Reise ii. s. 209. Tf. 47, 13.], on the Poniatowsky vase, see Visconti, Le pitture di un antico vaso. 1794. Millin Vases ii, 31. G. M. 52, 219. Creuzer tf. 13. Böttiger, Vasengem. viii. and ix.: at the top Zeus, to whom Hermes announces the completion of the event; then Cora in the dvodos; below, the plenty-showering D., Tript. resembling Dionysus, and the daughter of Celeus. Other vase-paintings represent the expedition of Tript. more simply (wherein the attributes point more to Apollo's return from the Hyperboreans [this is rightly contradicted by Panofka Cab. Pourtalès p. 86.]). See Tischb. i, 8. 9. iv, 8. 9. Hancarv. iii, 128. Laborde 31. 40. 63. Millingen Un. Mon. i, 24. Panofka M. Bartold. p. 131. especially the Nolan vase, M. I. d. Inst. 4. Ann. i. p. 261. with the names Anning, TgızToλeμos, 'Exaτn, and the Volcentine one, Inghir. Pitt. di vasi fittili 35.; with Δεμετερ, Τριπτόλεμος, Περοφατα (that is Περσέφαττα). Among the magnificent vases of Tript. we may refer to that in the M. Pourtalès from S. Agata de' Goti pl. 16, Demeter, Tript., Kora, Artemis and Hecate, according to Panofka, Phoebe, Hilaira, Rv. Dionysus [as occurs frequently], the Gualtieri vase in the Louvre, Tr. at a roe-chase, combat between Erechtheus and Eumolpus?, an oxybaphon from Armentum at Naples. [Volcentine vases in Gerhard Auserl. Vas. i, 43. Tr. alone, pl. 46. 75. between Demeter, Cora, Dionysus-Hades, in black figures, pl. 41. Tr. guided by Hermes, pl. 42. 44. with Dem. Cora, Hades, pl. 43 between two mortals. Among the surrounding goddesses perhaps here and there such as Theoria, Mystis, Telete, &c. A fine Triptolemus vase also Vasi Feoli no. 1. Second. Campanari Descriz. dei Vasi rinvenuti nell'isola Farnese (ant. Veii) 1839. tv. 4. p. 25. Before the temple of Eleusis, indicated by two Doric columns, Demeter, with 4 poppy stalks in her hand, pours out a farewell draught to Triptolemus, who has received six corn ears; the chariot winged, the figures finely draped, Tr. with a look of feminine grace, the drawing singularly beautiful. There is a fine Tript. vase in the Campana collection at Rome, perhaps the same. An archaic one in Baseggio (1847). Tr. with a corn-ear stands between Dem. and Cora, each with a blossom. Campana Op. di plastica tv. 17., Demeter sitting, with serpent, torch, cista, Cora and Tript. standing, both with torches.] The giving of the grain to Tript. (who is here a kind of Hermes), under the superintendence of Zeus, is very simply but ingeniously conceived, on the round ara from the Colonna palace, Welcker Zeitschr. i, 1. Tf. 2, 1. 8. 96 ff. Creuzer Tf. 37. together with the different explanation s. 16. [Guigniaut Rél. de l'Antiq. pl. 84. no. 551 b. Explic. p. 226.] Tript. with the petasus of Hermes, riding in the dragon-car, coins of Athens, N. Brit. pl. 7, 3. comp. Haym i, 21. Tript. in the car of winged dragons, scattering grain from his chlamys, on imperial coins of Nicæa (beautiful, Descr. no. 233.). Hunter tb. 9, 4. The same figure appears as a Lydian hero, Tylos, on coins of Sardis (Ann. d. Inst. ii. p. 157.) (at Xanthus Thylos killed by the dragon, restored by an herb. Plin. xxv, 5.); and also a Tript. with Punic legend is to be found on a gem, Impr. d. Inst. ii, 37. D. enthroned, Tript. departing in the dragon-chariot, Lipp. i, 111. The Mantuan vase (§. 264. R. 1.) represents D., as goddess of fertility, issuing with Cora from a grotto, then in the chariot with Tript. and greeted by the Hora. [H. R. G. in the Kunstbl. 1827. s. 375.] On Germanicus-Tript. §. 200. R. 2, c. [Bröndsted Reise ii. s. 212.]

