for many weeks. It was then that deed of purest tragedy was done, which, though it forms no part of Homer's story, has been so often the subject of song, of painting, and of sculpture, and has received so many illustrations in modern literature, that it must find place here. The king is informed by the oracle that the wrath of Heaven can only be appeased by the sacrifice of his virgin daughter Iphianassa, or as she is more commonly called, Iphigenia. Reluctantly, and only after a bitter struggle with his feelings, urged by the importunate clamour of the whole army, and in obedience to his conception of his duties as their chief, the father consented. The story is immortalised by the anecdote told of Timanthes, the painter of Sicyon, when competing with a rival in a picture of the sacrifice. The point of admitted difficulty with both the competitors was to portray the agony in the father's features at the moment when the sacrificing priest was about to strike the fatal blow. The great artist represented the king as wrapping his face in the folds of his mantle, and was at once pronounced the winner of the prize. Mr Tennyson—never more successful than when he draws his inspiration from the old classical sources—has made tasteful use of both legend and anecdote in his 'Dream of Fair Women.' It is Iphigenia who speaks:—
"I was cut off from, hope in that sad place,
Which yet to name my spirit loathes and fears:
My father held his hand upon his face;
I, blinded with my tears,
"Still strove to speak: my voice was thick with sighs,
As in a dream. Dimly I could descry
The stern black-bearded kings with wolfish eyes,
Waiting to see me die.
