missile in its flight. She is often attended by the hind. Sometimes, as moongoddess, she bears a torch. Occasionally she is clad in a chiton, or robe of many folds, flowing to her feet. The Diana of the Hind (à la Biche), in the palace of the Louvre (see text, § 39), may be considered the counterpart of the Apollo Belvedere. The attitude much resembles that of Apollo, the sizes correspond and also the styles of execution. The Diana of the Hind is a work of the highest order, though by no means equal to the Apollo. The attitude is that of hurried and eager motion, the face that of a huntress in the excitement of the chase. The left hand of the goddess is extended over the forehead of the hind which runs by her side, the right arm reaches backward over the shoulder to draw an arrow from the quiver. The second illustration in the text is the Artemis Knagia (Diana Cnagia), named after Cnageus, a servant of Diana who assisted in transferring the statue from Crete to Sparta. In modern painting, noteworthy are the Diana and her Nymphs of Rubens; Correggio's Diana; Jules Lefebvre's Diana and her Nymphs; Domenichino's Diana's Chase. Note also the allegorical Luna (Monday) of Raphael in the Vatican; and D. G. Rossetti's Diana, in crayons. § 40. Interpretative. - The worship of Aphrodite was probably of Semitic origin, but was early introduced into Greece. The Aphrodite of Hesiod and Homer displays both Oriental and Grecian characteristics. All Semitic nations, except the Hebrews, worshipped a supreme goddess who presided over the moon (or the Star of Love), and over all animal and vegetable life and growth. She was the Istar of the Assyrians, the Astarte of the Phoenicians, and is the analogue of the Greek Aphrodite and the Latin Venus. (See Roscher, 390, etc.) The native Greek deity of love would appear to have been, however, Dione, goddess of the moist and productive soil (§ 34 C), who passes in the Iliad (5:370, 428) as the mother of Aphrodite; is worshipped at Dodona by the side of Zeus, and is regarded by Euripides as Thyone, mother of Dionysus (Preller 1. 259). The epithets and names most frequently applied to Aphrodite are: the Paphian, Cypris (the Cyprus-born), Cytherea; Erycina (from Mount Eryx), Pandemos (goddess of vulgar love), Pelagia (Aphrodite of the sea), Urania (Aphrodite of ideal love), Anadyomene (rising from the water); she is, also, the sweetly smiling, laughter-loving, bright, golden, fruitful, winsome, flowerfaced, blushing, swift-eyed, golden-crowned. She had temples and groves in Paphos, Abydos, Samos, Ephesus, Cyprus, Cythere, in some of which, for instance, Paphos, vals were held. See Childe Harold 1: 66. gorgeous annual festi Venus was a deity of extreme antiquity among the Romans, but not of great importance until she had acquired certain attributes of the Eastern Aphrodite. She was worshipped as goddess of love, as presiding over mar riage, as the goddess who turns the hearts of men, and, later, even as a goddess of victory. A festival in her honor, called the Veneralia, was held in Rome in April. Illustrative. - See Chaucer's Knight's Tale, for frequent references to the goddess of love; also the Court of Love; Spenser's Prothalamion and Epithalamion, "Handmaids of the Cyprian queen"; Shakespeare, Tempest 4: 1; M. of Venice 2: 6; Troil. and Cressida 4: 5; Cymbeline 5:5; Rom. and Jul. 2:1; Milton's L'Allegro; P. R. 2: 214; Comus 124; Pope, Rape of Lock 4:135; Spring 65; Summer 61; Thomas Woolner, Pygmalion (Cytherea). Poems. Certain parts of Shakespeare's Venus and Adonis and occasional stanzas in Swinburne's volume, Laus Veneris, may be adapted to illustrative purposes. Chaucer, The Complaint of Mars and Venus; Thos. Wyatt, The Lover prayeth Venus to conduct him to the Desired Haven. See the grand chorus to Aphrodite in Swinburne's Atalanta in Calydon; Lewis Morris, Aphrodite, in the Epic of Hades; Thos. Gordon Hake, The Birth of Venus, in New Symbols; D. G. Rossetti, Sonnets; Venus Verticordia, Venus Victrix. In Art. - One of the most famous of ancient paintings was the Venus rising from the foam, of Apelles. The Venus found in the island of Melos, or of Milo (see text, § 40), now to be seen in the Louvre in Paris, is the work of some sculptor