3. D. and Buzyges (or else Triptolemus) on a paste, Schlichtegroll

39. D. head, on the reverse a yoke of oxen, on denarii of the gens Cassia.

6. 7. Heads of Cora §. 357. R. 6. [The sedent colossal figure of black marble, with the modius on her head, known as Cybele, of whom it has not the slightest indication, seems to be Cora. Cora sitting, in life size, a pomegranate in her left hand, a flower in her right, a wall painting from a tomb at Nola, forwarded by D. Schulz to Berlin. Heads from coins Clarac pl. 1003. no. 2737-2747. Among the small clay figures from tombs, such as Pallas, Aphrodite, Demeter, we often also find Cora, holding an apple on her breast, or sitting with a goblet in which there are apples, for example in the fine collection of the Duca di Sperlinga at Naples. Comp. Gerhard Ant. Bildw. Tf. 96-99.] Persephone beside Hades §. 397. With Dionysus in double hermæ §. 383. R. 3. On a concord-coin of Cyzicus with Smyrna, Mionnet, Descr. 195., Cora, crowned with ivy, holding a torch, on a car drawn by centaurs in Bacchian procession. The large Vatican cameo (§. 315. R. 5.) likewise represents Cora, with ivy crown and ears of corn, beside Dionysus in the centaurchariot. A vase from Volci represents Dionysus in the early style, between two burning altars, beside which stand Demeter making a libation, and Cora with torches, Inghir. Pitt. di vasi fitt. 37. Another, Micali tv. 86, 4. Cora crowned with ivy, in a chariot, attended by Hermes, Dionysus in advance, satyrs frolicking around. The Athenian sarcophagus, Montf. i, 45, 1. exhibits D. sitting between Dionysus and the restored Cora, and the departure of Triptolemus at the same time [by De Boze in the Mém. de l'Acad. des Inscr. iv. p. 608, now in Wilton House Gerhard Ant. Bildw. Tf. 310, 1. Return of Cora λɛúXITños ibid. Tf. 316. 317.]. Comp. §. 384. R. 3. The Horæ are Persephone's playfellows, when the Moira and Charites escort her up. Orph. Hymn. 43. (42), 5.

8. D. with a child, Iacchus or Demophon, at her breast, Athenian coins. N. Brit. 7, 7, comp. Gerhard Prodr. s. 80. Iacchus as a boy beside her §. 357. R. 8. [Demeter, Cora and Iacchus in the posterior tympanum of the Parthenon. Iacchus as a boy Gerhard Tf. 312, as a youth Tf. 313. Iacchus in the lap of his mother, in the small frieze figures from the temple of Athene Polias at Athens.]

Symbols of Demeter, torches and ears of corn, gracefully united on coins of Thebes, N. Brit. pl. 6, 9. On the cross-wood of torches, Avellino, Ann. d. Inst. i. p. 255. Torches entwisted with serpents on coins of Cyzicus, G. M. 106, 421. Sunk and raised torches in the service of Demeter, on coins of Faustina i. Vaillant de Camps, p. 29. Thrones of Demeter and Dionysus, Bouill. iii, 75. [M. PioCl. vii, 45, 44.]

5. APOLLO.

359. Phoebus Apollo was, in the fundamental notion of 1 his essence, a god of health and order, who was imagined as in antagonism to a hostile nature and world. In reference to nature, he is the god of the joyous season, who drives away winter with its terrors; in human life, a deity who brings the

oppressor to nought, and protects the good; he was conceived as purifying by propitiatory sacrifices, tranquillizing the mind by music, and directing by prophecies to a higher order of 2 things. In the earliest times, a conic pillar placed in the street, and called Apollo Agyieus, sufficed to keep in remembrance the protecting and health-bringing power of the god (§. 66. 3 R. 1.) An expressive symbolism, which rested especially on the contrast between arins and the lyre,—an instrument which to the Greeks suggested a peaceful frame of the soul, and, among arms, between the bent and the unbent bow, the open and the shut quiver, rendered it already possible for nascent art to ex4 press the various phases of the idea of Apollo. If an antique pillar-statue was accoutred with arms, something like which occurred in the Amyclæan Apollo (§. 67.), the notion of the terrible, punishing, avenging god preponderated, which was 5 the case in several ancient idols; but the lyre also was certainly at an early period suspended on old wooden images, as an emblem of the tranquillized and tranquillizing deity; and from the Cretan school, which made itself especially famous by its representations of Apollo, emanated the Delian Apollo-colossus, which bore on its hand the Graces with musical instruments, 6 the lyre, the flute, and the syrinx. Apollo was a favourite subject of the great artists who immediately preceded Phidias, one of whom, Onatas, represented the god as a boy ripening 7 into a youth of majestic beauty. On the whole, however, Apollo was then formed more mature and manly than afterwards, with limbs stronger and broader, countenance rounder and shorter; the expression more serious and stern than amiable and attractive; for the most part undraped when he was not imagined as the Pythian Citharœdus. He is shown thus in numerous statues, the reliefs of the theft of the tripod, many 8 vase-paintings and also coins. On these we find the elder form of the head of Apollo often very gracefully developed, but still the same on the whole until down to the time of Philip. The laurel wreath, and the hair parted at the crown, shaded to the side along the forehead, usually waving down the neck, sometimes however also taken up and pinned together (axsgoexóuns), here serve particularly to designate the god.

