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(Pl. xli.) we behold: Venus beautifully clothed with garments which she had received from the Hours, and resplendent with golden ornaments, whence Homer (Hymn. in Veper.) styles her 'Αφροδίτη πολύχρυσος, χρυσέη, and χρυσοστέφανος. Love crowned with myrtle, and winged, stands near his mother ;; and a young woman propitiates the goddess by offering incense on a little altar.- Paris and Helen are easily recognised in (Pl. xlii.): the scene is Menelaus's palace; Helen caresses a winged child, Love or Desire, whom she, sitting, holds upon her knees; while Paris, splendidly dressed, stands before her.-The subject of (PI. xliii.) has been already published, but incorrectly, by D'Hancarville, and previously by Passeri. But Mr. M. gives an accurale delineation and a new explanation of it. Instead of an allusion to the story of Telephus, as supposed by D'Hancarville, he discovers a scene on Mount Ida, where Paris appears, with Venus leaning on a column; the god Pan, a Satyr, a winged Love, and a woman (either none or Helen,) fill up this interesting composition.-(Pl. xliv.), from a vase found at Athens, represents seven figures, forming a nuptial procession, in which Apollo is seen with a branch of laurel, and Diana with her bow and quiver.-(Pl. xlv.) shows a young man seated, who holds in one hand the triangular harp called sambuca, and with the other a little bird fastened by a string : near him is a woman bringing a vase, a half-open box, and a diadem-or ornament for the head; a winged Hermaphrodite genius places over the woman a crown or garland; and the vase was probably destined, like others that present similar subjects, as a gift from a lover, or on occasion of marriage.-(Pl. xlvi.) represents a scene from one of the ancient burlesque comedies, such as Aristophanes censured in his play called The Clouds: four men, ridiculously dressed and masked, seem acting, in a theatre dedicated to Bacchus, what Mr. M. thinks may have probably been a parody of some tragedy of Procrustes.-In(Pl. xlvii.) a winged female, representing Victory, receives an offering from a young warrior ; and on the reverse, (Pl. xlviii.) we see an altar or cippus inscribed with the word NIKA, Victory ; near which stand two young men, who, before their gymnastic exercises, seek to conciliate the goddess's favor.–Of a large and highly interesting picture on a vase in the author's collection (Pl. xlix.), the principal figure is Achilles, as an inscription indicates; this hero is engaged in combat with a warrior, whom we may believe Memnon; two goddesses, Minerva ,and Victory, attend Achilles; Memnon fallen on the ground supports himself on one hand, whilst with the other he seems to implore mercy. An armed hero, probably
Æneas, appears coming to the assistance of Memnon, and another, imperfect from some injuries which the vase has received, endeavours to prevent him from interfering in the combat.-On the reverse, still more injured than the principal face, this vase exhibits (Pl. 1.) the altar of Minerva at Chrysé, with the Palladium or image of that goddess : a serpent is seen inflicting on the leg of Philoctetes that wound which induced the Greeks to leave bım at Leninos, when they proceeded against Troy; three other figures appear in this ancient composition, perhaps Ulysses, Chalcas, and a priest of the temple.-(Pl. li.) represents also the altar of Minerva and Palladium, over which the word Chrysé (XPTxH) is written; near this stands Hercules (HPAKAHE), and beyond him Jason (IHENN), by whose side is an ox destined for a sacrifice to the goddess; a winged Victory (NIKH) makes an offering at the altar in favor of the two heroes, and a young man prepares some objects necessary for the sacrificial rites.-(Pl. lii.) offers a subject that admits of two interpretations: an altar is seen with a statue which may represent either Minerva or Diana, from different circumstances. If we suppose it Minerva, the three female figures sitting at the altar may be Ino, Autonoë and Agavé, the daughters of Cadmus, soliciting expiation for the murder of Pentheus. If the statue represent Diana, we may regard those females as the daughters of Protus king of Argos, who was cured of madness in the temple of Diana at Lyssa in Arcadia : our learned author's remarks induce us to consider this as the more satisfactory interpretation.(Pls. liii. and liv.) show two paintings on one vase: A young warrior seems to have alighted from his horse that he may receive from a female of high rank, the vessel containing wine or water which one of her maids presents to bim; another young warrior, sitting on a horse, leads or holds that from which his companion had alighted. On the reverse are two warriors,(perhaps the same) who bring before some prince or great chief, a female; she appears in a state of dejection.-(Pl. lv.) exhibits the fine figure of a young warrior who seems to take leave of his aged father ; whilst a woman brings a vessel, probably with wine: and on the reverse, (Pl. lvi.) are two warriors or hunters engaged in conversation with a woman holding a vase and a cup. The subject of (Pl. Ivii.), from a charming fragment in the Queen of Naples' collection, Mr. M. refers to a marriage : one man, five females, an imperfect human figure, and part of a horse, form this composition.-In (Pl. lviii.) a young man, on his return from the chase, drags a boar towards an altar ; and a woman brings a box with perfume-bottles.-(Pl. lix.) offers, in two compartments, the whimsical design of a man falling from an ass, and another man running towards him.-(P. Ix.), from a vase in the Royal Museum at Naples, represents three fine female figures; one bolds a box, containing probably some offerings for a divinity; another caresses a little winged genius or Love; near the third is a swan, the emblem of domestic virtues. Although this picture does not present any determined object, it is highly interesting from its details, the elegance of its composition, and fine execution.
