SCULPTURE. 35 
or resting after a long journey with his arm leaning on a pillar. In accor- 
dance with this posture and these characteristics, Visconti explains also the 
statue which goes by the name of the Antinous of Belvedere (pl. 6, fig. 1) 
as areposing Hermes. As a preparer of sacrifices and guardian of cattle 
Hermes often appears undraped and leading a ram, as on the Capitoline 
Puteal (pl. 3, fig. 10, the third figure). 
m. Hestia. The household hearth, which forms the centre of domestic 
life and a regular worship of the gods, stood under the protection of Hestia, 
called Vesta by the Romans. She forms very apprepriately, standing 
along with Hermes the god of sacrifice, the key-stone to the twelve god 
system (pl. 3, jig. 10, the fourth figure). The form of this goddess, as 
sculptured by Scopas, was that of a woman in matronly costume, but with- 
out the character of maternity, quietly standing or sitting enthroned, with 
broad, powerful forms, and a serious expression in her simple features. 
2. THe ormeR Derrizs. a. Dionysus and his Attendants. The worship 
of Dionysus, the Bacchus of the Romans, has retained more than the 
preceding the character of a worship of nature; and the circle of Dionysian 
forms, which in a manner constitute their own Olympus, represents the life 
of nature with its effects on the human mind, in various stages, sometimes 
noble and sometimes ignoble. The old Dionysus was a stately, majestic 
form, with a luxuriance of curling hair restrained by the mitra, a gently 
flowing beard, clear and blooming features, and rich almost effeminate 
clothing. It is not till the time of Praxiteles that the youthful Dionysus 
appears with bodily forms softly flowing into one another, which bespeak 
the halffeminine nature of the god. His features exhibit a peculiar mixture 
of happy intoxication and undefined longing. The mitra over his forehead 
and the vine or ivy wreath about his head produce an advantageous effect ; 
the hair flows richly and in long ringlets over his shoulders; the body is 
entirely naked, at most with only a roe-skin thrown about it; and the feet 
are sometimes covered with the Dionysian cothurnus. An ivy-entwined 
staff ornamented with a fir-cone (the thyrsus) serves him as a support; he 
usually stands in an easily reclining posture, and seldom sits enthroned. 
A particularly beautiful statue of Dionysus is that of Versailles now in the 
Louvre (pl. 5, jig. 10), where the god leans on the trunk of a tree 
entwined with the foliage of the vine and brandishes the thyrsus. Some- 
what different is the Bacchus in the Dresden Museum, who, as appears 
from the position, is expressing the juice of grapes into a cup (jig. 11). 
To the attendants of Dionysus belong in the first place the Satyrs, who 
represent in a lower stage that life of nature which we have seen displayed 
by the god himself in its most elevated form. They are figures powerfully 
built but not ennobled by gymnastics, sometimes flabby, sometimes firm, 
with snub-nosed or otherwise ignobly formed countenances, goat-like ears, 
and bristly hair; in old age with a bald forehead; to which is added a 
little tail. Sometimes, however, the satyrs rise into very noble, slender 
shapes, and are hardly to be distinguished as satyrs except by their pointed 
ears. 
Here too belong the Sileni, which are properly nothing but old and 
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