1. Here the author's Dorians vol. ii. is taken as the basis, slightly modified from late investigations. [Almost the whole of the 2d vol. of the Elite céramographique presents abundant, but indifferently arranged, materials, and according to a peculiar method of explanation. A. pl. 1—6, 29, with Artemis 10-14. 25. 28. 31-35. with Artemis and Leto 23 B. 26. 27. 29. 36. with other gods, Dionysus, Athene, Poseidon, Hermes up to 97, at the same time that there is much that is foreign introduced. In Gerhard's Auserl. V. i, 21-30. 80. A. Art. Leto, 13-17.68. A. with other gods. In Gerhard's Etr. Spiegeln i, 78. A. Art. Leto, 77. the same and Moira. Clarac pl. 475-496. 544.]

3. Of the contrast between the bow and the lyre, Horat. C. ii, 10, 13. Paneg. in Pison. 130. Serv. ad Æn. iii, 138. Pausias transferred it to Eros, Paus. ii, 27, 3. On the condita tela, Carm. sec. 34., and the closed quiver comp. Ant. di Erc. ii. p. 107.

4. Apollo four-armed among the Lacedæmonians (comp. Libanius, p. 340. R.); in Tenedos with the double axe (frequently so on coins of Asia Minor); with golden armour, xevoάwę, in Homer. Dorians i. p. 377.— A. bearded, on a vase from Tarquinii, Ann. d. Inst. iii. p. 146., on coins of Alæsa, Torrem. tb. 12. [The vase is copied in Gerhard's Trinkschalen tf. 4. 5. A. is also bearded at a birth of Athene in Gerh. Auserl. Vas. i, 1. comp. s. 117. Anm. 64, where two other examples are also cited; the beard of A., however, is smaller than that of Zeus, Hermes or Poseidon, his youth therefore is not mistakeable. Add to these Elite céramogr. ii, 15, hardly 16.]

5. The works undertaken for Sicyon by the Cretans Diponus and Scyllis were, according to Pliny, simulacra Apollinis, Dianæ, Herculis, Minervæ, probably in reference to the robbery of the tripod, or the reconciliation afterwards. There was a gilded wooden statue of Apollo at Tegea by Cheirisophus the Cretan. Of the Delian A. §. 86. R. 2. 3. According to the Schol. Pind. O. 14, 16. a Delphian A. also held the Charites. This subject generally, Macrob. Sat. i, 17.: Ap. simulacra manu dextra Gratias gestant, arcum cum sagittis sinistra. Philo Leg. 14.

6. Of Canachus' Didymæan A. §. 86. [The fine bronze statue at Paris §. 422. R. 7. The A. holding a bow before him, and to whom Menelaus is handing a helmet, M. PioCl. v. 23. G. M. 613.] By Calamis an 'A. 'Aneğinaxos at Athens (Paus.), an A. in hortis Servilianis (Plin.), a colossal Apollo at Apollonia on the Pontus, 30 cubits high, executed for 500 talents, transported by M. Lucullus to the Capitol (Str. vii. p. 319. Plin. iv, 27. xxxiv, 18.), or Palatine (Appian Illyr. 30. 'Aminλwvia, ' ñs is 'Ρώμην Καλάμιδος μετήνεγκε τὸν μέγαν ̓Απόλλωνα τὸν ἀνακείμενον ἐν Παλα Tiw). By Onatas 'A. Kaññíτexvos for the Pergamenians (who worshipped him under this name, Aristid. in Mai N. Coll. i, 3. p. 41.) [the citation is false], a colossal (Paus. viii, 42, 4.) Bouzas, in whom Zeus and Leto's beauty was shown in very youthful state, Anth. Pal. ix, 238. Of Phidias' Apollos, Comm. de Phid. i. p. 16 sq. Myron's A. Cic. Verr. iv, 43.

