the Thessalians do not pay him more attention, he will reduce them to the same state of misery as the Trojans. The dæmon, it may be said in passing, vanishes, like a mediæval ghost, at cockcrow.[33] This cultus of the Homeric heroes was, of course, inseparable from a corresponding growth of artistic associations; and here it is not a little curious to compare our own indefinite conceptions of the outward form of the heroic personages with the very concrete incarnation they received from Greek sculptors and painters. The first memorable attempt to express the heroes of Homer in marble was upon the pediment at Ægina; the first elaborate pictorial representation was that of Polygnotus on the walls of the _Lesche_ at Delphi. A Greek _Lesche_ was not unlike an Italian or Oriental café, extended to suffice for the requirements of a whole city. What has been discovered at Pompeii, in addition to the full description of the Delphian _Lesche_ by Pausanias, inclines us to believe that the walls of these public places of resort were not unfrequently decorated with Homeric pictures. The beautiful frescos of Achilles among the daughters of Lycomedes, of Achilles bathed by Thetis in the Styx, of Briseis led forth by Patroclus into the company of the Achaian chiefs, and of Penelope questioning the disguised Odysseus about her husband, which have been discovered in various parts of Pompeii, sufficiently illustrate to modern minds the style of this wall-painting. The treatise surnamed #Eikones# of Philostratus is an elaborate critical catalogue of a picture-gallery of this sort; and from many indications contained in it we learn how thoroughly the heroes of Homer had acquired a fixed corporeal personality. In describing, for example, a picture of the lamentation for Antilochus, he says: "These things are Homer's paintings, but the painter's action." Then he goes on to point out the chief persons: "You can distinguish Odysseus at once by his severe and wideawake appearance, Menelaus by his gentleness, Agamemnon by his inspired look; while Tydeus is indicated by his freedom, the Telamonian Ajax by his grimness, and the Locrian by his activity."[34] In another place he tells us that Patroclus was of an olive-pale complexion (#melichlôros#), with black eyes and rather thick eyebrows; his head was erect upon the neck, like that of a man who excels in athletic exercises, his nose straight, with wide nostrils, like an eager horse. These descriptions occur in the _Heroic Dialogue_. They are supposed to have been communicated by the dæmon Protesilaus to a vine-dresser who frequented his tomb. Achilles, on the other hand, had abundant hair, more pleasant to the sight in hue than gold, with a nose inclining to the aquiline, angry brows, and eyes so bright and lively that the soul seemed leaping from them in fire. Hector, again, had a terrible look about him, and scorned to dress his hair, and his ears were crushed,