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Women who celebrated wild orgies in honour of Dionysus.
A form of divination by means of the entrails of sacrificed beasts. (See MANTIKE.)
The contests of beasts with one another, or of men with beasts, that formed part of the shows of which the Romans were passionately fond. They were first introduced at the games of Marcus Fulvius Nobilior, 116 B.C. Those who took part in these contests were called bestiarii. They were either criminals and prisoners of war, who were poorly armed or completely unarmed, pitted against wild beasts which had previously been made furious by hunger, branding, and goading; or else hired men who, like gladiators, were trained in special schools and fully armed. Even in the last century of the Republic, and still more under the Empire, incredible expenses were incurred in the collection of the rarest animals from the remotest quarters of the globe, and in the other arrangements for their baiting. Thus Pompey provided a show of 500 lions, 18 elephants, and 410 other African animals; and Caligula caused 400 bears and the same number of animals from Africa to tear each other to pieces. Occasionally at these combats with wild beasts the man condemned to death was attired in an appropriate costume, so as to represent a sanguinary scene from mythology or history, as, for example, Orpheus being torn to pieces by bears. Down to the end of the Republic these shows took place in the Circus, and the greater exhibitions were held there even after that time, until the amphitheatres became the usual places of performance; and indeed, when they were combined with the gladiatorial exhibitions, they took place in the early morning before them. [The repugnance of some of the more cultivated Romans for these exhibitions is shown in a letter of Cicero's, Ad Fam. vii 1 § 3.] They were continued down to the 6th century. Among the Greeks, especially the Athenians, cock-fights and quail-fights were very popular. At Athens cock-fights were held once a year in the theatres at the public expense. The training of fighting cocks was conducted with great care. Certain places, such as Tanagra in Boeotia, Rhodes, and Delos, had the reputation of producing the largest and strongest. To whet their eagerness for the combat, they were previously fed with garlic. Their legs were armed with brass spurs, and they were set opposite to each other on tables furnished with raised edges. Bets, often to an enormous amount, were laid on the fights by the gamesters, as well as by the spectators.
The wild choral dance of the Greek satyric drama (q.v.>). See also CHORUS.
Son of Echion and Agave, the daughter of Cadmus, whom he succeeded in the sovereignty of Thebes. When Dionysus came to Thebes, and the women celebrated a Bacchic festival for him on Cihaeron, he hastened thither to prevent it, but was taken by his own mother for a wild beast, and torn to pieces by her and the other women [Eur., Bacchoe]. His grandson was Menoeceus, the father of Creon and locaste. See cut under AGAVE.
A circular theatre, i.e. a building in which the space for spectators entirely surrounds that where the spectacle is exhibited. These buildings, designed for combats of gladiators and wild beasts (venationes), were first erected in Italy, but in Campania sooner than at Rome. The first known at Rome were temporary wooden structures, like that of Scribonius Curio, who in B.C. 50 made anamphitheatre out of two revolving theatres by joining them back to back, or that of Caesar in 46. The first stone amphitheatre, erected by Statilius Taurus in B.C.29, was burnt down in the fire of Nero, who then built a wooden one again. A second one of stone was begun by Vespasian, consecrated by Titus, A.D. 80, and finished by Domitian (all three of the Flavian gens). The ruins of this Amphitheatrum Flavium, which was 158 feet high, and accommodated 87,000 spectators, are the famous Colosseum. In the provinces too the large towns had their amphitheatres, of which the best preserved are those of Verona and Capua in Italy, Arles and Nimes in France. Of this last our first two illustrations give the elevation and the ground-plan An amphitheatre was usually an oval building, surrounding an arena of like shape, which sometimes, as at Rome and Capua, was a plank floor resting on deep underground walls, the spaces underneath containing cages and machinery for transformations. The exterior was formed of several arcades, one above the other, the lowest one admitting to a corridor, which ran round the building, and out of which staircases led up to the various rows of seats. In the Colosseum this first arcade is adorned with Doric, the second with Ionic, the third with Corinthian "engaged" columns; the fourth is a wall decorated with Corinthian pilasters, and pierced with windows (see ARCHITECTURE, figs. 8-10). Immediately round the arena ran a high, massive wall, with vaults for the animals and for other purposes. On it rested the podium, protected by its height and by special contrivances from the wild beasts when fighting; here were the seats of honour, e.g. at Rome, those of the imperial family, the officers of state, and the Vestal Virgins. Above the podium rose the seats of other spectators in concentric rows, the lowest ones being for senators and magistrates, the next for knights, and the rest for citizens. Women sat in the highest part of the building, under a colonnade, parts of which were portioned off for the common people. The whole space for seats could be sheltered from sun and rain by an awning supported on masts, which were let into corbels of stone that jutted out of the upper circumference. The arena could also be laid under water for the exhibition of sea-fights, the so-called naumachiae (q.v.).