7. Antique statues of A. (often called Bonus Eventus) M. Cap. iii, 14. with falsely restored arms [M. Napol. iv, 61. Visconti opere var. iv. p. 417.]; in the Pitti pal., Winck. W. v. s. 548.; in the L. 298. M. Nap. iv, 61. Add to these the imitations of the Milesian A. §. 86. and the one mentioned §. 96. No. 16. [also the Herma, Specim. i, 28.] To this class also belongs the Etruscan Aplu, §. 172. R. 3 e. Etruscan A. draped, with griffin on the tripod, from V. Borghese, Clarac pl. 480. no. 922. An antique colossal statue of A. waving the laurel branch as purifying deity, is represented on the coins of Caulonia, Mionnet, Pl. 59, 2.; he bears on his left arm a small figure, perhaps that of Orestes, who was purified in that neighbourhood, or (according to R. Rochette) a personification of Katharmos. [R. Rochette Mém. de Numism. et d. antiq. p. 31. Cavedoni in the Bull. Napol. iii. p. 58. Panofka Archäol. Zeit. i. s. 165–175. The interpretation of the small figure on the arm of Apollo, on the coins of

1

Caulonia, as Aulon, is strangely defended by Panofka Archäol. Zeit. iv. s. 312. Not more successful was that by Rathgeber (Annali 1846.) as Deimos, or that by Minervini Bull. Napol. iv. p. 130. Cavedoni and Birch conjectured it to be the cattle theft, as the figure has talaria in same copies.] Of A. as Pythian Citharœdus §. 361.

8. The head on coins of the Leontines (Mionnet, Empr. 248.) with the tresses bound up over the neck is very antique. The head appears with hair waving down and laurel-crown, in a very consistently observed form, on coins of Chalcis §. 132. R. 1., Mionnet, Suppl. iii. pl. 5. 8. Empr. 709 sq. Landon i, 11., of Cales, Nola, Suessa, Pella, Leucas, N. Brit. 2, 7. 3, 4. 6. 5, 1. 22., of Megara, Mitylene, Croton, Land. 7. 35. 80., of Syracuse, Nöhden 16. Similar heads on gems, Lipp. i, 49. With hair gathered up on coins of Catana, Nöhden 9. The Phocian coins, Empr. 577. Land. i, 14., probably of the last period, before the destruction, already exhibit more the forms usual in later times, as also do most gems. Comp. the Argive coins N. Brit. 8, 2. The head in front view, with the waving hair on coins of Amphipolis (the torch refers to Lampadedromia) has an angry look, Mionn. Suppl. iii. pl. 5. 1. Land. i, 20.; likewise the similar head on coins of Catana, Nöhden 10. Empr. 226. Here Apollo also appears crowned with oak leaves, on a beautiful coin in the Imperial cabinet at Vienna. [Specim. ii. p. liii. A. is distinguished from ancient Macedonian coins, finer on many later ones, that on Rhodian coins with eagle-nose, perhaps after the colossus, the Belvedere and similar others. Clarac pl. 1006. no. 2776—2785.]

Busts of Apollo with rounded forms, much resembling many heads on coins, L. 133., [different from the colossal one no. 135. with the usual physiognomy of Apollo.] Several of the kind Bouill, iii, 23. The head Chiaram. 10. also appears to be an Apollo.

360. The more slender shape, the more lengthened oval of the head, and the more animated expression, Apollo doubtless received especially from the younger Attic school by which he was very frequently sculptured. Scopas' lyre-playing Apollo in long drapery, indeed, still adhered more to the elder forms, but yet it already constituted the transition to the mode of 2 representation which afterwards prevailed. The god was now conceived altogether younger, without any sign of manly ripeness, as a youth not yet developed into manhood (μsigániov), in whose forms however the tenderness of youth seemed won3 derfully combined with massive strength. The longish oval countenance, which the crobylus (§. 330. R. 5.) above the forehead often lengthened still more, and which served as apex to the entire up-striving form, has at the same time a soft fullness and massive firmness; in every feature is manifested a lofty, proud and clear intelligence, whatever the modifications may be. The forms of the body are slender and supple; the hips high, the thighs lengthy; the muscles without individual prominence, rather fused into one another, are still so marked as that agility, elasticity of form, and energy of movement 4 become evident. However, the configuration here inclines