This “violet-crowned, pure, sweetly smiling Sappho,” who sang so divinely, and vanished so theatrically from Leucadia’s “rock of woe,” was long veiled in the mists of romance. The tragical muse pictured in flowing draperies, with a crown of laurel on her head and a lyre in her hand, chanting her swan-song before cooling her heart of flame in the blue sea at her feet, was as intangible to us as one of Fra Angelico’s angels. She looked out of a land of mystery and shadows, with nothing human about her save that she loved, and suffered, and died. “Do thou, gentle Love, place wings beneath me as I fall, that I may not be the reproach of the Leucadian waves,” is her pathetic prayer, and here she fades from our sight. But it has been fairly settled that this romantic story was a dream; that Phaon was only a mythical Adonis; that Sappho did not follow him across the sea, did not die of love, and never took the fatal leap at all. The sentimental tourist who sighs over her melancholy fate to-day, as he passes the bare white cliffs of Santa Maura, so long consecrated to tragedies of love and sorrow, pays his sympathetic tribute to a phantom. She went to Sicily, it seems, but not for love. It is supposed that she was exiled. There were political conspiracies for which men were banished, and she may have written revolutionary songs. Possibly she held too radical opinions on the privileges of her sex. But all this is the purest surmise. In any case, her offense could not have been a grave one, as she returned in a few years to Mytilene, where she was adored by a fickle public as the glory of her native city, and honored with altars and temples after her death. Her face was stamped upon coins--“though she was a woman,” said Aristotle. The outlines are clear and strong, with the virile quality so marked in most statues of Greek women. She was also represented, with Alcæus, on a vase of the next century, as not only beautiful, but tall and stately. A thousand years afterward a statue of her is said to have been one of the ornaments of the gymnasium at Byzantium. But coin and bust and statue give us many faces. Which was the real one? We are more familiar with the ideal Sappho in the modern portrait in which Alma-Tadema has so subtly caught the prophetic light of her soul, her eager intellect, her unconscious grace, and the slumbering passion in her eloquent eyes. But recent critics tell us that even her beauty was a fiction of the imagination. Does she not say of herself, in the burning lines of Ovid, that she was brown and of low stature, though her name filled all lands? Or was it the sweet humility of love that made her own attractions seem to her slender and insufficient? She had been dead six hundred years or so when Ovid wrote, and his knowledge could not have been infallible.