more beautiful; never was it more manifest that the fresh vermilion which tinged her delicate cheeks was no deceitful work of the cosmetic pencil.+2 42 There can be no doubt that painting was almost universal among the Grecian women. The reason of this may have been that the οίκουρεῖν, σκιατραφεῖσθαι, and the ἀεὶ καθῆσθαι of the girls and women robbed them of their natural freshn.ss and colour, which they thus endeavoured to imitate. Thus Ischomachos couuselled his young wife to take exercise, that she might do without the rouge which she was accustomed constantly to use. Xenoph. Econ. 10, 10: συνεβούλευον αὐτῇ, μὴ δουλικῶς ἀεὶ καθῆσθαι. Cf. Stob. Τit. 1xxiv. 61: Εἰ γὰρ μηδέν τι ὀκνῆσαι αὐτὴν καὶ περὶ γυμνασίας ἔχειν ἀναπείσαις, ἐνταῦθα εὕροις ἂν καὶ, οὗ πάλαι ἐπεθυμοῦμεν, τὸν κόσμον τῷ σώματι. Τοῦ μὲν γὰρ ὑγιαίνειν οὐδὲν ἔμοιγε δοκεῖ ἄλλο τι περίθημα καὶ περιδέραιον κρεῖττον. Πόῤῥω δ' ἂν εἴη καὶ τοῦ δεηθῆναι γυνὴ ὑγιαίνουσα καὶ ψιμυθίου, καὶ ὑπ ̓ ὀφθαλμῷ ὑπογραφῆς, καὶ ἄλλου χρώματος ζωγραφοῦντος καὶ ἀφανίζοντος τὰς ὄψεις. While the women were engaged in their ordinary domestic avocations, paint may have been partially disused, but it was resumed when they were going out, or wished to be specially attractive. So in Lysias,de Cade Eratosth. p. 15, the woman retouches her complexion when she goes to meet her paramour, and the next morning her husband obserres, ἔδοξε δέ μοι τὸ πρόσωπον ἐψιμυθιῶσθαι. See Lysistrata, 149; cf. Eccl. 878; Flut. 1064 ; and Plutarch, Alcib. 39. The pigments employed were ψιμύθιον, i.. cerussa, or white lead, ἄγχουσα or ἔγχουσα, παιδέρως, συκάμινον, and φύκος, which last chiefly supplied the red tint; all the red colours were derived from the vegetable kingdom. ΦύKos is not mentioned in earlier times; ἄγχουσα occurs most frequently. Xenoph. Econ. 10. 2: Ἐγὼ τοίνυν, ἔφη, ἰδών ποτε αὐτὴν, ὦ Σ., ἐντετριμμέ νην, πολλῷ μὲν ψιμυθίῳ, ὅπως λευ κοτέρα ἔτι δοκοίη εἶναι, ἢ ἦν, πολλῇ δὲ ἐγχούσῃ, ὅπως ἐρυθροτέρα φαίνοιτο τῆς ἀληθείας κ.τ.λ. Cf. Lysistr. 48; Eccl. 929: and a fragment of Alexis in Athen. xiii. p. 568: συμβέβηκε είναι μέλαιναν· κατέπλασε ψιμυθίῳ. λευκόχρως λίαν τίς ἐστι· παιδέρωτ' ἐντρίβεται. See Etymol. Μ. ἐψιμμυθιῶσθαι. The folly and repulsiveness of the practice are well pictured by Ischomachos, Xen. Econ. 10, 8: Αἱ δ' ἀπάται αΰται τοὺς μὲν ἔξω πως δύναιντ' ἂν ἀνεξελέγκτως ἐξαπατᾶν, συνόντας δὲ ἀεὶ ἀνάγκη ἁλίσκεσθαι, ἂν ἐπιχειρῶσιν ἐξαπατῶν ἀλλήλους. Η γὰρ ἐξ εὐνῆς ἁλίσκονται ἐξανιστάμενοι πρὶν παρασκευάσασθαι, ἢ ὑπὸ ἱδρῶτος ἐλέγχονται, ἢ ὑπὸ δακρύων βασανίζονται, ἢ ὑπὸ λουτροῦ ἀληθινῶς κατωπτεύθησαν. So also an amusing fragment of Eubulos, ap. Athen. xiii. p. 557: Μὰ Δι', οὐχὶ περιπεπλασμέναι ψιμυθίοις, The eyebrows were painted with a dark colour, called μέλαν or ἄσβολος. Alexis, ap. Athen. xiii. p. 568 : τὰς ὀφρὺς πυῤῥὰς ἔχει τις ζωγραφούσιν ἀσβόλῳ. The procession soon approached the garden, in the centre of which the funeral pyre had been erected. The bier having been lifted upon it, unguent vessels and other articles were thrown in, and a blazing pine-link was then applied to the pile, which being constructed of the most inflammable materials, took light at once, and the consuming flame shot high aloft, amid the loud lamentations. and sobs of those present. Sincere tears of deepest sorrow were shed by Cleobule. With tottering step she approached the blazing pile, to throw into it a vessel of ointment, as a last libation of love; when, in her distraction, a sudden draught