness and conventionality in the way
this formula is developed. The details he praises
are in almost every instance first the hair, its
softness, its waving locks, its moist curls; then he
often speaks of the eyes (Nos. 5, 8, 11) as expressing
371
BB 2
INTRODUCTION
character; he constantly dwells on the flesh, its
softness and its varying colour as expressed in a
material that was hard and of one colour; the power
to move, or to seem to move, belongs to his statues
as to the statues made by Daedalus (Nos. 3, 8, 9);
but the statues he describes are superior to those
of Daedalus in that they not only felt sensations
of grief or joy or desire (Nos. 1, 3, 5, 8, 9), but they
also had the power of sense perception (Nos. 2, 5)
and intelligence (Nos. 3, 10, 13) and_ personal
character (Nos. 5, 11, 13). The language of the
Alexandrine epigrams dealing with sculpture and
statuary, which are preserved in the Anthology,
Callistratus transfers to these prose descriptions in
order to lend eloquence to his treatment of the
theme. If his eloquence sometimes becomes tedious,
if it adds little or nothing to our knowledge of
Greek sculpture, nevertheless these descriptions are
valuable in the light they throw on the significance
of the greater Greek art for the fourth and fifth
centuries A.D.
It is of little consequence, therefore, whether or
not the Descriplions of Callistratus are based on real
statues he had seen. Probably we should assume
that he writes about what he had himself seen,
either in originals or copies, for there is no real
reason against this belief; and when he uses the
language of hearsay in speaking of the statue of
Memnon (pp. 379, 409, zxfra), he expressly states the
fact. At the same time, such praise as he offers to
the “Opportunity ”’ of Lysippus or the Baechante
of Scopas or the Eros of Praxiteles is by no means
dependent on his personal acquaintance with these
statues ; indeed it rather smacks of a literary origin,
372
INTRODUCTION
To say that “art carried imitation over into reality ”’
(2, 2), that “the image passes over into the god
himself” (10, 2), that art gave bronze the power to
breathe (11, 2), is the language of the rhetorician
rather than of one who is carried away in looking
at the statue itself.
373
"a i.
4 -
: 7 : Pe ee
“OE ere eg ee
hae sou ay ee ed Lig
, ae te sate rg ©
‘ ee " 73 price 7. a ne ‘
Nant Mae Since y
‘ 7
aie
=)
.
A
.
=
.
*
--
="?
CALLISTRATUS
DESCRIPTIONS
421 K.
10
15
a’ EIS SATTPON
Che “Avtpov Av Tl Tepl OnBas Tas Alyurtias
T pOowelKag LEVOV oupuyye els EALKaS avTOopuas év
KUKLO mepl TOUS THS YS ENLTTOMEVOY mu peévas*
ov yap én’ ev0eias dvolyopevov els evOuTropous
avra@vas eaxileTo, AANA THY UTMpELoY TEPLT PEYOV
Kauri uToyetious Edixas é&éTELver eis SuTEUpETOV
mravnv éxtrimtov. (2) “Iépuro dé év av’T® Latv-
pov TLaynua Texun bev eK idov. ELOTIKEL pev
€TL TLVOS KpnTridos els Yopelav evtpeif@y TO
oyna Kal THs SeELas Baocews Tov _Tapoov TOV
oma Bev €Ealpwov peTexerpitero Kal avov Kal
7 pos TID nxnY T P@TOs efaviorato: TH mev 4p
axon méXOS Ov T PoonmTev avrodvTos ovdé HV O
avros éudhwvos, TO 6 TAY adrAOvYT@Y TaOos ba
Ths TéxVNs Els THY TEeTpaV ElanKTO. (3) Hides av
UTavicTapévas Kal dr€éBas ws Av Ex Twos yeutfo-
pévas TVEVLATOS Kal Els THY ETIHXNTW TOD avAOD
\ \ \ lal
THY TONY ek oTépvwy TOY LadTUpOV avacTr@VTA
1 The statue here described corresponds to the ‘‘Satyr
playing a flute” in the Villa Borghese (Brunn-Bruckman,
Denkmialer griech. u. rém. Sculptur, No. 435). It is quite
possible that at one time this Satyr was set up with a statue
of Pan embracing the nymph Echo, for it is well known that
after the death of Alexander the Great, single statues of
men and gods which logically belonged together were set
up together in gardens and public places. However, the
question may be raised whether in this instance the nymph
376
DESCRIPTIONS, BY CALLISTRATUS
Pf ONWA SALVE?
THERE was a certain cave near Thebes in Egypt
which resembled a shepherd’s pipe, since as it
followed its winding course in the depths of the
earth it formed a natural spiral ; for it did not take
a straight course at the opening and then branch
off into straight-running corridors, but winding
about under the mountain it made a
huge spiral, ending in a most difficult
maze. In it was set up an image of a
Satyr wrought in marble. He stood
on a base in the attitude of one making
ready to dance, and lifting the sole of
his right foot backward he not only
held a flute in his hand but also was
being the first to leap up at its sound ;
though in reality the fute’s note was
not reaching the player’s ear, nor yet
was the flute endowed with voice, but
the physical effect which flute-players Fic. 32.
experience had been transferred to the stone by the
skill of the artist. You could have seen the veins
standing out as though they were filled with a sort
of breath, the Satyr drawing the air from his lungs
is really Echo. While in the myth Pan is said to have been
disappointed in his love for Echo, here he is represented
as enjoying the satisfaction of his love, and as eager to
defend the nymph from the danger which the Satyr threatens.
(Benndorf.) This statue (Fig. 32) is wrongly restored with
cymbals.
377
CALLISTRATUS : DESCRIPTIONS
\ b a 1—2/ \ y \ > > ,
Kal éevepyetv €0éXov TO eldwAov Kal els aywviav
/ / Ss \ \ A
Tov ALGov TimtovTa’ Eivar yap érretOe Kal TONS
b / a 4
efovolay év éavT@ Euhuvtov Kat acOpatos év-
. OevErv eyerpopevny oixoJev—xKal Tov dunxaveov
TOpov. (4) Ove jv be aBporntos HeTexov TO
o Mpa, GAN’ 7) TOV MEAM@Y OTEPPOTHS THV @pav
exNeTTTEV Els apO pwr ouppeT play avOgteae THY
5 lOéav Tpaxvvovod. Kany pev yap Kopn xpares
10
20
pardaxot poo popor Kal TA Opurropeva,
Latvpouv sé aux pen pov TO eidos @s ay opetou
Saipovos kat Avoviow oKipta@vtos. Ktoaos bé
avTov é€otepavov ovK €k AELma@vos Spetramévns
\ \ a / b) > e / 5 \
TOV Ka PT OV TNS TEXYNS, GAN O ALGos aro °
OTEPPOTNTOS els Kr@vAS xvGeis mepreber THY
Kopny els cup Bory él TOUS avxXEVLOUS TEVOVTAS
eK peT@T@Y T POTEPTOV. (5) Tlapeva rec d€ 0
Ilav yavvpevos TH adANTLKT Kal evaryKxahio a-
JLEVOS THY "Hye, @oTrEp oiwae ded10s, pn TiWa
PO oryyou Empougov 0 avros KLYNTAS av7nx et
avaTelon T@ Latvpo THY Nvudnv. tovto
Ocacdpevor TO eldwrov Kal tov AiO.orr@v réOov
éudwvov Méuvovos émictevouev yevéoOat, Os
T POTLOVaNS [LEV THS “‘Hyépas emi Tats Tapovatais
eparopuvero, amLovens be avi Bardopevos Tév-
O:ov em EO TEVED Kal ovos éK MBwy nOOVAS Kal
AVINs Tapovaia SLorKovpEVOS THS OlKELAS ATETTN
KwpoTntos els eEovciav davis tHv avarcOnotav
EXVLKNTAS.
1 Kad ev yap Kopn Weinberger: kad} ev yap képn.
2 ard Olearius: b7d.
1 Cf. the elder Philostratus, supra, p. 81, the description
of Zephyrus.
378
I ON A’ SATYER
to bring notes from the flute, the statue eager to be
in action, and the stone entering upon strenuous
activity—for it persuaded you that the power to
blow the flute was actually inherent in it, and that
the indication of breathing was the result of its
own inner powers!—finding a way to accomplish
the impossible.2 The body had no trace of delicacy,
but the hardness of the members had stolen away
their beauty, making the form rugged with the
symmetry of manly limbs. For though soft skin
and dainty limbs befit a beautiful girl, the appearance
of a Satyr is unkempt, as of a mountain spirit that
leaps in honour of Dionysus. The statue was
wreathed with ivy, though the sculptor’s art did not
cull real berries from a meadow, nay, rather, it was
the stone which for all its hardness spread out into
sprays and encircled the hair, creeping back from
the forehead till the ends met at the sinews of the
neck. Pan stood beside him, delighting in the
music of the flute and embracing Echo, in fear, |
suppose, lest the flute set in motion some musical
sound and induce the Nymph to make an echoing
response to the Satyr. When we saw this statue
we could well believe that the Ethiopian stone
statue of Memnon ® also became vocal, the Memnon,
who when Day came was filled with joy by her
presence, and, overcome by distress when she de-
parted, groaned with grief—the only stone figure
that has been moved by the presence of joy and
sadness to depart from its natural dumbness, so far
overcoming its insensibility as to gain the power of
speech.
2 The text seems to be imperfect. The last phrase is
proverbial; cf. Aeschylus, Prom. 59, and infra, p. 433, 5 K.
3 Cf. supra, p. 31, and infra, p. 407.
379
30
or
10
CALLISTRATUS : DESCRIPTIONS
8B EIS TO BAKXHS ATAAMA
(1) O8 tomTay Kai RoyoToLmy povov ént-
mvéovtar! téyvar él tas yAwTTas éx Oeadv
evar pod TeaovtTos, aAAa Kal TOV Snutoupyav
ai Xetpes Oevorépev TVEVLAT@V Epavols Ange
oat KaTOXa Kal perTa pravias Tpopntevovat Ta
TOL Lara" 0 yap 61 2KoTras, OoTeEp ék TLVOS
em iTvolas cn Oets els THY TOD ayadmaTos
On proupyiay THY Geohopiav edfxev. Ti dé vpiv
ovK avwbev tov évOovotacuov ths Téyvys
dunyovpae ;
(2) "Hv Baxyns adyadpa é« RiOov Ilapiou
TET OLN LEVOV aNATTOpLEVOY pos THY OVTWS
Baxxny. év yap TH oiKela Taker evo 0 AiBos
Tov é€v ALGoars vomov éxBaivew edoKer TO per yap
pawwopevov ovTws 7 elO@Aor, 7) 7 TeEXYN oe es TO
OVT@S OV amnyaye TH pipnow. eldes ay or
Kal OTEPEOS Ov els TV TOU OnXeEOS elkao tay
EMANATTETO YopyornT os StopFouperns TO OArv
Kal els efouctav dotpa@v KUT EOS dee Bax-
yevecOar kal 7 Oc@ elordyte Ta evdov brHyet.
(3) IIpocwmrov ye pnv idovtes tro adacias
EoTnuEev' oUTw 67) Kal ala@ncews cuVeEtTrEeToO
5
1 émimvéeovta Jacobs: mvéovrat.
1 The word means primarily to act as interpreter for the
gods, and then to speak under divine inspiration.
2 Cf. Plato, Phaedr. 2454 on the madness which inspires
the poet. ‘‘ The third kind is the madness of those who are
possessed by the Muses ; which takes hold of a delicate and
virgin soul, and this inspiring frenzy awakens lyrical and all
other numbers ; with these adorning the myriad actions of
380
2 ON THE STATUE OF A BACCHANTE
2. ON THE STATUE OF A BACCHANTE
It is not the art of poets and writers of prose
alone that is inspired when divine power from the
gods falls on their tongues, nay, the hands of
sculptors also, when they are seized by the gift
of a more divine inspiration, give utterance! to
creations that are possessed and full of madness.?
So Scopas,? moved as it were by some inspiration,
imparted to the production of this statue the divine
frenzy within him. Why should I not describe to
you from the beginning the inspiration of this work
of art?
A statue of a Bacchante, wrought from Parian
marble, has been transformed into a real Bacchante.
For the stone, while retaining its own nature, yet
seemed to depart from the law which governs
stone ; what one saw was really an image, but art
carried imitation over into actual reality. You
might have seen that, hard though it was, it
became soft to the semblance of the feminine, its
vigour, however, correcting the femininity, and that,
though it had no power to move, it knew how to
leap in Bacchic dance and would respond to the god
when he entered into its inner being. When we
saw the face we stood speechless ; so manifest upon
ancient heroes for the instruction of posterity.” Trans.
Jowett.
3 Scopas of Paros, the sculptor of passionate emotions,
worked during the first half of the fourth century B.c.
“Cf. Anth. Pal. IX. 774: ‘‘The Bacchante is of Parian
marble, but the sculptor gave life to the stone, and she
springs up as if ina Bacchic fury. Scopas, thy god-creating
art has produced a great marvel, a Thyad, the frenzied slayer
of goats.” Trans. Paton, L.C. L.
381
CALLISTRATUS : DESCRIPTIONS
SyAwMa p41 Tapovons aidOnoews, Kai Baxyns
15 exBaxyevov Oeracuos eunvveto Oevacpod 1)
TANTTOVTOS kal dca éper pavias olatpaca
Wux7 TocadTa ™aOous déXapTre TEKUnpLa vm
THIS TEXUNS apprr@ Oyo xpabevra. avetto é
» Konn Cepvpw ooBeiv Kal eis TpuXos avOnow
20 UmecyifeTo, 0 67 Kal paddtoTa TOV Royiopmov
UTeLLoTN, OTL Kal TpLYOS NeTTOTHTL ALOos av
émeiOeTo Kal TAOKALwWY UTHKOVTEV pLEnLaAcL
Kal THS Corixis EfEws YEyULVOLEVOS TO CoriKov
etx ev. (4) ° ‘Egns a av OTL Kal avencews ad oppas
25 9 TEXYN ouvnryaryer" oUTwS Kal TO Op@mevov
aTLGTOV Kal TO fn TLOTOV Op@pmevov. ov pV
Gd\ra Kal yelpas evepyods émedetnvuTo—od yap
tov Bakxixov étivacce Oupaov, adra TL opaytov
edhepev waTrep evalovaa, TLKpoTepas pavias avpBo-
30 Aov" TO be Vy Xupatpas TL Tac pa TeNLOVOY TI)V
xpoav” Kai yap 70 TEOVNKOS 0 0 Ao bmedveTo—
Kal play ova av Ty Agu els Oavatov Kal Cons
Sinpec mien, THY pev ELT VOU oTncaca Kal
olov opeyouévnu Kubarpavos, TY dé é« Tov
35 Baxyixod Gavatwleicay oiatpov Kal TOV aicO7)-
K. 424 cewy atropapaivovcay thy axpnv. (5) “‘O pev
otv XkoTas Kal tas ayy uxous elOwhorr ovay
yeverers Snpuoupyos areas 7) Av Kal Tots Topacl
Ths bys | awetuTrovTo Ta Oavpara, o 5€ Ta év
5 Noyols OraTTAaTTwv AnpooBévns ayddmata pLK-
pov Kal roywv ederEev eidos aicOntov Tots vow
1 Jacobs would emend #Ans to Wuxijs-
1 Cf. Eur. Bacch. 32f.: gorpno’ éyw paviacs. Dionysus
says, ‘I goaded them with madness,
382
2, ON THE STATUE OF A BACCHANTE
it was the evidence of sense perception, though
perception was not present; so clear an intimation
was given of a Bacchante’s divine possession stirring
Bacchic frenzy though no such possession aroused
it; and so strikingly there shone from it, fashioned
by art in a manner not to be described, all the signs
of passion which a soul goaded by madness? displays.
