COPYRIGHT, 1893, 1911, BY CHARLES MILLS GAYLEY
ENTERED AT STATIONERS' HALL
ALL RIGHTS RESERVED
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The Athenæum Press
GINN AND COMPANY · PROPRIETORS · BOSTON · U.S.A.

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TO THE MUSES

William Blake

James Thomson

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PREFACE

In this new edition of "The Classic Myths in English Literature" the former order of materials has been altered in accordance with the advice of the teachers who have had longest experience with the use of the book; the old material has been thoroughly revised; and much new material has been added. Since most people prefer to begin a story at its beginning, and not with the career of its author and his genealogy, I have reserved the history of the myths for the conclusion of the text. Some of the myths have been restated in more careful form. Some short narratives, before omitted, have been included. The sketches of the Iliad and the Odyssey have been considerably expanded; and an outline—which, I hope, will be deemed adequate—of Wagner's version of the Ring of the Nibelung has been appended to the account of Norse and German mythology. That version is, of course, not English literature; but it has come to be received as the classic modern version of the story; and the story is needed, at some time or other, by every lover of music. Fresh examples of the employment of myth in English verse have, where practicable, been incorporated in the text; and some new references will be found in the Commentary.

I have thoroughly revised the list of illustrative cuts, have interpreted the more difficult of the ancient figures, and indicated the sources. The pictures themselves are a decided improvement upon those in the former edition. In the determination of sources for reproduction, I have had the valuable assistance of Dr. E. von Mach, the author of more than one well-known work on ancient art; and to him I am indebted, in addition, for the section on The Classic Myths in Art, which is included in my Introduction. With this new equipment the book should prove more useful to those who here make their first acquaintance with art, especially the art of the ancients, as well as to those who have been in the habit of using it as a guide to paintings and sculptures of mythological subjects in foreign galleries.

Much of our best English poetry lies beyond the imaginative reach of many readers because of their unfamiliarity with the commonplaces of literary allusion, reference, and tradition. Of such commonplaces few are more frequently recurrent than those furnished by the literature of myth.

In view of this consideration, the Academic Council of the University of California, some twenty years ago, introduced into its requirements for entrance in English the subject of Classical Mythology in its relation to English Literature, and recommended, as a textbook for preparation, Bulfinch's "Age of Fable." The experience of English and classical teachers in the schools of the state attested the wisdom of the requirement; but the demand for some textbook adapted to the needs of the classroom made necessary the preparation of this volume. For while "The Age of Fable" offered a tempting collection of Greek, Norse, and Oriental narratives, it was designed neither as a schoolbook nor as a systematized presentation and interpretation of the myths that have most influenced English literature.

At the request of my publishers I undertook at that time such a revision and rearrangement of the materials of "The Age of Fable" as might adapt it to the purposes of teacher and pupil, and to the taste of readers somewhat more advanced in years than those addressed by the original work or by the edition which bore the name of the Reverend Edward Everett Hale. But after a year's work I found that half my material for copy was new, and that the remainder differed in many important respects from the book upon which it was based. Consequently, while the obligation to "The Age of Fable" was acknowledged in full, a different title was selected for the resulting volume. For neither my publishers nor I desired that the scholarship or the taste of Mr. Bulfinch should be held accountable for liberties that were taken with his work.

In "The Classic Myths in English Literature and in Art," Chapters XXIII-XXVII, containing sketches of the Fall of Troy, the Odyssey, the Æneid, and of certain Norse lays, are a revision of corresponding chapters in "The Age of Fable." Chapters VII-XX, and XXII, comprising Myths of the Greater Divinities of Heaven, Earth, the Underworld, and the Waters, Myths of the Lesser Divinities of the same regions, Myths of the Older Heroes and Myths of the Younger Heroes, and the outline of the Trojan War, represent a total rearrangement and recomposition of the original material, section by section, and frequently paragraph by paragraph,—such portions of "The Age of Fable" as have been retained being abridged or rewritten, and, in places too frequent to enumerate, supplemented by new and necessary sentences, paragraphs, and sections. The Introduction, the first six chapters (on the Greek Myths of the Creation, and the attributes of Greek and Roman divinities), Chapters XXI and XXVIII-XXXII (on the Houses concerned in the Trojan War, the Saga of the Volsungs, the Lay of the Nibelungs, Wagner's Ring of the Nibelung, and on the origin, elements, distribution, and preservation of myth), the choice of poetic and artistic illustration, the footnotes referring to sources, and the Commentary are wholly, or essentially, my own. In fact, there is little but the scaffolding of "The Age of Fable" now remaining in the book.

Although in the Index of Mythological Subjects and their Sources the more common myths of some other nations are briefly stated, no myths save those known to the Greeks, Romans, Norsemen, or Germans have been included in the body of the text. The scope of selection has been thus confined for three reasons: first, the regard for necessary limits; second, the desirability of emphasizing only such myths as have actually acclimated themselves in English-speaking lands and have influenced the spirit, form, and habit of English imaginative thought; third, the necessity of excluding all but the unquestionably classic. The term classic, however, is, of course, not restricted to the products of Greece and Rome; nor is it employed as synonymous with Classical or as antithetical to Romantic. From the extreme Classical to the extreme Romantic is a far cry; but as human life knows no divorce of necessity from freedom, so genuine art knows neither an unrelieved Classical nor an unrestrained Romantic. Classical and Romantic are relative terms. The Classical and the Romantic of one generation may merit equally to be the classics of the next. Therefore certain Hellenic myths of romantic spirit or construction have been included in this work, and certain Norse and German myths have not been excluded. Whatever is admitted, is admitted as first-class: first-class, because simple, spontaneous, and beautiful; because fulfilling the requirements of perennial freshness, of æsthetic potency, and of ideal worth.