ORGIES 22.30%
The ordinary Greek term for ceremonies, generally connected with the worship of a divinity, but especially secret religious customs to which only the initiated were admitted, and equivalent in meaning to "mysteries." It was customary to designate as Orgies the mysteries of the worship of Dionysus in particular. These were sometimes celebrated with wild and extravagant rites.
The mythical attendants of the Phrygian goddess Rhea Cybele, who were supposed to accompany the goddess with wild dances and intoxicating music, while she wandered by torchlight over the forest-clad mountains. The name was further given in Phrygia to the eunuch priests of the goddess. (See RHEA.)
IDMON 18.87%
Son of Apollo and of Asterie, daughter of Coronus; a seer who took part in the Argonautic expedition, although he foresaw that it would lead to his own death. He was killed by a wild boar in the land of the Marlandyni, in Bithynia. He was worshipped as a hero by the inhabitants of the town of Heracleia in Pontus, which was built around his grave by command of Apollo.
SLING 14.83%
A weapon for hurling missiles, consisting of a thong, broad in the middle and growing narrower towards the ends. The missile was either a round stone of the size of a hen's egg, a ball of baked clay, or a leaden bolt cast in the shape of an acorn. It was placed in the broad part of the thong, and the slinger (Gr. sphendonetes; Lat. funditor), holding the thong by both ends in in one hand, swung it several times round his head, and discharged the ball at the mark by means of letting go one end of the thong. The most famous slingers of antiquity were the inhabitants of the Balearic Isles; they carried three slings, made of plaited rushes, hair, and the sinews of wild beasts, for long, short, and intermediate shots respectively. Various leaden slingbolts, bearing marks or characteristic inscriptions, have been preserved. Under the Empire there came into use the sling-staff (Lat. justibalus), a staff four feet in length, to the end of which a leathern sling was fastened. One thong of this reached to the other end of the staff, and was together with this held fast by the fustibalator, who swung the staff several times round his head, and suddenly let go the longer thong, thus throwing a larger missile with much greater force than was possible with a simple sling.
ATTIS 14.35%
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.
BELLONA 14.27%
Quite a different goddess is the Bellona whom the Roman government brought from Comana in Cappadocia towards the beginning of the 1st century B.C., during the Mithridatic war. This Bellona was worshipped in a different locality, and with a service conducted by Cappadocian priests and priestesses. These Bellondrii (such was their name) moved through the city in procession at the festivals of the goddess in black raiment, and shed their blood at the sacrifice, wounding themselves for the purpose in the arms and loins with a two-edged axe, and prophesying amid a wild noise of drums and trumpets.