The hair fell free to be tossed by the wind and
was divided to show the glory of each strand,
which thing indeed most transcended reason, seeing
that, stone though the material was, it lent itself
to the lightness of hair and yielded to imitation of
locks of hair, and though void of the faculty of life,
it nevertheless had vitality. Indeed you might say
that art has brought to its aid the impulses of
growing life, so unbelievable is what you see, so
visible is what you do not believe. Nay, it actually
showed hands in motion—for it was not waving the
Bacchic thyrsus, but it carried a victim as if it were
uttering the Evian cry, the token of a more poignant
madness ; and the figure of the kid was livid in
colour,” for the stone assumed the appearance of
dead flesh ; and though the material was one and
the same it severally imitated life and death, for it
made one part instinct with life and as though eager
for Cithaeron, and another part brought to death by
Bacchic frenzy, its keen senses withered away.
Thus Scopas fashioning creatures without life was
an artificer of truth and imprinted miracles on bodies
made of inanimate matter; while Demosthenes,
fashioning images in words, almost made visible a
form of words by mingling the medicaments of art
2 Cf. Anth. Pal. 1X. 774, p. 381, supra.
383
CALLISTRATUS : DESCRIPTIONS
Kal ppovncews YEE) mace ouyKepavvus Ta THIS
TEXYNS _pdppaxa. Kal yocedbe oe avrixa, ws
ovde THS oixo0ev KLUNTEWS eo TepyTa 70 els
10 Gewptay TT POKELMLEVOV ayarpa, arra Kal onod
eomoven kal év T® yapaxthpr owler tov
yevynTopa.
y EIS TO TOT EPOQTO® ATAAMA
(1) Kat érépas (epas TEXYNS Ol Noyou T pooy-
Tevoal Bovdovrau ov yap pot Oeperov ay Kael
15 lepa Ta TEXYNS yevynpara. "Epos mY, II paé-
TEAOUS TEXVNMA, 0 “Epes auros, Tats avn pos
Kal VEOS (TTEpuyas: EXOV Kal ToEa. NarKos dé
avTov eTUTOU, Kal os av "Epwta tur av TUpavvov
Geov Kal péyav Kal avTos éduvvacteveto’ ov yap
20 nvelyeTO YadKos elvaL TA TaVTA, AXX aos Hy,
"Epos éyiveto. (2) Eides av tov yarxov Opv-
TTOMEVOV Kal Els EVTapKiaV aunydvas yALOa@VTA
Kal ws Bpaxéws eimeivy TA avayKaia mAnpodY
éauTn THv VANY apKodaay. Uypos mev HV apot-
25 p@v waraKoTnTos,! yark@ b€ Exov cuv@dov THY
1 uadakoTyntos Jacobs: peyadornros.
1 i.e. the power of movement native to a Bacchante.
2 ** Keeps alive its own creator,” ¢.e. its life, bestowed by
the sculptor, is a continuation of the life of the latter; is
‘‘master’’ of its creator, in that it is divine, while he was
human.
3 Since what is said of the dress and attitude of this figure
agrees with the manner of Praxiteles, there appears no reason
to doubt the statement of Callistratus that it is the work of
that sculptor. Compare the Eros from the Chigi Collection,
now in Dresden (Clarac, Mus. de sculpt. Pl. 645, No. 1467 ;
384
3. ON THE STATUE OF EROS
with the creations of mind and intelligence. You
will recognize at once that the image set up to
be gazed at has not been deprived of its native
power of movement 1; nay, that it at the same time
is master of and by its outward configuration keeps
alive its own creator.?
3. ON THE STATUE OF EROS?
My discourse desires to interpret another sacred
work of art; for it is not right for me to refuse
to call the productions of art sacred. The Eros,
the workmanship of Praxiteles,* was Eros himself, a
boy in the bloom of youth with wings and bow.
Bronze gave expression to him, and as_ though
giving expression to Eros as a great and dominating
god, it was itself subdued by Eros ; for it could not
endure to be just bronze, but it became Eros with
all his greatness. You might have seen the bronze
losing its hardness and becoming marvellously
delicate in the direction of plumpness and, to put
the matter briefly, the material proving equal to
fulfilling all the obligations that were laid upon
it. It was supple but without effeminacy; and
while it had the proper colour of bronze, it looked
Michaelis, Arch. Zeit., 1879, p. 173, Pl XIV. 6), in which,
however, the right hip is thrown out (cf. 425, 2 K) ; also the
Eros from the Palatine now in the Louvre, Fig. 33, p. 387
(Froéhner, Notice de la sculpt. ant., p. 311, No. 325; Furt-
wingler, Roscher’s Lex. d. griech. u. rém. Myth. I. 1360 f.),
in which the left arm with the bow is not raised—but
petewpilwy (425, 1K.) does not necessarily mean ‘‘ raised.”
(Benndorf. )
4 Praxiteles of Athens, probably son of the sculptor
Cephisodotus ; his artistic activity falls about the middle
of the fourth century B.c.
385
PHILOS. EG
30
K. 425
10
15
CALLISTRATUS: DESCRIPTIONS
/ \ e al cal , /
ypoav evavOijs Ewpato, TOY S€ KiIVI}TEWS EpywD
/ ev a , > \
Estepnuevos €ToLuwos Hv detEat Kivnoww* els pev
yap €dpav otaoipov iOputo, Amata b€ ws Kal
nr / / lal nn \
THs peTewpou KUpLevwY hopads. eyavpodTo 6é els
” / \ / , ,
yéXwTa, E€uTrupov TL Kal petdtyov €E€ ompmatov
dtavyalov, Kal tv idety Urakovovta Two Tabet
\ ‘ \ U b) / | ,
Tov YaXKov Kal deydpmevovy EVKOMWS THY YEAWTOS
/ ¢/ \ , \ \ \ ‘
pipnow. (3) “ldputo 6€ els pev THY Kopudny Tov
\ / Uy n \ e /
deElov eTLKaUTTOV KapTOY, TH O€ ETEPA pETEW-
/ \ / \ an ,
plfwv To To€ov Kal Thy THS Bacews LooppoTriav
\ \ / \ \ a lal
eTIKALV@V ETL TA ALA, THY Yap THS apLoTEpas
, ‘ \ v
Nayovos ExatTacW avicTn TPOS THY EvpmapoTHTa
cal rn \ \ / /
ToU xYaXKov TO ateyavoyv éxxracas. (4) IIXo-
\ > ‘a \ \ ’ / > \
Kamo 6€ avTov TV Kehariny éeaxtafov avOnpot
¢ , \
Kal €vouAol veoTHaLoy UTOAGLTOVTES aVOOS. Kal
> \ e e / > , \ \
Hv Oavpactos olos 0 yadkos* loovTe pev yap
4 ’ / b] ” / ’ 4
EpevOos atéotirPev €& axpwv Bootpvywr aipo-
e \ c ,
pevov, avapmévo b€ 7) OpiE bTeEaviotato padOa-
/ \ \ , ’ \ \ \
xilouevn mpos 7Hv aicOnow. (5) “Epmot pev 87
/ / (<4
Oeacapévm THv TEYUYHY ETHEL TLOTEVELV, OTL KAL
Yopov noxynoe Kivovpevov Aatdaros Kat xpvc@
la / ef /
Tmapetyev aic@rices, OTov Kat IpakiteAns els
\ / al ve
Thy elKova Tov “Kpwtos évéOnKke plxpov Kal
/ \ \ / / /
VONMATA Kal TTEpUyl TOV aépa TEmVELY E“nyavn-
oaTo.
386
3. ON THE STATUE OF EROS
bright and fresh; and though it was quite devoid
of actual motion, it was ready to display motion ;
for though it was fixed solidly on a pedestal, it
deceived one into thinking that it possessed the
power to fly. It was filled with joy
even to laughter, the glance from the
eyes was ardent and gentle, and one
could see the bronze coming under
the sway of passion and willingly re-
ceiving the representation of laughter.
It stood with right hand bent toward
the head and lifting the bow with its
left; and the even balance of the body’s
posture was modified by an inclination
toward the left, for the projecting left
hip was raised so as to break the stiff-
ness of the bronze and produce an
easy pose. The head was shaded by
locks that were bright and curly and shining with
the brightness of youth. And what wonderful
bronze it was! for as one looked a ruddy colour
shone out from the ends of the curls, and when
one felt the hair it yielded as though soft to
the touch. As I gazed on this work of art, the
belief came over me that Daedalus! had indeed
wrought a dancing group in motion and had be-
stowed sensation upon gold, while Praxiteles had
all but put intelligence into his image of Eros and
had so contrived that it should cleave the air with
its wings.
1 Cf. p. 341, swpra, for the dancing group of Daedalus.
387
ec
CALLISTRATUS : DESCRIPTIONS
6’ EIS TO INAOT ATAAMA
(1) Ilapa xpynvnv “Ivd0s elatnxer avadOnua tats
Nvydais idpvbeis. av 5€ 0 Ivd0s ALBos peratvo-
20 wevos Kal T pos | THhv €K pvoews TOU yéevous avTo-
Horo xpoar, elxe dé vlan ev Kal ovANV THY
xaitny ouK aK pare T@ péXNave AduTrovcaY, arr’
EK TOV AK PWV TPOS KOyNOv Tupias avOos épifov-
oav' olov yap eUTabotoa Kal vorelomern Tais
25 T poo oLKols Nvpgais n Ope éx pilav aviovoa
[LeAAVTEPOS ™ pos Tots aK pols Emropdupev. (2)
'OpParpot ye pny ov guvnoov TO ALOw, KATA yap
Tas TOV OMmaT ov Kopas meprebet hevKorys Kar
EKELVO TO pépos THS TéTPAS peTAaTLTTOVENS Ets
30 AevKOTHTAa, Ka’ 0 Kal THS TOD ‘Iyd0d pvaews y
Xpoa. NevKaiveTal. (3) Mey dé auTov eEiorn Kal
TO be meO uo pevov ov KATEMNVUTED Dy Tob iBou
K. 426 xpoa—ov yap 7 auT@ unyavnwa TAS Tapelas
powitat OKETOVTOS TOD pehavos Tiv weOnv—, ex
€ TOU TXMATOS KAT YOPEL TO Tabos: Tapapopos
Te yap Kal Ko walov ela TN KEL ov Suvdwevos
5 €petoety T@ Ode, GAN UTOTpomos TE Kal Ud}
TY yn oKhatov. (4) ‘0 b€ ALBos UTO ToD mabous
EWKEL TYEVTL Kal olovel omaiper TOV ATO THS
peOns euavi lor o€lo OV. eixe be aBpov oddéev
tov ‘Ivdod TO elowXov ove els THY KATA xXpoav
10 €EyjoKnTo xapiv, aXArX els povwy TOV pedrov
1 Text corrupt. Reisch suggests bd tis ueOns.
1 In the eastern campaigns of Alexander the Great certain
orgiastic cults in India were identified with the worship of
Dionysus ; the names of Dionysiac legend were applied to
them, statues of the Indian Dionysus were erected, and
388
4, ON THE STATUE OF AN INDIAN
4. ON THE STATUE OF AN INDIAN!
By a spring stood an Indian, set up as a dedica-
tion to the Nymphs. The Indian was of a marble
verging on black and shifting of its own accord to the
colour given by nature to his race; and it had thick,
woolly hair, shining with a hue not exactly black,?
but at the tips vying with the brilliancy of Tyrian
shellfish ;* for the hair, as if it were well cared for
and moistened by the neighbouring Nymphs, was
rather black where it rose from the roots but grew
purple near the tips. The eyes, however, were not
of a colour to match the marble; for whiteness
encircled the pupils of the eyes, since the marble
changed to whiteness at that point where the
natural colour of the Indian becomes white.
Drunkenness was overcoming him, and yet the
colour of the marble did not betray his drunken-
ness—for the artist had no means by which to
redden the cheeks, the black colour being proof
against this effect of drink—but this condition was
indicated by the attitude; for he stood reeling and
jovial, not able to plant his feet steadily, but tremb-
ling and tending to sag to the ground. The
marble resembled a man overcome by this condition,
and it all but quivers as it indicates the trembling
that comes from drunkenness. There was nothing
delicate about the statue of the Indian, nor yet was it
carefully wrought to match the charm of its colour,
but it was perfected only as regards the composition
stories were told of the visit of Dionysus to India with the
train of his followers. Cf. the visit of Apollonius to one of these
shrines of Dionysus in India, Philostr. Vit. Apollon. 11. 8.
2 Cf. the description of Memnon, p. 31, supra.
2 7.2. Tyrian purple, made from the murex.
389
CALLISTRATUS : DESCRIPTIONS
gupBornv SufpOpwro. aaKkerns Sé hv Kal yumvos
ws av TOV lvduK@v Gw@LaTwWY TPOS TO THS aKLAS
proyades etwOotarv atavdplfea bat.
e EIS TO TOT NAPKISSOT ATAAMA
(1) “AXoos Hv Kal €v av’T® Kpyvyn TayKaXos
15 €x ada Kabapod TE Kal Otavyovs UdaTos, eiaT)-
Kei O€ Em avTH Napxiacos é« AOov TreToinpévos.
Tals HV, LAXXOV O€ HLOEOS, NALKL@THS *>EpwTar,
aotpatny otiov €€ avTOU TOD G@paTOS ATONGUTTOV
KadXovs. Tv 6€ ToLOVdE TO TXHMA* KOmats ETL-
20 Ypvaols 10 TPA TEV KATO pev TO METW TOV THS
TpeXos EMoooperns els KUKNOD, kata 6é TOV
avxeva KEXUMEVIS elg vata, é€Prere Oe OvK
dKpaT@s yatpov ovoe (hapov Kabapas: eTreTrepu-
Kel yap év Tols Oupacw eK THs TEXUNS Kal hut,
(Va “eTA TOD Napkiooov Kal THY TUX NY 1) ele@v
punta. (2) "Eatadto 6€ waTrep ot “Epwrtes, obs
Kal THs @pas THY AKMLNVY TpOTelKaTTO. aKXHMA
dé av 70 KOO LovV TOLOVOE’ TETTAOS AeveavOns
OMOX PWS TO T@mart Tod dLGov mepLoeov: els
KUKOV, KATA TOV deEvov @ Mov mepovn Gels UTEp
you, kataBalvwv éTraveto provny amTO TOU TOpT}-
patos €XevOepo@yv THY Yelpa. oUTw Oé HV aTAXOS
K. kal Tpos mWétAOU Yyeyoves Minow, ws Kal THY
bho
Ou
3C
—
1 The statue of Narcissus in the Vatican, Fig. 34 (Helbig,
Fiihrer durch die Ant.-Samml. Roms, 2, 18), inscribed with the
name of Phaedimus agrees in almost all respects with this
description; cf. Welcker, Narcissus, p. 38f. (Benndorf.)
This interpretation of the statue of Narcissus has been
disputed (cf. Greve, in Roscher, Lex. d. griech. u. rém. Myth.
II}. 19). The cloak on the left shoulder is the usual garment
of an Eros.
ge
5. ON THE STATUE OF NARCISSUS
of its limbs. It was unclothed and nude, on the
ground that the bodies of Indians are wont to
endure manfully the fiery heat of the midday sun.
