"This said, his kingly brow the sire inclined; The large black curls fell awful from behind, Thick shadowing the stern forehead of the G.o.d; Olympus trembled at the almighty nod.") THE MINERVA OF THE PARTHENON

This was also the work of Phidias. It stood in the Parthenon, or temple of Minera at Athens. The G.o.ddess was represented standing. In one hand she held a spear, in the other a statue of Victory. Her helmet, highly decorated, was surmounted by a Sphinx. The statue was forty feet in height, and, like the Jupiter, composed of ivory and gold. The eyes were of marble, and probably painted to represent the iris and pupil. The Parthenon in which this statue stood was also constructed under the direction and superintendence of Phidias. Its exterior was enriched with sculptures, many of them from the hand of Phidias. The Elgin marbles now in the British Museum are a part of them.

Both the Jupiter and Minerva of Phidias are lost, but there is good ground to believe that we have, in several extant statues and busts, the artist's conceptions of the countenances of both. They are characterized by grave and dignified beauty, and freedom from any transient expression, which in the language of art is called REPOSE.

THE VENUS DE' MEDICI

The Venus of the Medici is so called from its having been in the possession of the princes of that name in Rome when it first attracted attention, about two hundred years ago. An inscription on the base records it to be the work of 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 to aid him in his task, the most perfect forms the city could supply were furnished him for models. It is this which Thomson alludes to in his Summer.

"So stands the statue that enchants the world; So bending tries to veil the matchless boast, The mingled beauties of exulting Greece."

Byron also alludes to this statue. Speaking of the Florence Museum, he says: "There too the G.o.ddess loves in stone, and fills The air around with beauty;"

And in the next stanza,

"Blood, pulse, and breast confirm the Dardan shepherd's prize."

This last allusion is explained in Chapter XX.

THE APOLLO BELVEDERE

The most highly esteemed of all the remains of ancient sculpture is the statue of Apollo, called the Belvedere, from the name of the apartment of the Pope's palace at Rome, in which it is placed. The artist is unknown. It is supposed to be a work of Roman art, of about the first century of our era. It is a standing figure, in marble, more than seven feet high, naked except for the cloak which is fastened around the neck and hangs over the extended left arm. It is supposed to represent the G.o.d in the moment when he has shot the arrow to destroy the monster Python (See Chapter II). The victorious divinity is in the act of stepping forward. The left arm which seems to have held the bow is outstretched, and the head is turned in the same direction. In att.i.tude and proportion the graceful majesty of the figure is unsurpa.s.sed. The effect is completed by the countenance, where, on the perfection of youthful G.o.dlike beauty there dwells the consciousness of triumphant power.

THE DIANA A LA BICHE

The Diana of the hind, in the palace of the Louvre, may be considered the counterpart to the Apollo Belvedere. The att.i.tude much resembles that of the Apollo, the sizes correspond and also the style of execution. It is a work of the highest order, though by no means equal to the Apollo. The att.i.tude is that of hurried and eager motion, the face that of a huntress in the excitement of the chase. The left hand 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 VENUS OF MELOS

Of the Venus of Melos, perhaps the most famous of our statues of mythology, very little is known. There are many indeed who believe that it is not a statue of Venus at all.

It was found in the year 1820 in the Island of Melos by a peasant, who sold it to the French consul at the place. The statue was standing in the theatre, which had been filled up with rubbish in the course of centuries, and when discovered was broken in several places, and some of the pieces were gone. These missing pieces, notably the two arms, have been restored in various ways by modern artists. As has been said above, there is a controversy as to whether the statue represents Venus or some other G.o.ddess. Much has been written on each side, but the question still remains unsettled. The general opinion of those who contend that it is not Venus is that it is a statue or Nike or Victory.

THE POETS OF MYTHOLOGY

Homer, from whose poems of the Iliad and Odyssey we have taken the chief part of our chapters of the Trojan war and the return of the Grecians, is almost as mythical a personage as the heroes he celebrates. The traditionary story is that he was a wandering minstrel, blind and old, who travelled from place to place singing his lays to the music of his harp, in the courts of princes or the cottages of peasants, and dependent upon the voluntary offerings of his hearers for support. Byron calls him "The blind old man of Scio's rocky isle," and a well-known epigram, alluding to the uncertainty of the fact of his birthplace, says,

"Seven wealthy towns contend for Homer dead, Through which the living Homer begged his bread."

An older version is,

"Seven cities warred for Homer being dead, Who living had no roof to shroud his head."

These lines are by Thomas Heywood; the others are ascribed to Thomas Seward.

These seven cities were Smyrna, Scio, Rhodes, Colophon, Salamis, Argos, and Athens.

