tected him from the indignation of the people of Ithaca. When Odysseus after his long wanderings returned home, Eupeithes wanted to avenge the death of his son Antinous, who had been one of Penelope's suitors and was slain by Odysseus. He accordingly led a band of Ithacans against Odysseus, but fell in the struggle. (Hom. Od. xvi. 436, xxiv. 469, 523.) [L. S.] EUPHANTUS (EŬpavтos), of Olynthus, a Pythagorean philosopher and tragic poet, who lived a little later than the period of the tragic Pleiad. He was the disciple of Eubulides of Miletus, and the instructor of Antigonus I. king of Macedonia. He wrote many tragedies, which were well received at the games. He also wrote a very highly esteemed work, repl Bariλeías, addressed to Antigonus, and a history of his own times: he lived to a great Age. (Diog. Laërt. ii. 110, 141.) The Euphantus whose history is quoted by Athenaeus (vi. p. 251, d.) must have been a different person, since he mentioned Ptolemy III. of Egypt. (Vossius, de Hist. Graec. p. 69, ed. Westermann; Welcker, -die Griech. Tragoed. p. 1268.) [P.S.]

T

a chariot and two horses. (Paus. v. 17. § 4.) There are two other mythical personages of this name. (Anton. Lib. 8; Hom. Il. ii. 846.) [L.S.] EUPHEMUS (Euonuos), was sent by the Athenian commanders at Syracuse in the winter of B. c. 415-414 to negotiate alliance with Camarina, and was there opposed on the Syracusan side by Hermocrates. Thucydides gives us an oration in the mouth of each. The negotiation was unsuccessful. (Thuc. vi. 75-88.) [A. H. C.]

EUPHORBUS (Eupop6os), a son of Panthous and brother of Hyperenor, was one of the bravest among the Trojans. He was the first who wounded Patroclus, but was afterwards slain by Menelaus (Hom. Il. xvi. 806, xvii. 1-60), who subsequently dedicated the shield of Euphorbus in the temple of Hera, near Mycenae. (Paus. ii. 17. § 3.) It is a well known story, that Pythagoras asserted that he had once been the Trojan Euphorbus, that from a Trojan he had become an Ionian, and from a warrior a philosopher. (Philostr. Vit. Apoll. i. 1, Heroic. 17; Diog. Laert. viii. 4; Ov. Met. xv. 161.) [L. S.]

on the virtues of the plant.

Salmasius tries to prove (Prolegom. ad Homon. Hyles Iatr. p. 4), that this story of Pliny is without foundation, and that the word was in use much earlier than the time of Juba, as it is mentioned by Meleager. (Carm. i. 37.) It does not, however, seem likely that Pliny would have been ignorant of a plant that was known to a poet who lived two hundred years before him; and besides, in the passage in question, the commonly received reading in the present day is not evpóрëпs, but èк дорéns. [W.A.G.]

EUPHO'RION (Eupopiwv). 1. The father of the poet Aeschylus. (Herod. ii. 156.) [AESCHYLUS.]

EUPHEME (Euphun), the nurse of the Muses, EUPHORBUS (Eupopsos), physician to Juba of whom there was a statue in the grove of the II., king of Mauretania, about the end of the first Muses near Helicon. (Paus. ix. 29. § 3.) [L. S.] century B. C., and brother to Antonius Musa, the EUPHE'MUS (Eupnuos), a son of Poseidon by physician to Augustus. [MUSA.] Pliny says (H. Europe, the daughter of Tityus, or by Mecionice or N. xxv. 38), that Juba gave the name of Euphorbia Oris, a daughter of Orion or Eurotas. (Schol. ad to a plant which he found growing on Mount Atlas Pind. Pyth. iv. 15; Tzetz. Chil. ii. 43.) Accord- in honour of his physician, and Galen mening to the one account he was an inhabitant of tions (de Compos. Medicam. sec. Locos. ix. 4. vol. Panopeus on the Cephissus in Phocis, and accord-xiii. p. 271) a short treatise written by the king ing to the other of Hyria in Boeotia, and afterwards lived at Taenarus. By a Lemnian woman, Malicha, Malache, or Lamache, he became the i father of Leucophanes (Schol. ad Pind. Pyth. iv. 455; Tzetz. ad Lycoph. 886); but he was married to Laonome, the sister of Heracles. Euphemus was one of the Calydonian hunters, and the helmsman of the vessel of the Argonauts, and, by a power which his father had granted to him, he could walk on the sea just as on firm ground. (Apollon. Rhod. i. 182.) He is mentioned also as the ancestor of Battus, the founder of Cyrene, and the following story at once connects him with that colony. When the Argonauts carried their ship through Libya to the coast of the Mediterranean, Triton, who would not let them pass without shewing them some act of friendship, offered them a clod of Libyan earth. None of the Argonauts would accept it; but Euphemus did, and with the clod of earth he received for his descendants the right to rule over Libya. Euphemus was to throw the piece of earth into one of the chasms of Taenaron in Peloponnesus, and his descendants, in the fourth generation, were to go to Libya and take it into cultivation. When, however, the Argonauts passed the island of Calliste, or Thera, that clod of earth by accident fell into the sea, and was carried by the waves to the coast of the island. The colonization of Libya was now to proceed from Thera, and although still by the descendants of Euphemus, yet not till the seventeenth generation after the Argonauts. The seventeenth descendant of Euphemus was Battus of Thera. (Pind. Pyth. iv. 1, &c.; Apollon. Rhod. ii. 562; Hygin. Fab. 14, 173; Herod. iv. 150.) According to Apollonius Rhodius (iv. 1755), the island of Thera itself had arisen from the clod of earth, which Euphemus purposely threw into the sea. Euphemus was represented on the chest of Cypselus as victor, with