5.-ON THE STATUE. OF NARCISSUS#*
There was a grove, and in it an exceedingly
beautiful spring of very pure clear water, and by
this stood a Narcissus made of marble. He was a
boy, or rather a youth, of the same age as the
Erotes; and he gave out as it were
a radiance of lightning from the
very beauty of his body. The
appearance of the statue was as
follows:—It was shining with
gilded hair, of which the locks
encircled the forehead in a curve
and hung free down the neck to
the back; and its glance did not
express unmixed exultation nor yet
pure joy, for in the nature of the
eyes art had put an indication of
grief, that the image might repre-
sent not only both Narcissus but
also his fate. He was clothed like the Erotes,
and he resembled them also in that he was in
the prime of youth. The garb which adorned
him was as follows: a white mantle, of the same
colour as the marble of which he was made, en-
circled him; it was held by a clasp on the right
shoulder and reached down nearly to the knees,
where it ended, leaving free, from the clasp down,
only the hand. Moreover, it was so delicate and
imitated a mantle so closely that the colour of the
391
Abn
Piel 34
CALLISTRATUS : DESCRIPTIONS
TOU CWMATOS Orahaprrery Xpoav Tis ev TH TE pt-
Bory AevKoTHTOS Thy €v Tols péXEoLY avyiy
eEvevat TVYX@pOvENS. (3) "Eotn 6¢ Kabarep
KATOTT po TH NYT XPopevos Kal els auTny
TEPLXEWY TOU TpodwTroU TO el6os, n be TOUS aT
avrou Oexomern) Napakrhpas TIV AUTHVY eldwdo-
Tolav pen, @s SoKEtD addr ats ate Rot epel-
aQat Tas hvoes. 7 pev 14p ALGos 6AN 7 pos
10 exeivov heTNARATTETO TOV OVTWS maioa, 1 dé
™yn ™Mpos Ta €v TH NiO@ enXaVvnjwara THIS
TEXDNS avTnywviteto év dowmarep TXNMATL THV
ex TWOULATOS dmrepryatomevn Tob Tapadely waros
OMOLOTNT A, Kal TO €K TIS €LKOVOS KATEPXOMEVED
IS oxldopatl, olov Twa capKa THY TOD voaTos
pvow mepileiaa. (4) Ottw dé Hv Cwrtixov Kai
Eumvovv TO Kal HSaT@V TXHMA, WS AUTOV ElvVat
do€acat cov Napkicoor, dv ért mynynyv érOovta
THS pmophdys avt@® Kal’ vdatov odGeions Tapa
20 Nuudais tereuticat Aéyovow épacbévta TO
elowdw cupplEac Kal vov ev Netu@ot havTalecbat
év npwats wpats avOovvta. eides & dv ws eis wv
6 ALGos THY XpdaV Kal OmuaTeY KaTacKEUTY
Hpmote Kat nO av io Toplay Eo wtev Kal alcOnoets
25 éveceiKvuTO Kal TAO € ever Kal T pos TPlX @MATOS
éEovciay nKxodovder eis TI TPUXOS Kaper ny vo-
peevos. (5) To d€ ov6d€ oye prov ALOos els Uy po-
TNTA KEX ANAT MEVOS Kal évavTlov COMA TH ovgla
T APEX OfLEVOS" oTEpEWTEPAS yap TETUXIKOS gucews
30 Tpudeporntos améatedrev aicOnow eis apatov
ou
+ Jacobs would emend to Aerrérnros ; Welcker compares
the elder Phil., Jmag. 352, 27 K.
392
5. ON THE STATUE OF NARCISSUS
body shone through, the whiteness of the drapery
permitting the gleam of the limbs to come out. He
stood using the spring as a mirror and pouring into
it the beauty of his face, and the spring, receiving
the lineaments which came from him, reproduced
so perfectly the same image that the two beings
seemed to emulate each other. For whereas the
marble was in every part trying to change the real
boy! so as to match the one in the water, the
spring was struggling to match the skilful efforts
of art in the marble, reproducing in an incorporeal
medium the likeness of the corporeal model and
enveloping the reflection which came from the
statue with the substance of water as though it
were the substance of flesh. And indeed the form
in the water was so instinct with life and breath
that it seemed to be Narcissus himself, who, as the
story goes, came to the spring, and when his form
was seen by him in the water he died among the
water-nymphs, because he desired to embrace his
own image, and now he appears as a flower in the
meadows in the spring-time. You could have seen
how the marble, uniform though it was in colour,
adapted itself to the expression of his eyes, pre-
served the record of his character, showed the
perception of his senses, indicated his emotions and
conformed itself to the abundance of his hair as it
relaxed to make the curls of his locks. Indeed,
words cannot describe how the marble softened into
suppleness and provided a body at variance with
its own essence; for though its own nature is very
hard, it yielded a sensation of softness, being dis-
1 i.e. The statue of the boy.
393
fe |
CALLISTRATUS : DESCRIPTIONS
TiVa TWpaTOS OyKOV StayEeomevos. peTEXEetpifeTo
dé Kal sUpLyya, 7s vopmtots Oeois exetvos aT NpYETO,
Kal TiVv epnulav KaTHYEL Tols méNEoLV, ELTTOTE
fovalkols WarTnplols TpoTomAnoat ToOrjceEleV.
~ , 5 , \ y
. TOUTOV Pavpacas, @ véot, TOV NapKiooov Kai eis
¢e la / > ’ a ’ \ > /
Uu“as Tapnyayov eis Movao@y avAnv arotuTwaa-
y” be e / S \ we 2 x = a |
feevos. €xXEL O€ O AOYOS, WS KAL 1) ELK@V ELK EDV.
- EIS TO EN SIKTONI ATAAMA
TOT KAIPG®
(1) "E@éAw 6€ cot kat to Avotmou Snptovp-
ynua TO AOYY Tapacthoat, OTEep ayadpatov
Ka TOV O OnpLoupyos TEXVINTAMEVOS LUKUMVLOLS
els Oéav mpovdnxe: Katpos fv eis ayadpa TeTv-
1 The last sentence, omitted by FP, is very likely a
marginal gloss.
1 The syrinx or shepherd’s pipe is a series of tubes of
different length, fastened together side by side, to produce
the different notes.
2 Cf. Anth. Pal. XVI. 275, on the statue of Opportunity
(Time) by Lysippus: ‘‘ Why dost thou stand on tiptoe? I
am ever running. And why hast thou a pair of wings on
thy feet? I fly with the wind. And why dost thou hold a
razor in thy right hand? As a sign to man that I am
sharper than any sharp edge. And why does thy hair hang
over thy face? For him who meets me to take me by the
forelock. And why in Heaven’s name is the back of thy
head bald? Because none whom I have raced by . . . will
take hold of me from behind.” Trans. Paton, L.C.L.
394
6. ON THE STATUE OF OPPORTUNITY
solved into a sort of porous matter. The image
was holding a syrinx,! the instrument with which
Narcissus was wont to offer music to the gods of
the flock, and he would make the desert echo with
his songs whenever he desired to hold converse
with stringed musical instruments. In admiration
of this Narcissus, O youths, I have fashioned an
image of him and brought it before you also in
the halls of the Muses. And the description is
such as to agree with the statue.
be ON, TELE STVEUE. “OF” OPEOREFUNIEY
AT SICYON 2
I desire to set before you in words the creation
of Lysippus? also, the most beautiful of statues,
which the artist wrought and set up for the
Sicyonians to look upon. Opportunity was repre-
This statue is to be understood, not as pure allegory, but
as representing one of the mythical beings created in the
classical age of Greek thought. The accounts of the god
and this statue vary greatly, but the common elements in
the accounts which may be conceived as belonging to a
statue indicate that the type was developed out of the form
of the Hermes who granted victory in athletic contests.
Probably Lysippus represented him as a youth, presum-
ably with winged feet, possibly with hair long in front
and short behind to indicate that opportunity cannot be
grasped when it is past, and perhaps with a razor (or a pair
of scales balanced on a sharp edge) in his hand to suggest
that success is balanced on a razor’s edge. Cf. Benndorf,
Arch. Zeit. XXI. 87f., and Curtius, Arch. Zeit. XX XIII.
Sat. Pll, 2; anfra, p. 397, fig. 35.
3 Lysippus, head of the Sicyonian school of sculptors, was
a prolific sculptor of statues in bronze during the middle and
latter part of the fourth century B.c.
395
CALLISTRATUS : DESCRIPTIONS
TWLEVOS EK KAKO Tpos THY hvow apirAropevns
Ths Téyvns. ais 5€ hv o Katpos nBav éx
10 ceharys és todas éenavOayv 70 THS HAs avOos.
nv O€ THY pev OLY wWpatos ceiwy} tovrAor, Kal
Cepupw tivdcocew mpos 0 BovrotTO KaTaXdiTOV
THY KOMNV aveTov, THY S€ XpoaVv eiyev avOnpav
TH AauTOOVL TOD THpaTos Ta AVON SnrA@V. (2)
15 "Hy 6€ Avoviow kata TO TrElaTOV éudhepns: TA
fev yap péeTwTa yapiow éotirPev, ai Tapeal
d€ avtovd els avlos épevOouevat veotnorov
w@palfovto émtiBadrovaat Tois Gupaciw a7tradov
epv0nua. elatyKxet O€ emi twos odaipas én’
20 adkpev Tov Tapoov BeBnkws émTEepwpévos TH
Tode. emrepuKet € ov vevomicpéevas 7 Opie, ANN
7) eV KON KATA TOV Oppvav Udéptrovaa Tais
Tapeltats étécete TOV Bootpuyov, Ta dé dmLabev
jv TOU Katpov TAOKadpwv éXEVOEpa povynv THY éK
25 yevecews PrAaoTHV eTidhaivovta THs TpLyos. (3)
‘Hyets pev odv ahacia mANyévtes Tpos THY Oéav
ELOTHKELMEV TOV KXaXrKOV Op@VTEsS Epya HuUTEws
pNnKXavopevoyv Kai THS oiKkelas éxBaivovta Takews:
YarKos bev yap @v npvOpaiveto, axAnpos b€ Ov
30 THY pvaw duexXetTO paraKka@s elkwy TH TEXVN
mpos 0 BovroTO, oravifwy 6€ aicOnoews Cwrti-
KS EvolKov Eyelvy ETLATOUTO THY aldOnow, Kal
429 K. dvTws €oTNplKTO TayLoY TOV TapooV éEpEtcas,
1 Jacobs oreipwy ; but cf. Philostr. mag. 370, 15 K. and
Eur. Cycl. 75.
396
6. ON THE STATUE OF OPPORTUNITY
sented in a statue of bronze, in which art vied with
nature. Opportunity was a youth, from head to
foot resplendent with the bloom of youth. He was
beautiful to look upon as he waved his downy
beard and left his hair unconfined for the south
wind to toss wherever it would; and he had a
blooming complexion, showing by its brilliancy
the bloom of his body. He closely resembled
Dionysus; for his forehead glistened with graces,
and his cheeks, reddening to youthful bloom, were
radiantly beautiful, con-
veying to the beholder’s
eye a delicate blush.
And he stood poised on
the tips of his toes on
a sphere, and his feet
were winged. His hair
did not grow in the
customary way, but its
locks, creeping down
over the eyebrows, let z
the curl fall upon his Fie. 35.
cheeks, while the back of the head of Opportunity
was without tresses, showing only the first indications
of sprouting hair. We stood speechless at the sight
when we saw the bronze accomplishing the deeds of
nature and departing from its own proper province.
For though it was bronze it blushed; and though it
was hard by nature, it melted into softness, yielding
to all the purposes of art; and though it was void of
living sensation, it inspired the belief that it had
sensation dwelling within it; and it really was
stationary, resting its foot firmly on the ground,
but thougn it was standing, it nevertheless gave
oot
10
20
CALLISTRATUS : DESCRIPTIONS
e \ \ e lal ’ / ” b] , ,
éotas € opuns eEovciav Eye edeiKvUTO Kal oot
\ ’ \ 3 / ¢ \ lal ») \ ,
Tov opOarpov Tata, ws Kal THS els TO TPOT@
/ a 8 \ ral lal \
KUplLevwY Popas Kal Tapa TOU SynpLoupyov AaBav
\ / al / ’ / lal
Kal THv aéptov ANEW Téuverv, et Bovrowto, Tats
mrépvk..
a \ ane rn a = e ,
(4) Kai To pev nutv Oadpa Torodtov Hy, eis dé
an \ \ / a \ rh ted \
TLS TOV TEpl TAS TEXVAS GOPOY, Kal EldoT@Y TDY
/ \ a lal
aicOicet TEYVIKWTEPA TA TOV ONmLOUPYa@V aVLyX-
/ fal / \ \ bd a 2 A /
vevely Vavuata, Kal hoyia pov ETHYE” TW TEXV2-
\ lal lal / A /
MATL, TV TOV KaLpOv dvVamLY ev TH TEXVN TwCo-
/ \ \ , lal
pevyny éEnyovpevos’ TO ev yap TTEpwpwa Tar
la) 2 f \ b) , \ e 3 \
Tapo@y aivittesOar Thy o€vUTnTAa, Kal ws? TOV
\ > / tA / lal iA
TOAUY AVENLTTMWY ala@va épeTaL Tals Wpals
J Vf \ \ > rn ef cf ia
ETOKOUMEVOS, THY O€ ETaVvOODGAY Wpar, OTL TAY
” \ td al \ U , \
EUKALPOV TO Wpaiov Kal “ovos KaNXouS SnmLOUpyos
e / \ \ ’ % e/ ” ~ lal
0 KaLpos, TO O€ aTNVOnKos aTrav éEw THs KaLpov
- \ \ lal , ev
pvoews, THY O€ KATA TOD METwTOU KOmNY, OTL
/ \ , lal / | came,
TpooLovTos fev avTov AaPEcOat pad.or, TapeEd-
/ a , ’ \ /
Oovtos 6€ ) TOY TpaypLaTwv aKkun cuvekeépxeTat
’ / a s /
KAL OUK €aTLV OALywpNnOEVTA AaPeEtY TOY KaLpor.
1 Abresch Aji : want.
2 erjye A and Jacobs: émpde the other MSS.
ws Olearius: .
6. ON THE STATUE OF OPPORTUNITY
evidence of possessing the power of rapid motion ;
and it deceived your eyes into thinking that it
not only was capable of advancing forward, but
that it had received from the artist even the power
to cleave with its wings, if it so wished, the aerial
___domain.
Such was the marvel, as it seemed to us; buta
man who was skilled in the arts and who, with a
deeper perception of art, knew how to track down
the marvels of craftsmen, applied reasoning to the
artist's creation, explaining the significance of
Opportunity as faithfully portrayed in the statue:
the wings on his feet, he told us, suggested his
swiftness, and that, borne by the seasons, he goes
rolling on through all eternity; and as to his
youthful beauty, that beauty is always opportune
and that Opportunity is the only artificer of beauty,1
whereas that of which the beauty has withered
has no part in the nature of Opportunity; he also
explained that the lock of hair on his forehead
indicated that while he is easy to catch as he
approaches, yet, when he has once passed by, the
moment for action has likewise expired, and that,
if opportunity has been neglected, it cannot be
recovered.
' i.e. beauty is always in season and seasonableness is the
only artificer of beauty. Cf.
‘Gather ye rose-buds while ye may,
Old Time is still a-flying.”
Herrick, To the Virgins to make much of Time.
‘“Let us crown ourselves with rose-buds, before they be
withered.”