In Greek mythology the son of Hermes and Herse, the daughter of Cecrops king of Athens. According to another story he was son of Deion of Phocis and Diomede, and migrated from Phocis to Thoricus in Attica. He was married to Procris, the daughter of Erectheus, and lived with her in the closest affection. But while hunting one day in the mountains, he was carried away for his beauty by Eos, the goddess of the dawn. To estrange his wife's heart from him, Eos sent him to her in the form of a stranger, who, by the offer of splendid presents, succeeded in making her waver in her fidelity. Cephalus revealed himself, and Procris, in shame, fled to Crete, where she lived with Artemis as a huntress. Artemis (or, according to another story Minos), gave her a dog as swift as the wind: and a spear that never missed its aim. On returning to Attica she met Cephalus hunting. He failed to recognise her, and offered his love if she would give him her dog and her spear. She then revealed herself, and, the balance of offence being thus redressed, the lovers were reconciled and returned to their old happy life together. But Procris at last fell a victim to her jealousy. When Cephalus went out hunting, he used often to call on Aura, or the breeze, to cool his heat. Procris was told of this, and, supposing Aura to be some nymph, hid herself in a thicket to watch him. Hearing a rustling near him, and thinking a wild beast was in the thicket, Cephalus took aim with the unerring spear which Procris had given him, and slew his wife. For this murder he was banished, and fled to Baeotia. Here he assisted Amphitryon in the chase of the Taumessian fox; and both his dog and the hunted animal were turned to stone by Zeus. Subsequently he joined Amphitryon in his expedition against the Teleboae, and, according to one account, became sovereign of the Cephallenians. According to another he put an end to his life by leaping from the promontory of Leucate, on which he had founded a temple to Apollo.
In Homer the Gigantes are a wild and gigantic race of aborigines, kinsmen of the gods, as are the Cyclopes and Phaeacians. With their king Eurymedon, they are destroyed for their wickedness. Hesiod makes them the sons of Gaea, sprung from the blood of the mutilated Uranus. Neither Hesiod nor Homer know anything of their struggle with the gods (Gigantomachia ), the story of which seems to be a reflexion of the myth of the Titans, and their contest with the gods, and to be associated with local legends. The two are often confused by later poets. The place of the contest was Phlegra, or the place of burning. Phlegra, was always localized in volcanic regions. In the earlier stories it is on the Macedonian peninsula of Pallene; and in later times on the Phlegraean plains in Campania between Cumae and Capua, or again at Tartessus in Spain. Led on by Alcyoneus and Porphyrion, they hurled rocks and burning trunks of trees against heaven. But the gods called Heracles to their assistance; a prophecy having warned them that they would be unable to destroy the giants without the aid of a mortal. Heracles slow not only Alcyoneus, but gave the others, whom the gods had struck down, their quietus with his arrows. As Enceladus was flying, Athene threw the island of Sicily upon him. Polybotes was buried by Poseidon under the island of Nisyros, a piece of the island of Cos, which Poseidon had broken off with his trident, with all the giants who had fled there. Besides these, the following names are given among others: Agrios, Ephialtes, Pallas, Clytios, Eurytos, Hippolytos, Thoon. In the oldest works of art the Giants are represented in human form and armed with harness and spears. But in course of time their attributes became terrific, awful faces, long hanging hair and beard, the skins of wild animals for garments, trunks of trees and clubs for weapons. In the latest representations, but not before, their bodies end in two scaly snakes instead of feet (see cut). In the Gigantomachia of Pergamos, the grandest representation of the subject in antiquity, we find a great variety of forms; some quite human, others with snakes' feet and powerful wings, others with still bolder combinations of shape; some are naked, some clothed with skins, some fully armed, and others slinging stones. (See PERGAMENE SCULPTURES.)