In the matter of illustrative English and American poems the principle of selection has been that the verses shall translate a myth from the classic original, or exemplify the poetic idealization and embellishment of the subject, or suggest the spirit and mien of ancient art. But in each case regard has been had to the æsthetic value of the poem or the citation. In the search for suitable examples I have derived valuable assistance from Mr. E.C. Guild's "Bibliography of Greek Mythology in English Poetry of the Nineteenth Century" (Bowdoin College, Library Bulletin No. 1). The student is also referred to A.E. Sawtelle's "Sources of Spenser's Mythology," C.G. Osgood's' "Classical Mythology of Milton," and R.K. Root's "Classical Mythology in Shakespeare" (Holt, 1896, 1900, and 1903, respectively).

In the Commentary four things have been attempted: first, an explanation, under each section, of ordinary textual difficulties; second, an unpretentious exposition of the myth or a brief statement of the more evident interpretations advanced by philologists or ethnologists; third, an indication of certain additional poems or verses that illustrate the myth; fourth, special mention of such masterpieces of ancient and modern sculpture and painting as may serve to introduce the student or the general reader to a field of æsthetic profit neglected by the great mass of our people. For the poetic conception of most of the myths contained in Chapters I-XXIV, we are indebted to the Greek imagination; but since this book is intended for students of English poetry, and since in English poetry Latin names of mythological characters are much more frequently employed than Greek, the Latin designations or Latinized forms of Greek names have been, so far as possible, retained; and such variations as Jupiter, Jove—Proserpina, Proserpine, freely used. In the chapters, however, on the attributes of the Greek gods, names exclusively Greek have been placed in parentheses after the usual Roman equivalents, Latin appellations, or designations common to both Greek and Roman usage. In the transliteration of Greek names I have followed, also, the prevalent practice of our poets, which is, generally speaking, the practice of the Romans. The diphthong ει, for instance, is transliterated according to the accepted English pronunciation, which in individual words perpetuates the preference of the Latins for the e sound or the i sound respectively. So Ἀτρείδης becomes Atrīdes; Ἰφιμέδεια, Iphimedīa. But, on the other hand, Κυθέρεια becomes Cytherēa; Πηνειός, Penēus; and Μήδεια, Medēa; while owing to purely popular English custom, such a name as Φειδίας has become, not Pheidias nor even Phīdias, but—Phĭdias. A few names of islands, towns, persons, etc., that even in Latin retain their Greek forms,—such as Delos, Naxos, Argos, Aglauros, Pandrosos,—have been transferred without modification. So also has Poseidon, because that is the common English spelling. In short, the practice aimed at has been not that of scientific uniformity, but of acknowledged poetic usage. In the titles of the illustrative cuts, Greek names have been used for works of Greek origin, Latin for the Roman.

For the benefit of readers who do not know the fundamental rules for the pronunciation of Greek and Latin proper names in English, a brief statement of rules is prefixed to the Index; and in the Index of Mythological Subjects and their Sources names are not only accented, but, when necessary, diacritically marked.

In the preparation of the Text and Commentary more or less use has been made of: Roscher's Ausführliches Lexikon der griechischen und römischen Mythologie (Lieferungen 1-21, Teubner, Leipzig); Preller's Griechische Mythologie (2 Bde., Berlin, 1861); Max Müller's Chips from a German Workshop, Science of Religion (London, 1873), Science of Language (7th ed., 2 vols., London, 1873), Oxford Essays (1856); Sir G. W. Cox's Mythology of the Aryan Nations (2 vols., London, 1878); Frazer's Golden Bough; W. Warde Fowler's Roman Festivals (London, 1899); Welcker's Griechische Götterlehre; Baumeister's Denkmäler des klassischen Alterthums; Murray's Manual of Mythology (New York, 1880); Smith's Dictionary of Greek and Roman Biography and Mythology; Duruy's Histories of Rome and Greece; Keightley's Greek and Roman Mythology; Kelsey's Outline of Greek and Roman Mythology (Boston, 1889); Horn's Geschichte der Literatur des skandinavischen Nordens (Leipzig, 1880); Cleasby and Vigfusson's Icelandic Dictionary; Lüning's Die Edda (Zürich, 1859); Vigfusson and Powell's Corpus Poeticum Boreale (2 vols., Oxford, 1883); Paul's Grundriss der germanischen Philologie, 1 Bd., 5 Lfg. (article Mythologie, by E. Mogk); Grimm's Teutonic Mythology (translated by Stallybrass, 3 vols.); Werner Hahn's Das Nibelungenlied; Lang's Myth, Ritual, and Religion (2 vols., London, 1887), and Mythology (Encyc. Brit., Vol. 9); Tylor's Anthropology (New York, 1881) and Primitive Culture (2 vols.); J. W. Powell's Annual Reports of the Bureau of Ethnology (7 vols., beginning 1879-1880, Washington, D.C.); Keary's Outlines of Primitive Belief; Fiske's Myths and Myth-makers (Boston); Whitney's Oriental and Linguistic Studies; W. P. Johnston's The Origin of Myth; and of other works to which due reference is made in the footnotes and Commentary. The student is also referred to F. B. Jevons' edition of Plutarch's Romane Questions, translated by Philemon Holland (London, 1892)

(introduction on Roman Mythology); and to C.G. Leland's Etruscan-Roman Remains in Popular Tradition (London, 1892). The Maps, furnished by Messrs. Ginn and Company from other of their publications, have, with the kind consent of the authors of those works, in some instances been adapted by me to suit the present purpose.

