ἐναντίον δὲν τῇ λύπῃ, κακῷ ὄντι, ἡδονή. ἀγαθὸν ἄρα, κακῷ γὰρ οὐ μόνον τὸ ἀγαθὸν ἐναντίον, ἀλλὰ καὶ τὸ κακόν. ὡς τῇ θρασύτητι οὐ μόνον ἡ ἀνδρεία [ἐναντίον, ἀγαθὸν οὖσα], ἀλλὰ καὶ κακὸν, ἡ δειλία. διόπερ ὡς ἐναντία τοῦ λύσαντος αὐτὰ εἶναι ὀρθῶς θεὶς, μὴ μόνον ἀγαθὸν εἶναι τῷ κακῷ ἐναντίον, ἀλλὰ καὶ κακὸν, εἶτα προσέλαβε τὴν ἡδονὴν μὴ εἶναι κακόν. ἐξ ὧν εὐλόγως συλλογίζεται τὴν ἡδονὴν ἀγαθὸν εἶναι. ὁ δὲ ἐπὶ πᾶσιν εἴρηκεν. οὐ γὰρ ἂν φαίη τις εἶναι τὴν ἡδονὴν τῷ λόγῳ αὐτὴν συναπτέον ἐν ᾧ εἴληπται. οὐκ ἔστι δὲ κακὸν ἡ ἡδονή· τοῦτο γὰρ συ νεχὲς4 ... ἂν . . φαίη. τὸ μὴ κακὸν εἶναι ἡδονήν. “ ὁ δὲ μετὰ ταῦ τα λόγος” ἔοικε λέγεσθαι πρὸς τοὺς μὴ φάσκοντας τέλος εἶναι τὴν ἡδονὴν μηδὲ τὸ ἄριστον. διότι εἰσί τινες ἡδοναὶ φαῦλαι, οἷον αἱ τῶν ἀκολάστων. ὅσον γὰρ ἐπὶ τούτῳ τῷ λόγῳ ἐστί τινα ἡδονὴν . . . . . ἡγεῖται . . . .' τὸν ἄριστον καὶ τουτὸν τῇ εὐδαιμονίᾳ. ἀλλὰ πρὸς τοὺς οὕτω δεικνύντας ἐνίστανται 9 τί γὰρ κωλύει το φαυλῶν ἡδονῶν οὔσων, εἶναί τινα ἡδονὴν τὸ ἄριστον τῶν ἀνθρωπίνων ἀγαθῶν. ὥσπερ καὶ ἐπιστήμη τίς ἐστι· ἡ ἀρίστη τῶν ὄντων, οἷον ἡ σοφία. καίτοι πολλῶν τέχνων 12 φαύλων οὔσων, οἷον τῶν βαναύσων, φαύλων δὲ οὐχ ὡς κακῶν ἀκουστέον, ἀλλ ̓ ὡς ἀτελῶν 13 και 14 μηδεμίας σπουδῆς ἀξίων. ἃ δὲ ἑξῆς ἐπιφέρεις αὐτῷ δόξειεν ἐν ἀληθεῖ ἀποφαινόμενα τὸ μέγιστον καὶ 17 ἄριστον τὴν ἡδονήν. λέγει γὰρ ἴσως δὲ 18 καὶ ἀναγκαίως αἱρετώτατον εἶναι, δηλονότι2ο τὴν ἡδονήν. τὸ δὲ αἱρετώτατόν τι ἐπὶ τέλειες ἔστι τοῦ λόγου, καὶ συνηγορεῖται 22 τῷ λόγῳ, πάντων αἱρετώτατον43 εἶναι τὴν ἡδονὴν λεγόντων 25 εἰ γὰς ἑκάστης ἕξεώς εἰσί τινες ἐνέργειαι 20 ἀνεμπόδιστοι, οἷον αἱ τῶν ἀρίστων ὅταν ἐν προηγουμένοις καὶ αἱρετοῖς γίνωνται, μηδενὸς ἐμποδίζονται. καὶ ἔστιν ἡ εὐδαιμονία ἡ πάσων τῶν ἕξεων, τουτέστι τῶν ἀρετῶν, ἐνέργεια ἤ τινος αὐτῶν ἀνεμπόδιστος, οἷον 4 19 II 26 * V. b. sine δὲ, τὴν λύπη κακῶν ὄντι, sic. 2 Uncis inclusa soli V. b. et Fl. b. 3 In Cod. Fl. a. et in P. a. per compendium sic scriptum πλεξ 4 VR. b. in marg. ἡ δὲ βίβλ. δοκεῖ οὐδενὰ ἐχεῖν ἔλλειψιν. Nulla desunt in Fl. b. 5 τούτῳ λέγω Fl. a. 6 Lacuna in omn. Codd. 8 το sine accentu Fl. a. 10 τὶ καὶ κολύει V. b. λύει, ἡ βίβλ. in marg. 7 Lacuna iterum. 9 ἐνίσταται Ρ. a. et P. b. "Addunt PP. 12 P. a. —χρων et prima syllaba deficiente. Fl. a. et VR. b. αἰσχρῶν in textu, notante altero in margine, τεχνῶν ἡ βίβλ. 13 P. a., VR. b. et Fl. b. εὐτελῶν. 14 και om. PP. 15 Addunt τάχα post επιφέρει VR. b., V. b., Fl. a. 16 PP. . . τῷ, VR. b. αντω sine accentu; V. b. ἂν τῷ δόξει ἐν ἀληθεῖ. 17 Om. καὶ PP. 19 ἀναγκαῖον Ρ. a. 18 Om. δὲ P. a. et VR. b. τῆς σοφίας. ταυτὸν δὲ τούτῳ καὶ ἡ' ἡδονή. ἐνέργεια γὰρ ἀποδέδοται τῆς κατὰ φύσιν ἕξεως, ἀνεμπόδιστος, φανερὸν ὡς ἂν εἴη τις ἡδονὴ τὸ ἄριστον καὶ τελειότατον τῶν ἀγαθῶν. εἰ οὕτως ἔτυχε φαύλων οὔ σων ἡδονῶν.3 ἔστι δὲ ὥς φησι τὰ ἑξῆς τῆς φράσεως ἴσως4 ἀναγ καῖον αἱρετωτάτην εἶναι τὴν ἡδονὴν, εἴπες ἑκάστης ἕξεως καὶ τὰς ἑξῆς, διὰ μὲν οὖν τούτων δοκεῖ ταὐτὸν ἀποφαίνεσθαι τἀγα θὸν καὶ τὴν ἡδονήν. οὐ μὴν οὕτως ἔχει· ἀλλὰ πρὸς τοὺς λέγον τας γένεσιν εἶναι ἢ φαύλας τινὰς τῶν ἀγαθῶν, ὃς καὶ δι ̓ αὐτὸ τὸ μὴ εἶναι τὸ ἀγαθὸν ἐπιγίνεται καὶ ἐπιχειρεῖ ἐνδόξως, ὡς ἐνὸν8 αὐτὴν τὸ ἄριστον λέγειν. ἐπεὶ ἔν γε τοῖς Νικομαχείοις ἔνθεν° διείλεκται καὶ περὶ ἡδονὰς ̓Αριστοτέλης σαφῶς εἴρηκεν, αὐτὴν το μὴ εἶναι ταυτὸν τῇ εὐδαιμονίᾳ, ἀλλὰ παρακολουθεῖν ὥσπερ τοῖς ἀκμαίοις τὴν ὥραν. σημειω τέον δὲ τοῦ μὴ εἶναι τοῦτ ̓ 12 ̓Αριστοτέλους, ἀλλ ̓ Εὐδήμου, ὃς ἐν τῷ 14 λέγει 15 περὶ ἡδονῆς 16 ὡς οὐδέπω περὶ τῆς αὐτῆς διειλελε γμένου. 