Eros and appears to have been worshipped in very early days as a primordial divinity, but in historic times lie loses his wider sig nificance and becomes the symbol of affection and desire. In sculpture he is usnally represented as a winged boy with bow and arrows. (See Vol. II., p1. 27, nn (p/. 8) represents him as somewhat older, in sad melancholy sorrowing for the loss of Psyche, who has been taken from him. This statue is known as the Centocelle Eros of the Vatican. in the bondage of love is perhaps the significance of the beauti ful statue found at Capita (ti. 9, jig. 2). It may have stood originally grouped with a figure of Eros—a combination which became a favorite theme for the decoration of Roman sarcophagi.
//trmes—the son of Zeus, or heavenly light, and Maia, a divinity of the night—is a personification of the dawn. As the dawn before the day he 1 Terse, the rosy morning light; as the dusk before the night he is the lover of Persephone and becomes the Psvchopompos, or leader of souls to I lades. As a rustic divinity he has the charge of cattle, is represented as bearing the rani on his shoulders, and is the prototype of the divine Shep herd. Ile also impersonates the dawn of civilization, is the inventor of letters and music and fire, and is the protector of commerce. Ile is the mediator between gods and men, the divine herald.
As if resting during the execution of some divine errand, Hermes is portrayed in a beautiful bronze from Herculaneum (p1. 8, 7). This is apparently of Greek workmanship of the fourth century B. C. From the speed of his movement and the harmonious development of his phy sique he was a favorite of the athletes, and his statues were found in many a Greek gymnasium. Of a later date is the head of Hermes wearing the petasos, represented by Figure Dionysos, the god of wine and vineyards, is also the god of the drama; from the songs and dances held in his honor spring the Greek tragedy and comedy. He is represented in archaic art as a full-grown man, bearded and crowned with ivy. From the fourth century we find him represented as a beardless youth, and frequently effeminate in character. Of unusual grace and beauty is the central figure in the frieze of the choragic monu ment of Lysikrates (335 B.c.), where lie is represented as seated in quiet dignity stroking his panther (jig. 4). On either side of him around the frieze his faithful satyrs are putting to rout the Tyrrhenian pirates. The theme is treated in a light and graceful manner evidently adapted for a people who were beginning to feel a keen relish for amusement. This god and his pleasure-loving attendants were favorite subjects with Prax iteles, who of all his statues valued most highly his Satyr and his Eros.
" Save the Eros and the Satyr" lie cried out when the alarm was given that his studio was on fire. In this way, it is stated, the woman whom lie loved and to whom lie had promised a statue learned what was precious in his own estimation, and she consecrated the Eros to the service of a temple in Thespia.
Praxiteles had transformed the earlier representation of the satyr, in which the animal predominated, into a graceful youth who retains the rustic, pleasure-loving character withont rudeness and bestiality. A remi niscence of this statue is found in the Satyr of the Capitol (pi. 9, jig. 4), made familiar by Hawthorne as " the marble faun." The pointed cars and the arrangement of hair over the forehead are reminders of his animal nature, the easy, negligent attitude is indicative of his character, and the panther-skin marks his connection with Dionysos.
Secondary Divinities.—We need not survey the entire field of divinities whom the Greeks embodied in statuary. Besides the Olympian deities, there were the divinities of the sea and personifications of rivers and springs, divinities of the land with its mountains and forests, divinities of social, moral, and political life, divinities of death and of the world to come. Of a political character was the city Goddess Tyche, a statue of whom was made by Eutychides of Sikyon for the people of Antioch. In the copy in the Vatican (p1. 8, jig. 12) the goddess, who represents good fortune and prosperity, wears the mural crown and carries a sheaf of corn in her hand. At her feet is the river Orontes, represented as a beardless youth half emerging from the water. The face of the goddess reflects somewhat of the grace of Praxiteles, but the figure is clumsily draped and is inferior in execution.
Antinous.—The Romans enlarged still further the field of divinities and awarded di\ ore honors to their emperors and empresses, in statuary representing them in the very forms which the Greeks had fashioned for their ;..„0 1.\ en all obscure Ilithynian was thus honored—Antinous, the beautiful fa\orite of the emperor Hadrian. He is known to us through a number of replicas, one of the best of which is given on Plate 9 (fix. 1. Sometimes lie is represented as a Dionysos, sometimes as a Hermes, in the forms e,tablished by the Greek sculptors. Beautiful and pathetic as are several of the busts of Amnions, they bring us into a period when ideal creations are no longer the grand realities they were in the flourish ing period of Greek art.