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ATTIS 100.00%
A mythical personage in the worship of the Phrygian goddess Cybele-Agdistis. The son of this goddess, so ran the story, had been mutilated by the gods in terror at his gigantic strength, and from his blood sprang the almond-tree. After eating its fruit, Nana, daughter of the river Sangarius, brought forth a boy, whom she exposed. He was brought up first among the wild goats of the forests, and afterwards by some shepherds, and grew up so beautiful that Agdistis fell in love with him. Wishing to wed the daughter of the king of Pessinus in Phrygia, he was driven to madness by the goddess. He then fled to the mountains, and destroyed his manhood at the foot of a pine-tree, which received his spirit, while from his blood sprang violets to garland the tree. Agdistis besought Zeus that the body of her beloved one might know no corruption. Her prayer was heard; a tomb to Attis was raised on Mount Dindymus in the sanctuary of Cybele, the priests of which had to undergo emasculation for Attis' sake. A festival of several days was held in honour of Attis and Cybele in the beginning of spring. A pine-tree, felled in the forest, was covered with violets, and carried to the shrine of Cybele, as a symbol of the departed Attis. Then, amid tumultuous music, and rites of wildest sorrow, they sought and mourned for Attis on the mountains. On the third day he was found again, the image of the goddess was purified from the contagion of death, and a feast of joy was celebrated, as wild as had been the days of sorrow.
 
HILDESHEIM, THE TREASURE OF 34.22%
A number of drinking vessels, plates, and cooking utensils of silver, most of them embossed in high relief, found at Hildesheim in 1868. These important products of Roman art, of the time of Augustus, are now among the chief attractions of the Berlin Museum. They probably belonged to the table service of some wealthy Roman, and had been hidden in the ground by Germans who had taken them as the spoils of victory. Artistically the most important pieces are a bowl shaped like a bell, and gracefully decorated externally with arabesques and figures of children (see cut), and four magnificent saucers decorated with a gilt Minerva seated on a rock, and half-length figures of the young Hercules slaying the serpents, and of Cybele and of Attis; also two cups adorned with masks and all kinds of emblems of the worship of Bacchus.
 
RHEA 31.35%
 
CATULLUS 17.43%
Perhaps the greatest of Roman lyric poets. He was born at Verona B.C. 87, and died about 54. He came to Rome while still young, and found himself in very good society there, being admitted to the circle of such men as Cicero, Hortensius, and Cornelius Nepos, and the poets Cinna and Calvus. He had an estate on the Lacus Larius (Lake of Como), and another at Tibur (Tivoli); but, if we may believe what he says about his debts and poverty, his pecuniary affairs must have been in bad order. In consequence of this he attached himself to the propraetor Gaius Memmius, on his going to Bithynia in the year 57. He gained nothing by doing so, and in the following spring returned home alone, visiting on the way the tomb of his brother, who was buried near Troy. Some of his most beautiful poems are inspired by his love for a lady whom he addresses as Lesbia, a passion which seems to have been the ruin of his life. She has been, with great probability, identified with the beautiful and gifted but unprincipled sister of the notorious Clodius, and wife of Metellus Celer. Catullus was, in his eighteenth year, so over mastered by his passion for her, that he was unable even after he had broken off all relations with her, and come to despise her, to disentangle himself. In his intercourse with his numerous friends Catullus was bright and amiable, but unsparing in the ridicule he poured upon his enemies. He held aloof from public life, and from any active participation in politics, but none the less bitterly did he hate those whom he thought responsible for the internal decline of the Republic--themselves and all their creatures. On Caesar, though his own father's guest, and on his dissolute favourite Mamurra, he makes violent attacks. But he is said to have apologized to Caesar, who magnanimously forgave him. Catullus' poems have not all survived. We still possess 116, which, with the exception of three, are included in a collection dedicated to Cornelius Nepos. The first half is taken up with minor pieces of various contents, and written in different lyric metres, especially the iambic. Then follows a series of longer poems, amongst them the wonderful lament of Attis, wonderful in spite of the repulsiveness of its subject; the epic narrative of the marriage of Peleus and Thetis, and a paraphrase of Callimachus' best elegy, "The Lock of Berenice." These are all in the Alexandrian manner. The remaining poems are short, and of different contents, but all written in elegiacs. Catullus takes his place in the history of literature as the earliest classical metrist among the Romans. He is a complete master of all varieties of verse. More than this, he has the art of expressing every phase of feeling in the most natural and beautiful style; love, fortunate and unfortunate, sorrow for a departed brother, wanton sensuality, the tenderest friendship, the bitterest contempt, and the most burning hatred. Even his imitations of the Greek are not without an original stamp of their own.
 
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