be met with in a similar figure in vase-paintings, to denote the 5 amatory relation. In the shape of a blooming child, but never disagreeably soft in configuration, Eros and more frequently Erotes are to be seen, in numberless reliefs and gems, dragging forth and breaking in pieces the insignia of all the gods, caressingly subduing the wildest brutes, and converting them into riding or draught animals, boldly and wantonly roving about among sea-monsters, and playfully mimicking every possible occupation of man, whereby art at length degenerates 6 into a sport and completely surrenders all significance: an immense number of sculptures, which were still more increased from the circumstance that real children also were wont to 7 figure as Erotes. POTHOS and HIMEROS were represented in 8 similar figures, and ingeniously grouped with Eros. Still more significantly was Eros placed beside ANTEROS, a dæmon who 9 enjoins reciprocal and avenges slighted love; then in a very numerous and important class of sculptures (which probably belong to an allegorical fable, derived, if we judge by its first beginnings, from Orphean mysteries) with PSYCHE, the soul, who appears as a virgin with butterfly-wings, or abbreviated, as it were, in the form of a butterfly. This fable seems to be represented by works of art in a more original and ingenious manner, as regards its main features, than in the story of Appuleius, which is spun out into a Milesian nursery tale; as indeed the idea is not otherwise a stranger to them of an Eros who trains up the soul to a higher blessedness, and guides it through life and death.

1. [Propert. ii, 12. Quicunque ille fuit, puerum qui pinxit Amorem, &c. Eubulus in Athen. xiii. p. 562. Who first gave wings to Eros, see Rhein. Mus. 1839. vi, p. 585, Gerhard Flügelgestalten, p. 6.] The Amor at Naples and the torso of Centocelle §. 127. R. 3. comp. Gerhard, Beschr. Roms ii, ii. s. 167. The so-called genius V. Borgh. 9, 11. Bouill. iii, 10, 2. comp. Winck. (who esteemed it too highly) W. iv. 81. 141. also an Eros. Is not likewise the so-called Adonis (Apollo)? PCI. ii, 32. M. Franç. iii, 3. Bouill. ii, 12. [Ann. d. I. xvii. p. 348.]—The wings, which he had even received before Anacreon (Fr. 107. Voss Mythol. Br. II, iv.), are an essential requisite in Eros. An Eros with dolphin and flower in his hands, Palladas Anth. ed. Jacobs ii. p. 688.

2. A copious survey of such playful productions is given by Klotz Ueber den Nutzen u. s. w., s. 198. Clarac pl. 641-651. According to epigrams in the Anthology, Heyne Commentatt. Soc. Gott. x. p. 92. Alcibiades had an Eros hurling a thunderbolt on his shield, Athen. xii, 534. -A winged head of the infant Eros on coins of Antiochus the Seventh. Mionnet Descr. v. p. 75. Similar on coins of the gens Egnatia.

3. Eros bending the bow, M. Cap. iii, 24. Nap. i, 63. Bouill. i, 19. Franç. ii, 7. Winck. W. vi, 6.; G. Giust. 27-28.; M. Worsl. I. iii, 13.; Bouill. iii. 11, 1. 3.; in St. Petersburg Clarac pl. 646, 1471; Demidoff col

lection pl. 650 no. 1491; Pembroke pl. 650, 1495. After Lysippus? Quite different the statue St. di S. Marco ii, 21., Clarac pl. 651, 1481.

4. In vase-paintings we see Eros with a lekythos, for example dropping grace upon Io (Χάριτες γλυκὺ χεῦαν ἔλαιον Brunck Anal. i. p. 480.), Millingen Cogh. 46. comp. Div. 42., more usually with a tænia as the badge of a xañós, §. 340. R. 4. (Mystery-fillet according to Gerh. Ant. Bildw. 55, 3. 4.), also with the hoop, xgixos, τgoxós, and stick as a child's playthings, for instance on the vase §. 363. R. 2. R. Rochette M. I. pl. 44, 1. (like Ganymedes, Maisonn. 30.); often also with the lyre. [E. loosens the bonds of Andromeda, winged, vɛavías dè mag' ö eïwde, Philostr. i, 29.]