ATHAMAS 11.85%
Son of Aeolus, king of Thessaly, and Enarete; brother of Cretheus, Sisyphus, and Salmoneus; king of the Minyae in the Boeotian Orchomenus. He was the husband of the cloud-goddess Nephele, mother of Phrixus and Helle, who left him on his union with a mortal, Ino the daughter of Cadmus. Nephele, in anger visited the land with a drought, upon which Ino endeavoured, by means of a pretended oracle, to have her stepson Phrixus sacrificed on the altar of Zeus Laphystius. But Nephele conveyed the children away through the air on a golden-fleeced ram. During the passage Helle fell into the sea, which was afterwards, from her name, called the Hellespontus. But her brother arrived safely at the palace of Aeetes, king of Aea, who gave him his daughter Chalciope in marriage. Afterwards Athamas was himself about to be sacrificed by his peogle to Zeus Laphystius; but he was save by the appearance of Phrixus' son Cytissorus, who brought the news that Phrixus was still alive. His escape, however, only brought down the wrath of the god upon his descendants. The first-born of his race was ever afterwards liable to be sacrificed to Zeus Laphystius, if he entered the council-chamber and did not get out of the way in time. Later on Athamas was visited with madness by Hera, because Ino brought up her nephew Dionysus, the son of her sister Semele. In his frenzy he killed his son Learchus, and persecuted Ino, who with her other son Melicertes leaped into the sea. Here she became the sea-goddess Leucothea, and her son the sea-god Palaemon. On recovering from his madness, Athamas was commanded by an oracle to settle in a place where he should be hospitably treated by wild beasts. In the part of Thessaly which was named, after him, the Athamanian plain, he came upon some wolves, who fled from him, and left him the sheep-bones on which they were feeding. He settled here, and wedded Themisto. (See THEMISTO.) The story is no doubt founded upon the old custom which the Minyae had of offering the first-born of the race of Athamas to Zeus Laphystius, in case he failed to make good his escape as Phrixus did.
A formal mode of purchase among the Romans, which seems to go back to a time when the price of purchase was weighed out in bars of copper. In the presence of six Roman citizens of the age of puberty, one of whom, called the libripens (weigher), held a copper balance, the purchaser took hold of the thing and uttered certain prescribed words. He then struck the balance (libra) with a small piece of copper (oes or raudusculum), which he gave to the seller as symbol of the price. This mode of purchase per oes et libram was employed in the case of res mancipi, i.e. estates in Italy or provinces with Italian law, in the country or in towns, slaves, and domestic animals and beasts of burden needed for agricultural purposes; also in a certain kind of testaments, in the form of marriage called coemptio, and in transferring one's power over a person (manus) to another. (See ADOPTION, EMANCIPATIO, and MANCIPIUM.)
CHIRON 10.61%
A Centaur, son of Cronus and the Ocean nymph Philyra. By the Naiad nymph Chariclo he was father of Endeis, wife of Aeacus, the mother of Peleus and Telamon, and grandmother of Achilles and Ajax. He is represented in the fable as wise and just, while the other Centaurs are wild and uncivilized. He is the master and instructor of the most celebrated heroes of Greek story, as Actaeon, Jason, Castor, Polydeuces, Achilles, and Asclepius, to whom he teaches the art of healing. Driven by the Lapithae from his former dwelling-place, a cave at the top of Pellion, he took up his abode on the promontory of Malea in Laconia. Here he was wounded accidentally with a poisoned arrow by his friend Heracles, who was pursuing the flying Centaurs (see PHOLUS). To escape from the dreadful pain of the wound, he renounced his immortality in favour of Prometheus, and was set by Zeus among the stars as the constellation Archer.