Modern scholars have doubted whether the Homeric poems are the work of any single mind. This arises from the difficulty of believing that poems of such length could have been committed to writing at so early an age as that usually a.s.signed to these, an age earlier than the date of any remaining inscriptions or coins, and when no materials, capable of containing such long productions were yet introduced into use. On the other hand it is asked how poems of such length could have been handed down from age to age by means of the memory alone. This is answered by the statement that there was a professional body of men, called Rhapsodists, who recited the poems of others, and whose business it was to commit to memory and rehea.r.s.e for pay the national and patriotic legends.

The prevailing opinion of the learned, at this time, seems to be that the framework and much of the structure of the poems belong to Homer, but that there are numerous interpolations and additions by other hands.

The date a.s.signed to Homer, on the authority of Herodotus, is 850 B.C., but a range of two or three centuries must be given for the various conjectures of critics.

VIRGIL

Virgil, called also by his surname, Maro, from whose poem of the AEneid we have taken the story of AEneas, was one of the great poets who made the reign of the Roman emperor, Augustus, so celebrated, under the name of the Augustan age. Virgil was born in Mantua in the year 70 B.C. His great poem is ranked next to those of Homer, in the highest cla.s.s of poetical composition, the Epic. Virgil is far inferior to Homer in originality and invention, but superior to him in correctness and elegance. To critics of English lineage Milton alone of modern poets seems worthy to be cla.s.sed with these ill.u.s.trious ancients. His poem of Paradise Lost, from which we have borrowed so many ill.u.s.trations, is in many respects equal, in some superior, to either of the great works of antiquity. The following epigram of Dryden characterizes the three poets with as much truth as it is usual to find in such pointed criticism:

ON MILTON

"Three poets in three different ages born.

Greece, Italy, and England did adorn.

The first in loftiness of soul surpa.s.sed, The next in majesty, in both the last.

The force of nature could no further go; To make a third she joined the other two."

From Cowper's Table Talk:

"Ages elapsed ere Homer's lamp appeared, And ages ere the Mantuan swan was heard.

To carry nature lengths unknown before, To give a Milton birth, asked ages more.

Thus genius rose and set at ordered times, And shot a dayspring into distant climes, Enn.o.bling every region that he chose; He sunk in Greece, in Italy he rose, And, tedious years of Gothic darkness past, Emerged all splendor in our isle at last.

Thus lovely halcyons dive into the main, Then show far off their shining plumes again."

OVID

Often alluded to in poetry by his other name of Naso, was born in the year 43 B.C. He was educated for public life and held some offices of considerable dignity, but poetry was his delight, and he early resolved to devote himself to it. He accordingly sought the society of the contemporary poets, and was acquainted with Horace and saw Virgil, though the latter died when Ovid was yet too young and undistinguished to have formed his acquaintance. Ovid spent an easy life at Rome in the enjoyment of a competent income. He was intimate with the family of Augustus, the emperor, and it is supposed that some serious offence given to some member of that family was the cause of an event which reversed the poet's happy circ.u.mstances and clouded all the latter portion of his life. At the age of fifty he was banished from Rome, and ordered to betake himself to Tomi, on the borders of the Black Sea. Here, among the barbarous people and in a severe climate, the poet, who had been accustomed to all the pleasures of a luxurious capital and the society of his most distinguished contemporaries, spent the last ten years of his life, worn out with grief and anxiety. His only consolation in exile was to address his wife and absent friends, and his letters were all poetical. Though these poems (The Tristia and Letters from Pontus) have no other topic than the poet's sorrows, his exquisite taste and fruitful invention have redeemed them from the charge of being tedious, and they are read with pleasure and even with sympathy.

The two great works of Ovid are his Metamorphoses and his Fasti. They are both mythological poems, and from the former we have taken most of our stories of Grecian and Roman mythology. A late writer thus characterizes these poems:

"The rich mythology of Greece furnished Ovid, as it may still furnish the poet, the painter, and the sculptor, with materials for his art. With exquisite taste, simplicity, and pathos he has narrated the fabulous traditions of early ages, and given to them that appearance of reality which only a master-hand could impart. His pictures of nature are striking and true; he selects with care that which is appropriate; he rejects the superfluous; and when he has completed his work, it is neither defective nor redundant. The Metamorphoses are read with pleasure by youth, and are re-read in more advanced age with still greater delight. The poet ventured to predict that his poem would survive him, and be read wherever the Roman name was known."

The prediction above alluded to is contained in the closing lines of the Metamorphoses, of which we give a literal translation below:

"And now I close my work, which not the ire Of Jove, nor tooth of time, nor sword, nor fire Shall bring to nought. Come when it will that day Which o'er the body, not the mind, has sway, A nd s.n.a.t.c.h the remnant of my life away, My better part above the stars shall soar, And my renown endure for evermore.

Where'er the Roman arms and arts shall spread, There by the people shall my book be read; And, if aught true in poet's visions be, My name and fame have immortality."