Wisdom of Solomon, 2. 8,
399
30
430 K.
10
15
CALLISTRATUS : DESCRIPTIONS
¢’ EIS TO TOT OP®EOS ATAAMA
(1) “Ev 7@ “Educdive, TEMEVOS d€ tav Mover
TKLEPOV O 0 X@pos, Tapa Tous ‘Odpevod Tod ToTa-
pod pvakas Kat tiv toedea IInyacou Kpyvny
"Ophéws ayadpa Tov THs KadXtorns Tapa Tas
Movoas eiaotnKer idety ev KaANLTTOV" Oo ae
KarKos TH TEXYN TUVATETLKTE 70 KadXos Tht
TOU CWLATOS ayhaig TO ova tKov ertonpatveov
THS puxijs. EKOG [LEL oe auTov Teapa Hepocen
xpuo@ KATAOTLKTOS aro Kopupis els bryos av-
éYouca, YLT@V 6¢ €€ Muwv arrayopevos els Todas
TEAALOVL Xpuse@ KaTa oTepvov eo piyyeto. (2)
Koy 6€ obTws rv evavOns Kal CwreKov eTLoN-
paivovoa Kal éutvour, ws atatay THy alcA@now,
6TL Kal Tpos Tas Fehvpou Tvoas cELomevy SoveEttat
—1) pev yap éTmavyévios KaTa vwTOV xvOEica, 7
dé tals odpvow avobev dicytdyns éwtBatvovca”
Kabapas TOV Opa wv épaive Tas Boras. TO
mTédtrov 6€ AUTO EavOorar@ xpuar@ KativOtoro
Kal wémAos éiperos Kara v@Tou eis opupov
KaTyEel, peTexerpiteTo OE THD hupay, 7 O€ ioapto-
fLous Tats Moveats efHTT0 TOUS POoryyous- 0 yap
xaos Kal vevpas UmexpiveTo Kal mpos THY
EKUTTOU pipnow GNNATTOWLEVOS meOnuieas oT)
yeTo puxpod Kal mpos avTny THY XM TOV
ployyov pwvnes EVO [LEVOS. (3) ‘Tro 6€ TeV
Tooa@y THY Baw ovK ovpavos Av tuT@lels oveé
II\evades Tov aifépa téuvovaar ovdé “ApKtou
1 S¢ after 77 deleted by Jacobs,
2 ér:Baivovoa Jacobs : émipaivovea.
400
7. ON THE STATUE OF ORPHEUS
7. ON THE STATUE OF ORPHEUS
On Helicon !—the spot is a shaded precinct sacred
to the Muses—near the torrent of the river Olmeius
and the violet-dark spring of Pegasus, there stood
beside the Muses a statue of Orpheus, the son of
Calliope, a statue most beautiful to look upon. For
the bronze joined with art to give birth to beauty,
indicating by the splendour of the body the musical
nature of the soul. It was adorned by a Persian tiara ”
spangied with gold and rising high up from the head,
and a chiton hanging from the shoulders to the feet
was confined at the breast by a golden belt. The
hair was so luxuriant and so instinct with the spirit
of life as to deceive the senses into thinking it was
being tossed and shaken by gusts of wind—for the
hair behind on the neck fell free down the back,
while the parted hair which lay above the eyebrows
gave full view of the pure glance of the eyes. The
sandal shone brightly with the yellowest of gold, and a
robe fell ungirded down the back to the ankle; and
he was carrying the lyre, which was equipped with
as many notes as the number of the Muses. For the
bronze even acted the part of strings and, being so
modified as to imitate each separate note, it obediently
carried out the deceit, almost indeed becoming vocal
and producing the very sound of the notes. Beneath
his feet heaven was not represented nor the Pleiades
coursing the aether nor the revolving Bear that “ has
1 Cf. Pausanias, IX. 30, 4. On Helicon with statues of
other poets and famous musicians ‘‘there is a statue of
Orpheus the Thracian, with Telete standing by his side, and
round about him are beasts in stone and bronze listening to
his song.”
2 Cf. supra, p. 311 and note 1.
401
PHILOS. DD
30
431 K.
CALLISTRATUS : DESCRIPTIONS
mEpiatpopat TOV ‘Oxeavod AouTpav apwolpot,
GXN’ Hv Tay pev TO opvidav iyévos ™ pos THY
wdny éEiatapmevov, Tavtes b€ Gpetot Opes Kal
6cov €v OaratTns puxols véwetat Kal imtos
eOéXyeTO aVTL YahivoD TO pmédEL KPATOUMEVOS
kal Bods adels Tas vowas THS RAvpwdtas
}KOVE Kal NEOvTwWY aTEyKTOS HUaLs Mpos THY
dppoviav KaTNUVaceTo. (4) Hides av Kal TOTa-
Lous TuToObVTa TOV XaAKov eK m™yOv éml Ta
éAn péovtas Kal Kkdpa OCardoons Epwtt THs
@ons UWovpevoy Kal TéTpas aloOnoet TANTTO-
pévas povoikhs Kai wacav BArAdotnv wptov é€&
nOav él THY povaav THY ‘Opdixny omevdovaar,
Kal ovOEV bev Av TO nxooy oveé THY dpwoviav THY
Auppoov evyelpov, 7) TEXYN dé év Tois Cwois To
mept THY ova lKny EPwTOS Ta maOn KATEMLNVUE
Kal €v TO YAAK@® Tas Oovas Eeroler haiverOau
Kat Ta éravOodvTa TH alaOnce TaV fowv
OedxTnpia appytas e€epaiver.
yn EI> TO AIONTZOT ATAAMA
(1) Aadary pev €EHV, e¢ Sel TH TeEpt Kpyrny
TLaT Eve davpare, KLVOU LEVa unxyavac bat Ta
TOLN MATA Kal T pos a0 pom ivny alaO@now éKx-
BiaterOar tov ypvoov, at dé bn IlpakitédXevoe
1 (Quoted from liad 18. 486: for the reliefs on the pedestal,
Brunn (Jihrb. Phil. CIIL. 21) compares the base of the Nile
in the Vatican, and of the Farnese Bull.
2 Cf. p. 311, supra.
5 Apoll. Rhod. Argon. I. 26f.: ‘*Men say that he by the
music of his songs charmed the stubborn rocks upon the
402
8. ON THE STATUE OF DIONYSUS
no part in the baths of Oceanus,’! but there was
every kind of bird, brought under the spell of the
singing,” and all beasts of the mountains and what-
ever feeds in the recesses of the sea, and a horse
stood entranced, held in control, not by a bridle, but
by the music, and a bull, having abandoned its
pasturage, was listening to the strains of the lyre,
and lions by nature fierce were being lulled to sleep
in response to its harmony. You could see the
bronze taking on the shape of rivers flowing from
their sources toward the singing,’ and a wave of the
sea raising itself aloft for love of the song, and rocks
being smitten with the sensation of music, and every
plant in its season hastening from its usual abode
towards the music of Orpheus;* and though there
was nothing that gave out a sound or roused the
lyre's harmony, yet art made manifest in all the
animals the emotions excited by their love of music,
and caused their pleasure to be visible in the bronze,
and in a wonderful manner expressed the enchant-
ment that springs up in the sense-perceptions of the
animals.
e ON. THE sStALUE, OF. DIONYSUS
Daedalus, if one is to place credence in the Cretan
marvel, had the power to construct statues endowed
with motion and to compel gold to feel human
sensations, but in truth the hands of Praxiteles
mountains and the course of rivers. And the wild oak trees
to this day, tokens of that magic strain . . . stand in ordered
ranks close together, the same which under the charm of his
lyre he led down from Pieria.” Trans. Seaton, L.C.L.
4 Cf. p. 311, supra.
10
15
20
bo
5
CALLISTRATUS : DESCRIPTIONS
a \ ’ / \ /
xelpes Cwtika Otdodov KaTecKevaloy Ta TEYV?)-
pata. (2) ”Araos Av Kxal Atovvcos elaotnKes
nidéov TYHmAa pipwovpevos, OUTW MEY ATTANOS, WS
Tpos capKa peTtappvOuilecOar TOV YarKOV, OUTO
\ \ a
d€ vypov Kal Keyadacpévoy Eywv TO TH"A, OS
e / a ,
€& évépas Urns, aNrAA pn YadKoU TEepuKS, OS
NarKos péev av npvOpaiveto, Cwis dé petovotav
’ A ’ / \ ’ Pe / e
ovuK éywv €BovreTo TV idéay SecxvUvat, aa-
pév@ S€ gow Tpos THY akunv UTeEioTaTO, Kal
OVTWS fev VY O YarKOS oTEyavos, UTO bE THS
TEXYNS paraTTOMevos els capKa arredidpacke
THS xXetpos THV alcOnow. (3) Hy b€ avOnpos,
aBpotntos yéuwv, (wépw peomevos, oloy avTov
Kvpirioins év Bakyats eidotroincas &&épnve,
\ ’ ’ \ ” , > , €
Kiaaos © avTov éatedhe TepiOéwy ev KUKAO—OS
KLOTOS WV O XAAKOS Els KNOVAS KAUTTOMEVOS Kal
Tav BooTpyywyv Tovs ENIKTHpas EK MmET@TOV
/ > / / \ ”
KEXUMEVOUS avacdTéAX@V. YyédkwToS SE EuTTAEDS,
0 6) Kal TavTOsS HV étréxetva OavpaTos, Hd0VvAs
adiévat THv UAnv Texkunpla Kal THvy Talav
, \
dyX\wowv vToKxpiverOat Tov yadkov. (4) NeSpis
\ ’ \ ” > ¢/ v ¢ ,
6€ aUTOV &oKETrEV ovx otav elwfev o Atovuaos
1 On statues of Dionysus by Praxiteles, cf. Furtwingler,
Meisterwerke d. griech. Plastik, p. 586, Eng. trans. p. 337.
Two Praxitelian types are discussed: (a) Represented by the
** Bacchus de Versailles” in the Louvre, Fig. 36 (Froéhner,
Notice, 218), the figure of a delicate youth wearing a fawn-skin
fastened on the left shoulder and a Bacchic mitra in his hair
which falls in curls to his shoulders, and holding his right
hand over his head. (b) The Dionysus in Madrid, Fig. 37
404
8. ON THE STATUE OF DIONYSUS
wrought works of art that were altogether alive.
There was a grove, and in it stood Dionysus! in the
form of a young man, so delicate that the bronze
was transformed into flesh, with a body so supple
and relaxed that it seemed to consist
of some different material instead of
bronze: for though it was really
bronze, it nevertheless blushed, and
though it had no part in life, it
sought to show the appearance of
life and would yield to the very
finger-tip if you touched it, for though
it was really compact bronze, it was
so softened into flesh by art that it
shrank from the contact of the hand.
It had the bioom of youth, it was
full of daintiness, it melted with
desire, as indeed Euripides repre-
sented him when he fashioned his
image in the Bacchae.* A wreath of ivy en-
circled the head—since the bronze was in truth
ivy, bent as it was into sprays and holding up the
curly locks which fell in profusion from his forehead.
And it was full of laughter, nay, it wholly passed the
bounds of wonder in that the material gave out
evidence of joy and the bronze feigned to represent
the emotions. A fawn-skin clothed the statue, not
such as Dionysus was accustomed to wear, but the
(Clarac, Pl. 690 B, No. 1598 A), a nude figure leaning his left
arm on a bearded herm of Dionysus.
2 Cf. Eur. Bacch. 233f.: ‘‘ Men say a stranger to the land
hath come. . . . With essenced hair in golden tresses tossed,
= Rng ate Orit =
Wine-flushed, Love’s witching graces in his eyes.” Trans.
Way.
405
30
10
CALLISTRATUS : DESCRIPTIONS
éEartecOat, adr eis THY THS Sopas mipnoty oO
yarKos peteBadreTo. elaotyKer € THY AaLav 1
evTepeLowy TO Ovpaw, o 6é Gvpaos HTaTa THY
aiaOnow Kal €K XarKov TET OLN {LEVOS XAoEpov Te
Kal TEONAOS amoaTiA Bev edokalero 7 pos aur
apetSouevos THY UAV. (5) ‘Oupa dé Fv Tupl
Ovauyes pavixov deity: Kal yap TO Baxxevotpov 0
. xarKos évedeixvuTo Kal émiOerale edoxet, WOTEP
+ a / \ \ rn =
oiuat TOD IIpakitéXovs Kal TOY Bakyetov oiaTpov
eyxatapiéar dvvnOertos.
6’ EIS TO TOT MEMNONO® ATAAMA
(1) ’E@ér@ dé cot wai TO Mépuvovos adny-
cacba ata: Kal yap ovTws mapad0otos oy
Texyn Kal KpelT Tov a Oparivns XEtpos. TOU
TiO@vod Mépvovos eLK@V yy ev AiOvorrig € eK AOou
TETrOLNLEV ou ey €v TOS OlKELOLS Gpors Epeve
AiGos @v ove TO Tis pucews oLynAov jvelxeTo,
arra Kal ALPos @V eiXeV e€ovciav dwvis’ viv
pev yap avicxovoav THY “Hyepav Tpooepberyyeto
ET LON ALY OV TH pov7 THY yapav Kal em Tats
THIS paT pos Ta povatars patdpuvopevos, vov 6€
dTroK VO MEVIS els VUKTA eNEEL OV Tt Kal adyelvov
eoTeve Tpos TV armrovoiay aviwpevos. (2)
"Hrropee oe ovde Oakpvwv oO ALBos, aXr’ elyev
UmnpeTovmeva Th Boudijoet Kal TaAUTa. Kal DV
Mepvovios 1) eixwv pove ev Tod avOpwrivov.”
1 Jacobs Aqaav: Adpav.
2 rod avOpwrivov Kayser: T@ avOpwrivw.
406
9. ON THE STATUE OF MEMNON
bronze was transformed to imitate the
pelt; and he stood resting his left
hand on a thyrsus, and dhe thyrsus
deceived the eholders vision; for
while it was wrought of bronze it
seemed to glisten with the greenness
of young growth, as though it were
actually transformed into the plant
itself. The eye was gleaming with
fire, in appearance the eye of a man
in a frenzy; for the bronze exhibited
the Bacchic madness and seemed to
be divinely inspired, just as, I think,
Praxiteles had the power to infuse
into the statue also the Bacchic ecstasy.
= ON THE SIATUL OF MEMNON#
I wish to describe to you the miracle of Memnon
also; for the art it displayed was truly incredible
and beyond the power of human hand. There was
in Ethiopia an image of Memnon, the son of
Tithonus, made of marble; however, stone though
it was, it did not abide within its proper limits nor
endure the silence imposed on it by nature, but
stone though it was it had the power of speech.
For at one time it saluted the rising Day, by its
voice giving token of its joy and expressing delight
at the arrival of its mother; and again, as day
declined to night, it uttered piteous and mournful
groans in grief at her departure. Nor yet was the
marble at a loss for tears, but they too were at hand
to serve its will. The statue of Memnon, as it seems
1 Cf. pp. 31, 155, supra. Memnon was the son of Tithonus
and Day (or of Eos, The Dawn).
497
20
bo
or
433 K.
or
10
CALLISTRATUS : DESCRIPTIONS
/ a , * \ iol
SuadraTTew por doxel cwpati, Uo de Wuyis
e / / > /
TWOS Kal Omolas Tpoatpécews ayomevn KaTNUOL-
3 fal / \ ra
veTO. €lye YOUY éyKEKpapéeva Kal TA AUTODVTA
\ / id lal v > \ /
Kal Tad ndovyns alcOnors avTov KaTeXkauBavev
nr al /
um’ appotépwy TOV TAaQa@Y TANTTOMEVOY. Kal 7
\ / \ / rf ” £
bev dvals THV MOwv yeveowvy afOoyyov TapHnyaye
\ \ \ / ¢ \ / ’ / al
Kal Kophynv Kal LTE UTO AUTINS EOéXNOVEaY OLOLKEIC-
val al \ x 7
Oar pte eldviay no Ojvat, aXXra Kai Tacals TUXALS
bys > /, \ a / / \
aTpwtov, eéxelvm oe TO Meépmvovos AUOw Kai
e / /
nOovnv Tapéd@KEev 7 TEXYN Kal TEéTPaAV avewtEV
cal / \
anXyeElv@, KaL povny TavTny émiataue—a THY
/ / A / \ \ > a
TéexVnY vonwata TO AIOw Kal horny évOcicar.