VOL. IL

2. The son of Aeschylus, and himself a tragic poet. [AESCHYLUS, vol. i. p. 42, col. 1, sub fin.] 3. Of Chalcis in Euboea, an eminent grammarian and poet, was the son of Polymnetus, and was born, according to Suidas (s. v.), in the 126th Olympiad, when Pyrrhus was defeated by the Romans, B. C. 274. He became, but at what period of his life is not known, a citizen of Athens. (Hellad. ap. Phot. Cod. 279, p. 532, Bekker.) He was instructed in philosophy by Lacydes, who flourished about B. c. 241, and Prytanis (comp. Athen. xi. p. 447, e.), and in poetry by Archebulus of Thera. Though he was sallow, fat, and bandylegged, he was beloved by Nicia (or Nicaea), the wife of Alexander, king of Euboea. His amours are referred to in more than one passage in the Greek Anthology. (Brunck, Anal. vol. ii. pp. 3, 43.) Having amassed great wealth, he went into Syria, to Antiochus the Great (B. c. 221), who made him his librarian. He died in Syria, and was buried at Apameia, or, according to others, at Antioch. (Suid. s. v.) The epigram (Brunck, Anal. vol. ii. p. 43), which places his tomb at the Peiraeeus, must be understood as referring to a cenotaph.

H

Euphorion wrote numerous works, both in poetry | to Dionysus. (Schol. p. ad Odyss. iv. p. 136, ed and prose, relating chiefly to mythological history. The following were poems in heroic verse: 1. 'Hoíodos, the subject of which can only be conjectured from the title. Some suppose it to have been an agricultural poem. Euphorion is mentioned among the agricultural writers by Varro (i. 1. § 9) and Columella (i. 1. § 10). (See Heyne, Excurs. iii. ad Virgil. Bucol.; Harless, ad Fabric. Bibl. Graec. i. 594.) 2. Moyoría, so called from an old name of Attica, the legends of which country seem to have been the chief subject of the poem. From the variety of its contents, which Suidas calls ovμμryeîs iotopías, it was also called "АTAKTα, a title which was frequently given to the writings of that period. 3. XiMiades, a poem written against certain persons, who had defrauded Euphorion of money which he had entrusted to their care. It probably derived its title from each of its books consisting of a thousand verses. The fifth book, or xixías, was entitled TEрl Xpnoμŵv, and contained an enumeration of oracles which had been fulfilled; and it is probably of this book in particular that the statement of Suidas concerning the object of the poem should be understood, namely, that the poet taught his defrauders that they would in the end suffer the penalty of their faithlessness. The above seems the best explanation of the passage in Suidas, which is, however, very corrupt, and has been very variously explained. (See especially Heyne and Harless, l. c., and Meineke, Euphor. pp. 20-24.) To these epic poems must be added the following, which are not mentioned by Suidas: - 4. Aléčavdpos, which Meineke conjectures to have been addressed to some friend of that name. (Steph. Byz. s. v. Zúλoi.) 5. "Avios, a mythological poem referring to Anius, the son and priest of the Delian Apollo. (Steph. Byz. Fragment. p. 744, c., ed. Pined.) 6. AvTrypapal πpòs Oewpldav (Clem. Alex. Strom. v. p. 243, ed. Sylb.), a work of which nothing further is known, unless we accept the not improbable conjecture of Meursius and Schneider, who read codwpidav for Oewpidav, and suppose that the poem was written in controversy with the grammarian Theodoridas, who afterwards wrote the epitaph on Euphorion, which is extant, with seventeen other epigrams by Theodoridas, in the Greek Anthology. (Brunck, Euphorion's writings in prose were chiefly his Anal. vol. ii. pp. 41-45.) [THEODORIDAS.] 7. torical and grammatical. They were: 1. 'IoTop 'Aπоλλódwрos, which seems to have been a mytho- Tournuara. (Athen. iv. p. 154, c., xv. p. 700,d.) logical poem addressed to a friend of that name. 2. Пepl Tŵv 'Aλevadŵr (Clem. Alex. Strom. i (Tzetzes, Schol. ad Lycophr. 513; Schol. ad Apollon. 389, Sylb.; Schol. Theocr. ad Idyll. xvi. 34 ; Quintil Rhod. i. 1063; Suid. and Harpocrat. s. v. O káx. 2), which Suidas (s. v. "Epopos) attributes Twee vouos; Phot. s. v. O káтwbev Móyos.) 8. ̓Αραὶ ἢ ποτηριοκλέπτης (Steph. Βyz. s. v. 'Αλύβη ; Schol. ad Theocrit. ii. 2), an attack on some person who had stolen a cup from Euphorion, which Callimachus imitated in his Ibis, and both were probably followed by Ovid in his Ibis, and by Cato and Virgil in their Dirae. (Meineke, Euphor. pp. 30, 31.) 9. 'Apreμídwpos, probably a poem like the Apollodorus. (Steph. Byz. s. v. 'Aoowpóv.) 10. Tepavos, the subject of which, as well as its genuineness, is very uncertain. (Athen. iii. p. 82, a.) 11. Anuoo0évns, the title of which Meineke explains as he does the Alexander, Apollodorus, and Artemidorus, and he conjectures that the person to whom the poem was addressed was Demosthenes of Bithynia. (Choeroboscus, ap. Bekker. Anecd. Graec. iii. p. 1383.) 12. Alóvvoos, which doubtless contained a full account of the myths relating