of about the third century B.C. He followed an original of the age of Praxiteles, probably in bronze, which represented the goddess partly draped, gazing at her reflection in an uplifted shield. A masterpiece of Praxiteles was the Venus of Cnidos, based upon which are the Venus of the Capitoline in Rome and the Venus de' Medici in Florence. Also the Venus of the Vatican, which is incomparably superior to both. The Venus of the Medici was in the possession of the princes of that name in Rome when, about two hundred years ago, it first attracted attention. An inscription on the base assigns it to Cleomenes, an Athenian sculptor of 200 B.C., but the authenticity of the inscription is doubtful. There is a story that the artist was employed by public authority to make a statue exhibiting the perfection of female beauty, and that to aid him in his task the most perfect forms the city could supply were furnished him for models. Note Thomson's allusion in the Summer : And Byron's "So stands the statue that enchants the world; "There too the goddess loves in stone, and fills The air around with beauty."- Childe Harold 4: 49-53. Of modern paintings the most famous are the Sleeping Venus and other representations of Venus by Titian; the Birth of Venus by Bouguereau; Tintoretto's Cupid, Venus, and Vulcan; Veronese's Venus with Satyr and Cupid. Modern sculpture: Thorwaldsen's Venus with the Apple; Venus and Cupid; Cellini's Venus; Canova's Venus Victrix, and the Venus in the Pitti Gallery. § 41. Interpretative. Max Müller traces Hermes, child of the Dawn with its fresh breezes, herald of the gods, spy of the night, to the Vedic Saramâ, goddess of the Dawn. Others translate Saramâ, storm. Roscher derives from the same root as Sarameyas (son of Saramâ), with the meaning " Hastener,” the swift wind. The invention of the Syrinx is attributed also to Pan. Illustrative. To Mercury's construction of the lyre out of a tortoiseshell, Gray refers (Prog. of Poesy), “Parent of sweet and solemn-breathing airs, Enchanting shell!" etc. See Shakespeare, K. John 4: 2; Hen. IV. 4 : 1; Rich. III. 2:1; 4:3; Hamlet 3:4; Milton, P. L. 3, "Though by their pow erful art they bind Volatile Hermes "; P. L. 4: 717; 11:133; Il Pens. 88; Comus 637, 962. Poems: Sir T. Martin's Goethe's Phoebus and Hermes; Shelley's translation of Homer's Hymn to Mercury. In Art. - The Mercury in the Central Museum, Athens; Mercury Belvedere (Vatican); Mercury in Repose (National Museum, Naples); and the Hermes by Praxiteles, in Olympia, are especially fine specimens of ancient sculpture. In modern sculpture: Cellini's Mercury (base of Perseus); Giov. di Bologna's Flying Mercury (bronze). In modern painting: Tintoretto's Mercury and the Graces; Francesco Albani's Mercury and Apollo; Claude Lorrain's Mercury and Battus; Turner's Mercury and Argus; Raphael's allegorical Mercury (Wednesday), Vatican, Rome; and his Mercury with Psyche (Farnese Frescos). § 42. Interpretative. — The name Hestia (Latin Vesta) has been variously derived from roots meaning to sit, to stand, to burn. The two former are consistent with the domestic nature of the goddess; the latter with her relation to the hearth-fire. She is "first of the goddesses," the holy, the chaste, the sacred. Illustrative. Milton, Il Pens. (Melancholy), “ Thee, bright-haired Vesta long of yore To solitary Saturn bore," etc. § 43. (1) Cupid (Eros). - References and allusions to Cupid throng our poetry. Only a few are here given. Shakespeare, Rom. and Jul. 1:4; M. of Venice 2:6; Merry Wives 2: 2; Much Ado 1:1; 2:1; 3:2; M. N. Dream 1:1; 2:2; 4:1; Cymbeline 2:4; Milton, Comus 445, 1004; Herrick, the Cheat of Cupid; Pope, Rape of Lock 5: 102; Dunciad 4: 308; Moral Essays 4:111; Windsor Forest, - on Lord Surrey, "In the same shades the Cupids tuned his lyre To the same notes of love and soft desire." Poems. Chaucer, The Cuckow and Nightingale, or Boke of Cupid (?); Occleve, The Letter of Cupid; Beaumont and Fletcher, Cupid's Revenge, and the Masque, A Wife for a Month; J. G. Saxe, Death and Cupid, on their exchange of arrows, "And that explains the reason why Despite the gods above, The young are often doomed to die, The old to fall in love"; Thos. Ashe, The Lost Eros; Coventry Patmore, The Unknown Eros; John Lyly's Campaspe : "Cupid and my Campaspe play'd, At cardes for kisses, Cupid pay'd; He stakes his quiver, bow, and arrows, His mother's doves, and teeme of sparrows; Growing on's cheek (but none knows how) What shall (alas) become of mee?" See also Lang's translation of Moschus, Idyl I. In Art.