= \ / \ /
(3) ‘O pev yap Aaidaros pméypt pmev Kivyncews
/ / s /
éveavieveTo Kai Suvayuv elyev 1) EKELVOU TEXYN
\ ¢ , ro
éEiaTavat Tas UAasS Kal Els YopEelay KivElY, apr)-
5 fa) / r
yavov S€ MW Kat TavTEA@s aATopoyv Kal hwvis
/ / \ e
méToxa mTpaypateverOar Ta Trolnpata’ at é
/ a / val fal
AlOtoT@v yxelpes Tropous TOV aunydvev ée&edpov
\ \ 5 / b] / fal / > 7
Kal THY adbGoyytayv e€evixnaav Tov NiOov. €ExEelv@
Coe W, G4 \ \ ’ \ / > a g /
T@® Mépvom cat thy Hyw Aoyos avtnyew, omroTe
/ \ \
pOéyyorto, Kal yoepov pev otevafovTt yoepov
b] / / ? fal \ > ,
avTiTéutrew péros, evTabovrte S€ avTatrosLdovat
‘\ \ > / a \ /
THY HXNV GVTiuLbov. €xkElvO TO SNMLOVpYnua Kal
a € \ > / \ ’ U
™ Huépa tas avias éxoiuile Kat ovK ela
pactevey TOV Tatoa, ws av avTiTUEtans avT@
a ’ / / \ Qn e /
THis Alt@vommy téxvns Tov EK THS EeluapmEevns
> iA Fr
apavicbévta Méuvova.
408
y¥, ON THE STATUE OF MEMNON
to me, differed from a human being only in its body,
but it was directed and guided by a kind of soul and
by a will like that of man. At any rate it both had
grief in its composition and again it was possessed
by a feeling of pleasure according as it was affected
by each emotion. Though nature had made all
stones from the beginning voiceless and mute and
both unwilling to be under the control of grief and
also unaware of the meaning of joy, but rather immune
to all the darts of chance, yet to that stone of
Memnon art had imparted pleasure and had mingled
the sense of pain in the rock; and this is the only
work of art of which we know that has implanted in
the stone perceptions and a voice. Daedalus did
indeed boldly advance as far as motion, and the
products of his art had power to transcend the
materials of which they were made and to move in
the dance ; but it was impossible and absolutely out
of the question for him to make statues that could
speak. Yet the hands of Aethiopians discovered
means to accomplish the impossible,’ and they over-
came the inability of stone to speak. The story runs
that Echo answered this Memnon when it spoke,
uttering a mournful note in response to its mournful
lament and returning a mimicking sound in response
to its expressions of joy. The statue in question
both lulled to rest the sorrows of Day and caused her
to abandon her search for her son, as though the art
of the Aethiopians were compensating her by means
of the statue for the Memnon who had been snatched
away from her by fate.
1 The expression occurs supra, p. 422, 1 K.
1 Jacobs, perhaps rightly, proposed air for abré.
409
15
20
bo
Cr
30
434 K.
or
CALLISTRATUS : DESCRIPTIONS
’ EIS TO ATAAMA TOT ITAIANOS
(1) Elita ro wev “A py@ov TKaos éudwvov
yever Bac meiopweBa TO UTO T@V “AOnvas TexvnOev
XELpav, 0 Kal TI év aaTpous exAnpouxnae TUXND,
ayarpa o€ ov TLoTEVTOMEY, Els 0 TAS SuvapeELs
"AckdyTLOs avinoL TOV TpovonTtiKOV éeTELTaywV
voov él THY EAUTOD KOLVWVLaV, TOD TLVOLKOUYTOS
Thv Ovvauw TpétrELy, GAN els pev avOpwriva
Kkatayecbat To Oetov dm@couer, évOa kai pravOAvac
Tabrjpaciy, ov TLOTEVTO [LEV dé, um penoev eyyovov
KaKlas TAapaTrepunen ; rs 0) Kyou bev ovv OU TUTTOS
eivat OoKel TO opwpevon, ahria THs adrnOeias
TragHa. toovU yap ws ovK aynPotrointos 1%
TEXVN, GAN’ €vetxovicauevyn Tov Oedv els avTov
efloTarat. UAn pev ovaa Geoeoes dvaTre wT el
vonua, Onutovpynua o€ XELpos TUyXavouca & p21)
Onptoupyiars éfeo Tl Tparrel TEKppla Wuyns
app Tws aToTiKTOVGa. TpoTwTov b€ col Gea-
cauévp dovrovTar THY aicOnow: od yap eis
Kaos eTiOeTOV EcYNnMAaTLOTAL, AANA Tavayvov
Kal ihewy avaxwov dupa Babos appacrov
UTAGTPATTEL TELVOTNT OS aidot puyetons. (3)
TDN oxapov bé EdiKes fp peopevor Xaprow ol fev els
vata teOnroTes apeTtor KéyvyTal, of Oe UTEP
1 The Greek paean was a choral song accompanied by
dancing, which was used as an incantation to cure disease,
as well as for celebration of a victory and in the worship of
certain gods. Personified as a god, Paean was closely akin
to Asclepius, and at the same time, especially at Delphi, was
410
10. ON THE STATUE OF PAEAN
10. ON THE STATUE OF PAEAN!
Are we then to believe that the vessel Argo,?
which was wrought by the hands of Athena and
later assumed its allotted place among the stars,
became capable of speech, and yet in the case of a
statue into which Asclepius infused his own powers,
introducing purposeful intelligence therein and thus
making it a partner with himself, not believe
that the power of the indwelling god is clearly
manifest therein? Nay, more, shall we admit that
the divine spirit descends into human bodies, there
to be even defiled by passions, and nevertheless not
believe it in a case where there is no attendant
engendering of evil? Tome, at any rate, the object
before our eyes seems to be, not an image, but
a modelied presentment of truth; for see how
Art not only is not without power to delineate
character, but, after having portrayed the god in
an image, it even passes over into the god himself.
Matter though it is, it gives forth divine intelligence,
and though it is the work of human hands, it
succeeds in doing what handicrafts cannot accom-
plish, in that it begets in a marvellous way tokens of
a soul. The face as you look at it enthralls the
senses; for it has not been fashioned to an ad-
ventitious beauty, but as it raises a saintly and
benignant eye it flashes forth an indescribable depth
of majesty tempered with modesty. Curly locks
abounding in grace,—some fall luxuriant and uncon-
fined on the back, while others come down over the
often identified with Apollo as Apollo Paean. Cf. Fairbanks,
A Study of the Greek Paean, 1900.
2 Cf. swpra, p. 187 and note 3.
4II
10
20
CALLISTRATUS : DESCRIPTIONS
MeTwTroU Tpos Tas opis émBaivoytes Tois
Oupacw e(XovVTaL. olov dé €x Sotixijs aitias
Kal avrol KATAPCO [EVOL els THY TOV Bootpixav
KAMLTNV TUVENLTTOVTAL, TO vow THS _TEXYNS 1)
metBowevns TIS vANS, GANA voovans OTL oXNMa-
rife Jeov Kal det Cuvag Tevely, T@v O€ yevo-
pevwv elwOoTov pbeiper ba TOU aya wat os
idéa, ate 69) THS Uyelas THY ovolay €v €aUTH
pépovaea, cue ayy davoreOpov ETLKT@ MEV) Oadret.
(4) ‘Hyets fev 7) oot Kal Aoyerv, @ Ilacav,} veapar
Kal pvnuns eyyover annpEapeba KENEVELS yap
oimae 7 poupos dé gor Kal TOV Vvomov acELY, Eb
vémols Uyelav.
ca’ ~EIS TO TOT HIOEOT ATAAMA
(1) Te éacat TOV HiOcov ew dK POTTONEL, Ov Mpa ke-
TEANS iOpucen, 1) det cou THS TEXVNS TApac Tha a
TO Tpaypa; Tats yy dmranos Te Kal vEOS T pos
TO parOaxov TE Kal VEoTHOLOV THs TeXUNS TOV
yarkov paratTovons, yALOnS Oé Av Kal ipépov
peoTOsS Kal TO THS HAs Ehaivev avOos, Tavta Oe
Av iOety TpOs THY THS TExES BovrAnow aperBo-
peva’ Kal yap amanos 7p 2 Haxowerny TH ara
hoTHTL THY ovolay EYov Kab T pos TO UYypov INYETo
Eo TEPNMEVOS DYpOTHTOS Kal dws efeBawwve THIS
avTov gdvaews 0 yadKos TOUS Opous Els TOV
1 Jacobs Nady: MSS. zat.
2 uy after Av deleted by Olearius: 7) waxouerny (unxave-
pevyy A).
1 Overbeck (Geschichte d. griech. Plastik’, II. 63) points
out that this passage is the only extant reference to a
412
i. ON THE STATUE OF A YOUTH
forehead to the eyebrows and hang thick about the
eyes. But, as if stirred by life and kept moist of
themselves, they coil themselves into the bending
curls, the material not rendering obedience to the
law of art, but realizing that it represents a god and
that he must work his own will. And although all
things that are born are wont to die, yet the form
of the statue, as though carrying within itself the
essence of health, flourishes in the possession of
indestructible youth. And so we, O Paean, have
offered to you the first fruits of discourse, freshly
made, and the offspring of memory ; for you bid us
do so, I think; and I am eager also to sing the
strains to you if you allot me health.
ff. ON THE SPATUR.OF-A.. YOUTH?
Have you seen on the acropolis the youth which
Praxiteles set up, or must I set before you the work
of art? It was a boy tender and young, and art had
softened the bronze to express softness and youth;
moreover, it abounded in daintiness and desire, and
it made manifest the bloom of youth. Indeed, it was
plain to see that in all points the statue was respon-
sive to the will of the artist ; for it was tender though
the essence of the bronze is opposed to tenderness,
and though devoid of suppleness it yet inclined to
be supple, and the bronze departed totally from the
limitations of its own nature and was transmuted
Diadoumenos, ‘‘ Youth binding his hair with a fillet,” of
Praxiteles on the acropolis, no doubt the Athenian acropolis ;
and Furtwangler (Meisterwerke d. griech. Plastik, p. 335) finds
the data here given entirely insufficient to enable the student
to identify any copy of this work.
413
30
10
20
CALLISTRATUS : DESCRIPTIONS
adnOA TUTTO weOiaTamevos. (2) “Apotpos b€ ov
TVEUMATOS KAL TO EuuTVOUY UTTEdVETO’ & Yap p1)
/ ¢e/ be 3 1 ” , e
TmapédaBev UAH pnde eiyev! Euhuta, TovTw@Y 1)
Téyyn THv eEovciay éropiteto. €xo.vovTo bé TAS
\ > / A \ \ / 9
Tapetas é€pvOnuatt, 0 On Kal wapadoEov Hv,
lal / nA
Yakov TiKTOmevovy EpevOos Kal TraldLKHS HV
e , 7 b] / / \ ? e.
nrixias avOos exXNautrov. Koun O€ elxev EdtKAS
Tais oppvow éemuBaivovtas. (3) ‘O d€ T@ Teda-
Move KaTaTTEhwY TY KOUNY Kal Ex TOV OPpvav
nw \
aTobovpevos TO Srabdjpate Tas Tplyas yuUpVOY
/ x
TROKALWY ETHPEL TO PETWTTOV. WS O€ Kal KATA
/ \ a
uépos e€ntalomev THY TéyVNV Kal Ta ev avTT
6 s 2 > / / e , iA
alddApata,” apacia rANYEVTES ELOTHKELLEV’ O
Te yap yadkos evtTpadH Kal ALT@CaV éTeE-
/ / \ \ ,
SelLKVUTO THY TUPKAa KAL TPOS THY TPLYOS KLYNoW
peOnpuoleto, oTé prev Bootpvywyv ovAwWY TAOKAlS
, CHIN sre J9 , A \
auveEedtTTOmEVvos, oTe 6 EOEXOVTN TH TpLXl
exTadny KATA VOTOU XVO}VaL TUVATAOUMEVOS, KAL
CALAN \ 2/ \ / A \ \
oTé pev COéXer TO TAdo pa KaudO var pos THY
¢ A \ ‘\
KAMLTNY AVLEWEVOS, OTE O€ ETLTELVAL TA MEAN TPOS
\ / / wv i X lal
To ovvtTovoy meOraTapevos. (4) "Opma b€ (wepa@des
> an \ cal
Av aldol avpptyes appodicia® Kat épwrtixhs 4
/ / \ \ v lal e \ \
yémov yapiTos: Kal yap nOee Enrobv o YaXKos TO
> 4 \ e / ’ / lal ’ /
épacimov Kal wmncovoev eOédovtTt TO EldHodO
al b] / \ x Sd e 4
yaupodcbat. axivntos 6€ wy ovTOs Oo Edn Sos
” /
eoofev av cou KiVnTEWS METEXELY Kal Els YopEtav
eutpeTrifea bat.
1
elxev uguta Jacobs: «lye tov puyra.
414
i ON -THE STATUE OF ‘A. YOUTH
into the true qualities of the subject. Though not
endowed with breath, it yet began to breathe; since
what the material had not inherited as a gift of
nature, for all this art furnished the capacity. It
imparted to the cheeks to make them blush—a thing
incredible—a ruddiness born of the bronze, and a
bloom of young boyhood shone from it. And the
hair had curls which tended to fall over the eye-
brows. But fastening his hair with a band and
thrusting it back from his brows with a fillet, he kept
his forehead bare of the locks. When, however, we
went on to examine the statue part by part and the
matters of artistry in it, we stood overcome by
speechlessness; for the bronze showed the flesh
well-nurtured and sleek with oil, and it adapted
itself to the movement of the hair, now coiling in
strands of curly locks, now unfolding with the hair
that strove to pour in broad mass down the back;
and where the figure wished to bend, the bronze
would relax itself to the bending, and where the
figure would make tense its limbs, the bronze would
change and become rigid. The eye held a look of
longing commingled with a passionate modesty, and
was full of the grace of love; for the bronze knew
how to imitate love’s passion and yielded to the
image when it wished to indulge in wantonness.
Though it was motionless, this youth seemed to
possess the power to move and to be making ready
to dance.
datddAuara Jacobs: 5€ GAuara.
appodicia Reisch: adpodicias or appodictov.
epwrikns Relsch: épwtikod.
em © Lo
CALLISTRATUS : DESCRIPTIONS
8 EIS TO KENTATPOT ATAAMA
25 (1) Eis tepov eitor@y cepvov Te Kal péya, 0 THY
Kadiorny elKaciay els €auTO peBioTn, év Tots
TpoTuAalots TOU yew (dpupevov Ged uae KEVTaUpOY,
ovK avopt Kata Thy ‘Opnpevov elKova, ara plo
TaparAnoLov UAIEVTL. avO pwrros ay aypt ra-
30 yoves KaTL@v oO KéVvTAUpOS els imrou Bacw
TET pag KENT Anyov. (2) Tov yap im7rov Kal TOV
avO pwr ov a duals e& MeLoeias Tewovoa els ép
THUA TVINPLOTE, TA MeV ATOKPLYATA TOV MEpOV,
436 K. Ta 6€ aAANAOLS TEXVNTALEH TUdwVa THs peV
yap avO porivns 6acov um tEvos els axpav amo-
pépeTar THY Baow ageinre, tov 6€ immetov
TO LaTOS Ogov «els opparov kataBaiver Tewovoa
570 avO por ive UIE TUT, os TOV fev iam ov
THY Kepariy mo Beiv Kal TOUS avxevious TEVOVTAS
Kal Ooov eis TO v@T ov kata Baivov eUpuveTa, TOV
é€ avO pa mov TOV ATO Ouparov méypt THs Bacews
OTN ply Lov CnTeL. (3) Tovovtov 6é ovTOS TOU
10 cwpatos eldes av Kal Ovpov eémitmvéovta TO
TEYVHUATL KAL NYplLwWMEVOV TO GOUa Kal TO
Tpocam@ 70 Onpiddes éravOodv Kal TO THiS
TPLXOS Kado Ta UT oKpLvomernY THY TETPAaY Kal
TaVTa TpOS TOY AXNOH TUTOV oTEvOOVTA.