The principal authorities used in the selection of the illustrations of this new edition are: Baumeister, Denkmäler des klassischen Alterthums (3 vols., Munich, 1888); Furtwängler, Masterpieces of Greek Sculpture (London, 1905); Ernest Gardner, Ancient Athens (New York and London, 1902); Percy Gardner, A Grammar of Greek Art (New York and London, 1905); and Sculptured Tombs of Hellas (London, 1896); Percy Gardner and Jevons, A Manual of Greek Antiquities (London, 1895); Gerhard, Auserlesene griechische Vasenbilder (1840-1858); Gusman, Pompeii (London, 1900); Harrison and Maccoll, Greek Vase Paintings (London, 1894); E. von Mach, Handbook of Greek and Roman Sculpture (Boston, 1905); and Greek Sculpture, Its Spirit and Principles (Boston, 1903); A. S. Murray, Handbook of Greek Archæology (London, 1892); History of Greek Sculpture (2 vols., London, 1883); and Sculptures of the Parthenon (London, 1903); A. S. Murray and C. A. Hutton, Greek Bronzes and Terra Cotta Statuettes (London, 1898); C. O. Müller, Denkmäler der alten Kunst (Göttingen, 1832); Overbeck, Griechische Kunstmythologie (1871 ——); Emil Presuhn, Pompeii, 1874-1881 (Leipzig, 1882); Salomon Reinach, Peintures de vases antiques (including the collections of Millin, 1808, and Millingen, 1813 (Paris, 1891)), and Apollo (Paris, 1907); H. Roux Ainé, Herculaneum and Pompeii; Roscher, Ausführliches Lexikon der griechischen und römischen Mythologie (1884 ——) (Lieferungen 1-17 in Vol. I, 18 on in Vol. II); Anton Springer, Handbuch der Kunstgeschichte (I Alterthum, Leipzig, 1904); Charles Waldstein, The Argive Heræum (2 vols.); and the archæological periodicals as cited in the List of Illustrations.

The acknowledgment of assistance made in the former edition is here renewed.

CHARLES MILLS GAYLEY

[Pg xii]
[Pg xiii]