sometimes Dionysus (Greek). The god of luxuriant fertility, especially as displayed by the vine; and therefore the god of wine. His native place, according to the usual tradition, was Thebes, where he was born to Zeus by Semele, the daughter of Cadmus. Semele was destroyed by the lightning of her lover, and the child was born after six months. Zeus accordingly sewed it up in his thigh till ripe for birth and then gave it over to Ino, the daughter of Semele. (See ATHAMAS.) After her death Hermes took the boy to the nymphs of Mount Nysa, or according to another version, to the Hyades of Dodona, who brought him up, and hid him in a cave away from the anger of Hera. It cannot be ascertained where Mount Nysa was originally supposed to be. In later times the name was transferred to many places where the vine was cultivated, not only in Greece, but in Asia, India, and Africa. When grown up, Dionysus is represented as planting the vine, and wandering through the wide world to spread his worship among men, with his wine-flushed train (thiasos), his nurses and other nymphs, Satyrs, Sileni, and similar woodland deities. Whoever welcomes him kindly, like Icarius in Attica, and CEneus in Aetolia, receives the gift of wine; but those who resist him are terribly punished. For with all his appearance of youth and softness, he is a mighty and irresistible god, strong to work wonders. A whole series of fables is apparently based upon the tradition that in many places, where a serious religious ritual existed, the dissolute worship of Dionysus met with a vigorous resistance. (See LYCURGUS, MINYADAe, PENTHEUS, PRCETUS.) This worship soon passed from the continent of Greece to the wine-growing islands, and flourished pre-eminently at Naxos. Here it was, according to the story, that the god wedded Ariadne. In the islands a fable was current that he fell in with some Tyrrhenian pirates who took him to their ship and put him in chains. But his fetters fell off, the sails and the mast were wreathed in vine and ivy, the god was changed into a lion, while the seamen throw themselves madly into the sea and were turned into dolphins. In forms akin to this the worship of Dionysus passed into Egypt and far into Asia. Hence arose a fable founded on the story of Alexander's campaigns, that the god passed victoriously through Egypt, Syria, and India as far as the Ganges, with his army of Sileni, Satyrs, and inspired women, the Maenades or Bacchantes, carrying their wands (thyrsi) crowned with vines and ivy. Having thus constrained all the world to the recognition of his deity, and having, with Heracles, assisted the gods, in the form of a lion, to victory in their war with the Giants, he was taken to Olympus, where, in Homer, he does not appear. From Olympus be descends to the lower world, whence he brings his mother, who is worshipped with him under the name of Thyone (the wild one), as Leto was with Apollo and Artemis. From his mother he is called Thyoneus, a name which, with others of similar meaning, such as Bacchus, Bromios, Evios, and Iacchos, points to a worship founded upon a different conception of his nature. In the myth with which we have been hitherto concerned, the god appears mainly in the character and surroundings of joy and triumph. But, as the god of the earth, Dionysus belongs, like Persophone, to the world below as well as to the world above. The death of vegetation in winter was represented as the flight of the god into hiding from the sentence of his enemies, or even as his extinction, but he returned again from obscurity, or rose from the dead, to new life and activity. In this conexion he was called Zagreus ("Torn in pieces") and represented as a son of Zeus and his daughter Persephone, or sometimes of Zeus and Demeter. In his childhood he was torn to pieces by the Titans, at the command of the jealous Hera. But every third year, after spending the interval in the lower world, he is born anew. According to the Orphic story, Athene brought her son's heart to Zeus, who gave it to Semele, or swallowed it himself, whereupon the Theban or younger Dionysus was born. The grave of Dionysus was shown at Delphi in the inmost shrine of the temple of Apollo. Secret offerings were brought thither, while the women who were celebrating the feast woke up Licnites; in other words, invoked the new-born god cradled in a winnowing fan, on the neighbouring mountain of Parnassus. Festivals of this kind, in celebration of the extinction and resurrection of the deity, were held by women and girls only, amid the mountains at night, every third year, about the time of the shortest day. The rites, intended to express the excess of grief and joy at the death and reappearance of the god, were wild even to savagery, and the women who performed them were hence known by the expressive names of Bacchae, Maenads, and Thyiades. They wandered through woods and mountains, their flying locks