of air drove the flame towards her without her being conscious of the danger. For heaven's sake!' screamed several voices, and Charicles, reckless of everything, darted ahead of all the rest, and with his hands. smothered the flame, which had already caught the border of her robe; he then led the trembling Cleobule to her mother, who was hastening towards her.43 A part only of the escort tarried till the ashes were collected, and all the rites duly discharged. Of this number was Charicles. But when the bones had been consigned to the ground, and the women had bidden farewell to the new-made grave, he also, with Sophilos, wended his way back towards the city. The possible consequences of the unhappy will formed the topic of conversation. Charicles It was also called oriμuis. Poll. v. 101: καὶ τὰ ὑπογράμματα καὶ ἡ στίμμις παρ' Ιωνι ἐν Ομφάλῃ καὶ τὴν μέλαιναν στίμμιν ὀμματογράφον. Instances occur of men painting, so Demetrios Phalereus, mentioned by Duris, ap. Athen xii. p. 542. Ischomachos too asks his wife if she would prefer him painted. Xenoph. Econ. 10, 5. The passage however is evidently corrupt, since ἀνδρείκελον was never used for painting the eyes. We should probably read μίλτῳ ἢ ἀνδρεικέλῳ. Ir Tischbein's Engravings, ii. 58, is avase-painting of a female in a sitting posture occupied in rouging with a brush. This is copied in Böttiger's Sabina, Pl. ix. The operation was also performed with the finger. 43 After Terent. Andr. i. 1, 102: In ignem imposita est: fletur. Interea hæc scror, Quam dixi, ad flammam accessit impruden tius, Satis cum periclo: ibi tum exanimatus Bene dissimulatum amorem et celatum indicat. Adcurrit, mediam mulierem complectitur, etc. could not conceal how very different an impression Sosilas had made upon him from what he had expected. To-day the man had looked so unassuming and devout, and withal so venerable, that he had well nigh dropped his suspicions. 'Who ever would believe,' said he, 'that beneath this exterior lurked such knavery?' You will meet with plenty more such,' answered Sophilos, 'who go about with the aspect of lambs, but within are the most poisonous scorpions;44 it is just these that are most dangerous of all.' 6 6 A slave, as you see,' At the city-gate they separated. A strange slave had followed them at a distance all the way. He now stood still for a moment, apparently undetermined which of the two he should pursue. Youth is more liberal,' said he half aloud, after reflecting a moment, especially when in love.' With this he struck into the path Charicles had taken, and which led through a narrow lonely lane, between two garden-walls; here he redoubled his pace, and soon overtook Charicles. Who art thou?' asked the youth, retreating back a step. was the reply, and one who may be of service to you. You seem interested in Cleobule's fate, eh?' • What business is that of yours?' retorted Charicles; but his blush was more than a sufficient answer for the slave. 'It is not indifferent to you,' he proceeded, whether Sophilos or Sosilas be the heir.' Very possibly; but wherefore these enquiries? what is this to you, sirrah?' More than you think,' rejoined the slave. • What shall be my reward if I hand you the proof that one of the two wills is a forgery?' 'You! a miserable slave!' exclaimed the youth, astonished. The slave is often acquainted with his master's most secret dealings,' answered the other. Come now, what's to be my reward?' Freedom, which is your rightful due for the discovery of such a crime.'45 Mein. Hermipp. Fragm. Com. p. 381. 