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CONTENTS

PAGE INTRODUCTION xxix PART I
MYTHS OF DIVINITIES AND HEROES CHAPTER I. GREEK MYTHS OF THE CREATION 1 Purpose of the Study. The Fable and the Myth. Origin of the World. Origin of the Gods. The Rule of Cronus. The War of the Titans. The Division of Empire. The Reign of Jupiter. The Origin of Man. Prometheus, a Creator. The Age of Gold. The Silver Age. Prometheus, Champion of Man. Pandora. Prometheus Bound. Longfellow's Prometheus. The Brazen Age. The Iron Age. The Flood. Deucalion and Pyrrha. The Demigods and Heroes. CHAPTER II. THE GODS OF HEAVEN 18 Olympus. The Great Gods. Jupiter (Zeus). Conceptions of Jupiter. Juno (Hera). Minerva (Athene or Athena). Mars (Ares). Vulcan (Hephæstus). Apollo. Shelley's Hymn of Apollo. Diana (Artemis). Jonson's Hymn to Cynthia. Venus (Aphrodite). The "Venus of Milo." Mercury (Hermes). Vesta (Hestia). The Lesser Divinities of Heaven. CHAPTER III. THE GODS OF EARTH 42 Conception of the World. Ceres (Demeter). Gæa (Ge). Bacchus (Dionysus). The Lesser Divinities of Earth. CHAPTER IV. THE GODS OF THE UNDERWORLD 47 The Underworld. Tartarus and the Elysian Fields. The Islands of the Blest. Pluto (Hades). Proserpina (Persephone). The Lesser Divinities of the Underworld. CHAPTER V. THE GODS OF THE WATERS 55 The Older Dynasty. The Younger Dynasty. The Lesser Divinities of the Waters. CHAPTER VI. THE ROMAN DIVINITIES 59 Gods Common to Greece and Italy. Italian Gods. CHAPTER VII. MYTHS OF THE GREAT DIVINITIES OF HEAVEN 64 Myths of Jupiter and Juno. Love Affairs of Jupiter. Io. Callisto. Europa. Semele. Ægina. Antiope. Jupiter, a Friend of Man. Juno's Best Gift. Myths of Minerva. Arachne. Myths of Mars. Mars and Diomede. Mars and Minerva. The Fortunes of Cadmus. Myths of Vulcan. Myths of Apollo. The Wanderings of Latona. Apollo, the Light Triumphant. Hyacinthus. Phaëthon. The Plague sent upon the Greeks before Troy. The Punishment of Niobe. The Lamentation for Linus. Æsculapius. Apollo in Exile. Lowell's Shepherd of King Admetus. Admetus and Alcestis. Apollo, the Musician. Apollo, Pan, and Midas. Shelley's Hymn of Pan. Marsyas. The Loves of Apollo. Daphne. Marpessa. Clytie. Myths of Diana. The Flight of Arethusa. Shelley's Arethusa. The Fate of Actæon. The Fortunes and Death of Orion. The Pleiads. Endymion. Myths of Venus. Adonis. Cupid and Psyche. Keats' Ode to Psyche. Atalanta's Race. Hero and Leander. Pygmalion and the Statue. Pyramus and Thisbe. Phaon. The Vengeance of Venus. Myths of Mercury. CHAPTER VIII. MYTHS OF THE GREAT DIVINITIES OF EARTH 152 Myths of Bacchus. The Wanderings of Bacchus. The Story of Acetes. The Choice of King Midas. CHAPTER IX. FROM THE EARTH TO THE UNDERWORLD 159 Myths of Ceres, Pluto, and Proserpine. The Rape of Proserpine. The Wanderings of Ceres. Triptolemus and the Eleusinian Mysteries. Orpheus and Eurydice. CHAPTER X. MYTHS OF NEPTUNE, RULER OF THE WATERS 169 Lord of the Sea. Lord of Streams and Fountains. Pelops and Hippodamia. CHAPTER XI. MYTHS OF THE LESSER DIVINITIES OF HEAVEN 172 Myths of Stars and Winds. Cephalus and Procris. Dobson's The Death of Procris. Ceyx and Halcyone. Aurora and Tithonus. Tennyson's Tithonus. Memnon. CHAPTER XII. MYTHS OF THE LESSER DIVINITIES OF EARTH, ETC. 181 Pan, and the Personification of Nature. Stedman's Pan in Wall Street. Other Lesser Gods of Earth. Echo and Narcissus. Echo, Pan, Lyde, and the Satyr. The Naiads. The Dryads, or Hamadryads. Erysichthon. Dryope. Rhœcus. Pomona and Vertumnus. The Cranes of Ibycus. CHAPTER XIII. MYTHS OF LESSER DIVINITIES OF THE WATERS 198 Galatea and Polyphemus. Glaucus and Scylla. Nisus and Scylla. Leucothea. Proteus and Aristæus. Acheloüs and Hercules. Milton's Sabrina Fair. CHAPTER XIV. MYTHS OF THE OLDER HEROES: THE HOUSE OF DANAÜS, AND ITS CONNECTIONS 206 The Older and the Younger Heroes. The Genealogy of Danaüs. The Danaïds. The Doom of King Acrisius. Perseus and Medusa. Perseus and Atlas. Perseus and Andromeda. Bellerophon and the Chimæra. Hercules (Heracles): His Youth. His Labors. His Later Exploits. The Loss of Hylas. The Rescue of Daphnis. The Expedition against Laomedon. The Death of Hercules. CHAPTER XV. THE FAMILY OF ÆOLUS 229 Descendants of Deucalion. The Quest of the Golden Fleece. The Return of the Argonauts. Medea and Æson. Pelias. CHAPTER XVI. THE FAMILY OF ÆTOLUS AND ITS CONNECTIONS 237 The Calydonian Hunt. Merope. Castor and Pollux. The Twin Brethren among the Romans. CHAPTER XVII. THE HOUSE OF MINOS 246 Minos of Crete. Dædalus and Icarus. CHAPTER XVIII. THE HOUSE OF CECROPS AND ERICHTHONIUS 249 From Cecrops to Philomela. Matthew Arnold's Philomela. Theseus. Theseus and Ariadne. Bacchus and Ariadne. The Amazons. Theseus and Pirithoüs. Phædra and Hippolytus. CHAPTER XIX. THE HOUSE OF LABDACUS 261 The Misfortunes of Thebes. Œdipus and the Sphinx. Œdipus, the King. Œdipus at Colonus. CHAPTER XX. MYTHS OF THE YOUNGER HEROES: THE SEVEN AGAINST THEBES 265 Their Exploits. The Seven against Thebes. Antigone. The Epigoni. CHAPTER XXI. HOUSES CONCERNED IN THE TROJAN WAR 269 Three Families. Peleus. Achilles, Son of Peleus. Atreus. Tyndareus. CHAPTER XXII. THE TROJAN WAR 277 Its Origin. Iphigenia in Aulis. Protesilaüs and Laodamia. Homer's Iliad. The Wrath of Achilles. The Enlistment of the Gods. Thetis intercedes for Achilles. Agamemnon calls a Council. Paris plays the Champion. Helen surveys the Grecian Host. Menelaüs defeats Paris. The Two Days' Battle. Hector and Andromache. Neptune aids the Discouraged Greeks. Jupiter inspirits the Trojans. Achilles and Patroclus. Patroclus in the Armor of Achilles. The Deaths of Sarpedon and Patroclus. The Remorse of Achilles. The Reconciliation of Agamemnon and Achilles. The Death of Hector. Achilles drags the Body of Hector. Priam in the Tent of Achilles. CHAPTER XXIII. THE FALL OF TROY 307 The Fall of Troy. The Death of Achilles. Contest for the Arms of Achilles. Paris and Œnone. The Palladium. The Wooden Horse. Laocoön and the Serpents. The Death of Priam. The Survivors. Helen, Menelaüs, and Agamemnon. Electra and Orestes. Orestes pursued by the Furies. His Purification. CHAPTER XXIV. THE WANDERINGS OF ULYSSES 318 From Troy to Phæacia. The Lotos-eaters. The Cyclopes. The Bag of Winds. The Læstrygonians. The Isle of Ææa. Ulysses visits Hades. The Sirens. Scylla and Charybdis. The Cattle of the Sun. Calypso's Island. The Land of the Phæacians. Fate of the Suitors. Tennyson's Ulysses. CHAPTER XXV. ADVENTURES OF ÆNEAS 346 From Troy to Italy. The Departure from Troy. The Promised Empire. The Harpies. Epirus. The Cyclopes Again. The Resentment of Juno. The Sojourn at Carthage. Dido. Palinurus. Italy at Last. The Sibyl of Cumæ. The Infernal Regions. The Elysian Fields. The Valley of Oblivion. CHAPTER XXVI. THE WAR BETWEEN TROJANS AND LATINS 362 The Fulfillment of Prophecy. The Gates of Janus Opened. Camilla. Alliance with Evander. The Site of Future Rome. Turnus attacks the Trojan Camp. Nisus and Euryalus. The Death of Mezentius. The Deaths of Pallas and Camilla. The Final Conflict. CHAPTER XXVII. MYTHS OF THE NORSE GODS 373 The Creation. Yggdrasil. Odin and his Valhalla. The Valkyries. Thor and the Other Gods. Loki and his Progeny. The Conflict with the Mountain Giants. The Recovery of Thor's Hammer. Thor's Visit to Jötunheim. The Sword of Freyr. The Death of Balder. The Funeral of Balder. The Elves. Ragnarok. CHAPTER XXVIII. MYTHS OF NORSE AND OLD GERMAN HEROES 398 The Saga of the Volsungs. The Lay of the Nibelungs. CHAPTER XXIX. THE RING OF THE NIBELUNG

href="@public@vhost@g@gutenberg@html@files@46063@[email protected]#Page_410" class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">410 Wagner's Tetralogy. The Rhine-gold. The Valkyrie. Siegfried. The Twilight of the Gods. PART II
THE HISTORY OF MYTH CHAPTER XXX. THE ORIGIN AND ELEMENTS OF MYTH 431 Kinds of Myth. Divisions of Inquiry. Elements of the Myth. Reasonable Myths. Unreasonable Myths. Theory of Deterioration. Theory of Progress. CHAPTER XXXI. THE DISTRIBUTION OF MYTHS 447 Theories of Resemblance. CHAPTER XXXII. THE PRESERVATION OF MYTHS 450 Traditional History. In Greece. Roman Poets of Mythology. Records of Norse Mythology. Records of German Mythology. Records of Oriental Mythology: Egyptian. Indian Records. Persian Records. COMMENTARY 465 RULES FOR PRONUNCIATION 541 INDEX OF MYTHOLOGICAL SUBJECTS AND SOURCES 543 INDEX OF MODERN AUTHORS AND ARTISTS 582

