like Apollo?
You're grieved--still Niobe's the grander!
You live--there's the Racers' frieze to follow:
You die--there's the dying Alexander.

--
St. 13. Theseus: a reclining statue from the eastern pediment
of the Parthenon, now in the British Museum.
The Son of Priam: probably the Paris of the Aeginetan Sculptures
(now in the Glyptothek at Munich), which is kneeling and drawing
the bow.

Apollo: "A word on the line about Apollo the snake-slayer,
which my friend Professor Colvin condemns, believing that the God
of the Belvedere grasps no bow, but the Aegis, as described in
the 15th Iliad. Surely the text represents that portentous object
(qou^rin, deinh/n, a'mfida/seian, a'riprepe/'--marmare/hn)
as `shaken violently' or `held immovably' by both hands,
not a single one, and that the left hand:--

a'lla\ su/ g' e'n xei/ressi la/b' ai'gi/da qusano/essan
th\n ma/l' e'pi/ssei/wn fobe/ein h`/rwas 'Axaiou/s.

and so on, th\n a'/r' o`/ g' e'n xei/ressin e'/xwn--
xersi\n e'/x' a'tre/ma, k.t.l. Moreover, while he shook it
he `shouted enormously', sei^s', e'pi\ d' au'to\s au'/se ma/la me/ga,
which the statue does not. Presently when Teukros, on the other side,
plies the bow, it is to/j`on e'/xwn e'n xeiri\ pali/ntonon. Besides,
by the act of discharging an arrow, the right arm and hand
are thrown back as we see,--a quite gratuitous and theatrical display
in the case supposed. The conjecture of Flaxman that the statue
was suggested by the bronze Apollo Alexikakos of Kalamis,
mentioned by Pausanias, remains probable; though the `hardness'
which Cicero considers to distinguish the artist's workmanship
from that of Muron is not by any means apparent in our marble copy,
if it be one.--Feb. 16, 1880."--The Poet's Note.

Niobe: group of ancient sculpture, in the gallery of the Uffizi Palace,
in Florence, representing Niobe mourning the death of her children.
the Racers' frieze: the frieze of the Parthenon is perhaps meant,
the reference being to the FULNESS OF LIFE exhibited by
the men and horses.

The dying Alexander: "`The Dying Alexander', at Florence.
This well-known, beautiful, and deeply affecting head,
which bears a strong resemblance to the Alexander Helios of the Capitol
--especially in the treatment of the hair--has been called
by Ottfried Mueller a riddle of archaeology. It is no doubt
a Greek original, and one of the most interesting remains
of ancient art, but we cannot