1 Cf. Anth. Pal. XVI. 115. On the Centaur Cheiron, ‘‘A
horse is shed forth from a man, and a man springs up from a
horse ; a man without feet and a swift horse without a head ;
a horse belches out a man, and a man farts out a horse ;” and
116, ‘‘ There were a horse without a head and a man lying
unfinished. Nature, in sport, grafted him on the swift
horse.” Trans. Paton, L.C.L. Cf. also the elder Phil.,
supra, p. 138.
416
12. ON THE STATUE OF A CENTAUR
12. ON THE STATUE OF A CENTAUR!
On entering an awe-inspiring and ample shrine
which had received into itself the most beautiful
statues, I behold set up in the entrance-hall of the
temple a centaur, not like a man,? as Homer repre-
sents him, but like a “wooded mountain peak.”
The centaur was a man down as far as the flanks, then
it ended in a horse's **four-legged stance.” For both
the horse and the man Nature had cut in two in the
middle and joined into one body, omitting some
members and cleverly adapting the rest to each
other; since of the human form it took away every-
thing from the waist to the feet, while of the horse’s
body it cut off everything down to the navel and
joined the rest to the human figure, as though the
horse desired the head, the neck-sinews and that
part of a man’s back which broadens as it descends,
while the man sought the firm support of a horse
from the navel to the feet. Such being the body,
you could see also a spirit breathing upon the work
of art, and the savage type of the body, and the
animal nature coming to light in the face; and you
could see the stone most beautifully interpreting the
hair and every element striving to express the truth.
2 Homer never described Cheiron or the other centaurs as
part horse, part man.
3 Quoted from Odyssey, 9. 191, when the expression is used
of Polyphemus: ‘‘ For he was fashioned a wondrous monster,
and was not like a man that lives by bread, but like a wooded
peak of lofty mountains, which stands out to view alone,
apart from the rest.” Trans. Murray, L.C.L.
4 Cf. Eur. Her. Fur. 181: tetpackedds @ 8Bpicua, Kevtaiipwv
yéevos, ‘The four-foot monsters ask, the Centaur tribe”;
Hec. 1058, rerparodos Brow Onpbds dpecrépov, ‘‘ The stance of a
mountain beast.”
417
PHILOS, EE
CALLISTRATUS : DESCRIPTIONS
wy EIS TO TH MHAEIA® ATAAMA
15 (1) Eidov xal tiv trorAvOpvrANnTOY ev pots
Makxedovev Mndecav. Rios ay pNvvay TO THS
yuxis €l00¢S arropakawevns els avTny THS TEXYNS
Ta oupTAnpovvTa THY Yuxny: Kal yap AoyLo mow
KaTHYOpELTO djAw@pua Kal Ovjmos UTavia Tato Kal
20 pos duns dudbeowv meteSawer 7) 7) ELK@V, KAL @S
Bpaxéws evreiy TOU Tepl avr nV Opauaros eEjynots
Av TO op@pmevov. (2 ) ‘O pev yap Aoyeo 10s UTep
TV mpacw e7)Aov THS ryuvarkos ta BovrevuaTta,
o 6€ Gupos TH punn TAS opyiis Taparypahopmevos
25 Thy pow T pos TO epyov iyyetpe THY ert TOV
povor * opeay Elan YOUMEVOS, 1) hun dé Tov emi
ToIs Taio eT ET 1) LaLLVEV OLKTOV Els THY Ent peav
oUvEoL appoctos ex tov Ovpuod Tip AiBov
éX\kovca. ov yap ATEYKTOS ovoe Onpradys Dy
30 eik@v, GAN Els Oumod Kal paraxias * evderEw
Ounpetto t UmnNpeToupEnn Tots THs yuvarKelas pvcews
Bovrevpaciv: elKoS yap mv peTa TOV XoXov
K. 437 kaOapevovcav tod Oupod émictpépecOar mpos
olxtov Kal eis évvotav épYouévnv TOU KaKOD THY
uxny ox tiles Pat. (3) Tatra peta TOU TWMATOS
Ta ™aOn y) elK@V epi pret To Kal nv iOeiy THY AiBov
5 OTe ev pépovcav Tov Oupov év OMA, OTE oe
oKv0 pwrrov opa@cay Kal paar rowevny els oTUYVO-
TNTa, WoTED aVTLKpUS TOD TEXVNTAaMEVvOU THY
: > povoy, Olearius: Wopor, Wdyor.
2 uwadakias Schenkl, avias Huschke: pavias.
1 Cf. Anth. Pal. XVI. 135-141 on the picture of Medea in
Rome, ¢.g. 135: ‘The art of Timomachus mingled the love
418
13. ON THE STATUE OF MEDEA
13. ON THE STATUE OF MEDEA
I also saw the celebrated Medea in the land of the
Macedonians.t It was of marble and disclosed the
nature of her soul in that art had modelled into it
the elements which constitute the soul; for a course
of reasoning was revealed, and passion was surging
up, and the figure was passing over into a state of
grief, and, to put it briefly, what one saw was an
interpretation of her whole story. For her reasoning
about her course of action revealed the schemes of
the woman, the passion connoted by the onset of her
anger roused her nature to the deed by introducing
the impulse to murder, and the grief denoted her
compassion for her children, transforming without
violence the expression of the marble from passion
to the natural feeling of a mother. For the figure
was not relentless nor brutal, but was so apportioned
as to show both passion and tenderness, thus minis-
tering to the varying purposes of her womanly
nature; for it was but natural that after her wrath
was over and she was purified of her passion, she
should turn to pity, and that when her soul came toa
realization of her evil deed it should be stirred to pity.
These passions the figure strove to imitate as well as
the form of the body, and one could see the marble
now flashing passion in its eyes, now wearing a look
sullen and softened into gloom, exactly as if the
artist had modelled the woman’s passionate impulse
and jealousy of Medea, as she drags her children to death.
She half consents as she looks at the sword, and half refuses,
wishing both to save and to slay her children.” Trans.
Paton, L.C.L. For the subject compare the Pompeian wall-
painting, Baumeister, Denkmdaler d. klass. Altertums, I, 142.
419
EE 2
10
20
CALLISTRATUS : DESCRIPTIONS
opunv els THS Evpurtéov Opapatorotias wANC-
aVvToS TI Hinnow, év 7) Kal Boureverar ouvava-
Kwvovoa ral oUVECLY Eup pova Kat eis Oupov
dry platver 70 7005 Tovs TET NYOTAS ™ dvoet
Tpos Ta exyova THS prroyovias Spous ex Ban-
Novoa Kal TaldiKOv ROYoV pera TY GVO [LOV
opayiy AMT TETAL. (4 ) "Hy 6€ avTn Kat Exp opos
Xelo Ovaxoveiy € ETON TO Ovo ert TO plac pa
omevoovey Kal mywedn jeer Opi—E TO UX LN pov
eTmLonmatvoura Kal OTOAN TLS TEVOL LOS AKOXOUOOS
TH Wuxi.
6 EIS THN TOT AOAMANTOS®
EIKONA
(1) Elvcav iy em Tais Levbexais Low ovK els
émioerEwv, adda eis! aywviavy TOV Ths ypadbins
KAXN@V OuK apmovews eEnonnwevn. EKTETUTOTAL
6€ KaT avTny "AO apuas paviats ola T POULEVOS.
7 6 toeiv YULVOS, amare powloowy THY KOMND,
1VELLW[LEVOS T2)V Tpixa, Tapaopos TO Oma, ex -
TANELas yé“Lov, Kal WTALCTO O€ OV paVvials LoVvoV
els TOApav ovdE Tols EE "Epivdwv detuact Oupo-
pOdpots 2 nypiaiwev, AXXa Kal cidnpov THS yELpas
mpoBéBrnTo éxOéovte TapatAnatos. (2) ‘H per
yap elk@v OvTws HV aKLYNTOS, EdoKEL SE OV THpELY®
1 eis for kat MSS. Jacobs, who also inserts wAaorikjs
after émiSeéiv. Kayser inserts udovoy after éemide:tiv.
2 @uvuopOdpors Jacobs: SnuoPOdpois.
tnpev Jacobs: of tt Hv.
1 Athamas king of Orchomenos, in secret love with Ino
daughter of Cadmus, became the father of Learchus and
420
14. ON THE FIGURE OF ATHAMAS
in imitation of the drama of Euripides, in which
Medea not only forms her plan with the exercise of
a rational intelligence, but also excites her spirit to
anger as she casts aside the principles fixed by
nature to govern a mother’s love for her offspring,
and then after the lawless murder she speaks the
fond words of a mother. Her hand was armed with
the sword, being ready to minister to her passion as
she hastens to her foul deed, and her hair was
unkempt, a mark of squalor, and she wore a garment
of mourning in conformity to the state of her soul.
14. ON THE FIGURE OF ATHAMAS!}
There was a figure on the Scythian shores, not set
up for display but fashioned not inelegantiy for a
contest of beauty in painting. It represented
Athamas goaded on by madness.” He was shown as
naked, his hair reddened with blood and its locks
flying in the wind, his eye distraught, himself filled
with consternation ; and he was armed not by mad-
ness alone for a rash deed, nor did he rage merely with
the soul-consuming fears which the Furies send;
nay, he even held a sword out in front of him, like a
man making a sally. For though the figure was in
reality without motion, yet it seemed not to retain a
Melicertes. Smitten with madness by Hera to avenge her-
self on Ino, who had cared for the infant Dionysus, he slew
his son Learchus. Thereupon Ino threw herself with
Melicertes into the sea, where both were transformed into
sea divinities. For the later story of Melicertes Palaemon,
see supra, p. 191, note 1.
2 Cf. supra, p. 383, note 1.
A421
30
438 K.
ou
10
15
20
CALLISTRATUS : DESCRIPTIONS
TO oTdotmov, adrra SoEn Kiwyoews TOs OeaTtas
éEiaoTn. maphny d€ 7 “lym trepidens, vmdTpopmos,
uTo Tov poBov XYAwpov Te Kal TeEOVHKOS Opaaa,
évnyKartoTo 6€ Kal Traida vitTriov Kal THY OnrdnV
Tois YelNeowy avrod 7 poo nye Tas Tpodimous
emuaTavouga myas Tots Tpopipors. (3) ‘Emyyeto
O€ 7) ELK@Y eri? Ty aK pav tod XKELPWVOS Kal THY
Oarattav tiv UTopetov, TO Sé poOLov mpos vTO-
Soynv €xoATrovTO KUpaivery elwOos, Kat Zepvpou
Te KaTetye® TO Kvua® ALyUP@® Tvevpate TV
Oaratrav Kkatevvafovtos: o yap On Knpos epavtate
Thv aicOnaw, @s Kal TYOnY SnuLoupyely éTLOTA-
peevos Kal avakovtifew Oadacatovs avpas kal
els Epya huoews eTaye THY pipnow. (4) Hapec-
KLPTOV € Kal evatow derives TO poOvov év TH
ypahn TEMVOVTES Kal 0 KNpOS eddKEL dvamvéea au
Kab Tpos TO THs Oarattns votivecOar* pina
mpos auTis tHhv e€ovciay éEadrXatTopmevos. (5)
i FY \ val rn / / A /
V YE NV TOLS TOU TLVAaKOS Teppaciy ApdiTpLTN
a / » / la}
Tis €x BvOav avé8yn aypiov TL Kai PpiK@des
op@ca Kal yAauKOV TL cedas eX Tov OMpLUT OY
Happaipovoa, Nnpnides 6€ mepl QUTHV ELOTIKET AD,
amanal dé oav abrat Kal avOnpai T poo Loetv
Kal adpodiavov ipepov €€ dmpatwyv otafoveat,
/ lal , ,
uUT@ép O€ axkpwov TOV POaXacclwy KUMaTwY édio-
\ / \ \
govoat THY Yopetay® ErANTTOV. Tept b€ avTas
\ ” , lal fal lal
‘Oxeavos Ba... .8 wyeTO ye pexpov THS TOD
lal / / /
TOTAMOU KLVITEWS KAL KUMaLVELY OEeLyOELons.
em Petrettini: kara Kayser: kal.
Kkarecxe Kayser: xatexet.
koua Arnim (with cathe: for katéxer ): cama,
voriCecOa Kayser: voulCerbat.
Jacobs Xopelav : Topeiay.
1
2
3
4
5
14. ON THE FIGURE OF ATHAMAS
fixed position ; instead it astonished those who saw
it by a semblance of motion. Ino too was present,
in a state of terror, trembling slightly, her face pale
and corpse-like through fright; and she embraced
her infant child and held her breast to its lips,
letting the nurturing drops fall on the nursling.
The figure of Ino was hastening towards the pro-
montory of Sceiron and the sea at the foot of the
mountain, and the breakers that were wont to surge
in billows were spreading out in a hollow to receive
her, and something of Zephyrus pervaded the
waters! as he with shrill blast lulled the sea to rest.
For in truth the wax? beguiled the senses into
thinking that it could fashion a breeze and cause the
sea-winds to rise and could apply the art of imitation
to nature’s works. And sea-dolphins were sporting
near by, coursing through the waves in the painting,
and the wax seemed to be tossed by the wind and
to become wet in imitation of the sea, assuming the
sea’s own qualities. Moreover, at the outer edges of
the painting an Amphitrite rose from the depths, a
creature of savage and terrifying aspect who flashed
from her eyes a bright radiance. And round about
her stood Nereids; these were dainty and bright to
look upon, distilling love’s desire from their eyes;
and circling in their dance over crests of the sea’s
waves, they amazed the spectator. About them
flowed Oceanus, the motion of his stream being
well-nigh like the billows of the sea.?
1 See critical note.
2 The medium for colour in the painting was wax.
3 The text of the last sentence is so imperfect that only the
general meaning can be given.
6 Kayser Bafvdivns: Schenkl Baévppovs. The ye after
&xetTo is corrupt.