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LIST OF ILLUSTRATIONS

FIGURE PAGE 1. Herculaneum and Pompeii, by H. Roux Ainé Jupiter surveying the World. Roman Wall Painting, Naples: 3 2. Journal of Hellenic Studies, 4, 90 Athena and Giant. Greek Bronze, Mus. Kircherianum: 7 3. Zeus and Giants. Ancient Gem: Baumeister 3, 1791 8 4. Baumeister 3, 1568 Prometheus making Man. Roman Sarcophagus in the Capitoline: 9 Upper row, from left to right: Oceanus, the Sun-god, Clotho, Lachesis, etc. Lower row: Cupid and Psyche, Gæa (Tellus), Prometheus, the newly created Man to whom Minerva gives life (the butterfly). Death, Cupid with down-turned torch, the first man dead, Atropos, Mercury. 5. Poseidon (Neptune), Dionysus (Bacchus) and Goddess. East Frieze, Parthenon, in the British Museum: Photograph 17 6. Two Hours. Greek Vase Painting, St. Petersburg: Roscher 1, 2727 18 7. Zeus from Dodona. Greek Bronze: Photograph 20 8. Zeus after Phidias. Coin of Elis: A. S. Murray, Greek Bronzes, opp. p. 81 21 9. Hera of Argos. Greek Marble: Argive Heræum, 1 22 10. Athena Velletri. Ancient Marble in the Louvre: Photograph 23 11. Ares Ludovisi. Ancient Marble in Rome: Photograph 24 12. Ares (Mars). Painting by Raphael: Photograph 25 13. The Forge of Vulcan. Roman Relief: Baumeister 3, 1640 25 14. Apollo (so-called Adonis). Ancient Marble in the Vatican: Photograph 26 15. Apollo Belvedere. Ancient Marble in the Vatican: Photograph 27 16. Apollo. Greek Bronze from Thessaly, British Museum: Murray, Greek Bronzes, Fig. 28 28 17. Diana. Painting by Correggio: Photograph 29 18. Diana (Artemis) of Versailles. Ancient Marble in the Louvre: Photograph 30 19. Artemis Knagia. Ancient Silver Medallion from Herculaneum: Roscher 1, 566 31 20. Hermes Psychopompos. Greek Stele of Myrrhina: P. Gardner, Sculptured Tombs, Fig. 72 34 Hermes (Mercury) leading to the underworld the spirit of a lady, Myrrhina, who has just died. From a relief on her tomb. 21. Eros (Cupid). Ancient Marble, Naples: Photograph 36 22. Rape of Ganymede. Ancient Marble in the Vatican: Baumeister 2, 891 37 23. Polyhymnia. Ancient Marble, Berlin: Baumeister 2, 1185 37 24. The Three Fates. Painting attributed to Michelangelo, but recently conjectured to be by Rosso Fiorentino. Florence: Photograph 38 25. Boreas. Greek Reliefs, Athens: Baumeister 3, 2370 39 26. Zephyros. Greek Reliefs, Athens: Baumeister 3, 2370 39 27. Boreas carrying off Orithyia. Greek Vase Painting, Munich: Baumeister 1, 373 40 28. Iris carrying Child. Vase Painting: Gerhard, Auserlesene Vasenbilder, 2, 83 41 29. Demeter of Knidos. Greek Marble in the British Museum: E. von Mach, Handbook of Greek and Roman Sculpture, Plate 247 42 30. Ceres. Roman Wall Painting: I. Weir, Greek Painting, p. 343 43 31. Dionysus and the Vine. Ancient Marble in the British Museum: Roscher 1, 292 44 32. Pan the Hunter. Ancient Terra Cotta: Murray and Hutton, Plate VI 45 33. A Satyr with Grafting Materials. Ancient Gem: Pine's Virgil 46 34. The Greek Underworld. Ancient Vase Painting from Canusium: Baumeister 3, 2042 B 48 Center: Hades and Persephone. Above, left: Megara, wife of Heracles, and two of her children, slain by Heracles when mad. Above, right: a Fury guarding Pirithoüs and Theseus. Middle, left: Orpheus playing and dancing, and an unknown family group. Middle, right: the three judges of the dead. Below: Sisyphus, a Fury, Hermes, Heracles with Cerberus, a Fury, Tantalus. 35. Hermes conducting a Soul to Charon. Ancient Terra Cotta: Archäologische Zeitung, Berlin 49 36. Hypnos (Somnus, Sleep). Murray, Greek Bronzes, opp. p. 72 50 37. A Fury. Ancient Vase Painting: Roscher 1, 1334 51 38. Hades. Ancient Marble in the Villa Borghese, Rome: Baumeister 1, 690 53 39. Death, Sleep, and Hermes laying a Body in the Tomb. Ancient Vase Painting: P. Gardner, Sculptured Tombs, Fig. 5 54 40. Poseidon from Dodona. Greek Bronze in the British Museum: Murray, Greek Bronzes, Fig. 32 55 41. Wedding of Poseidon and Amphitrite. Ancient Marble Frieze, Munich: Baumeister 3, 1744 B 56 42. Triton carrying off a Nymph. Ancient Marble in the Vatican: Baumeister 3, 1964 57 43. Bearded Janus. Roman Coin: Baumeister 2, 1166 A 60 44. Genius Loci.

