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inspected some more inscriptions, he would have found that, among the Romans, the dead were almost uniformly called "bene merentes." There is room, therefore, for conjecturing that the "bene merens" of the Romans was a similar kind of "epitheton ornans" as with us (der Selige), "the blessed."

I have pointed out an analogous usage among other ancient nations in a small treatise, entitled Professor Ewald's Merits as a Punic Scholar, p. 32. We are, however, furnished with an excellent authority in support of the enactment, by Tacitus Agric. c. 6: "Auctus est ibi filiâ, in subsidium simul et solatium, nam filium ante sublatum brevi amisit." If the question be here put, How could the daughter be as a "subsidium" to Agricola? it were difficult to give any other answer than that she was the means of procuring him those indulgences in his political career which the "Lex Julia et Papia Poppæa" insured. If Walch, who, in p. 413 of his Commentary, brings the whole chronology of Tacitus into confusion by his scanty acquaintance with the "lex annalis"-if Walch, I say, had reflected that Agricola was married and had children, and that both these circumstances were of considerable influence (Dio Cass. LIII. 13, LIV. 6, and elsewhere, distinguishes Toυ TE уáμov καὶ τῆς παιδοποιΐας ἆθλα), he could have spared us the chronological reasoning there inserted, which casts suspicion alike on his knowledge of antiquity and on his skill in arithmetic.

C. WEX.

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XXXV.

THE YOUTH OF JASON RENEWED BY MEDEIA.

(A CANINO VASE.)

THE intelligible relations which exist between art and literature render Archæology, or the study of figured antiquity, and Philology, sisters. They mutually assist each other, and attention to Archæology often clears up many obscure points which Philology doubts, or with difficulty settles. No scholia are more satisfactory than, or as old as, the remains of the very generation among whom the great efforts of the Attic dramatists were produced, and the vase I propose to explain may be considered, in point of time, contemporaneous with Eschylus himself.

The vase represents a familiar myth, treated in an unusual manner; but one not unknown to the best authorities of classical literature. It is a hydria, or three-handled water-vase, such as those seen on the heads of the hydriophora, painted with red figures, upon a black ground, and executed in the most flourishing period of the Græco-Italian fictile art, when the furnaces of Etruria and Southern Italy had attained their greatest excellence. Such vases are rarely of this colour, and are more commonly found with black figures upon a red ground, and of an earlier epoch. It was purchased in 1843, of the Princess of Canino, and was one of the hundred select vases of Lucien Bonaparte found on his estate at Canino1.

On the right side of the vase stands Jason, IAZON, draped in a woollen talaric tunic, over which is thrown a peplos, in the manner in which old men are depicted on such monuments. His right hand is stretched forth in the attitude of surprise or command, in his left hand he holds a crutch or stick, σкйπτρоν. His hair and beard are white, or colourless,

It is described Mus. Etr. 4to. Viterbo, 1829, p. 154, No. 1693, and alluded to by De Witte, Coll. du Pr.

de Canino, 8vo. Par. 1837, p. 73, No. 124, n. 1.

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