45 It is not here intended to assert 6 that when a mere private right was violated, freedom was publicly given as a μhvvrpa to the slave who in 6 6 "Good,' replied the slave, but the freedman must have the means wherewith to live.'46 That also shall you have; five minæ are yours, if you speak the truth.' 'Thy name is Charicles,' said the slave; 'no one hears your promise, but I'll trust you. My master is Sosilas, and they call me Molon.' He opened a small bag, and pulled something out of it with a mysterious air. See, here is the signet,' said he,' with which the forged will was sealed.' He took some wax, wetted it, and impressed the seal thereon. 'That is the device of Polycles, an eagle clawing a snake; you will be the eagle.' He related how he had witnessed the forgery through a crack in the door; how a rustling he had made was near betraying him; and how Sosilas, in his haste to bundle up the things, had unwittingly let the false stamp drop on the coverlet. Now then,' said he, 'haven't I kept my word?' 'By the gods! and so will I,' cried Charicles, almost beside himself with wonder and joy. 'Not five-no-ten minæ shalt thou have. And now to Sophilos with all speed.' 'No!' said the slave, I trust to you. Do you go by yourself, and have me called when you have need of me.' formed, but the manumission might be otherwise effected. See Excursus on The Slaves. 46 After Plaut. Epid. v. 2, 60: PE. Optumum atque æqui-simum oras: soccos, tunicam, pallium Tibi dabo. EP. Quid deinde porro? PE. Li- Novo liberto opus est, quod pappet. PE N 178 SCENE THE TENTH. A THE DIONYSIA. MONG the festivals which Athens celebrated annually, or at greater intervals, either in honour of the gods, for the renown and credit of the state, or for the amusement of its burghers-there were doubtless several that laid claim to a greater share of political importance, or a deeper religious significancy, than the rest, as, for example, the Panathenæa and the Eleusinia. But the lastmentioned object—pleasure—was attained most eminently by that feast at which the giver of joy and jollity, Dionysos himself, was worshipped. Almost might it be said, that the original intention of the festival,-to thank the god for the noblest gift brought by the returning seasons, -had been lost sight of in the tumult of passion and unbridled mirth. On these days all sobriety or serious occupation was banished, and the people, one and all, embraced with open arms the myrmidons of the god, Methe and Comos, resigning themselves all too willingly to their sway. To have their fill of enjoyment, with public spectacle and carouse, and to revel self-oblivious in a transport of delight-such was the all-absorbing desire of young and old, the common goal to which all pressed forward; nay, even the most sober-minded, bidding adieu to the stringency of habit, followed the maxim: Ne'er blush with drink to spice the feast's gay hour, The feast of the city-Dionysia,1 which was celebrated At the Dionysia the most unbridled merriment and drunkenness were the order of the day, and were held quite blameless. Nor was this the case at Athens only: see Plato, Leg. i. p. 637. He says elsewhere, in extenuation : πίνειν δὲ εἰς μέθην οὔτε ἀλλοθί που πρέπει, πλὴν ἐν ταῖς τοῦ τὸν οἶνον δόντος θεοῦ ἑορταῖς. Leg. vi. p. 775. Indeed, it was considered as an act of gratitude due to the giver of the grape, and under |