Wall Painting from Herculaneum in the Naples Museum: Gusman, Pompeii, p. 107 62 45. Ganymede feeding the Eagle. Ancient Relief: Pietro Santi Bartoli, Gli. Antichi Sepolcri 64 46. Hermes (Mercury) kills Argus in presence of Zeus. Ancient Vase Painting: Roscher 2, 279 65 47. Io, Argus, and Mercury. Wall Painting from Herculaneum in the Naples Museum: Baumeister 1, 802 66 48. Europa on the Bull. Greek Vase Painting: Harrison-Maccoll, Plate IV 69 49. Nereïds on Sea Beasts. Ancient Marble Frieze in Munich: Baumeister 3, 1744 A 70 50. Youthful Bacchus embracing Semele in presence of Apollo and a Satyr. Etruscan Mirror, Berlin: Baumeister 1, 557 71 51. Amphion and Zethus. Ancient Relief in the Palazzo Spada, Rome: Roscher 2, 311 76 52. Contest of Athena and Poseidon for the Supremacy of Athens. Ancient Vase Painting, St. Petersburg: Baumeister 3, 1542 83 53. Athena. Ancient Marble in Hope Collection: Furtwängler, Masterpieces, Fig. 27 85 54. Cadmus slaying the Dragon. Ancient Vase Painting, Naples: Baumeister 2, 822 87 Athena counseling. Above: river-god Ismenos, fountain-nymph Krene, and personification of Thebes. 55. Harmonia in Company of Deities. Greek Vase Painting: Ephemeris, 1897-1898, Plate X 89 Aphrodite, Eros, Harmonia standing, Peitho (Persuasion) sitting, and Koré, Hebe, Himeros (Desire). 56. The Forge of Vulcan. Painting by Velasquez: Photograph 90 57. A Sacrifice to Apollo. Greek Vase Painting: Gardner-Jevons Manual, p. 249, Fig. 16 91 58. Apollo with Hyacinthus. Ancient Marble in Hope Collection: Roscher 16-17, 2765 93 59. The Fall of Phaëthon. Roman Relief in the Louvre: Baumeister 3, 1449 97 Upper left-hand corner: Phaëthon making his request of Helios (Phœbus). Below: the Heliades turning into trees. Center: the maddened horses, one chariot wheel, and Phaëthon falling into the arms of Eridanus. The horsemen left and right of the four horses are Castor and Pollux. Earth-gods, sea-gods, and other figures. 60. A Son of Niobe. Ancient Marble in Florence: Baumeister 3, 1751 100 61. The Children of Niobe. Ancient Relief, St. Petersburg: Baumeister 3, 1759 101 62. Niobe and her Youngest Daughter. Ancient Marble, Florence: Baumeister 3, 1746 102 63. Æsculapius (Asklepios). Ancient Marble, Florence: Furtwängler, Masterpieces, Fig. 87 104 64. Admetus must Die. Wall painting from Herculaneum in Naples: Baumeister 1, 53 106 65. Heracles. Ancient Marble in Lansdowne House: Photograph 108 66. The Palatine Apollo. Ancient Marble in Vatican: Baumeister 1, 104 110 67. Daphne. Ancient Marble: Springer, Kunstgeschichte, 1, 336 113 68. Artemis (Diana). Ancient Marble, Dresden: Furtwängler, Masterpieces, p. 325 117 69. Arethusa. Ancient Coin: Baumeister 2, 1140 118 70. A Young River-god. Ancient Bronze Head: Roscher 9, 1489 119 71. Actæon. Ancient Marble Relief: Baumeister 1, 41 121 72. The Pleiades. Painting by Elihu Vedder: Photograph 123 73. Endymion. Ancient Relief in the Capitoline, Rome: E. von Mach, Handbook of Greek and Roman Sculpture, Plate 306 124 74. The Death of Adonis. Ancient Marble in the Louvre: Baumeister 1, 17 127 Right: Adonis leaves Venus. Center: he is wounded. Left: he is cared for by Venus, Cupid, and attendants. 75. Psyche at the Couch of Cupid. Painting by Thumann: Photograph 130 76. Psyche and Cupid on Mount Olympus. Painting by Thumann: Photograph 136 77. Artemis of Gabii. Ancient Marble in the Louvre: E. von Mach, Handbook of Greek and Roman Sculpture, Plate 207 139 78. Atalanta's Race. Painting by Poynter: Photograph 140 79. Hero and Leander. Painting by Keller: Photograph 144 80. Thisbe. Painting by Edward Burne-Jones: Photograph 148 81. Hermes and Dog disguised as Pig. Ancient Vase Painting, Vienna: Harrison-Maccoll, Plate XXXIIIa 151 82. Silenus taking Dionysus (Bacchus) to School. Ancient Terra Cotta: Murray and Hutton, Fig. 36 152 83. Bearded Dionysus on Mule, attended by Satyr. Old Greek Terra Cotta Relief: Baumeister 1, 481 153 84. Satyr and Mænad with Child Dionysus. Ancient Relief: Baumeister 2, 932 154 85. Dionysus at Sea. Greek Vase Painting in the Pinakothek, Munich: Harrison-Maccoll, Plate I 155 86. Bacchic Procession. Greek Vase Painting: Arch. Zeit. 156 87. Dionysus visiting a Poet. Ancient Relief, Naples: Baumeister 3, 1849 157 88. Rape of Proserpina. Ancient Relief: Baumeister 1, 461 159 89. Hades and Persephone. Ancient Terra Cotta: P. Gardner, Sculptured Tombs, Fig. 29 161 90. Sacrifice to Demeter and Persephone. Greek Relief in Paris: Baumeister 1, 457 162 91. Triptolemus and the Eleusinian Deities. Greek Vase Painting: Baumeister 3, 1958 164 Demeter behind the chariot and Persephone and the nymph Eleusis in front. 92. Demeter (Ceres), Triptolemus, and Proserpina. Greek Relief: E. von Mach, Handbook of Greek and Roman Sculpture, Plate 178 165 93. Orpheus and Eurydice. Painting by Lord Leighton: Photograph 166 94. Farewell of Orpheus and Eurydice (Mercury ready to lead her away). Ancient Marble Relief in Villa Albani, Rome: Photograph 167