18 πλὴν εἴτε Εὐδήμου ταῦτά ἐστιν, εἴτε ̓Αριστοτέλους ἐνδόξως εἴρηται. 10 17 VR. b. desinit in Comm. I. VII., omisso octavi libri Commentario, fol. 79. (V. b. 377 a.) .... 'Ητο ἡδονὴ μᾶλλον ἐν ἠρεμίᾳ . . . . ἀνδρία ἐστὶν ἢ ἐν κίνησει. ἡ γὰρ ἡστὴ καὶ ἀληθεστάτη ἡδονὴ τῷ ὡσαύτως ἔχοντι καὶ αἰεὶ περὶ τὴν τῶν καλλίστων 21 θεωρίαν ἐνεργοῦντι, ὃ δὲ λέγουσί τινες, μεταβολὴν 22 πάντων, γλυκὺ, περὶ τῆς πονηρίας καὶ εὐμεταβόλης 23 φύσει 24 λέγουσι. τοιαύτη δὲ ἡ φθάρτη. Cod. Fl. a. habet ̓Ασπασίου εἰς τὸ ἢ τῶν ̓Αριστ. ̓Ηθικῶν Νικομα χείων (Fl. b. 399 b.) Incipit: Μετὰ 25 δὲ ταῦτα δὲ περὶ φιλίας· ἕως τοῦ λανθάνοντας ὡς ἔχουσιν αὐτοῖς.20 26 Desinit: τὸ ἐπαρκεῖν καὶ οὐ σπουδαστὸν καὶ περὶ μὲν τούτων, τάδε μοι εἴρηται : f. 401 a. 14 Indicant lacunam soli P. b. et Fl. b. 16 ἡδονὰς ἡ βίβλ. in marg. VR. b. 18 διειλεγμένου P. b., V. b. et Florr. 13 · 7 τὸ τἀγαθὸν PP. 9 P. b. ἔνθα V. b. Εν μὴ ταυτὸν VR. b., Fl. a. ò P. b., V. b., Fl. a. et Fl. b. 15 λέγειν VR. b., V. b. et Fl. b. 17 Addit solus Fl. a. 19 Addit V. b. diò nai ñ ñ♪. 20 Omissum in Cod. VR. b., nullo spatio relicto ; in marg. ἧς ή. 22 VR. b. μεταβολήν. V. b. et P. a. μεταβολή. 24 VR. b. φύ ἡ βίβλ. καὶ ἴσως γέγραπται φύσεως. ἀλλὰ μὴ, φύσει. 25 Fl. a. μετέχειο Sequitur in Fl. b. f. 370 a., post Commentarium l. 11. Aspasio tributum-qui desinit verbis: i pèv oùy ToÚTų paiveraι Tò σxúμμa μÉCOV T. Deinde Michaelis Ephesii Scholia leguntur, in & Ethicor. NOTICE OF PEINTURES ANTIQUES ET INEDITES DE VASES GRECS, tirées de diverses collections, avec des explications, par J. V. MILLINGEN. Folio. Rome. Pr. 71. 7s. ACCORDING to our intention declared in the account of Mr. Millingen's English work, (see Classical Journal, No. Lv. p. 144.), we shall here describe that splendid French volume which the same learned author published at Rome under the title above mentioned; a folio of considerable size, beautifully printed, and illustrated with sixty-three plates. Sixty of these exhibit the paintings found on various Greek, or, as they are often improperly called, Etruscan, vases; and three plates represent the different forms of those vases. All the paintings have hitherto been unedited, with the exception of two; which were so inaccurately copied in former engravings, that their subjects could not be ascertained. Notwithstanding the great variety of designs comprehended in so many plates, and the impossibility of remarking, within our limits, the very minute details, we shall endeavor to gratify antiquarian and classical readers by indicating, though briefly, the principal subject of each painting. But we must previously notice