423
INDEX
Abderus, 239
Abradates, 69, 165
Acheloiis, 89, 97, 303
Achilles, 7, 133, 155, 287, 293
Actaeon, 61
Adrastus, 105
Adriatic, 195
_ Aeacus, 189, 293
Aeetes, 315, 319, 343
Aegean, 185, 195
Aegisthus, 173
Aesop’s Fables, 13
Agamemnon, 157, 173
Agave, 75
Ajax, 157, 183
Alcmene, 307
alder, 311
Alpheius, 71, 121, 151
amaranth, 39
Amazons, 147
amber, 49
Amphiaraus, 15, 105
Amphion, 41
Amphitrite, 423
Amphitryon, 309
Amymone, 33
Ancaeus, 357
Andrians, 97
Andromeda, 115
Antaeus, 223, 229
Anthedon, 189
Antigone, 253
Antilochus, 155
Aphareus, 189
Aphrodite, 27, 29, 65, 129, 131
Apollo, 41, 86, 95, 99, 103, 217, 297,
353
apples, 21, 29, 123
Apsyrtus, 547
Araspas, 165
Arcadia, 265, 305
Archilochus, 13
Ares, 323
Argo, 187, 319, 343, 411
Argos, 233, 257
Ariadne, 61, 341
Arion, 81
Aristodemus, 5
Armenians, 145
Arrichion, 149
Artemis, 143
Artemis Agrotera, 113, 301
Asclepius, 353, 411
Assyrian, 167
Astrape, 59
Atalanta, 357 aam_-
Athamas, 421
Athena, 201, 245, 317, 333, 411 ;
Athens, Athenians, 65, 117, 163, 247,
253
Atlas, 115, 219
Axius, 165
Babylon, 261
Bacchante, 73, 77, 79, 203, 381
Bacchic rites, 169, 339, 381
Balios, 137
bears, 119, 213
bees, 89, 135, 179, 353
boar, 107, 205, 299, 357
Boreas, 189
Bosphoros, 49, 187, 319
Briseis, 133
Bronte, 59
bryony, 73, 97, 203, 297
bull, 193, 293, 305, 339, 403
Cadmeia, 257
Cadmus, 75
Calliope, 343, 353, 401
Capaneus, 15, 105, 169, 253, 257
Cassandra, 171
Cayster, 47
cedar, 205
Celaenae, 81
centaur, 137 f., 361, 417
Cephisus, 163, 215
chariot, 69, 105, 141, 167, 321, 323
425
INDEX
Cheiron, 135
cherry, 125
Chryse, 365
Cithaeron, Mt., 61, 73
Clotho, 121
Clytemnestra, 173
Colchis, 189, 201, 313, 345, 361, 365
colour, 3, 95, 111, 117, 135, 161 f., 167,
179, 185, 191, 211, 215, 235, 287,
291, 295, 307, 321, 337, 355, 361,
389, 401, 407
Comus, 9
constellations, 223, 329, 331, 401
Corinth, 191
Coronus, 237
Crete, 63
Critheis, 159
crocus, 161
Croesus, 167, 169
cupids (see also Eros, Erotes), 21, 37
65, 67, 257
Cyclops, 211
cymbals, 21, 79, 179, 203
cypress, 205, 311
Cyrus, 165
Daedalus, 65, 341, 372, 387, 403, 409
Daiphantes, 179
Danaiis, 33
dance, 177, 341
Day, 47, 379
deer, 205, 299
Deianeira, 305, 363
Deiodameia, 293
Demosthenes, 383
Diomedes, 69, 289, 298
Diomedes, mares of, 239
Dionysus, 59, 61, 63, 73, 77, 79, 97, 99,
125, 189, 203, 405
Dioscuri, 189
Dodona, 189, 267
dogs, hunting, 113, 205, 211, 399
dolphins, 79, 193, 215
dove, 267
dreams, 107, 161
drums, 203
dryads, 265
ducks, 37, 243
dwarfs, 19
eagle, 311
Echo, 179, 207, 269, 379, 409
Egypt, 185
Elis, 153
Enceladus, 201
426
Enipeus, 159, 165
Enyo, 253
Eos, 31
Eridanus, 45, 47
Erinnyes (see also Furies), 255
Eros, Erotes (see also Cupids), 51, 115,
131, 241, 255, 315, 317, 319, 323,
357, 385, 391
Eteocles, 255
Ethiopians, 115, 409
Eumelus, 5
Euripides, 60, 233, 405, 421
Euripylus, 325, 341
Eurystheus, 231, 333, 347
Euxine, 55, 187
Evadne, 255
Evenus, 361
Evian, 339, 383
Evios, 61
Fables, 13
Fates, 325
fawn, 113, 133, 213
feast, 173
fennel, 243
fig, 123
fir, 37, 205
fish, fishing (see also dolphins), 55, 191,
389
fox, 15
Furies (see also Erinnyes), 421
Galatea, 211
Ganymede, 317
garments, 63, 111, 123, 131, 145, ai
291, 315, 341°
geese, 37, 243
giant, 199
Glaucus Pontius, 187
Gorgon, 117
Graces, 43
gulls, 207
Gyraean Rocks, 181, 193
Hades, 177
hare, 27, 113, 133, 243 311
Harmonia, 75
Hebe, 223
Hector, 133, 183
Helicon, 401
Helius, 45, 47, 265, 315
Helle, 189
Hellespont, 325
Hellus, 267
Hephaestus, 9, 23, 247, 277, 327, 361
INDEX
Hera, 247, 307
Heracles, 189, 219, 229, 237, 239, 347,
361, 363, 365
among the Pygmies, 229
in swaddling clothes, 307
or Acheloiis, 309
the madness of, 231
Hermes, 41, 45, 99 f., 101 f., 229, 263
Hesiod, 13
Hesione, 347, 351
Hesperides, 201
Hierapolis, 50
hippocamps, 33
Hippodameia, 69, 71, 119, 323
Hippolytus, 141
Hippomedon, 253, 257
Homer, 7, 33, 133, 159, 163, 249, 267,
269, 319, 325, 329, 417
Horae, 47, 101, 269
horses, 47, 105, 109, 119, 133, 137, 141,
145, 187, 347, 403
hospitality, 243
hunters, 107, 297
hyacinth, 93, 161, 269
Hyacinthus, 93, 353
Hyades, 329
Hyllus, 363
Hymettus, 181
hymn, 331, 345
Tlium, 183, 293, 325
Imbros, 195
Inachus, 33
Indian, statue of, 389
Ino, 193, 423
Tonia, 163
Iphitus, 241
Islands, 195
Ister, 47, 97
Isthmus, 193, 195
Ivy, 59, 63, 79, 89, 97, 203, 299, 379
Ixion, 139
Jason, 189, 315, 343, 361, 365
kingfisher, 191
labyrinth, 63
Lacedaemonians, 95, 117, 153
landscape, 35
Laomedon, 351
laurel, 179
Lechaeum, 195
Lemnos, 195
leopard, 63, 79
Lesbos, 133, 195
Leto, 295, 353, 355
Leucothea, 193
Lindians, 231, 237
lion, 73, 119, 213, 311, 339, 403
Locrian, 181, 183
looms, 249
lotus, 161
Lucian, 19
Lybia, 229
Lycambes, 13
Lycomedes, 289, 293
Lydia, Lydians, 69, 71, 77, 117, 119,
123, 165, 321
Lynceus, 189
lyre, 41, 137, 297, 401, 403
Lysippus, 395
Macedonians, 419
magpie, 211
Maia, 101 f.
Maron, 77
marsh, 35
Marsyas, 81, 295 —_
Medea, 313, 319, 343, 419
Medusa, 115
Megaera, 61
Megara, 233
Meleager, 357
Meles, 159, 163
Meliboea, 365
Melicertes, 193
Melpomene, 351
Memnon, 29, 31, 155, 379, 407
Menelaiis, 155, 365
Menoeceus, 15
Midas, 85
minotaur, 65
monster, 347
moral of a painting, 11
EEE als personified, 101, 143
mulberry, 255
Muses, 41, 59, 163, 215, 353, oe 401
Myron’ s discobolus, 95 ft
Myrtilus, 69, 323
myrtle, 179
naiads, 163, 179
Naples, 5
Narcissus, 83, 89, 391
narthex, 76
Nature, 297, 417
Naxos, 61
Neoptolemus, 325
nereids, 163, 193, 197, 423
427
INDEX
Nereus, 289
Nessus, 361
Night, 9, 47, 309
nightingale, 299
Nile, 19, 31, 97, 185
nymphs, 21, 87, 107, 177, 225, 245, 389
oak, 205, 267
Oak’s Heads, 219
Oceanus, 109, 165, 331, 341, 423
Odysseus, 177, 289 f., 327
Oebalus, 355
Oeneus, 305, 361
Oenomaiis, 69, 119, 321
offerings, 27, 29, 167, 193, 257, 267
olive, 15, 71, 151
Olmeius, 163, 401
Olympia, 263
Olympic games, 149, 217
Olympus, 81, 83
Olympus, Mt., 101
Opportunity, statue of, 395
oracle, 293
Orion, 329
Oropus, 107, 343
Orpheus, 187, 191, 309, 343, 401
Orthian strain, 39
owl, 203 f.
Pactolus, 97
Paean, 217, 353, 411
painting
atmosphere in, 5
chiaroscuro, 222, 265
clever points of, 11, 17, 39, 41, 53,
63, 103, 119, 165
delineation of character, 157, 159,
171, 288, 295, 305, 313, 317
drawing, 67
foreshortening in, 45
pigments, 109
technical terms, 45, 67, 109
theory of, 3, 279, 299
truth of representation, 3, 11, 109,
155, 179, 181, 261, 265, 277, 339
Palaemon, 81, 191, 193
Palaestra, 263
palm, “41
Pan, 61, 63, 77, 177, 181, 379
pancratium, 241
Pantheia, 165
Paphos, 131
Parrot, 211
parsley, 37, 243
Parthenopaeus, 253
428
Pasiphaé, 65
Patroclus, 7, 133, 155
Pausanius, 41
pears, 123
Pegasus, 401
Peleus, 291, 359
Pelion, 139
Pelops, 69, 71, 119, 321, 325
Peneius, 97, 165, 185
Penelope, 249
Pentheus, 61, 73
Perseus, 115
Persians, 145, 165
personification of
day, 379, 407, 409
doom, 335
earth, 227
meadows, 143
mountains, 101, 143
night, 9, 47, 309
rivers, 99, 187, 297, 319
sleep, 229
strife, 335
truth, 107
tumult, 335
perspective, 17
Phaedra, 141
Phaéthon, 45
Phasis, 315, 319, 343
Phlegyans, 215
Phocis, 217
Phoenicians, 111
Phoenix, 293
Pholoé, 363
Phorbas, 215
Phrixus, 189
Phrygian, 51, 85, 295
Pindar, 179, 237
pine, 85, 193, 205, 213, 311
pipe, shepherd’s, 213, 335, 377
plastic art, 3
Pleiades, 329, 401
Plutarch, 17 n.
Plutus, 247
Poeas, 365
Polyneices, 15, 105, 253, 255
Polyphemus, 213
Pontus, 319
poplar, 311
Poseidon, 21, 33, 71, 119, 159, 183,
185, 193, 197, 213, 321
potter’s wheel, 341
Praxiteles, 385, 403, 413
prayer, 113, 117, 119, 267
Priam, 133, 173
INDEX
prophetess, 171
Protesilaiis, 169
Proteus, 209
Pyrrhus, 289, 291, 325, 341
razors, 179
Rhea, 179, 181
Rhodes, Rhodians, 237, 247
Rhodogoune, 145
rivers, personified, 99, 187, 297, 319
roses, 11, 63, 269
sacrifice, 233, 239, 247, 255, 257, 267
Salamis, 261
Sappho, 129
satyrs, 79, 81, 85, 99, 297, 377
Scamander, 7, 130, 133, 175
Sceiron, 423
Scopas, 381
sculpture, 3
Seyros, 289
Scythian, 421
Seilenus, 86, 99, 203
Semele, 59
Seres, 249
serpents, 203, 303, 307
ships, 63, 77, 181, 189, 197, 207
singers, 129
Sipylus, Mt., 71
sirens, 211
Sisyphus, 193
Sophocles, 287, 351
spiderwebs, 249
statues, 31, 181
swan, 37, 47
symbolism, 51, 63
symbols, use of, 21
Symplegadae, 187, 319
syrinx, 395
Teiresias, 17
Tempe, 97
tern, 207
Thebans, 15, 41, 59, 73, 257, 309
Theiodamas, 237
Themistocles, 259
Theseus, 61, 141
Thessaly, 185, 189
Thetis, 289
Thrace, 313
thyrsus, 39, 73, 87, 99, 203, 383, 407
Tiphys, 189
Titaresius, 165, 187
Tmolus, Mt., 79
tortoise shell, 43
trees, 35, 85, 193, 197, 205, 311
tripod, 133
Tritons, 99, 215
Trojans, 183
Troy (see also Ilium), 293, 365
Tydeus, 253, 257, 291
Typho, 201
Tyro, 159
Tyrrhenian pirates, 75
Uranus, 131
vine, 79, 125, 203, 211, 271, 297, 339
wagon, 199
water-clock, 83
wolves, 113, 311
wrestling, 151, 153, 225, 263
Xanthus, 137, 165, 325
Xenia, 123, 243
Xenophon, 165
Xerxes, 261
Youth, statue of a, 413
Zephyrus, 39, 47, 81, 92, 97, 135, 195,
357, 423
Zeus, 59, 165, 189, 201, 247, 257, 267,
269
Zeus Herkeios, 233
429
PRINTED IN GREAT BRITAIN BY
RicHARD CLAY & Sons, LIMITED,
BUNGAY, SUFFOLK.
THE LOEB CLASSICAL
LIBRARY
VOLUMES ALREADY PUBLISHED
Latin Authors
APULEIUS. THE GOLDEN ASS (METAMORPHOSES).
W. Adlington (1566). Revised by S. Gaselee. (4¢h [mp.)
AULUS GELLIUS. J.C. Rolfe. 3 Vols.
AUSONIUS. H. G. Evelyn White. 2 Vols.
BEDE. J. E. King. 2 Vols.
BOETHIUS: TRACTS and DE CONSOLATIONE
PHILOSOPHIAE. Rev. H. F. Stewart and E. K. Rand.
(22d Lip.)
CAESAR: CIVIL WARS. A.G. Peskett. (37a Zs.)
CAESAR: GALLIC WAR. H. J. Edwards. (5h Zm.)
CATULLUS. F.W. Cornish; TIBULLUS. J. B. Postgate;
AND PERVIGILIUM VENERIS. J. W. Mackail. (gz
imp.)
CICERO: DE FINIBUS. H. Rackham. (37a Jmp. re-
z'2sea.)
CICERO: DE OFFICIIS. Walter Miller. (37a Zp.)
CICERO: DE SENECTUTE, DE AMICITIA, DE
DIVINATIONE, W. A. Falconer. (37d Zp.)
CICERO: DE REPUBLICA anp DE LEGIBUS. Clinton
W. Keyes.
CICERO: LETTERS TO ATTICUS. E. O. Winstedt.
3 Vols. (Vol. I. 42h /mp., Vol. Il. 37a Zmp. and IIL. 2na Limp.)
CICERO: LETTERS TO HIS FRIENDS. W. Glynn
Williams. 3 Vols.
I
CICERO: PHILIPPICS. W. ©. A> ioe:
CICERO: PRO ARCHIA, POST REDITUM, DE DOMO,
ETC. N.H. Watts.
CICERO, PRO QUINCTIO, PRO ROSCIO AMERINO,
PRO ROSCIO COMOEDO, CONTRA RULLUM. J. H.
Freese.
CICERO: TUSCULAN DISPUTATIONS. J. E. King.
CICERO: PRO CAECINA, PRO LEGE MANILIA, PRO
CLUENTIO, PRO RABIRIO. H. Grose Hodge.
CICERO: PRO MILONE, IN PISONEM, PRO SCAURO,
PRO FONTEIO, PRO RABIRIO POSTUMO, PRO
MARCELLO, PRO LIGARIO, PRO REGE DEIOTARO,
N. H. Watts.
CICERO: VERRINE ORATIONS. L. H. G. Greenwood.
2 Vols. Vol. I.
CLAUDIAN. M. Platnauer. 2 Vols.
FLORUS: E. S. Forster, and CORNELIUS NEPOS:
J. G. elie:
FRONTINUS: STRATAGEMS anp AQUEDUCTS. C. E.
Bennett.
FRONTO: CORRESPONDENCE. C.R. Haines. 2 Vols.
HORACE: ODES anp EPODES. C. E. Bennett. (9¢%
imp. revised.)