5. Sports of Erotes, mailovres "Egwres Xenoph. Eph. i, 10. With insignia of the gods M. Cap. iv, 30. (Anthol. Plan. 214 sq.) Dashing the thunderbolt of Zeus in pieces, Gems, Wicar iv, 48. With the sceptre of Zeus and sword of Ares, a beautiful relief in S. Maria de' Miracoli at Venice, besides in Ravenna. Comp. §. 356. R. 5. (Throne of Poseidon), 395. R. 1. (of Cronos), 369. R. 6. (of Aphrodite), 410. R. 7. (Hercules). Eros on a goat, like the infant Zeus, coins of the gens Fonteia. Amor entwined with a dolphin, M. Borb. no. 428., Clarac pl. 646, 1468. sleeping on a dolphin (Melicertes) pl. 647, without wings, A. as Hercules at Vienna pl. 647, 1480 [muffled up, with the club of Hercules, perhaps the infant Hermes, who has stolen it?], as a captive in the Vatican, pl. 648, 1481. Taming the lion by playing on the harp, a gem with the name of Protarchus, G. di Fir. Gemme 2, 1.; with the name of Tryphon, Jonge Notice p. 148. Comp. the coins of Tomi M. I. d. Inst. 57. B. 9. Arcesilaus' marmorea leæna aligerique ludentes cum ea Cupidines, Plin.; in Dresden 272. Aug. 73. Sports Impr. d. I. iv, 25-36. Erotes sporting with a little dog, a fine work, Descr. de Morée iii. pl. 49. Different representations Gerh. A. Bildw. i, 88-92. Erotes binding lions in a rocky region, mosaic M. Borb. vii, 61., partly corresponding to the M. Cap. iv, 19. Eros on an eagle, Impr. d. Inst. ii, 47. E. in the purple shell, Millin, M. I. ii, 18. comp. §. 378. R. 2.; on hippocampi, M. Kirker. ii, 13. Eros with the trident on a dolphin, figure in a picture, Zahn Wandgem. 8. comp. §. 378. R. 2. Bacchian Erotes, PCl. v. 13. comp. §. 206. R. 2. Bacchian Eros with large scyphos on a lion, a mosaic, M. Borb. vi, 62. On a centaur §. 389. R. 3. E. coming from the banquet, another as lamp- and a third as torch-bearer (жoxɛxvùs woπeg λvxvoPogav, Aristoph. Lys. 1003.), a gem, Winck. M. I. 33. comp. Christie. Paint. Vas. 3. Erotes dancing with cups and the like, Pitt. Erc. iii. 34. 35. E. rocked by Παιδιά, vase-painting Bull. d. Inst. 1829. p. 78. Ε. παίζων προσωπεῖον ̔Ηρακλέους πάμμεγα ἢ Τιτάνος περικείμενος, Lucian, this latter perhaps M. Cap. iii, 40. A similar one often on gems. Erotes and Psyche represent the bringing home of Hector's body, relief, L. 429. Bouill. iii, 45, 3. Clarac pl. 190. E. as Ganymedes' conqueror at the game of astragals, Apollon. Rh. iii, 111. Philostr. the younger 8., in a statue at Berlin, Hirt s. 219. Levezow Amalth. i. s. 175. [two other groups ibid. §. 182 f. 189 f.], according to Hirt also Aug. 72. Erotes as fruit-gatherers, Philostr. i, 6, in ingeniously composed reliefs, G. Giust. ii, 128. Zoëga 90. Bouill. iii, 46., and gems, Welcker ad Philostr. p. 238. As artisans, Pitt. Erc. i, 3436. Hunting, Pitt. Erc. i, 37. ii, 43. v, 59.; reliefs, Bouill. iii, 46. Especially hares and rabbits as Aphrodisian animals, vase-paint. Gerh. Ant.