the Introduction (occupying thirteen pages), in which Mr. Millingen most ingeniously traces the history of earthen vases. He observes that they were in general use among the Greeks until Alexander's time, when, luxury having been introduced, silver, gold, and even more precious materials superseded clay in the formation of vases. He describes the various purposes, civil and religious, to which the ancients applied their earthen vases: these, originally, were not colored; they were painted black, and subsequently, as the arts improved, were ornamented with figures. That monuments of brass or of marble should have disappeared, while vases of so frail a substance as clay should be found at the present day in considerable numbers, our learned author ascribes to the custom of placing these with the dead, whose tombs were preserved from violation by a feeling of religious respect. He divides the vases into seven grand classes, according to the subject of their paintings: 1. Those relating to the divinities; their wars with the giants, their amours, the sacrifices offered to them, &c. 2. Those relative to the heroic ages; the most numerous as well as the most interesting, for they comprehend all the mythological facts from the arrival of Cadmus till the return of Ulysses to Ithaca; the Heracleid, the Theseïd, the two wars of Thebes, the wars of the Amazons, the Argonautic expedition, and the war of Troy. 3. Dionysiac subjects: Bacchus, Satyrs, Silenus, Nymphs, dances, festivals, processions, &c. 4. Subjects of civil life marriages, amorous scenes, feasts, hunting-parties, warriors, theatrical representations, &c. 5. Those relating to funeral ceremonies, a very numerous class. 6. Those relative to gymnastic exercises; and 7. Those alluding to the mysteries and preparatory ceremonies of initiation. Most vases, says Mr. M., exhibit pictures on both sides, though one has seldom any relation to the other; that which is painted with the most care, may be considered as the principal face; on the reverse is generally found some gymnastic or Dionysiac subject. Vases abound in most parts of Greece, in the kingdom of Naples, and in Sicily; the finest have been discovered at Nola, Locri, and Agrigentum. As the potter's wheel, the art of modelling in elay, and even painting, are said to have been invented at CoFinth, we may suppose this place the first in which painted vases were made; probably about seven hundred years before the commencement of our era. But we must pass over without notice a multiplicity of curious and interesting remarks in the Introduction, and proceed to our author's explanation of the plates. (Plate i.) represents that memorable punishment inflicted by Bacchus on Lycurgus, king of Thrace; a subject not yet discovered on any other monument of ancient art, though the story has been related by Homer, Hyginus, Apollodorus, &c.: inspired with madness by the offended deity, Lycurgus is seen killing his own wife and son, whilst he fancies that he is destroying the vines of Bacchus. The vase which exhibits this painting once belonged to Mr. Millingen, and is now in the Royal Museum degli Studj at Naples: the subject was probably copied, says our author, from some ancient and celebrated picture according to Pausanias (Attic. c. xx.), the punishment of 1 Lycurgus was represented in the temple of Bacchus at Athens.