crowned with ivy or snakes, brandishing wands and torches, to the hollow sounds of the drum, and the shrill notes of the flute, with wild dances, and insane cries and jubilation. The victims of the sacrifice, oxen, goats, even fawns and roes from the forest, were killed, torn in pieces and eaten raw, in imitation of the treatment of Zagreus by the Titans. Thrace, and Macedonia, and Asiatic Greece were the scene of the wildest orgies; indeed Thrace seems to be the country of their birth. In Asiatic Greece, it should be added, the worship of Dionysus-Zagreus came to be associated with the equally wild rites of Rhea (Cybele), and Atys, and Sabus or Sabazius. (See SABAZIUS.) In Greece Proper the chief seats of these were Parnassus, with Delphi and its neighbourhood, Baeotia, Argos, and Laconia, and in Baeotia and Laconia especially the mountains Chitaeron and Taygetus. They were also known in Naxos, Crete, and other islands. They seem to have been unknown in Attica, though Dionysus was worshipped at the Eleusinian mysteries with Persephone and Demeter, under the name of Iacchos, as brother or bridegroom of Persephone. But the Attic cycle of national festivals in honour of Dionysus represents the idea of the ancient and simple Hellenic worship, with its merry usages. Here Dionysus is the god who gives increase and luxuriance to vineyard and tree. For he is a kindly and gentle power, terrible only to his enemies, and born for joy and blessing to mankind. His gifts bring strength and healing to the body, gladness and forgetfulness of care to the mind, whence he was called Lyaeos, or the loosener of care, They are ennobling in their effects, for they require tending, and thus keep men employed in diligent labour; they bring them together in merry meetings, and inspire them to music and poetry. Thus it is to the worship of Dionysus that the dithyramb and the drama owe their origin and development. In this way Dionysus is closely related, not only to Demeter, Aphrodite, Eros, the Graces and the Muses, but to Apollo, because he inspires men to prophesy. The most ancient representation of Dionysus consists of wooden images with the phallus, as the symbol of generative power. In works of art he is sometimes represented as the ancient Indian Dionysus, the conqueror of the East. In this character he appears, as in the Vatican statue called Sardanapalus, of high stature, with a luxuriant wealth of hair on head and chin (comp. fig. 1). Sometimes again, as in numerous statues which have survived, he is a youth of soft and feminine shape, with a dreamy expression, his long, clustering hair confined by a fillet or crown of vine or ivy, generally naked, or with a fawn or panther skin thrown lightly over him. He is either reposing or leaning idly back with the Thyrsos, grapes, or a cup in his hand (fig. 2). Often, too, he is surrounded by the fauns of his retinue, Maenads, Satyrs, Sileni, Centaurs, etc., or by Nymphs, Muses, Cupids, indeed in the greatest possible number and variety of situations. (See the engravings.) Besides the vine, ivy, and rose, the panther, lion, lynx, ox, goat, and dolphin were sacred to him. His usual sacrifices were the ox and the goat. In Italy the indigenous god Liber, with a feminine Libera at his side, corresponded to the Greek god of wine. Just as the Italian Ceres was identified with Demeter, so these two deities were identified with Dionysus, or Iakchos, and Persephone, with whom they were worshipped under their native name, but with Greek rites, in a temple on the Aventine. (See CERES.) Liber or Bacchus, like Dionysus, had a country and an urban festival. The country festivities were held, with unrestrained merriment, at the time of grape-gathering and straining off the wine. The urban festival held in Rome on the 17th March, was called Liberalla. Old women, crowned with ivy, sold cheap cakes (liba) of meal, honey, and oil, and burnt them on little pans for the purchasers. The boys took their toga virilis or toga libera on this day, and offered sacrifice on the Capitol. Side by side with this public celebration, a secret worship, the Bacchanalia, found its way to Rome and into the whole of Italy. The Bacchanatia were celebrated by men and women, in Italy outside the cities, in Rome in the sacred enclosure of Stimula or Semele. They were accompanied with such shameless excesses that in 186 B.C. they were put down, with unsparing severity, by a decree of the senate.
