alia : αὐγῇ ξηρῇ ψυχῇ σοφωτάτη, κατὰ τὸν ̔Ηράκλειτον ἔοικεν. Οἱ πίθοι κρουσθέντες ἠχοῦσι, γενόμενοι δὲ πλήρεις οὐχ ὑπακούουσι ταῖς πληγαΐς. Addendum esse vevo non fugit Wyttenbachium, idque jam Xylander expresserat; non autem excidit illud vocabulum, sed adest totidem litteris; modo sublato ἔοικεν, quod abundat, scribas : κατὰ τὸν Ηράκλειτον. Οἱ κενοὶ πίθοι.Quod quam facile in oxy depravari potuerit, in oculos incurrit.

Ibid. p. 996. C. καὶ πέποται ὁ τῆς συνηθείας κυκεών, ὥσπερ ὁ τῆς Κίρκης ὠδίας ὀδύνας κυκεὼν ἀπάτας τε γόους τε. Quum unus liber sex vocabula ὁ τ. Κ. ω. ο. κ. omittat, ejus tamen omissionis causa manifesta τὸ ὁμοιοτέλευτον, Wyttenbachius, vitiosis recisis, corrigit, συνηθείας κυκεών, ὥσπερ ἀπάτης καὶ γοητείας. Quod mihi longe videtur posthabendum conjecturæ Stephani, qui hex→ ametrum fuxit: ὠδῖνας ὀδύνας κυκεών ἀπάτης τε γόους τε. At tu vide an fuerit : ὁ τῆς συνηθείας κυκεών, ὥσπερ ὁ τῆς Κίρκης ὑωδίας, —ὀδύνας κυκῶν, ἀπάτας τε γόους τε. ubi uno vocabulo addito hexametrum habebis integerrimum:

[πικροτάτας] κυκῶν ὀδύνας, ἀπάτας τε γόους τε.

Poculum Circes, quo bibentes in sues mutabantur, recte vocatur κυκεὼν ὑωδίας, idque ad amussim respondet præcedentibus, ὁ τῆς συνηθείας κυκεών ; idque recte dicitur miscere (κυκᾶν) i. e. efficere et creare dolores, fraudes et ejulationes.

Ultima harum eclogarum p. 999. A. versatur in examinando Stoicorum dicto, quo hominibus quidquam cum brutis commune esse negabatur. Ad hanc particulam, cujus nonnisi initium superest, pertinere videntur verba, quæ non suo loco leguntur p. 993. Α. ὅτι πρὸς τὰ ἄλογα ζῶα δίκαιον ἡμῖν οὐδέν ἐστιν, qua verba non Plutarchi sunt, sed alius cujusdam, qui ea margini pro lemmate adscripserat. Unde factum, ut in alium locum translata, textui temere inserantur. Idque nullus dubito intellexisse etiam Meziriacum, virum acutissimum, qui haec verba delenda censuit.

NOTICE OF

Ancient unedited Monuments, principally of Grecian art; illustrated and explained by JAMES MILLINGEN, Esq. F.S. A. Member of the Academies of Archæology at Rome, of Herculaneum at Naples, of the Sciences at Munich, &c. Folio. London. 1822.

AMONG our antiquarian readers there are, we presume, but few, if indeed any, to whom the high reputation of Mr. Millingen is not already well known; reputation justly acquired, no less by the classical erudition and the ingenuity evinced in his various works, illustrating many precious monuments of Grecian art, than by the taste displayed in his selection of subjects. We more particularly allude to his publications in the French language; the "Recueil de quelques médailles Grecques inédites," printed at Rome in 1812, 4to; the "Peintures antiques inédites de Vases Grecs," Rome, 1813, folio, with 63 plates; and the "Peintures de Vases Grecs de la Collection de Sir John Coghill, Bart." Rome, 1817, folio, with 52 plates. On all these works it is our intention to offer some remarks in future numbers of this Journal; meanwhile, the volume now before us contains the first four of sixteen portions that are to complete this splendid and interesting publication, in which Mr. Millingen's object is "to communicate to the literary world such ancient monuments of art as are gradually discovered; it will contain also those existing in different collections, but which have not been published; and such as have been given but inaccurately, and are susceptible of new explanations and observations. The work will include vases, marbles, bronzes, coins, gems, &c. Each number will be confined to monuments of one class, and shall be complete in itself without reference to a subsequent number."