Buttmann; Steph. Byz. s. v. púxioV, AKTT), A kavos; Schol. ad Arat. Phaenom. 172; Tzetzes, Schol. ad Lycophr. 320 ; Etym. Mag. p. 687. 26.) 13. 'Emiкhdeios els Пpwтayóрav, an elegy on an astrologer named Protagoras. (Diog. Laërt. iL 56.) This poem was doubtless in the elegiac, and not in the heroic verse. 14. Opa. (Steph. Byz s. v. Aσ6wτos, 'Oynaîαι; Parthen. Erot. xiii. p 35, xxvi. p. 61.) 15. 'Iππоμédwv. (Tzetzes, Schol. ad Lycophr. 451.) 16. Eéviov. (Schol. ad Apollon Rhod. ii. 354.) 17. Пoλνxáρns. (Etym. Mag. p 223. 16; Choeroboscus, ap. Bekker. Anecd. Gran iii. p. 1381.) 18. Tákiveos. (Schol. Theocr. L 28; Eustath. ad Hom. p. 285.)` 19. ÞIλOKTÁTIS, (Stobaeus, Serm. lviii., Tit. lix.; Tzetzes, Schol ad Lycophr. 911.)

Euphorion was an epigrammatist as well as an epic poet. He had a place in the Garland & Meleager (Prooem, 23), and the Greek Anthology contains two epigrams by him. (Brunck, And vol. i. p. 256; Jacobs, Anth. Graec. vol. i. p. 189.) They are both erotic; and that such was the cha racter of most of his epigrams, is clear from the manner in which he is mentioned by Meleager, a well as from the fact that he was among the poets who were imitated by Propertius, Tibullus, and Gallus. (Diomed. iii. p. 482. 3; Probus, ad Virgil Ecl. x. 50.) It was probably this seductive ele giac poetry of Euphorion, the popularity of which at Rome, to the neglect of Ennius, moved the ir dignation of Cicero. (Tusc. Disp. iii. 19.) It w therefore quite natural that Euphorion should ba a great favourite with the emperor Tiberius, wh rio wrote Greek poems in imitation of him (Sueton Tiber. 70; see Casaubon's note.)