We trust that our slight indication of the principal subjects, exhibited in each Plate of Mr. Millingen's splendid volume, may prove acceptable to many readers; but they must consult the work itself if desirous of examining his learned illustrations, which fully evince an intimate acquaintance with classical antiquity, and consummate skill in a most interesting brauch of archæology.
No. Vill.-[Continued from No. LV.]
Paradise Regained, iv. 325.
Impigra præcipiti celerabat Luna meatu,
Atra quidem, at radiis circum illustrata supernis. The verses “Ad Chrysidem," p. 172, ought to have concluded as follows:
αλλά σύγ ον σέβομεν τώδ' ήματι, παί Κυθερείας,
θελξινόου διδαχή πειθούς, λυτήρ οδυνάων,
πάσης ανθρώποις πρόδρομος αγλαΐης:
σοι δ' αυ παρθενικής ήίθεος ποθέων •
ως ιλάση, τάλανος δ' αντεράση Λυκίδου.
Hom. Odyss. iv. 169, Speech of Menelaus to Telemachus.
"Ω πόποι, ή μάλα δη φίλου ανέρος υιός έμόν δω
πρίν γ' ότε δή θανάτοιο μέλαν νέφος αμφεκάλυψεν. Such a proposal carries with it an appearance of absurdity to modern ideas; yet
similar one is made by the Sultan to the Prince of the Black Islands in the Arabian Nights, and accepted. (Night xxvii.)
Grecisms and Latinisms in English writers.
(Continued from Nos. XLVIII. and LIII.] Gifford's Massinger, vol. i, p. 190. (Unnatural Combat, Act 19, sc. 1.)
Or twine mine arms about her softer necki. e. her soft neck : our old poets frequently adopt, and indeed with singular good taste, the comparative for the positive. He quotes the foilowing as instances :
When I shall sit circled within your arms,
Unnatural Combat, as abuve.
Virgin Martyr. . This usage (which Mr. Gifford has not exactly detined) corre
sponds with that of the Greeks (Matthiæ $ 457. 3.) and the Romans; especially in sonje particular words, as vecutegos, ocior, &c.
The double negative likewise occurs frequently in our elder writers :
And he hoped they did not think the Silent Woman,
Sir J. Suckling's Session of the Poels. He had not a word to say for bimself, nor kaew not in the world what to allege in his own excuse.
Old Translation of Gusman d'Alfarache. So Massinger:
in the blogsom of my youth,
first fire knew no adulterate incense, Nor 1 no way to flatter but my foudness. The same idiom occurs in our established translation of the Bible.
The late accomplished translator of Ariosto has copied this ancient idiom :
Rose's Orlando, Canto v. It appears to be one of those modes of expression, which having been originally in common use, have now become vul.. garisms; such is the usage of “as” for the pronoun “that,” which is to be found in Locke and other writers, (Essay on Human Understanding, Vol. i. p. 94, ed. 1817, note: “ These words of your Lordsbip's contain nothing as I see in them against me.” So Osborne: “ Under that general term were comprehended not only those brain-sick fools
as did oppose the discipline and ceremonies of the church,” &c.), and many other phrases, as well as modes of spelling and pronunciation, inflections, &c. which are now confined to the common people, or to particular districts.
Exiract from “Luther's Table Talk," in the Tenth Number of the Retrospective, p. 298. “He shed the blood of many innocent Christians that confessed the Gospel, those he plagued and tormented with strange instruments;" i. e, others, tous &è, in Latin, illos.
In the dedication to Bishop Taylor's Ductor Dubitantium, a remarkable number of Grecisms and Latinisms occur. was impossible to live—but as slaves live, that is, such who are civilly dead, and persons condemu'd to metals (mines).”