^{Note 1 page 312} For the sake of completeness and convenience of reference I print here quite fully the descriptions in point from classical antiquity. A convenient summing up of the whole question may be found in Baumeister, Denkmäler des klassischen Alterthums, vol. ii, s. v. Kairos.

^{Note 1 page 313} “I wish to bring before you also in a description the work of Lysippus, which as the finest of images this artist placed on exhibition before the inhabitants of Sicyon. It was fashioned into a statue of bronze, rivalling nature in art. was a boy, blooming in the very flower of youth from head to foot; handsome in mien, his hair fluttering at the caprice of the wind, leaving his locks dishevelled; with rosy complexion, showing by the splendor of body its perfection. He was very similar to Bacchus; his forehead shone with grace, and his cheeks, like a flower, glowed in youthful splendor, showing to the eyes a tender blush. He stood on a sphere, resting on the tips of his toes, with winged feet. His hair was not, however, fashioned after the usual manner, but the thick curls fell towards his brow over his cheek, while the occiput of was destitute of hairs, showing only the beginning of hairy growth.”

“ And this it was which seemed admirable to us. But some one of those who are wise and skilled in art, and in the possession of a trained æsthetic sense, and capable of tracing out the hidden meaning of the artist, attributed design to the work, pointing out that the idea underlying was brought out in this statue. The winged feet indicate swiftness, because time swiftly elapses with the flight of hours; its shows the bloom of youth, because the youthful is ever attractive, and alone is the creator of beauty. On the other hand, what is withered, is foreign to the nature of; again (it has) the lock on the forehead, because it is easy to seize hold of the favorable moment as it approches, but having passed by, the opportunity for decisive action is gone, and once neglected it is no longer possible to recover it.”

^{Note 1 page 315} “Who, whence is thy maker? Sicyon. His name is what? Lysippus. What art thou? Kairos, the all-subduer. Why doest thou stand on the tips of thy toe? I turn forever. Why hast thou double wings on either foot? I fly carried by the wind. In thy right hand why earnest thou a razor? To men a sign that quicker than any edge I am. But thy hair, why is it over the eye? In order to be grasped, forsooth, by him that meets me. The back of thy head, why is it bald? Because he, whom I have once rushed by with winged feet, will never grasp me afterwards, though he desire it. Why did the artist fashion thee? For thy sake, o stranger, he placed this warning lesson into the doorway.”

^{Note 1 page 316} An illustration, reproduced by Baumeiater, 1. c. p. 771, shows a reproduction of a relief in Torino. It is said to belong to late Roman times, but is apparently a true illustration of this ancient Greek idiom. The figure it bald, with long hair in front, wings on the shoulders and feet, and holding a scale which rests on the edge of a razor.

^{Note 1 page 318} The other plate in Baumeister's article, quoted above, is almost exactly as illustration of the epigram of Ausonius. It shows the figure of, no longer nude, with a winged wheel on each foot, holding a scale in the left and a razor in the right hand. A youth before him has seized his forelock, while an old man behind him, who has let the favorable moment pass by, stretches his left hand out in vain. With the right he angrily pulls his beard. Behind the latter stands a draped figure, representing Poenitentia. The illustration is a reproduction of a relief in Venice, but unfortunately no clue as to its age is given.

It should be added, also, that the fact of Ausonius retaining the Greek term Mctanoea in a curious manner counterbalances his translation of by occassio.

^{Note 1 page 319} For the sake of completeness I add here another Greek description of the statue of Lysippus, contained in an eclogue of Himerius, a contemporary of Ausonius. The account agrees in the main with those of Callistratus and Posidippus, with this difference, that the figure is said to hold a scale in the left hand. The eclogue is published in the same volume with the description by Callistratus.

“ For Lysippus had not only a skilled hand, but alto skilled judgment. Wonderful things did he by reason of this genius venture upon; he added to the list of gods, and by changing images has brought out his nature in a statue. The statue was wrought in this manner as I relate. He fashions a boy, delicate in appearance, in the bloom of youth, with locks of hair from the top to the forehead, but bald behind. In his right hand he was armed with a razor, holding in his left a scale, winged upon a sphere poising lightly, so that he did not rise too far above the earth, seemingly touching it, and yet gliding over it without contact.”

Still more information on this question may he found in Curtius, Archœ-logische Zeitung, 1875, pp. 1–8, and Benndorf, ibid., 1863, p. 81 ff.

^{Note 1 page 320} Cp. Löseth, Le Roman en prose de Tristan, p. 223. The painstaking author of this laborious work adds as a foot-note to this passage, “ nous n'avons trouvé aucune trace de cette quête.”

^{Note 1 page 321} Cp. Graf, l. c.

^{Note 1 page 322} I am undecided how much importance is to be attached to the fact that ciuffo, a word of Germanic origin, and not the Latin words, has been incorporated into the idiom.

^{Note 1 page 323} It would be interesting if it were possible to answer this question of Erasmus.

^{Note 1 page 327} Cp. Boacher, Lexikon der griechischen und römischen Mythologie, s. v.

^{Note 2 page 327} Fortunae rotam pertimescebat. Pison, 10, 22.

^{Note 3 page 327} Fortunae volucris rota, adversa prosperis semper alternans. Ammian. Marc., 31—1—1.

^{Note 1 page 328} Baumeister, 1. c., says the idea of goes back to the palaestra, and sprang from the Hermes, beside whom he had an altar in Olympia. Presence of mind and the necessity of grasping the favorable moment in the martial game are eminently necessary, and this god is therefore often mentioned in Pindar's Odes. Baumeister's hypothesis is in a manner confirmed by the phrase of Himerius quoted above.

^{Note 1 page 329} Mory. Mag., ii-49, xvii-2, xxii-38, xxv-275, xxvi-38, and x-70, xxiii-54.

^{Note 1 page 330} The inscription of the emblem is “Fedeltà è coea rare,” and below stands the explanation “Fortuna in pila volabili stans et velum vibrans . . . .”

^{Note 1 page 331} This can be seen in the following instances: Humphreys, Masterpieces of early printers and engravers, London, 1870; plate 20 of a dance of death, printed in Lyons, 1499, and also in several of the illustrations of Savonarola's “Arte del bene morire,” reproduced in the same volume; also Langlois and Pottier, Danses des Morte, Rouen, 1852, p. 159 and plates xvi and xvii of Holbein's Dance of Death, in the same volume.

^{Note 1 page 332} Ed. Arber, London, 1880, p. 68.

^{Note 1 page 333} Could this be a reference to Erasmus“ hexameter, quoted above ?