Sicily presents to the ordinary tourist attractions which in number ...

152 ANTIQUITIES IN THE MUSEUM AT PALERMO.
by the power of music, beasts and birds assemble round
the performer, and show by their gestures that they are
listening in mute attention. 1 It is easy to identify the
horse, bear, 2 bull, lion, stag, hare, antelope, snake, tortoise,
and lizard, besides these there are some four-footed
animals so imperfectly executed that their denomination
is uncertain. Among the birds the ostrich, peacock, and
crane are most conspicuous; one perched on the tree
seems to be a jay, another to the right of it is perhaps a
raven, 3 and a third to the left is possibly a magpie. We
may remark that the Fauna of Africa appears in the ostrich
and antelope with long straight horns; this is
easily accounted for by the proximity of Sicily to that
continent, and its close relations, commercial and political,
with the Carthaginians.
If we compare this mosaic with the Barton pavement at
Corinium, our national vanity may be flattered by observing
that the domestic example is, in some respects,
superior to the foreign one. In the former case the lyre
is kept in its place by the left hand and knee of the musician
; in the latter, he awkwardly puts the fingers of his
left hand against the strings of the lyre instead of supporting
its frame. Secondly, the Corinium mosaic expresses
more vividly the influence of music over a savage
nature; the beasts of prey have a stealthy look, and
move with measured pace, " subdued not maddened " by
the Orphic strains. We may also notice another difference
between the two compositions; at Corinium the
central medallion is surrounded by a circle devoted to
birds, 4 and this is separated by a wreath of bay-leaves
manner ; he is seated amidst his flock,
wears a long robe with ample folds, has a
glory round his head, holds a cross in his
left hand and caresses a sheep with his
right.
1 There are also shrubs growing out of
rocks; probably both are supposed to listen
while Orpheus plays on his lyre,
Horace, "Odes," i, 12, 12.
Blandum et auritas fidibus canoris
Ducere quercus.
Milton, " Paradise Lost," vii, 34.
The Thracian bard
In Rhodope, where woods and rocks had
ears
To rapture.
2 The bear seldom occurs in ancient
works of art: see my remarks, Archceological
Journal, for 1878, vol. xxxv, p.
402, with reference to Mr. C. W. King's
" Memoir" on an antique cameo in which
a bear is figured; cf. engraving ibid,
p. 103.
3 The raven seems to be placed over
the head of Orpheus because this bird is
sacred to Apollo ; cf. King's " Antique
Gems and Rings," vol. ii, Pl. xv, 7.
4 Viz., " the duck, goose, hen, peacock,
common and silver pheasant
walking around the circle with rapid
strides."