Bildw. 56. R. Rochette M. I. pl. 42, 1. comp. Philostr. i, 6. p. 12. E. holding a hare, on coins of Cyzicus, M. I. d. Inst. 57. B 5. Ann. v. p. 272. Eros riding on a roe-buck, vase from Athens, Stackelb. Tf. 28. [going to seduce a maiden or undress the bride, cylix ibid. Tf. 31, Eros does not certainly embrace the knee of Aphrodite.] Contending in the circus, PCI. v, 38-40.; Cap. iv, 48.; G. Giust. ii, 109.; M. Borb. viii, 28.; L. 449. 463. Bouill. iii, 45. Clarac. pl. 190. comp. Spart. Æl. Ver. 5. and the agones §. 406. Driving with gazelles, camels, wild-boars, relief L. 225. 332. Clarac pl. 162. With lions, panthers, swans and the like, wall-paint. M. Borb. vii, 5. comp. viii, 48. 49. Zoëga speaks with perfect justice against the appellation of genii for such winged boys, Bass. ii. p. 184. A nest of Erotes §. 210. R. 6. "Who will buy gods of love (Göthe)" Pitt. Erc. iii, 7. Neapel's Ant. B. 425. E. shut out from the door of his lover and ill-treated, Millin P. gr. 62. Stackelb. Gr. Tf. 30, M. Pourt. pl. 33. Erotes coming out of cages, lekythion, formerly in the possession of Fauvel; according to Stackelb. basket work to present to Adonis. [Sale of Erotes Zahn Pomp. Wandgem. ii, 18, 24. O. Jahn Arch. Beitr. s. 211.]

6. See Suet. Calig. 7. To this class probably belong the sleeping Erotes, for instance the one on the lion's hide, with his weapons laid aside, the lizard, [field-rat,] also butterflies, and poppy-heads, PCl. iii, 44.; Racc. 151; Bouill. iii, 11, 2.; G. di Fir. St. 63-66.; Gerh. Ant. Bildw. 77, 2. [Stat. di S. Marco ii, 30. Clarac pl. 761. 761 B. 762.]

7. E., Pothos and Himeros by Scopas §. 125. 3. Himeros with a wreath in Bacchian accompaniment, Maisonn. 22., and Pothos ingeniously represented as a flute-player, Tischb. ii, 44. Himeros with a tænia, and two Erotes, with wreath and rabbit, flying over the sea, vase-paint. from Volci, M. I. d. Inst. 8. [0. Jahn Peitho, die Göttin der Ueberredung. Greifswald 1846.]

8. E. with Anteros (the former with golden and the latter with black locks according to Eunap. Iambl. p. 15. Boiss.) contending for the palm, Paus. vi, 23, 4. in the relief in Naples Hirt 31, 3., [M. Borb. xiv, 34. similar on one in the Colonna palace, E. Braun A. Marmorwerke ii, 5. 5a.] often in gems, for example Impr. d. Inst. ii, 54., where there is a Nike present (two Nike and eighteen Erotes at Tralles, Class. Journ. iv. p. 88.). E. or Anteros with a career for combat, Tassie 6952 ff., beside a gymnastic herma, M. Worsl. ii, 7. Comp. Böttiger before the ALZ. 1803. iv., Schneider and Passow in the Lexicon. E. beside Aphrodite §. 376. 377., with Silenus 386. R. 3., fighting with Pan, Welcker Zeitschr. s. 475. Eros exhausted seizing the garland. Anteros? supports the more tender boy, a charming relief. Stackelb. gr. Tf. i, 1. [R. Rochette M. I. pl. 42. A. 2. E. and Anteros, both resting mournfully on their torches and holding a butterfly, in reference to the ceremony of a pair at an altar.]