The four numbers, constituting Part I., now under consideration, relate to Greek vases, of which the painted devices are explained by our learned author with his usual ability and consummate knowledge of ancient mythology. Besides a vignette which decorates the title-page, and a plain engraving at the end, this volume is illustrated by 24 plates, traced and colored in exact imitation of the original paintings. Plates 1. 11. and 111. represent the extraordinary figures and inscription on a vase of

the Amphora class, a singular monument of early Grecian art, found in 1813, by Mr. Burgon, near Athens, on the road leading from that city to Thebes; it was discovered at the depth of about three feet in the ground, and contained some remains of burnt bones, besides six small earthen vessels of different forms. The principal side exhibits Athena or Minerva in her warlike character as described by Homer and Hesiod; from her helmet rises a lofty crest; with her right hand she prepares to dart a spear, while her left arm supports a circular shield, ornamented with the figure of a dolphin: this attribute of a marine deity is given to Minerva, as daughter of Neptune and the lake Tritonis. In explanation of some particulars which this painting offers, Mr. Millingen examines the early traditions respecting Minerva, since they differ widely from those of a later period, more commonly received.

This

Before the figure of Minerva is the inscription, ΤΟΝ ΑΘΕΝΕΟΝ ΑΘΛΟΝ EMI, in letters of a very ancient form, and written from right to left, according to the custom prevalent before the Peloponnesian war. inscription, which, according to a more recent orthography, may be read Τῶν ̓Αθηνέων ἆθλον εἰμί, has been already published several times and variously explained. Some learned critics have supposed 'Aviv to be the Ionic genitive of 'Ava, the name of the city of Athens; and have translated the sentence: "I am the prize given by Athens." But others, probably with more reason, think that this word is the old Attic form of 'Advair, and translate, "I am the prize of the Athenæa." As in other monuments of an early age, the E and O are employed instead of H and ; and EMI is written for EIMI. The substitution of E instead of the diphthong AL is a peculiarity deserving of attention. (P. 4.)

The festivals originally called Athenæa are the same, which, at a later period, Theseus is said to have solemnised with additional splendor, calling them, from the union of the twelve Attic districts, Panathenaa: but that these were instituted by Theseus, our author regards as a fabulous tradition; and would place their first establishment under the archonship of Hippoclides, about the third year of the fifty-third Olympiad. From the incription above quoted, it appears that this vase was the prize given to some person victorious in the contests at those more ancient festivals, the Athenaa-and numerous authorities prove that such vessels filled with oil from the sacred olive trees, called popía (in the grove of Minerva, near the Academy) were the doxa, or prizes bestowed on those occasions. So dear was such a prize to the fortunate victor that he preserved it during life with anxious care, and did not wish to be separated from it even in death. Mr. Millingen is of opinion that this vase contained the ashes of him who had obtained it as a prize; one part of it VOL. XXVIII. CI. JI. NO. LV.

K

exhibits the figure of a young man seated in a car drawn at full speed by two horses; and this painting offers many extraordinary particulars, of which our present limits will not admit a fuller description.

