on a river which is also called after him. The sons of Aleus were Lycurgus, Amphidamas and Cepheus; he also had a daughter Auge.
Hecataeus says that this Auge used to have intercourse with Heracles when he came to Tegea. At last it was discovered that she had borne a child to Heracles, and Aleus, putting her with her infant son in a chest, sent them out to sea. She came to Teuthras, lord of the plain of the Caicus, who fell in love with her and married her. The tomb of Auge still exists at Pergamus above the Calcus; it is a mound of earth surrounded by a basement of stone and surmounted by a figure of a naked woman in bronze.
After the death of Aleus Lycurgus his son got the kingdom as being the eldest; he is notorious for killing, by treachery and riot in fair fight, a warrior called Areithous. Of his two sons, Ancaeus and Epochus, the latter fell ill and died, while the former joined the expedition of Jason to Colchis; afterwards, while hunting down with Meleager the Calydonian boar
rees with his predecessors in that he makes Persuasion also one of the Graces.
Who it was who first represented the Graces naked, whether in sculpture or in painting, I could not discover. During the earlier period, certainly, sculptors and painters alike represented them draped. At Smyrna, for instance, in the sanctuary of the Nemeses, above the images have been dedicated Graces of gold, the work of Bupalus; and in the Music Hall in the same city there is a portrait of a Grace, painted by Apelles. At Pergamus likewise, in the chamber of Attalus, are other images of Graces made by Bupalus;
and near what is called the Pythium there is a portrait of Graces, painted by Pythagoras the Parian. Socrates too, son of Sophroniscus, made images of Graces for the Athenians, which are before the entrance to the Acropolis. All these are alike draped; but later artists, I do not know the reason, have changed the way of portraying them. Certainly to-day sculptors and painters represent Graces naked.
er trouble, they devised the trick of dedicating to the god bronze figures representing a sacrifice and a procession.
There is here one of the labours of Heracles, namely, his fight with the hydra. Tisagoras not only dedicated the offering, but also made it. Both the hydra and Heracles are of iron. To make images of iron is a very difficult task, involving great labour. So the work of Tisagoras, whoever he was, is marvellous. Very marvellous too are the heads of a lion and wild boar at Pergamus, also of iron, which were made as offerings to Dionysus.
The Phocians who live at Elateia, who held their city, with the help of Olympiodorus from Athens, when besieged by Cassander, sent to Apollo at Delphi a bronze lion. The Apollo, very near to the lion, was dedicated by the Massiliots as firstfruits of their naval victory over the Carthaginians. The Aetolians have made a trophy and the image of an armed woman, supposed to represent Aetolia. These were dedicated by the Aetolians when
ting. Andromache is in the painting, and near stands her boy grasping her breast; this child Lescheos says was put to death by being flung from the tower, not that the Greeks had so decreed, but Neoptolemus, of his own accord, was minded to murder him. In the painting is also Medesicaste, another of Priam's illegitimate daughters, who according to HomerHom. Il. 13.171 left her home and went to the city of Pedaeum to be the wife of Imbrius, the son of Mentor.
Andromache and Medesicaste are wearing hoods, but the hair of Polyxena is braided after the custom of maidens. Poets sing of her death at the tomb of Achilles, and both at Athens and at Pergamus on the Calcus I have seen the tragedy of Polyxena depicted in paintings.
The artist has painted Nestor with a cap on his head and a spear in his hand. There is also a horse, in the attitude of one about to roll in the dust. Right up to the horse there is a beach with what appear to be pebbles, but beyond the horse the sea-scene breaks off.