9. Fable of Amor and Psyche, a Platonic mythus, according to Baumgarten Crusius, Programm der Meissner Schule. Archäologische Beilage von Böttiger (nothing new). [0. Jahn Archäol. Beitr. s. 121-97. on Eros and Psyche, Psyche as whov, as ux, butterfly, and maiden with butterfly-wings, and in both forms placed in relation to Amor p. 137 sqq.; the story of Appuleius not in works of art p. 127, only in some few monuments p. 196. The group of the embracing p. 161 sqq. the same on

articles of furniture, ornaments, rings, especially sarcophagi p. 163 sqq. Nuptials p. 173 sq. Eros as tormentor p. 177, Amor and Pysche as masks representing other myths p. 192 sqq. Psyche lying on the ground, and trampled on by an Amor, group in the Lateran.] The basis of the fable of Eros and Psyche is doubtless the Orphean idea that the body is the prison of the soul, that the soul passes its life here on earth in the reminiscence of a blissful union with Eros in former Æones, but banished from him and full of fruitless longing till death again unites them. (Ocnos with the lame ass in the lower world, Appul. vi. p. 130. also points at mysteries §. 397.). Here it is not necessary to assume an antagonism between two hostile Erotes; the same E. appears giving pain and bliss; Pausias already characterized the milder nature by the lyre instead of the bow, Paus. ii, 27, 3. It is only when Psyche is tormented or purified that two corresponding Erotes are introduced, for the Erotes, as well as the gay sports, can be multiplied also as tormenting spirits. Comp. Thorlacius Prolus. i, 20. Hirt Schriften der Berl. Acad. 1812. s. 1. Lange Schriften i. s. 131. The works of art which do not begin till the Roman period (§. 206, 3.), exhibit in long series Psyche maltreated by Eros, singed as a butterfly, condemned to toilsome labour, caught in a caltrop (Tassie pl. 42, 7170.), burned by one Amor with his torch, scalded with boiling oil by another in a wall-painting, Hall. L. Z. 1835. Intell. s. 478. [Archäol. Int. Bl. s. 73 f.], drawing water from the Styx, in Stygian sleep (Hirt 32, 6.), roused from it by Eros with music, furnished with wings by Hermes Psychopompus and the fettered Eros, reconciled with Aphrodite, at the marriage-feast and bridal torus (Gem by Tryphon, Marlbor. i, 50.), sarcoph. Brit. Mus. v, 9. embraced by E. in the very ingeniously conceived and excellently disposed group (M. Cap. iii, 22. Franç. i, 4. Bouill. i, 32.; Flor. 43. 44. Wicar ii, 13.; in Dresden 218. 254. Aug. 64. 65. [Clarac pl. 652.; London 653; in the possession of Count Reventlow at Emkendorf], comp. Tassie pl. 43, 7181.). See Hirt ibid. and Book of plates Tf. 32. Creuzer Abbild. zur Symb. s. 24 ff. Ps. kneeling beside E., a group L. 496. V. Borgh. 9, 9. Bouill. iii, 10, 5. Clarac pl. 265. Ps. kneeling L. 387. V. Borgh. 3, 4. Bouill. iii, 11, 4. M. Roy. i, 13. Clarac pl. 331.; in Florence (§. 126. R. 4.). [O. Jahn s. 178. Psyche holding back the fleeing Eros Mionnet Suppl. v, 1, 3.] E. striking at the butterfly (joueur de ballon), Bouill. iii, 10, 6. (from it may be also perhaps restored a torso at Vienna); perhaps also Racc. 40 Orti Medicei; Gems Impr. d. Inst. ii, 45. comp. 55. Tassie pl. 43, 7064. Amor playing with a butterfly, in Rome in the possession of Vescovali, peculiar, Clarac pl. 647, 1473. Amor weeps over the butterfly, Impr. d. Inst. iv, 32. A. and Psyche iv, 34. Marriage iv, 35. E. ploughing with butterflies, Tassie pl. 43, 7132., in a car drawn by butterflies (Gori Gemmæ astr. i, 122.), as Aphr. and E. are elsewhere by Psyches, M. Borb. iv, 39. Tassie pl. 35, 3116. Ariadne [formerly Aphrodite according to the same gem] drawn by Psyches, M. Flor. i, 93, 2. Wicar ii, 12. M. Borb. iv, 39. Psyche among those who take part in the Bacchian procession, a sarcophagus-relief, see Hall. ALZ. 1833. Intell. No. 5. comp. §. 397. R. 2. Psyche-Nemesis §. 398. [Promethean sarcophagus §. 396. R. 3. Psyche as eidolon §. 397. R. 3.]