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Some writers have supposed that Euphorion wa also a dramatic poet. Ernesti (Clav. Ciceron. s. t. (C and C. G. Müller (ad Tzetz. Schol. p. 651) say that he composed tragedies; but they give no re sons for the assertion, and none are known Fabricius (Bibl. Graec. vol. ii. p. 304) places hi in his list of comic poets, mentioning as his pla the 'Aroλódwpos, which was an epic poem (rid sup.), and the 'Aπodidovσa, respecting which there can be no doubt that for Eupopíwv we should read Evopwv in the passage of Athenaeus (xi. p. 503).

the younger Ephorus. (See Meineke, Euphor. Pr 39, 40.) 3. Περὶ τῶν Ἰσθμίων. (Athen. iv. μ 182, e. et alib.) 4. Пepl Meλожоv. (Athen i p. 184, a.) 5. A grammatical work of great cele brity, which related chiefly to the language Hippocrates, and appears to have been entitle Aétis 'IππокράтоUS.

The character of Euphorion as a poet mayb pretty clearly understood from the statements the ancient writers, and from his extant fragments as well as from the general literary character of h age. He lived at the time when the literature the Alexandrian school had become thorough established, when originality of thought and vigo of expression were all but extinct, and, though th ancient writers were most highly valued, their spin was lost, and the chief use made of them was to he together their materials in elaborate compilation

EUPHO'RION (Evpopíwv), a Greek physician or grammarian, who wrote a commentary on Hippocrates in six books, and must have lived in or before the first century after Christ, as he is mentioned by Erotianus. (Gloss. Hippocr. p. 12.) [W. A. G.]

ÉUPHO'RION, a distinguished statuary and silver-chaser, none of whose works were extant in Pliny's time. (Plin. xxxiv. 8. s. 19, § 25.) [P. S.] EUPHRADES, THEMI'STIUS. [THEMIS

TIUS.]

and expand them by trivial and fanciful additions, | in Strabo (viii. p. 382) refers to this Euphorion, while the noble forms of verse in which they and that Evopovios in that passage is an error for had embodied their thoughts were made the vehi- Eupopiwy. There is an example of the same concles of a mass of cumbrous learning. Hence the fusion in Athenaeus (xi. p. 495, c.). That those complaints which the best of succeeding writers made who make this Euphorion the same as the Chalciof the obscurity, verboseness, and tediousness of dian are quite wrong, is proved by the fact that Euphorion, Callimachus, Parthenius, Lycophron, the lines are neither hexameters nor elegiacs, but and the other chief writers of the long period dur- in the priapeian metre, which is a kind of antiing which the Alexandrian grammarians ruled the spastic. (Meineke, Analecta Alexandrina, Epim. literary world. (Clem. Alex. Strom. v. p. 571; i.) [P.S.] Cic. de Div. ii. 64; Lucian. de Conscrib. Hist. 57, vol. ii. p. 65.) These faults seem to have been carried to excess in Euphorion, who was particularly distinguished by an obscurity, which arose, according to Meineke, from his choice of the most out of the way subjects, from the cumbrous learning with which he overloaded his poems, from the arbitrary changes which he made in the common le- | gends, from his choice of obsolete words, and from his use of ordinary words with a new meaning of his own. The most ancient and one of the most interesting judgments concerning him is in an epigram by rates of Mallus (Brunck, Anal., vol. ii. p. 3), from which we learn that he was a great admirer of Choerilus [CHOERILUS, vol. i. p. 697, b.], notwithstanding which, however, the fragments of his poetry shew that he also imitated Antimachus. Meineke conjectures that the epigram of Crates was written while the contest about receiving Antimachus or Choerilus into the epic canon was at its height, and that some of the Alexandrian grammarians proposed to confer that honour on Euphorion. In the same epigram Euphorion is called 'Oμnpinós, which can only mean that he endeavoured, however unsuccessfully, to imitate Homer, -a fact which his fragments confirm. (Comp. Cic. de Div. l. c.) That he also imitated Hesiod, may be inferred from the fact of his writing a poem entitled 'Hoiodos; and there is a certain similarity in the circumstance of each poet making a personal wrong the foundation of an epic poem,-Hesiod in the "Epya kal 'Huépal, and Euphorion in the Χιλιάδες.

As above stated, Euphorion was greatly admired by many of the Romans, and some of his poems were imitated or translated by Cornelius Gallus; but the arguments by which Heyne and others have attempted to decide what poems of Euphorion were so translated, are quite inconclusive. (Vossius, de Hist. Graec. pp. 142, 143, ed. WesterFabric. Bibl. Graec. vol. i. p. 594, &c.; Meineke, de Euphorionis Chalcidensis Vila et Scriptis, Gedan. 1823, in which the fragments are collected; a new edition of this work forms part of Meineke's Analecta Alexandrina, Berol. 1843; Clinton, Fast. Hell. vol. iii. pp. 311, 312.)

mann;