HORACE: SATIRES, EPISTLES, ARS POETICA:
H. R. Fairclough. (22a Jmp. revised.)
JUVENAL anv PERSIUS. G.G. Ramsay. (5¢h Jmp.)
LIVY: B. O. Foster. 13 Vols. Vols. I.-V. (Vol. Io 2nd
Imp. revised.)
LUCAN. J. D. Duff.
LUCRETIUS. W.H.D. Rouse. (37a Jp. revised.)
MARTIAL. W. C. A. Ker. 2 Vols. (37d Jmp. revised.)
OVID: THE ART OF LOVE anp OTHER POEMS.
J. H. Mozley.
OVID: FASTI. Sir James G. Frazer.
OVID: HEROIDES anp AMORES. Grant Showerman.
(37d mp.)
OVID: METAMORPHOSES. F. J. Miller.. 2 Vols. (Vol.
I. 5¢4 Zmp., Vol. II. 4th Zmp.)
OVID: TRISTIA anp EX PONTO. A. L. Wheeler.
PETRONIUS. M. Heseltine; SENECA: APOCOLO-
CYNTOSIS. W H.D. Rouse. (52% 7m.)
2
PLAUTUS. Paul Nixon. 5 Vols. Vols. I.-III. (Vol. I.
3ra Imp., Vol. III. 4¢h Jmp.)
PLINY: LETTERS. Melmoth’s Translation revised by
W. M. L. Hutchinson. 2 Vols. (Vol. I: 47h Jmp., Vol. II.
37rd Imp.)
PROPERTIUS. H.E. Butler. (4¢4 Zmp.)
QUINTILIAN. H.E. Butler. 4 Vols.
ST. AUGUSTINE; CONFESSIONS OF. W. Watts (1631).
2Vols. (Vol. I. 4¢2 Zmp., Vol. Il. 37d Imp.)
ST. AUGUSTINE, SELECT LETTERS. J. H. Baxter.
SALLUST. J. Rolfe. (2d /mp. revised.)
SCRIPTORES HISTORIAE AUGUSTAE. D. Magie.
3 Vols. Vols. I. andII. (Vol. I. 22a Lmp. revised.)
SENECA: APOCOLOCYVNTOSIS.. -Cl. PETRONIUS:
SENECA: EPISTULAE MORALES. R. M. Gummere.
3 Vols. (Vols. I. and II. 2ud /mp. revised. )
SENECA: MORAL ESSAYS. J. W. Basore. 3 Vols.
Vols. I. and II.
SENECA: TRAGEDIES. F.J. Miller. 2Vols. (2d/mp.
revised.)
STATIUS. J. H. Mozley. 2 Vols.
SUETONIUS. J.C. Rolfe. 2 Vols. (4th Imp. revised.)
TACITUS: DIALOGUS. Sir Wm. Peterson and AGRI-
COLA AND GERMANIA. Maurice Hutton. (37d /mp.)
TACITUS: HISTORIES anp ANNALS. C. H. Moore
and J. Jackson. 3 Vols. Vols. I. and II. (Histories and
Annals I-III.)
TERENCE. John Sargeaunt. 2 Vols. (5¢2 /mp.)
TERTULLIAN : APOLOGIA anp DE SPECTACULIS.
T. R. Glover. MINUCIUS FELIX. G. H. Rendall.
VELLEIUS PATERCULUS anp RES GESTAE. F. W.
Shipley.
VIRGIIT H.R. Fairclough. 2 Vols. (Vol I. 10th /mp.,
Vol.? 38th Limp.)
VITRUVIUS, DE ARCHITECTURA. F. Granger. 2 Vols.
Vol. I.
(PHILOS.) 2 FF
Greek Authors
ACHILLES TATIUS._ S. Gaselee.
AENEAS TACTICUS: ASCLEPIODOTUS anp ONA.
SANDER. The Illinois Greek Club.
AESCHINES. C. D. Adams.
AESCHYLUS. H. WeirSmyth. 2 Vols. (Vol. I. 37a Jmp.,
Vol. II. 2a Zmp.)
APOLLODORUS. Sir James G. Frazer. 2 Vols.
APOLLONIUS RHODIUS. R.C. Seaton. (4h Zmp.)
THE APOSTOLIC FATHERS. Kirsopp Lake. 2 Vols,
(Vol. I. 522 Zmp., Vol. II. 4¢h Imp.)
APPIAN’S ROMAN HISTORY. Horace White. 4 Vols,
(Vol. I. 3rd Jmp., Vol. IV. 2nd Jmp.)
ARATUS. Cf. CALLIMACHUS.
ARISTOPHANES. Benjamin Bickley Rogers. 3 Vols.
(37@ Imp.) Verse trans.
ARISTOTLE: THE “ART” OF RHETORIG3
Freese.
ARISTOTLE: THE NICOMACHEAN ETHICS: H:
Rackham.
ARISTOTLE: PHYSICS; Rev. P. Wicksteed and F. M.
Gornford: 2° Vols. Vol. 4.
ARISTOTLE: POETICS anp LONGINUS. W. Hamilton
Fyfe; DEMETRIUS ON STYLE. W. Rhys Roberts.
ARRIAN, HISTORY OF ALEXANDER anp INDICA.
Rev. E. Iliffe Robson. 2 Vols. Vol. I.
ATHENAEUS: DEIPNOSOPHISTAE. C. B. Gnlicky 7
Vols. Vols. I-IV.
CALLIMACHUS anv LYCOPHRON. A. W. Mair;
ARATUS. G. R. Mair.
CLEMENT OF ALEXANDRIA. Rev. G. W. Butterworth.
COLLUTHOUS. Cf. OPPIAN.
DAPHNIS anp CHLOE. Thornley’s Translation revised by
J. M. Edmonds; AND PARTHENIUS. S.Gaselee. (2nd
Lmp.
DEMOSTHENES, DE CORONA anpd DE FALSA
LEGATIONE. C. A. Vince and J. H. Vince,
DEMOSTHENES, OLYNTHIACS, PHILIPPICS anp
MINOR ORATIONS: I-XVII anp XX. J. H. Vince.
DIO CASSIUS: ROMAN HISTORY. E. Cary. 9 Vols.
(Vol. IL. 22d Jmp.)
DIO CHRYSOSTOM. J. W.Cohoon. 4 Vols. Vol. I.
DIOGENES LAERTIUS. R. D. Hicks. 2 Vols. (Vol. II.
2nd Imp.)
4
EPICTETUS. W. A. Oldfather. — 2 Vols.
EURIPIDES. A. S. Way. 4 Vols. (Vol: I. 522 JZmp.,
Vol. II. 5¢2 Jmp., Vol. IV. 4th Lmp., Vol. III. 3rd Lmp.)
Verse trans.
EUSEBIUS: ECCLESIASTICAL HISTORY. Kirsopp
Bakes s2-Vols:. Vol. I.
GALEN: ON THE NATURAL - FACULTIES. “Az J.
Brock. (22d Zp.)
PIE GREEK -ANTHOLOGY. Wz, Ro. Paton.’ 57 Vols
(Vol. I. 37d Zp., Vol. II. 22a Lip.)
TRE. GREEK .BUCOLIC. POETS —~(@HEOCEFEUS,
BION, MOSCHUS). J. M. Edmonds. (5¢h Zmp. revised.)
GREEK IAMBIC AND ELEGIAC POETS anp THE
ANACREONTEA. J. M. Edmonds.
HERODES: “Ch DHEOPHRASFEUS : CHARACTERS:
HERODOTUS. <A. D. Godley. 4 Vols: (Vol. J. 37d Zyp.,
Vols. II.—IV. 22a Jp.)
HESIOD anp THE HOMERIC HYMNS. H. G. Evelyn
White. (472 uzp.)
HIPPOCRATES anD THE FRAGMENTS OF HERA-
CLEITUS. W.H.S. Jonesand E. T. Withington. 4 Vols.
HOMER Tera: JA. fT. Murray; 2 Vols: “(Volosts ear.
Imp., Vol. Il. 2ud Jp.)
HOMER: ODYSSEY, A. 1. Murray: -2=Vols.. (Viol.
4th Imp., Vol. Il. 3xd Lup.)
ISAB Us; I. W. Forster.
ISOCRATES. George Norlin. 3 Vols. Vols. I. and II.
JOSEPELUS:: Hi: St: J. Ehackeray. -3 Vols. Vols: J.—PV.
JULIAN. Wilmer Cave Wright. 3 Vols. (Vol. I. 2xd Jim.)
LUCIAN. A. M. Harmon. 8 Vols. Vols. I.-IV. (Vols: I.
and II. 37@ /mf.)
EVEOREDRON. Chere A UP hws GEEUS:
LYRA GRAECA. J. M. Edmonds. 3 Vols. (Vols. I. and
Il. 2nd Ed. revised and enlarged.)
LYSIAS. W. R. M. Lamb.
MARCUS AURELIUS. C. R. Haines. (37d /mp. revised.)
MENANDER. F.G. Allinson. (22d Jip. revised.)
OPRETAN, COLLU THUS, TRY PHIODORUS=. A.W. Mair.
PARTHENIUS. Cf. DAPHNIS ann CHLOE.
PAUSANIAS: DESCRIPTION OF GREECE. W. H. S.
Jones. 5 Vols.and Companion Vol. Vols. I.andII. (Vol. 1.
2nd [nip.) =e
PHILO. F. H. Colson and Rev. G. H. Whitaker. 10 Vols.
Vols. I.-III.
5
PHILOSTRATUS: THE LIFE OF APOLLONIUS OF
TYANA. F.C. Conybeare. 2 Vols. (Vol. I. 37d Zmp.,
Vol. II. 22d 7m.)
PHILOSTRATUS. IMAGINES; CALLISTRATUS.
DESCRIPTIONS. A. Fairbanks.
PHILOSTRATUS anp EUNAPIUS: LIVES OF THE
SOPHISTS. Wilmer Cave Wright.
PINDAR. SirJ. E. Sandys. (5¢2 Jmp. revised.)
PLATO: CHARMIDES, ALCIBIADES, HIPPARCHUS,
THE LOVERS, THEAGES, MINOS anp EPINOMIS.
W. R. M. Lamb.
PLATO: CRATYLUS, PARMENIDES, GREATER HIP-
PIAS, LESSER HIPPIAS. H. N. Fowler.
PLATO: EUTHYPHRO, APOLOGY, CRITO, PHAEDOG:
PHAEDRUS. H.N. Fowler. (6¢2 Jip.)
PLATO: LACHES, PROTAGORAS, MENO, EUTHY-
DEMUS. W. R. M. Lamb.
PLATO: LAWS. Rev. R. G. Bury. 2 Vols.
PLATO: LYSIS, SYMPOSIUM, GORGIAS) Vek
Lamb.
PLATO: REPUBLIC. Paul Shorey. 2 Vols. Vol. I.
PLATO: STATESMAN, PHILEBUS. Hy Ni Wowter
ION. W. R. M. Lamb.
PLATO: THEAETETUS aAnp SOPHIST. H. N. Fowler.
(2a Imp.)
PLATO, TIMAEUS, CRITIAS, CLITOPHO, MENEXE-
NUS, EPISTULAE. Rev. R. G. Bury.
PLUTARCH: MORALIA, F. C. Babbitt. 14 Vols. Vols.
I.-III.
PLUTARCH: THE PARALLEL LIVES. 5, Pernn. 1
Vols. (Vols. I., II. and VII. 2a Jp.)
POLYBIUS. W.R. Paton. 6 Vols.
PROCOPIUS: HISTORY OF THE WARS) 320-8)
Dewing. 7 Vols. Vols. I.-V.
QUINTUS SMYRNAEUS. A.S. Way. Verse trans.
ST. BASIL: LETTERS. -R. J. Deferran. “a Vos oe
I.-III.
ST. JOHN DAMASCENE: BARLAAM AND IOASAPH.,
Rev. G. R. Woodward and Harold Mattingly.
SOPHOCLES. F. Storr. 2 Vols. (Vol. I. 5¢4 Jmg., Vol.
II. 4¢h Jmp.) Verse trans.
STRABO: GEOGRAPHY. Horace L. Jones. 8 Vols.
Vols. I.-VII. (Vol. I. 20d Jmp.)
6
THEOPHRASTUS: CHARACTERS. J. M. Edmonds;
HERODES, etc. A. D. Knox.
THEORPHRASEUS:S ENOUIRY INTO PLANTS: — Siz
Arthur Hort, Bart. 2 Vols.
ERVCCDUDES:- C.F. Smith. 4 Vols; (Vols. I4;1- and
III. 2xa@ Lmp. revised.)
TRYEBIODORUS. Cf. OPPIAN,
XENOPHON: CYROPAEDIA. Walter Miller. 2 Vols.
(Vol. I. 22d Zp.)
XENOPHON: HELLENICA, ANABASIS, APOLOGY,
AND SYMPOSIUM. C. L. Brownson and O. J. Todd.
3 Vols. (Vol. I. 2xa@ Luzp.)
XENOPHON: MEMORABILIA anp OECONOMICUS.
E. C. Marchant.
XENOPHON: SCRIPTA MINORA. E. C, Marchant.
IN PREPARATION
Greek Authors
ARISTOTLE, METAPHYSICS. H. Tredennick.
ARISTOTLE, ON THE MOTION AND PROGRESSION
OF ANIMALS. E.S. Forster.
ARISTOTLE, ORGANON. HI. P. Cooke.
ARISTOTLE, POLITICS anp ATHENIAN CONSTI-
TUTION. H. Rackham.
DEMOSTHENES, MEIDIAS, ANDROTION, ARISTO-
CRATES, TIMOCRATES. J. H. Vince.
DEMOSTHENES, PRIVATE ORATIONS. G. M. Calhoun.
PAPYRI. A.S. Hunt.
SEXTUS EMPIRICUS. Rev. R. G. Bury.
Latin Authors
AMMIANUS MARCELLINUS. J. C. Rolfe.
CELSUS. W. G. Spencer.
CICERO, IN CATILINAM, PRO FLACCO, 7 Pae
MURENA, PRO SULLA. B. L. Ullman.
CICERO, DE NATURA DEORUM. HI. Rackham.
CICERO, DE ORATORE, ORATOR, BRUTUS. Charles
Stuttaford and W. E. Sutton.
CICERO, PRO SEXTIO, IN VATINIUM, PRO CAELIO,
PRO PROVINCIIS CONSULARIBUS, PRO BALBO.
J. H. Freese:
ENNIUS, LUCILIUS and other specimens of Old Latin.
E. H. Warmington.
PLINY, NATURAL HISTORY. W. H. S. Jones.
ST. JEROME’S LETTERS. F. A. Wright.
SIDONIUS, LETTERS. E. V. Arnold and W. B. Anderson.
VALERIUS FLACCUS. J. H. Mozley.
DESCRIPTIVE PROSPECTUS ON APPLICATION
London - - WILLIAM HEINEMANN
New York - - - G. PUTNAM’S SONS
a
Ay
i j " a 4
i
5 a
te,
art Bia
i
A @ pi
- * a?
ress
7
*u
/
‘
~
i
*
. by
4
hs
Ayaka
aN
hore Unb |
aa Mi air es
: ;
¥ #! L
PO iL
; Bae
La
4 ys pai ai
VICTORIA UNIVERSITY
LIBRARY
ee Sad
Pr at .
sun 02 1986
- 3
i eS? tesenata
*
ss
$e)
.
3:
Live Music
Archive
Librivox
Free Audio
Metropolitan Museum
Cleveland
Museum of Art
Internet
Arcade
Console Living Room
Open Library
American
Libraries
TV News
Understanding
9/11