Sappho’s last verse also reminds us of Horace’s _Oceano dissociabili_[91] and Tennyson’s “bond-breaking sea.” Fragment E. 41 refers to the mariner at sea in a storm; and E. 66 pictures a beautiful scene on the sea, where “Hector and his comrades bring from sacred Thebe and everflowing Placia, by ship upon the briny sea, the dainty Andromache of the glancing eye.” (Edmonds) Sappho’s verses are full of color, of bright and beautiful things. She ranks with Pindar in her special devotion to gold, not for its value but for its fine amber lustre and its permanency (E. 110). The Cyprian queen of love sits on a throne of rich color and splendor, with inlaid wood or metal (E. 1); she “dispenses the nectar of love in beakers of gold” in what was perhaps the introductory poem of Sappho’s Wedding-Songs (E. 6): Come thou, foam-born Kypris, and pour in dainty Cups of amber gold thy delicate nectar Subtly mixed with fire that will swiftly kindle Love in our bosoms. (O’HARA’S _Love’s Banquet_) Aphrodite wears a golden coronal (E. 9), is herself golden (E. 157), and her handmaid is golden-shining (E. 24). The Muses are golden (E. 11), perhaps also the Nereids (E. 36). They have a golden house (E. 129): Hither now, O Muses, leaving the golden House of God, unseen in the azure spaces. (O’HARA’S _Muses_) The dawn is golden-slippered (E. 19); something or somebody is more golden than gold (E. 60). “Gold is pure of rust” (E. 109); “Gold is a child of Zeus; no moth nor worm devours it; and it overcomes the strongest of mortal hearts” (E. 110).[92] Sappho’s daughter Cleïs looks like a golden flower (E. 130); “Golden pulse grew on the shore” (E. 139, cf. O’Hara’s poem _Golden Pulse_). One of many fragments of interest to the student of Greek life and antiquities speaks of “gold-knuckle bowls” (E. 191).[93] Sappho was cited by Menaechmus of Sicyon in his _Treatise on Artists_ as the first to use a lyre called the _pectis_, and she invented the Mixo-Lydian mode, particularly sensual or emotional, which the Greek tragedians copied from her. Sappho makes allusions to children which are natural and tender (E. 130). In similes she uses children simply and directly as in _The Ode to Hesperus_ (E. 149) and in the verse, which may refer to a sparrow and which Catullus imitated, “I flutter like a child after her mother” (E. 142).