→→ (Plate ii.) shows the reverse or opposite side of this vase, with a figure of Bacchus caressing a young panther that sits upon his knees; a person standing before the god pours out a libation, and behind him are a Menade and two Satyrs. (Plate iii.) In this we see Perseus holding up the formidable head of Medusa, which turns into stone two Satyrs preparing to attack him.— (Pl. iv.) illustrates the story of Peleus, who, having pursued the beautiful Nereid Thetis through various transformations, surprises her at last, and she consents to become his wife. The same vase exhibits another composition, (Pl. v.) presenting two different subjects; one consists of seven figures, a warrior attacked by Menades or Bacchants; the other, a combat in which five warriors are engaged, and this, Mr. Millingen thinks, may represent some circumstances of the Trojan war, or perhaps a military dance, such as Xenophon denominates oλomosta (Cyrop. vi, vii.)-In (Pl. vi.) Medea appears sitting at the foot of a tree round which is twined a dragon. or serpent; to this she offers a soporific potion, while Jason approaching with a sword, prepares to kill the monster, that he may seize the golden fleece preserved under its guardianship. Venus is seen on one side, encouraging the lovers in their enterprise; and on the other side is a winged youth, whom Mr. M. regards as Alastor, 'AxáσTwp, the evil genius of Medea, often mentioned by the tragic authors: thus Euripides (in Medea, v. 1333.) τὸν σὸν δ ̓ ̓Αλάστορ ̓ εἰς ἔμ ̓ ἔσκηψαν θεοί. (Pl. vii.) represents Eetes, king of Colchos, to whom Phryxus brings the golden fleece. Most of the circumstances in this composition might be supposed to indicate Jason; but Mr. M. considers the presence of Mercury as a decisive proof that Phryxus was the hero intended.—(Pl. viii.) This subject, from a vase in the author's collection, alludes to the story of Cæneus, whom two centaurs attack, and overwhelm with branches of trees.-In (Pls. ix. and x.) we discover Theseus preparing to destroy Procrustes by means of the bed whereon this famous robber had tortured so many travellers.--(Pl. xi.) Hercules, or rather Theseus, as Mr. M. conjectures, overcomes the Marathonian bull, in presence of Minerva. (Pl. xii.) represents Theseus offering a sacrifice to Neptune, and soliciting from this god the destruction of his son Hippolytus, whom Phædra had unjustly accused. (Pl. xiii.) exhibits the unfortunate youth, with his stepmother Phædra, and the nurse, who appears from other monuments to have acted a conspicuous part in this tragical adventure. The story of Orestes furnishes an interesting subject for (Pls. |