his
wife, the cause that kept the fugitive Archias from his home should be
forgiven and forgotten.

The gray-haired son of the capital returned with the Bithynian Gras to
his beloved Alexandria, as if his lost youth was again restored. There he
found unchanged the busy, active life, the Macedonian Council, the bath,
the marketplace, the bewitching conversation, the biting wit, the
exquisite feasts of the eyes--in short, everything for which his heart
had longed even amid the happiness and love of his dear ones in Pergamus.

For two years he endeavoured to enjoy everything as before; but when the
works of the Pergamenian artists, obtained by Ptolemy, had been exhibited
in the royal palaces, he returned home with a troubled mind. Like the
rest of the world, he thought that the reliefs of Myrtilus, representing
scenes of rural life, were wonderful.

The Capture of Proserpina, a life-size marble group by his son-in-law
Hermon, seemed to him no less perfect; but it exerted a peculiar
influence upon his paternal heart, for, in the Demeter, he recognised
Daphne, in the Proserpina her oldest daughter Erigone, who bore the name
of Hermon's mother and resembled her in womanly charm. How lovely this
budding girl, who was his grand-daughter, seemed to the grandfather! How
graceful, in spite of the womanly dignity peculiar to her, was the
mother, encircling her imperilled child with her protecting arm!

No work of sculpture had ever produced such an effect upon the old patron
of art.

Gras heard him, in his bedroom, murmur the names "Daphne" and "Erigone,"
and therefore it did not surprise him when, the next morning, he received
the command to prepare everything for the return to Pergamus. It pleased
the Bithynian, for he cared more for Daphne, Hermon, and their children
than all the pleasures of the capital.

A few weeks later Archias found himself again in Pergamus with his
family, and he never left it, though he reached extreme old age, and was
even permitted to gaze in wondering admiration at the first attempts of
the oldest son of Hermon and Daphne, and to hear them praised by others.

This grandson of the Alexandrian Archias afterward became the master who
taught the generation of artists who created the Pergamenian works, in
examining which the question forced itself upon the narrator of this
story: How do these sculptures possess the qualities which distinguish
them so strongly from the other statues of later Helleni