class="tdr">95. Isthmian Poseidon. Ancient Marble in Lateran: Springer, Kunstgeschichte, 1, Fig. 495 169 96. Pelops winning the Race; Hippodamia looking on. Ancient Vase Painting: Baumeister 2, 1395 171 97. Phosphor, Eos, and Helios (the Sun) rising from the Sea. Ancient Vase Painting: Gerhard, Akademische Abhandlungen 172 98. Sun, rising, preceded by Dawn. Painting by Guido Reni: Photograph 173 99. Sunrise; Eos (Dawn) pursuing Cephalus. Greek Vase Painting: P. Gardner, Grammar of Greek Art, Fig. 71 174 The young stars descending; to the left, the moon (Selene) riding over the hills. 100. The God of Sleep. Ancient Relief: Baumeister 1, 770 176 101. The Death of Memnon (Aurora lifting his body). Greek Vase Painting in the Louvre: Harrison-Maccoll, Plate XVIII 180 102. Pan blowing his Pipe, Echo answering. Ancient Earthenware Lamp: Baumeister 1, 514 182 103. The Music Lesson (Pan teaching a Boy). Ancient Marble, Florence: Baumeister 2, 1340 184 104. Bacchic Dance (Nymph and Satyrs). Ancient Relief: Baumeister 3, 1931 184 105. Silenus. From an ancient candelabrum in Munich: Baumeister 2, 895 185 106. Satyr (Marble Faun). Ancient Marble in the Capitoline, Rome: Photograph 186 107. Satyr swinging Maiden. Greek Vase Painting in Berlin: Harrison-Maccoll, Plate XXXII 186 108. Satyr drinking from Amphora. Ancient Vase Painting in Baltimore: Harrison-Maccoll, Plate IX 187 109. Narcissus gazing at his Reflection. Wall Painting from Pompeii, Naples: Baumeister 2, 1213 188 110. A Rustic. Wall Painting from Herculaneum 195 111. A Rustic. Wall Painting from Herculaneum 196 112. Galatea and Polyphemus. Wall Painting in House of Germanicus, Rome: Roscher 9, 1587 199 113. A Sea-god, perhaps Glaucus. Ancient Marble in Vatican: Baumeister 2, 987 200 114. Nereïds and Sea Monsters. Ancient Relief: Baumeister 2, 1216 204 115. The Danaïds. Ancient Marble Relief in Vatican: Roscher 6, 951 207 116. Danaë and Perseus and the Chest. Greek Vase Painting in St. Petersburg: Harrison-Maccoll, Plate XXXIV 208 117. Medusa Rondanini (Front View). Ancient Marble in Munich: Furtwängler, Masterpieces, Fig. 63 209 118. Medusa Rondanini (Profile). Ancient Marble in Munich: Furtwängler, Masterpieces, Fig. 63 209 119. Perseus. Marble by Cellini in Florence: Photograph 210 120. Perseus with the Head of Medusa. Ancient Vase Painting: Gerhard 211 121. Perseus finds Andromeda. Ancient Vase Painting in Museum, Berlin: Jahrbuch des D. Arch. Instituts XI (1896), Plate II 212 Right: Aphrodite holding wreath over Perseus' head. Left: Cepheus seated, Hermes with his wand, and an Æthiopian inhabitant. 122. Bellerophon and Pegasus. Ancient Relief: Baumeister 1, 317 215 123. Heracles strangling the Nemean Lion. Greek Vase Painting in British Museum: Baumeister 1, 722 217 Left: Iolaiis and the local nymph Nemea. Right: Athena and Hermes. 124. Heracles killing the Hydra (behind him Athena and Iolaiis). Greek Vase Painting: Baumeister 1, 724 217 125. Heracles bringing Home the Boar (Eurystheus hiding in a wine jar). Greek Vase Painting: Harrison-Maccoll, Plate XII 218 126. Heracles with the Bull: Metope of the Temple of Zeus at Olympia: Baumeister 2, 1285 219 127. Heracles and Cerberus. Greek Vase Painting: Baumeister 1, 730 220 Left: Athena and Hermes. Right: Goddess of the Underworld. 128. Heracles and Antæus. Greek Vase Painting in Athens: Harrison-Maccoll, Plate XXIV 221 129. Hercules and Nessus (Dejanira in Chariot). Wall Painting from Pompeii: Baumeister 1, 733 226 130. The Building of the Argo, Athene directing. Ancient Terra Cotta Relief in the British Museum: Baumeister 1, 127 229 131. Jason conquers the Bulls and steals the Fleece. Ancient Relief in Vienna: Baumeister 2, 981 231 Center: Æetes seated. Right: Medea assists her lover. 132. Medea deliberating upon the Murder of her Children. Wall Painting from Herculaneum: Baumeister 2, 948 234 133. Medea and Daughters of Pelias preparing the Caldron. Ancient Marble Relief, Berlin: Photograph 235 134. Meleager on the Boar Hunt. Roman Relief: Baumeister 2, 990 238 Atalanta appears twice,—as before the hunt to the left of the central figures, as during the hunt in front of Meleager, and shooting an arrow into the boar. 135. The Death of Meleager. Roman Sarcophagus in the Louvre: Baumeister 2, 991 241 Right: the contest between Meleager and his uncles. Left: Althæa putting the fateful brand into the fire; behind her a Fury whose torch has lighted the fire. Center: the dying Meleager, and Atalanta seated mourning. 136, 137. Castor and Pollux capturing the Giant Talus. Ancient Vase Painting: Baumeister 3, 1804 244, 245 Pollux on foot in front of Medea. Seated Deities on right, Poseidon and Amphitrite. 138. Dædalus and Icarus. Ancient Relief in the Villa Albani, Rome: Roscher 6, 934 247 139. So-called Theseus. Greek Marble in the Parthenon: Baumeister 2, 1370 249 140. Æthra caresses Theseus and sends him forth with his Father's Sword. Greek Vase Painting, St. Petersburg: Harrison-Maccoll, Plate XXII 251 141. Theseus receiving Thanks from the Rescued after killing the Minotaur. Campanian Wall Painting in Naples: Baumeister 3, 1876 252 142. The Sleeping Ariadne. Ancient Marble in Vatican: Baumeister 1, 130 254 143. Head of Dionysus. Ancient Marble, Leyden: Roscher 7, 1128 256