The subjects of Plates iv. and v. are taken from a vase which Mr. M. assigns to the fifth century before Christ. As on many other vases exhibiting black figures on a yellow ground, the execution is negligent and incorrect, and even the name of one hero appears to have been written for that of another, a circumstance not singular, as our author proves from Pausanias (Attica, cap. 3.) and many instances of a similar mistake or license might be added. The painting on one side represents two warriors contending for the body of a third who has fallen mortally wounded and already stripped of his arms-the inscriptions would desig nate those combatants as Achilles and Hector, but it is very ingeniously conjectured that the original, from which this painting was copied, must rather have represented the combat between Achilles and Memnon, and that the fallen body is Antilochus, whose armor had been taken by Memnon. The combat of Achilles and Hector, as described by Homer, 11. x., cannot be reconciled with the circumstances of this painting, which, in every respect, coincides with Quintus Smyrnæus' account of the contest between Achilles and Memnon-an account probably borrowed from the Ethiopis of Arctinus. Homer, indeed, attributes the death of Antilochus to Memnon (Odyss. 4. v. 188.) who was himself slain by Achilles. And the vase, on its reverse, shows Aurora (or HEOX) carrying in her arms the body of a naked hero whom the inscription (MEMNON) proves to be her son, confirming almost to a certainty our learned antiquary's conjecture respecting the opposite device. On a vase of the Lecythus form (Plate vi.) Aurora appears in a different character-borne on wings in the air, she pours from an urn the dew collected in the ocean, whence she was supposed to have risen. An inscription (KAAE for Kaλ) shows that this vase had been designed as a present to some lady.

The painting, Plate vii. (says Mr. Millingen) is highly interesting, as being one of the few works of art, that show the primitive manner of figuring the giants, conformably to the description of Homer; it has also the merit of presenting an ancient and recondite tradition, which occurs on no other monument hitherto published. Neptune, distinguished by his trident and the inscription пOZEIAON, is represented uplifting a huge mass, apparently of rock, with which he overwhelms a warrior, who is falling under the enormous weight, and attempts in vain to resist the superior power of the deity. The inscription placed near this figure gives she name of ΕΦΙΑΛΤΕΣ, (Ρ. 18.)

As our author remarks, the catastrophe here assigned to Ephialtes, perhaps in conformity with some tradition now lost; is the same which, according to several ancient writers, befel the giant Polybotes. This subject is repeated on another vase (Plate ix.) which also presents the figure of Diana engaged in combat with a warrior, probably Otus, the brother of Ephialtes.

On actual examination of a vase preserved in the Vatican collection, and explained by Passeri (Pictura Etruscorum in Vasculis, tom. i. tab. 8 et 9) Mr. M. discovered many particulars which induced him to give an accurate representation of the painting, and to offer a new explanation. Passeri was of opinion, that it related to the marriage of Hercules and Dejanira; but our author most satisfactorily proves that the principal group. expresses Peleus seizing Thetis in his arms, and carrying her forcibly away, an explanation confirmed by many interesting.

monuments.

The examination of these several compositions, naturally calls the attention to a celebrated work of art, the Barberini, or Portland vase. Various contradictory explanations have been advanced; but those writers whose opinions deserve most attention, concur in supposing that it relates to the marriage of Thetis and Peleus. (P. 27.)

Hercules' triumph over Nereus is represented on another vase, Plate xi.; and one, of which the painting is given in Plate xii, relates to the game called paiga, or ball, resembling in many respects our modern tennis, fives and football. A winged youth, probably Epws, the god of love, appears ready to strike a ball as it bounds from the ground. A female figure, perhaps Venus, leaning on a cippus or column, seems to converse with Love; on the column is an inscription, IHEAN MOI TAN ZIPAN, which may be translated, "They sent me the ball." This painting serves to demonstrate, that the circular object seen frequently on the reverse of vases, and absurdly explained by many writers, (the seams being mistaken for a cross) is simply a sphæra, or ball; the use of it is very ancient: Homer de scribes Nausicaa as playing with a sphæra when Ulysses introduced himself to her; and Sophocles composed a drama, (called Ilúrgia) in which that princess and her damsels were engaged at this game. Venus, supported by two androgynous figures, Loves or Cupids, who convey her through the air, appears on another vase, Plate xiii; and the next composition, (Plate xiv.) from a vase in the British Museum, represents the death of Procris, inadvertently killed by Cephalus; one of the most popular Attic fables, and a story highly romantic and affecting.