Chapter XXIX

Modern Monsters: The Phoenix Basilisk Unicorn Salamander

There is a set of imaginary beings which seem to have been the successors of the "Gorgons, Hydras, and Chimeras dire" of the old superst.i.tions, and, having no connection with the false G.o.ds of Paganism, to have continued to enjoy an existence in the popular belief after Paganism was superseded by Christianity. They are mentioned perhaps by the cla.s.sical writers, but their chief popularity and currency seem to have been in more modern times. We seek our accounts of them not so much in the poetry of the ancients, as in the old natural history books and narrations of travellers. The accounts which we are about to give are taken chiefly from the Penny Cyclopedia.

THE PHOENIX

Ovid tells the story of the Phoenix as follows: "Most beings spring from other individuals; but there is a certain kind which reproduces itself. The a.s.syrians call it the Phoenix. It does not live on fruit or flowers, but on frankincense and odoriferous gums. When it has lived five hundred years, it builds itself a nest in the branches of an oak, or on the top of a palm-tree. In this it collects cinnamon, and spikenard, and myrrh, and of these materials builds a pile on which it deposits itself, and dying, breathes out its last breath amidst odors. From the body of the parent bird a young Phoenix issues forth, destined to live as long a life as its predecessor. When this has grown up and gained sufficient strength, it lifts its nest from the tree (its own cradle and its parent's sepulchre) and carries it to the city of Heliopolis in Egypt, and deposits it in the temple of the Sun."

Such is the account given by a poet. Now let us see that of a philosophic historian. Tacitus says, "In the consulship of Paulus Fabius (A.D. 34), the miraculous bird known to the world by the name of Phoenix, after disappearing for a series of ages, revisited Egypt. It was attended in its flight by a group of various birds, all attracted by the novelty, and gazing with wonder at so beautiful an appearance." He then gives an account of the bird, not varying materially from the preceding, but adding some details. "The first care of the young bird as soon as fledged and able to trust to his wings is to perform the obsequies of his father. But this duty is not undertaken rashly. He collects a quant.i.ty of myrrh, and to try his strength makes frequent excursions with a load on his back. When he has gained sufficient confidence in his own vigor, he takes up the body of his father and flies with it to the altar of the Sun, where he leaves it to be consumed in flames of fragrance." Other writers add a few particulars. The myrrh is compacted in the form of an egg, in which the dead Phoenix is enclosed. From the mouldering flesh of the dead bird a worm springs, and this worm, when grown large, is transformed into a bird. Herodotus DESCRIBES the bird, though he says, "I have not seen it myself, except in a picture. Part of his plumage is gold-colored, and part crimson; and he is for the most part very much like an eagle in outline and bulk."

The first writer who disclaimed a belief in the existence of the Phoenix was Sir Thomas Browne, in his Vulgar Errors, published in 1646. He was replied to a few years later by Alexander Ross, who says, in answer to the objection of the Phoenix so seldom making his appearance, "His instinct teaches him to keep out of the way of the tyrant of the creation, MAN, for if he were to be got at some wealthy glutton would surely devour him, though there were no more in the world."

Dryden, in one of his early poems, has this allusion to the Phoenix: "So when the new-born Phoenix first is seen, Her feathered subjects all adore their queen, And while she makes her progress through the East, From every grove her numerous train's increased; Each poet of the air her glory sings, And round him the pleased audience clap their wings."

Milton, in Paradise lost, Book V, compares the angel Raphael descending to earth to a Phoenix:

"Down thither, p.r.o.ne in flight He speeds, and through the vast ethereal sky Sails between worlds and worlds, with steady wing, Now on the polar winds, then with quick fan Winnows the buxom air; till within soar Of towering eagles, to all the fowls he seems A Phoenix, gazed by all; as that sole bird When, to enshrine his relics in the Sun's Bright temple, to Egyptian Thebes he flies."

THE c.o.c.kATRICE, OR BASILISK

This animal was called the king of the serpents. In confirmation of his royalty, he was said to be endowed with a crest or comb upon the head, const.i.tuting a crown. He was supposed to be produced from the egg of a c.o.c.k hatched under toads or serpents. There were several species of this animal. One species burned up whatever they approached; a second were a kind of wandering Medusa's heads, and their look caused an instant horror, which was immediately followed by death. In Shakespeare's play of Richard the Third, Lady Anne, in answer to Richard's compliment on her eyes, says, "Would they were basilisk's, to strike thee dead!"

The basilisks were called kings of serpents because all other serpents and snakes, behaving like good subjects, and wisely not wishing to be burned up or struck dead, fled the moment they heard the distant hiss of their king, although they might be in full feed upon the most delicious prey, leaving the sole enjoyment of the banquet to the royal monster.