MENTIONED BY ^SCHINES AND DEMOSTHENES. 237 



evtardfAevo^ sttI Se^ia eXevOepiws, p. 175 e). This distinction between the well-bred man 

 and the vulgarian had been acknowledged for some time at Athens, as is shown by a very 

 comical passage in the Birds of Aristophanes, which was acted in b.c. 414. A deputation, 

 consisting of two civilised gods and one barbarian deity, waits upon Peisthetasrus to negociate 

 about the blockade of heaven by the feathered citizens of Nephelococcygia, and Neptune, who 

 is ashamed of the costume and bearing of his Moesian colleague, addresses him thus before the 

 interview commences : " I say, you sir, what are you about? do you wear your mantle in that 

 way to the left-about ? Change it at once to the right-about. You miserable creature, what 

 a true Lsespodias you are !" {Aves, 1566 — 9): 



ouToc Ti opa? ; eir aannep ovTfo9 afxireyei \ 



ov /«fTa/3aAE?9 Bot/iaTiov ooh tVi ie^tav ; 



Ttj to KaKobat^op ; \at(Tirooia<! ci Trjv (pvtrtu. 



But it was not only required that the mantle should be correctly adjusted as far as the arms 

 were concerned ; it was necessary to decorum in the highest class of persons that it should 

 hang down nearly to the instep. Quintilian says (/. O. xi. 3, | 143): " togam veteres ad calceos 

 usque demittebant ut Grasci pallium." And as this implied an eirifi\r)ixa or avafidkri of greater 

 size, we find that an ampler pallium or abolla was regarded as a mark of the sedate and dig- 

 nified philosopher — in fact, as a sort of Doctor's gown. Juvenal says (iii. 114, 5) : 



Et quoniam coepit Grsecorum mentio transi 

 Gymnasia, atque audi facinus majoris aboUas. 



In this major abolla, with the mode of envelopment peculiar to the age of Plato and Scopas, 

 and with the peculiar posture of the hand, which marked the statue of the philosophical legis- 

 lator Solon, the noble figure of the Museo Borhonico stands before us. And it is, as I con- 

 ceive, sufficiently identified by these distinctive features with the Salaminian memorial of which 

 jEschines and Demosthenes make such emphatic mention. That there was no extant portrait 

 of Solon, and that the head which was assigned to him at the beginning of the 4th century b.c. 

 was merely ideal or heroic, it is quite unnecessary to prove. And therefore I do not enter 

 into the question whether the countenance is or is not like other imaginary heads of the legis- 

 lator. There is a two-headed Hermes of Solon and Euripides, both connected with Salamis, 

 in the Pio-Clementine Museum (vi. pp. 79, 80), and Visconti has published (Iconogr. Gr. i. 

 pi. IX. p. 108) a bust preserved in the gallery at Florence, with a ribband round the head as 

 a symbol of Apotheosis, and with the inscription: COAQN O N0M06ETHC. These two 

 busts do not correspond in features, and therefore no argument can be drawn from the want 

 of resemblance between either of them and a third head. 



It only remains that I should remark on the suitableness of a statue of Solon to the place 

 in which this noble figure was found, namely, along with that of Homer, as an ornament of the 

 theatre at Herculaneum. 



Solon was not only a legislator. He was one of the chief of the elegiac poets of Greece, and 

 his verses exercised a marked influence on the style of the dramatists {Theatre of the Greeks, 

 p. 79). I do not, of course, suppose that either the architect or the stage-manager of the theatre 

 at Herculaneum had any profound or critical reasons for connecting Solon with the stage. It 



