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Updated: May 19, 2025
Giorgione embodies in such a picture as the Adrastus and Hypsipyle, or the Aeneas and Evander, not so much what has been related to him of those ancient legends as his own mood when he is brought into contact with them; he transposes his motive from a dramatic into a lyrical atmosphere, and gives it forth anew, transformed into something "rich and strange," coloured for ever with his own inspired yet so warmly human fantasy.
Thus Croesus received the unfortunate Adrastus into his household.
The "Adrastus and Hypsipyle" thus follows naturally upon "The Judgment of Solomon" and "Trial of Moses," and the pages of Virgil, Ovid, Statius, and Valerius Flaccus all treasure-houses of golden legend yield subjects suggestive of romance. The titles of some of these poesie, as they were called, are preserved in the pages of Ridolfi. Uffizi Gallery, Florence
An outlaw came Castor out of Argos, when Tydeus was holding all the land and all the wide vineyards, having received Argos, a land of steeds, from the hand of Adrastus. No peer in war among the demigods had Castor, till age wore down his youth.
As for Adrastus, he begged to be sacrificed at the grave of his unfortunate victim. This Croesus, despite his grief, refused, saying, "Some god is the author of my misfortune, not you. I was forewarned of it long ago." But Adrastus was not to be thus prevented. Deeming himself the most unfortunate of men, he slew himself on the tomb of the hapless youth.
He had composed a verse to the effect that Frederick thought like a philosopher and acted like a king, philosopher and king notoriously being words of equally evil sense in his dialect. There was also a passage in Emilius about Adrastus, King of the Daunians, which was commonly understood to mean Frederick, King of the Prussians.
In the former piece, it is true, Theseus appears at first in a somewhat unamiable light, upbraiding, as he does, the unfortunate Adrastus with his errors at such great length, and perhaps with so little justice, before he condescends to assist him; again the disputation between Theseus and the Argive herald, as to the superiority of a monarchical or a democratical constitution, ought in justice to be banished from the stage to the rhetorical schools; while the moral eulogium of Adrastus over the fallen heroes is, at least, very much out of place.
The busy Adrastus, whose professional engagements might seem more than enough for the nervous energy of one man, and who yet finds time to print essays on the chief current subjects, from the tri-lingual inscriptions, or the Idea of the Infinite among the prehistoric Lapps, to the Colorado beetle and the grape disease in the south of France, is generally praised if not admired for the breadth of his mental range and his gigantic powers of work.
These are the "Adrastus and Hypsipyle," in the collection of Prince Giovanelli, in Venice, and the "Aeneas, Evander, and Pallas," in the gallery at Vienna. The painted myth is a new departure, the creation of Giorgione's own brain, and as such, is treated in a wholly unconventional manner.
The two small companion pictures in the Uffizi, The "Judgment of Solomon" and the "Trial of Moses," or "Ordeal by Fire," as it is also called, connect in style closely with the "Adrastus and Hypsipyle." They are conceived in the same romantic strain, and carried out with scarcely less brilliance and charm.
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