ith paintings taken from the
Odyssey, and from the elegant fictions of Grecian mythology. When
Mazois visited it in 1812, two paintings in the atrium were still in
existence, though in a very perishing state. Shortly after he had
copied them they fell, owing to the plaster detaching itself from the
wall. One of them is taken from the Odyssey, and represents Ulysses
and Circe, at the moment when the hero, having drunk the charmed cup
with impunity, by virtue of the antidote given him by Mercury, draws
his sword and advances to avenge his companions.[17] The goddess,
terrified, makes her submission at once, as described by Homer, while
her two attendants fly in alarm; yet one of them, with a natural
curiosity, can not resist the temptation to look back, and observe the
termination of so unexpected a scene. Circe uses the very gesture of
supplication so constantly described by Homer and the tragedians, as
she sinks on her knees, extending one hand to clasp the knees of
Ulysses, with the other endeavoring to touch his beard.[18] This
picture is remarkable, as teaching us the origin of that ugly and
unmeaning glory with which the heads of saints are often surrounded.
The Italians borrowed it from the Greek artists of the lower empire,
in whose paintings it generally has the appearance, as we believe, of
a solid plate of gold. The glory round Circe's head has the same
character, the outer limb or circle being strongly defined, not shaded
off and divining into rays, as we usually see it in the Italian
school. This glory was called nimbus, or aureola, and is defined by
Servius to be "the luminous fluid which encircles the heads of the
gods." It belongs with peculiar propriety to Circe, as the daughter of
the sun. The emperors, with their usual modesty, assumed it as the
mark of their divinity; and, under this respectable patronage, it
passed, like many other Pagan superstitions and customs, in the use of
the church.

The other picture represents Achilles at Scyros, where Thetis had
hidden him among the daughters of Lycomedes, to prevent his engaging
in the Trojan war. Ulysses discovered him by bringing for sale arms
mixed with female trinkets, in the character of a merchant. The story
is well known. The painting represents the moment when the young hero
is seizing the arms. Deidamia seems not to know what to make of the
matter, and tries to hold him back, while Ulysses is seen behind with
his finger on his lips, closely observ