Eros sails across to Elysium on his quiver or the funereal urn as a ship, Christie Paint. Vas. 7. Lipp. Suppl. 439. Tassie pl. 42., perhaps too Anacreontically understood Amalth. iii. s. 182. Eros as death-genius Clarac

1

pl. 495. no. 964 from Mus. Chiaram. The heavenly Eros as a flute-player (often on gems) on the Mon. Marcellinæ ed. C. Patin. Patav. 1688. 4to. as well as G. Giust. ii, 107. Zoëga Abhandl. Tf. 4, 12. E.-Horus §. 408. Monument from Smyrna, Maffei M. Veron. xlvii, 5.

392. We place in connexion with Eros the deities who have reference to union of the sexes and married life, as HyMENÆUS, who appears as a more serious and larger Eros, and is at the same time related to COMUS, the leader of the joy2 ous festal throng. A favourite subject of later art, when it became effeminate and luxurious, was HERMAPHRODITUS-who on the whole is not to be here understood as a natural symbol, but as an artistic creation of fancy, although there were even religious idols of him-in famous works of art now stretching himself restlessly in sleep, now standing and astonished at his own enigmatical nature, now fanned while asleep by Erotes, or pryingly watched by wondering Pans and Satyrs, also in bold symplegma with a satyr who has mistaken him for a 3 nymph and laid hands on him. The CHARITES, as social deities allied to Aphrodite, were sculptured in earlier times in ornate form, then slightly draped or usually altogether unrobed; they are characterized by the joining of hands or mutual embracing. 4 EILEITHYIA figures at births as a helping figure, however there is no established form of this deity known.

1. Hymenæus at Ares' adultery, in the reliefs §. 377. R. 2. At the marriage of Ariadne §. 384. R. 3. Perhaps also the Eros-like youth along with Paris §. 378. R. 4. Hym. in a bronze figure with roses round the neck and torch in his right hand, from Sardis, Bull. d. Inst. 1832. p. 170. [At processions also on gems.] Comus, a night-piece in Philostr. i, 2. (for the explanation Pers. v, 177.), also i, 25. According to Zoëga also Bass. 92. comp. Hirt s. 224. Welcker opposed to this ad Philostr. p. 202 -215. Above §. 385. R. 6.

2. Polycles' Hermaphrodite §. 128, 2. Heinrich Comm. de Hermaphroditis. Hamb. 1805. Böttiger Amalth. i. s. 352. [Clarac pl. 666 A. 667-72.] Lying statues, on a lion's hide, M. Flor. iii, 40. Wicar ii, 49. (so also on lamps, Bartoli Lucernæ i, 8. Passeri i, 8., where others see Night or Omphale; also in a silver-work from Bernay); on cushions by Bernini L. 527. Racc. 78. V. Borgh. 6, 7. Piranesi St. 14. Bouill. i, 63. Clarac pl. 303.; on an antique matelas L. 461. M. Franç. iv, 4. Bouill. iii. 15. Clarac pl. 303. Standing H. (Christodorus 102.), Museos del Cardenal Despuig en Mallorca p. 82. no. 16. 5 palms high, similar to one in V. Albani p. 119., beautiful torso in V. Pamfili; with a cloth around the head, statue in Berlin 111. Caylus iii, 28-30. Kunstbl. 1824. No. 77. With a cloth falling over the head, a fan in his left hand, Zahn Ornam. 100. Similar in the remarkable relief of the Colonna pal., Gerh. Ant. Bildw. 42. 1. A standing H. from Pompeii with satyr-ears, Neap. Bildw. s. 118. (An Einædos carrying a kekryphalos, Lucian de merc. cond. 33.). Osann. Amalth. i. s. 342. One also in Hope's, herma Brit. Mus. x, 30. Sitting, on gems, Tassie pl. 31. 2509. Impr. d. Inst. ii,