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. 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 powerful 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 Acropolis Museum, Athens; Mercury Belvedere (Vatican); Mercury in Repose (National Museum, Naples); and the Hermes by Praxiteles, in Berlin, 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 :

44

'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;
Looses them too; then, downe he throwes
The corrall of his lippe, the rose

Growing on's cheek (but none knows how)
With these, the crystal of his brow,
And then the dimple of his chin;
All these did my Campaspe winne;
At last hee set her both his eyes;
She won, and Cupid blind did rise.
O love! has she done this to thee?

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: Græco-Roman sculpture, Ganymede and the Eagle (National Museum, Naples). Modern sculpture: Thorwaldsen's Ganymede.

(3) 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, north 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,

Prog. of Poesy; Warton's First of April: "Fancy crown of corn, And Plenty load her ample horn."

Sees Ceres grasp her

Poems. Tennyson, Demeter and Persephone; Mrs. H. H. Jackson, Demeter. Prose: W. H. Pater, The Myth of Demeter (Fortn. Rev. Vol. 25, 1876); S. Colvin, A Greek Hymn (Cornh. Mag. Vol. 33, 1876); Swinburne, At Eleusis.

The name, Ceres, is from the stem cer, Sanskrit kri, to make. By metonomy the word comes to signify corn in the Latin. Demeter (гn μhrnp, dâ μÝTNP), means Mother Earth. The goddess is represented in art crowned with a wheat-measure (or modius), and bearing a horn of plenty filled with ears of corn. Demeter appears in the group of deities on the eastern frieze of the Parthenon. Also noteworthy are the Demeter from Cnidos, two statues of Ceres in the Vatican at Rome, and one in the Glyptothek at Munich.

§ 45 a. Rhea was worshipped as Cybele, the Great Mother, in Phrygia, and at Pessinus in Galatia. During the Second Punic War, 203 B. C., her image was fetched from the latter place to Rome. In 191 B.C. the Megalensian Games were first celebrated in her honor, occupying six days, from the fourth of April on. Plays were acted during this festival. The Great Mother was also called Cybebe, Berecyntia, and Dindymene.

The Cybele of Art. — In works of art, Cybele exhibits the matronly air which distinguishes Juno and Ceres. Sometimes she is veiled, and seated on a throne with lions at her side; at other times she rides in a chariot drawn by lions. She wears a mural crown: that is, a crown whose rim is carved in the form of towers and battlements. The Rhea of Phidias was the finest conception of that goddess in sculpture.

Illustrative. - Byron's figure likening Venice to Cybele, Childe Harold 4, "She looks a sea-Cybele, fresh from ocean," etc. Also Milton's Arcades 21. § 46. Interpretative. It is interesting to note that Homer (Iliad and Odyssey) recognizes Dionysus neither as inventor, nor as exclusive god of wine. In Iliad 6: 130 he refers, however, to the Dionysus cult in Thrace. Hesiod is the first to call wine the gift of Dionysus. Dionysus means the Zeus or god of Nysa, an imaginary vale of Thrace, Boeotia, or elsewhere, in which the deity spent his youth. The name Bacchus owes its origin to the enthusiasm with which the followers of the god lifted up their voices in his praise. Similar names are Iacchus, Bromius, Evius (from the cry evoe). The god was also called Lyæus, the loosener of care, Liber, the liberator. His followers are also known as Edonides (from Mount Edon, in Thrace, where he was worshipped), Thyiades, the sacrificers, Lenæ and Bassarides. His festivals were the Lesser and Greater Dionysia (at Athens), the Lenæa, and the Anthesteria, in December, March, January, and February, respectively. At the first, three dramatic performances were presented.

Illustrative. A few references and allusions worth consulting: Spenser, Epithalamion; Fletcher (Valentinian), "God Lyæus, ever young"; Randolph, To Master Anthony Stafford (1632); Milton, L'All. 16; P. L. 4: 279; 7:33; Comus 46, 522; Shakespeare, M. N. Dream 5:1; Love's L. L. 4:3; Ant. and Cleo. 2:7 (song); Shelley, Ode to Liberty 7, Rome -66 like a Cadmæan Mænad"; Keats, To a Nightingale, "Not charioted by Bacchus and his pards." On Semele, Milton, P. R. 2: 187.

Poems. Ben Jonson, Dedication of the King's New Cellar; Thos. Parnell, Bacchus, or the Drunken Metamorphosis; Landor, Sophron's Hymn to Bacchus; Swinburne, Prelude to Songs before Sunrise; Roden Noël, The Triumph of Bacchus; others given in text. See Index.

In Art.

Of ancient representations of the Bacchus, the best examples are the Silenus holding the child Bacchus (in the Louvre); the head of Bacchus found in Smyrna (now in Leyden see text, § 154), from an original of the school of Scopas; the head (now in London) from the Baths of Caracalla, of the later Attic school; the Faun and Bacchus (Museum, Naples); a standing bronze figure in Vienna, and the statue of the Villa Tiburtina (Rome). The bearded or Indian Bacchus is represented as advanced in years, grave, dignified, crowned with a diadem and robed to the feet.

In modern sculpture note especially the Drunken Bacchus of Michael Angelo. Among modern paintings worthy of notice are Bouguereau's Youth of Bacchus, and C. Gleyre's Dance of the Bacchantes. See also under Ariadne. $47. The invention of the Syrinx is attributed also to Mercury. For poetical illustrations see §§ 52-54, 116, 117, C. So also for Nymphs and Satyrs.

In Art. — The exquisite antique, Pan and Apollo (with the Syrinx) in the Museum at Naples. See references above.

§ 48. It was only in rare instances that mortals returned from Hades. See the stories of Hercules and Orpheus. On the tortures of the condemned, and the happiness of the blessed, see § 175 in The Adventures of Æneas. Illustrative. Lowell, addressing the Past, says,

"Whatever of true life there was in thee,

Leaps in our age's veins. . . .

Here, 'mid the bleak waves of our strife and care,

Float the green Fortunate Isles,

Where all thy hero-spirits dwell and share

Our martyrdom and toils.

The present moves attended

With all of brave and excellent and fair

That made the old time splendid."

Milton, P. L. 3: 568, “Like those Hesperian gardens,” etc.

See also P. L. 2,

passage beginning "Abhorred Styx, the flood of deadly hate," where the rivers of Erebus are characterized according to the meaning of their Greek