DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1083#0195
P0MPE1ANA. 275
AcHam. 25, that the first seats were called tfforo&Aa;
and, invHesychius, ixgia is an appellation applied to the
upper rows. It is strongly suspected that the real reading
of this ticket is some Greek word, synonymous to the
maniana of the Latin, and that it was an admission to
the gallery, constructed of wood.
Page 237.
Agamemnon and Achilles.
This painting is referred to page 219- It un-
doubtedly represents a scene in the opening of the Iliad,
and the source of its action:
Achilles* wrath, to Greece the direful spring
Of woes unmrmber'd.—
Minerva, sent by Juno, and visible only to Achilles,
appears at the moment when, provoked by the over-
bearing tyranny of Agamemnon, the hero of the poem is
no longer able to repress his indignation. The invisi-
bility of the goddess is prettily expressed by concealing
the greater portion of her person.
A ship, from a painting.
AcHam. 25, that the first seats were called tfforo&Aa;
and, invHesychius, ixgia is an appellation applied to the
upper rows. It is strongly suspected that the real reading
of this ticket is some Greek word, synonymous to the
maniana of the Latin, and that it was an admission to
the gallery, constructed of wood.
Page 237.
Agamemnon and Achilles.
This painting is referred to page 219- It un-
doubtedly represents a scene in the opening of the Iliad,
and the source of its action:
Achilles* wrath, to Greece the direful spring
Of woes unmrmber'd.—
Minerva, sent by Juno, and visible only to Achilles,
appears at the moment when, provoked by the over-
bearing tyranny of Agamemnon, the hero of the poem is
no longer able to repress his indignation. The invisi-
bility of the goddess is prettily expressed by concealing
the greater portion of her person.
A ship, from a painting.