class="tdr">144. The Revels of Bacchus and Ariadne. Roman Sarcophagus: Baumeister 1, 492 257 Large figures from left to right: Priest, Satyr, Mænad, Mercury, Bacchus and Ariadne seated, Satyr, Mænad, priest. Small figures: Desire (Himeros) and Love leading Pan captive, followed by Silenus. 145. Lapith and Centaur fighting. Greek Metope from the Parthenon, British Museum: Photograph 259 146. Œdipus and the Sphinx. Greek Vase Painting: P. Gardner, Grammar of Greek Art, Fig. 70 261 147. Eteocles and Polynices kill each other. Etruscan Relief, Florence: Baumeister 3, 1841 266 148. The Gods bring Wedding Gifts. Ancient Relief from the Villa Albani, Rome: Baumeister 1, 759 271 From right to left, married couple, Vulcan, Minerva, the four seasons (Winter, Spring, Summer, Autumn) Hymen with torch, Comus, Amor pushing jealous deity away. 149. Map of the Troad and the Hellespont 273 150. Helen persuaded by Aphrodite; Paris (Alexander) held by Love. Ancient Relief in Naples: E. von Mach, Handbook, Plate 312 277 151. Achilles taken from Scyros by Ulysses (to the right) and Diomedes (to the left). Pompeian Wall Painting, Naples: Roscher 1, 27 279 152. The Sacrifice of Iphigenia. Pompeian Wall Painting, Naples: Baumeister 1, 807 281 153. The Surrender of Briseïs. Relief by Thorwaldsen: Photograph 284 154. Hector's Farewell. Relief by Thorwaldsen: Photograph 291 155, 156. The Embassy to Achilles. Greek Vase Painting: P. Gardner, Grammar of Greek Art, Fig. 72 294, 295 Left section: Briseïs is led away. Right section: Ajax and Ulysses, leaning on staff, plead with Achilles; at the right, Phœnix. 157. The Battle by the Ships. Greek Vase Painting: Baumeister 1, 783 296 Perhaps the moment when Ajax retreats. Hector presses upon him followed by a youth with a torch. At the extreme right, Paris drawing a bow. 158. Supposed Menelaüs with the Body of Patroclus. Ancient Marble, Florence: Baumeister 1, 785 298 159. Contest of Achilles and Hector. Ancient Vase Painting: Baumeister 1, 788 302 Left: Athene. Right: Apollo. 160. Achilles over the Body of Hector at the Tomb of Patroclus P. Gardner, Sculptured Tombs, Fig. 40 (whose shade is running above the tomb). Greek Vase Painting: 303 161. Priam's Visit to Achilles (under whose couch lies the body of Hector). Greek Vase Painting: Baumeister 1, 791 304 Achilles has been taking his dinner. Servants bear gifts behind Priam. 162. Achilles and the Amazon Penthesilea. Greek Vase Painting: Baumeister 3, 2123 307 163. Œnone warning Paris not to sail for Greece. Ancient Relief, in the Villa Ludovisi, Rome: Baumeister 2, 1360 309 164. The Wooden Horse. Ancient Gem: Baumeister 1, 794 310 165, 166. The Sack of Troy. Greek Vase Painting, Naples: Baumeister 1, 795 312, 313 Priam on altar, Astyanax on his lap, and Polites, whom Pyrrhus has just killed, at his feet. Pyrrhus is about to strike Priam. Behind him rushes Andromache to strike a kneeling soldier. Below, under the palm tree, sits Hecuba facing the statue of Minerva (a Palladium) behind which Helen is seen to cower. In front Cassandra clings to the statue, while Ajax, striding over the body of her dead lover, tries to drag her away by the hair. To the left, Æneas, with Anchises in his arms, and little Ascanius are hastening away. 167. Orestes and Electra at the Tomb of Agamemnon. Greek Vase Painting: Baumeister 3, 1939 315 168. Orestes pursued by Furies. Greek Vase Painting: Baumeister 2, 1313 316 169. Orestes and Pylades before the King of the Tauri (Iphigenia as a priestess on the steps of the temple). Wall Painting from Pompeii, Naples: Springer, Kunstgeschichte, 1, 529 316 170. Ulysses offering the Cyclops Wine. Ancient Statuette in the Vatican: Baumeister 2, 1251 318 171. Boring out the Cyclops' Eye. From an Attic Vase: P. Gardner, Grammar of Greek Art, p. 225 322 172. Ulysses and Two Companions under the Rams. Greek Vase Painting: Harrison-Maccoll, Plate XXIX 323 173. The Castle of Circe. Sicilian Vase Painting: Baumeister 2, 839 325 174. Ulysses and the Sirens. Greek Vase Painting in the British Museum: P. Gardner, Grammar of Greek Art, p. 227, Fig. 78 329 175. Ulysses and Scylla. Etruscan Relief: Baumeister 3, 1762 330 176. Penelope at the Loom, and Telemachus. Greek Vase Painting in Museum, Chiusi: Harrison-Maccoll, Plate XLI 339 177. Ulysses recognized by Euryclea (behind him Eumæus). Ancient Terra Cotta Relief: Baumeister 2, 1257 341 178, 179. Ulysses kills the Suitors. Greek Vase Painting, Berlin: Baumeister 3, 2139 342, 343 It will be seen that the suitors are defending themselves. 180. The Nike (Victory) of Samothrace. Greek Statue in the Louvre: Von Mach, Greek Sculpture, Plate facing p. 30 345 181. Æneas, Anchises, and Iulus. Ancient Gem, Uffizi, Florence 347 182. Scylla (carved end of ancient table). Chefs d'Œuvres de l'Art Antique, Paris, 1867 349 183. The Cumæan Sibyl. Painting by Michelangelo in the Vatican: Photograph 353 184. Ixion on the wheel. Ancient Vase Painting, Berlin: Baumeister 1, Fig. 821 358 Below, right: Vulcan looking at his handiwork; a Fury and Hermes. Above: winged forms, perhaps the Hours, to see that the motion is perpetual. One is even now shoving the wheel; the other has just taken off her hand to point "your turn." 185. Amazon. Ancient Marble Statue: Guhl and Koner 364 186. Valkyrie bearing a Hero to Valhalla. Painting by Dielitz: Photograph 375 187. Loki and Siguna. Painting by Gebhardt: Photograph 393 188. Gunther and Brunhild. Fresco by Julius Schnorr von Carolsfeld: Photograph 406 189. Siegfried and Kriemhild. Fresco by Julius Schnorr von Carolsfeld: Photograph 407