- Antique sculpture: The Eros in Naples, with wings, torch, and altar, a Roman conception (Roscher, 1359); Eros bending the Bow, in the Museum at Berlin; Cupid bending his Bow (Vatican). Modern paintings: Modern sculpture: Thorwaldsen's Mars and Cupid. Bouguereau's Cupid and a Butterfly; Raphael's Cupids (among drawings in the Museum at Venice); Burne-Jones' Cupid (in series with Pyramus and Thisbe); Raphael Mengs' Cupid sharpening his Arrow; Guido Reni's Cupid; Van Dyck's Sleeping Cupid. See also under Psyche, § 94 C. Hymen. See Sir Theodore Martin's translations of the exquisite Collis O Heliconii, and the Vesper adest, juvenes, of Catullus (LXI. and LXII.); Milton, P. L. 11:591; L'All. 125; Pope, Chorus of Youths and Virgins. (2) Hebe.Thomas Lodge's exquisite Sonnet to Phyllis, "Fair art thou, Phyllis, ay, so fair, sweet maid"; Milton, Vacation Ex. 38; Comus 290; L'All. 29; Spenser, Epithalamion. Poems: T. Moore, The Fall of Hebe; J. R. Lowell, Hebe. In Art: Ary Scheffer's painting of Hebe; N. Schiavoni's painting. Ganymede. - Chaucer, H. of F. 81; Tennyson, in the Palace of Art, "There, too, flushed Ganymede, his rosy thigh Half buried in the eagle's down," etc.; Shelley in the Prometheus (Jove's order to Ganymede); Milton, P. R. 2: 353; Drayton, Song 4, "The birds of Ganymed." Poems: Lord Lytton, Ganymede; Bowring's Goethe's Ganymede; Roden Noël, Ganymede; Edith M. Thomas, Homesickness of Ganymede; S. Margaret Fuller, Ganymede to his Eagle; Drummond on Ganymede's lament, “When eagle's talons bare him through the air." In Art: Greco-Roman sculpture, Ganymede and the Eagle (National Museum, Naples). Modern sculpture: Thorwaldsen's Ganymede. 13 The Graces.- Rogers. Inscription for a Temple; Matthew Arnold, Euphrosyne. These goddesses are continually referred to in poetry. Note the painting by J. B. Regnault (Louvre,, also the sculpture by Canova. (4) The Muses.-Spenser, The Tears of the Muses; Milton, Il Pens. Childe Harold 1:1, 62, 88; Thomson. Castle of Indolence 2:2; 2:8; Akenside, Pleasures of Imagination 3: 280, 327; Ode on Lyric Poetry; Crabbe, The Village, Bk. 1; Introductions to the Parish Register, Newspaper, Birth of Flattery; M. Arnold, Urania. Delphi, Parnassus, etc.: Gray, Prog. of Poesy 2:3- Vale of Tempe: Keats, On a Grecian Urn; Young, Ocean, an ode. In Art: sculpture, Clio and Calliope, in the Vatican in Rome; Euterpe, Melpomene, Polyhymnia, and Urania, in the Louvre, Paris; Terpsichore by Thorwaldsen. Painting, Apollo and the Muses, by Raphael Mengs and by Giulio Romano; Terpsichore (picture) by Schützenberger. (5) The Hours, in art: Raphael's Six Hours of the Day and Night. (6) The Fates. — Refrain stanzas in Lowell's Villa Franca, “Spin, spin, Clotho, spin! Lachesis, twist! and Atropos, sever!" In Art: The Fates, paintings by Michael Angelo (Pitti Gallery, Florence) and by Paul Thumann. (7) Nemesis. For genealogy see § 51 C. (8) Esculapius. — Milton, P. L. 90: 507. (9) (10) The Winds, Helios, Aurora, Hesper, etc.- See genealogical table, 113 C. Eolus: Chaucer, H. of F. 480. Boreas and Orithyia: Akenside, P. I. I: 722. In Art. The fragment, Helios rising from the Sea, by Phidias, south end, east pediment of the Parthenon. (11) Hesperus. — Milton, P. L. 4:605; 9:49; Comus 982; Akenside, Ode to Hesper; Campbell, Two Songs to the Evening Star. (12) "Iris there with humid bow waters the odorous banks,” etc., Comus 992. See also Milton's P. L. 4:698; 11: 244. In Art: painting by Guy Head (Gallery, St. Luke, Rome). She is the swift-footed, wind-footed, fleet, the Iris of the golden wings, etc. § 44. Hyperborean. - Beyond the North. Concerning the Elysian Plain, see § 48. Illustrative: Milton, Comus, "Now the gilded car of day," etc. § 45. Ceres. Illustrative. — Pope, Moral Essays 4:176. "Another age shall see the golden ear Imbrown the slope. . And laughing Ceres reassume the land." Spring 66; Summer 66; Windsor Forest 39. Gray, ... |