These sculptures belong to the acropolis of Pergamon in Asia Minor, discovered by the accomplished architect Humann in 1871, and excavated in and after 1878 under the superintendence of Humann and the distinguished archaeologist Conze, with the assistance of R. Bohn and others. The work was done at the expense of the Prussian government, and the sculptures then brought to light are now in the Museum at Berlin. The first rank among them is occupied by the remains of the sculpture representing the fight between the gods and the snake-legged Giants, a colossal composition in high relief, which occupied a space 7 ft. 6 1/2 ins. high, and extended over the outer surface (about 118 sq. ft. in area) of the upper part of the platform of an altar about 39 ft. high, which was probably built by king Eumenes II (197-159 B.C.). Of this about half remains, whereof a third consists of more or less well-preserved slabs, and the rest of fragments large and small. They exhibit an astonishing mastery of form and technique,and a vivid realism that is often terrible, combined with a truly grand style, and are among the most important productions of ancient art. Only fragmentary portions of the names of the sculptors in marble belonging to the Pergamene school (see SCULPTURE) have been found. [Sogonus, Phyromachus, Stratonicus, and Antigonus, mentioned in Pliny, N. H. xxxiv 34, were sculptors in bronze. The name of Menecrates in the genitive case has been traced in one of the inscriptions, and has led to the conjecture that his sons Apollonius and Tauriscus, the sculptors of the Farnese Bull, were among the artists who worked at Pergamon. The "great marble altar, 40 ft. high, with colossal figures, comprising a battle of the Giants," is mentioned in the the Liber Memorialis of Ampelius q.v.).] The most important parts of the work are shown in the cuts. The powerful figure of Zeus (fig. 1), wrapped in flowing drapery, is most impressive. With his thunderbolt of triple fork and flaming crest, he has already transfixed the thigh of a Giant, who has sunk to the earth. In his left hand he shakes his aegis over a second opponent, who writhes on the ground in pain. A snake-legged Giant holds out his left arm, wrapped round with the skin of a wild beast, to protect him from the onslaught of the god. By the side of Zeus, and taking part in the conflict, hovers his eagle. The counterpart to this was presumably the group with Athene in the centre (fig. 2). The goddess appears in full armour, with the heavy round shield on her left arm; on her head, the front portion of which is unfortunately destroyed, is the tall Corinthian helmet; and on her breast, the aegis, carved with the greatest care. She is advancing with fierce strides towards the right, dragging along with her by the hair a young Giant with a vast pair of wings. Her sacred serpent is also fighting for her. The motive of the piece vividly reminds one of the Laocoon group, which is closely allied in form and expression. The group of Athene and the Giants is most effectively completed by the figure of Nike with outspread wings flying up to the victorious goddess, and by the mighty form of Mother Earth, with the upper portion of her body rising up from the deep. Her name (Ge) is written over her right shoulder. With imploring gestures she is raising to heaven her face, surrounded by her unbound locks; for they are her own children who are thus being laid low by the might of the celestial gods. One of the most remarkable groups is that in which the triple Hecate appears among the fighting Olympians. The sculptor has given her three heads (one wanting); and three pairs of arms, all of them bearing weapons (fig. 3). In other groups of combatants we find Helios on his four-horse chariot, with Eos riding in front; Dionysus; the sea-gods with their stately following of sea-centaurs and other divinities of the ocean; the goddess Cybele, seated on a lion, etc. Beside these there have been found about thirty other slabs carved in relief, of smaller dimensions (5 ft. 2·8 ins. high), including some on the story of Telephus, the patron hero of the State of Pergamon. These formed part of a smaller frieze, running round the inner side of an Ionic colonnade, rising above the larger frieze, on the platform, and inclosing the altar proper. The torsoes of a large number of colossal statues, mostly female, which likewise originally stood on the platform, have also been discovered. On the Pergamene School, see SCULPTURE.
The greatest of the Latin Christian fathers. He was born 354 A.D. at Tagaste in Numidia. His father was a pagan, his mother, Monica, a zealous Christian. After a wild life as a young man, he became professor of rhetoric in Tagaste, Carthage, Rome, and Milan, where he was converted to Christianity through the influence of Ambrose, and baptized in 387. He returned to Africa, and was ordained presbyter in 391, and bishop of Hippo in Numidia in 396. He died there in 430, after doing much good in the city during its siege by the Vandals. His literary activity was extraordinary. Four years before his death he reckons up the number of his works, exclusive of letters and sermons, as 93, making up 233 books. Among them are six books De Musica, and essays on rhetoric, dialectic, and grammar. These productions, which testify to his interest in learning, were installments of an encyclopaedic work on the seven liberal arts, modelled upon the Disciplinoe of Varro. Among his other writings two attracted especial notice on account of the extra-ordinary effect which they produced in after times. These are The Confessions, a history of his inner life in thirteen books, written in the form of a confession to the Almighty; and the De Civitate Dei, a work in twenty-two books, demonstrating the providential action of God in the development of human history.
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