Minor Latin poets; with introductions and English translations

jAETNArvelcome in the home, while eriiel Ttreus lives an^xile in the deserted fields." We wonder at Troyn allies and her eitadel bewept by the vanquished,he Phryirians' doom owing- to the fall of Hector.*>Ve behold the humble burial-mound of a mightyeader : and here lie vanquished alike untiring\chilles and (Paris) the avenger of heroic Hector.Vioreover, Greek paintings or sculptures have held•Mitranced. Now the Paphian's tresses drippingirt shows them),^ now the little boys playing atII feet of the pitiless Colchian,*^ a sad group with ajiilier veiled around the altar of the substitutedjiiiid.' now the life-like glory of Myron's art/ yea aMioiisand examples of handiwork and crowds ofmasterpieces make us pause.These attractions you think you must visit—waverngbetween land and sea. But look upon the colossalvork of the artist nature. You ^^^ll behold no sightso great belonging to the human rabble —(this youvill find) especially if you keep watch when the Dogtaris blazing in his heat. Yet there is a w^onderfultory of its own which attends the mountain : it is[he traditional treatment of the tresses survives to somextent in Botticelli's " Xascita di \'enere."**The Medea of Timomachus (3rd cent. B.C.), a celebrated3icture in which the painter represented the mother dehberatngwhether she should kill her children to revenge herself onFason.^ The masterpiece of Timanthes (about 400 B.C.) in which hepainted the sacrifice of Iphigenia, expressing woe on the facespf the bystanders, but veiling the face of the grief-strickenfather, Agamemnon. The cerva, according to one form of thelegend, was at the last moment miraculously substituted forihe victim.f The bronze cow bv Mvron, a greatly admired work (Cic.Verr. IV. Ix. 135).