4. Of Chersonesus, an author of that kind of licentious poetry which was called Пpiáπeia, is mentioned by Hephaestion (de Metr. xv. 59), who gives three verses, which do not, however, appear to be consecutive, but are probably single verses chosen as specimens of the metre. But yet some information may be gleaned from them, for the poet refers to rites in honour of the "young Dionysus," celebrated at Pelusium. Hence Meineke infers that this Euphorion was an Egyptian Greek, and that the Chersonesus of which he was a native was the city of that name near Alexandria. He also conjectures, and upon good grounds, that the "young Dionysus" was Ptolemy Philopator, who began to reign in B. c. 220. It is probable that the passage

EUPHRA'NOR (Evppávwp). 1. Of Seleucia, a disciple of Timon and a follower of his sceptical school. Eubulus of Alexandria was his pupil. (Diog. Laërt. ix. 115, 116.)

2. A slave of the philosopher Lycon, who was manumitted by his master's will. (Diog. Laërt. v. 73.) 3. A Pythagorean philosopher, who is mentioned by Athenaeus (iv. pp. 182, 184, xiv. p. 634) as the author of a work on flutes and flute players. (Пepl auλv and Tepì avλntŵv.) It is not impossible that the Evanor mentioned by Iamblichus (Vit. Pyth. 36) among the Pythagoreans, is the same as our Euphranor.

4. A Greek grammarian, who was upwards of one hundred years old at the time when Apion was his pupil. (Suid. s. v. 'Aπíwv.) [L. S.]

EUPHRA'NOR (Evppávap). 1. One of the greatest masters of the most flourishing period of Grecian art, and equally distinguished as a statuary and a painter. (Quintil. xii. 10. § 6.) He was a native of the Corinthian isthmus, but he practised his art at Athens, and is reckoned by Plutarch as an Athenian. (De Glor. Ath. 2.) He is placed by Pliny (xxxiv. 8. s. 19) at Ol. 104, no doubt because he painted the battle of Mantineia, which was fought in Ol. 104, 3 (B. c. 362), but the list of his works shews, almost certainly, that he flourished till after the accession of Alexander. (B. c. 336.)

As a statuary, he wrought both in bronze and marble, and made figures of all sizes, from colossal statues to little drinking-ups. (Plin. xxxv. 8, s. 40, § 25.) His most celebrated works were, a Paris, which expressed alike the judge of the goddesses, the lover of Helen, and the slayer of Achilles; the very beautiful sitting figure of Paris, in marble, in the Museo Pio-Clementino is, no doubt, a copy of this work: a Minerva, at Rome, called the Catulian, from its having been set up by Q. Lutatius Catulus, beneath the Capitol: an Agathodaemon (simulacrum Boni Eventus), holding a patera in the right hand, and an ear of corn and a poppy in the left: a Latona puerpera, carrying the infants, Apollo and Diana, in the temple of Concord; there is at Florence a very beautiful relief representing the same subject: a Key-bearer (Cliduchus), remarkable for its beauty of form: colossal statues of Valour and of Greece, forming no doubt a group, perhaps Greece crowned by Valour. (Müller, Archäol. d. Kunst, § 405, n. 3): a woman wrapt in wonder and adoration (admirantem et

he could not hold it in the face of opposition from the Theban garrison (to say nothing of his having now decisively incurred the enmity of Sparta), and he therefore betook himself to Thebes, hoping to obtain, by corruption and intrigue, the banishment of his opponents and the restoration of his own power. Some of his enemies, however, followed him thither, and when they found that he was indeed advancing towards the attainment of his object, they murdered him in the Cadmeia, while the council was actually assembled there. Being arrested and brought before the council, they pleaded their cause boldly, justified their deed, and were acquitted. But Euphron's partisans were numerous at Sicyon, and having brought home his body, they buried it in the Agora-an unusual honour (see Plut. Arat. 53)—and paid worship to him as a hero and a founder ('Apxnyéτns). (Xen. Hell. vii. 1-3; Diod. xv. 69, 70.) [E. E.]

2. An Actolian, one of the cominanders of the Aetolian auxiliaries, who served in the army of Flamininus against Philip, king of Macedonia, B. c. 197. (Polyb. xviii. 2, 4.)

3. A general of the Aeolians, who defended Ambracia against the Roman ahay under M. Fulvius, B. c. 189. (Liv. xxxviii. 4-10.) When peace was granted to the Aetoliars, he was carried off a prisoner to Rome, together with the Aetoljan general-in-chief, Nicander. (Polyb. xxviii. 4.) It is not improbable that this was the same person with the preceding.

4. A citizen of Hypata in Thessaly, at the time it was subject to the Aetolian league. He was the leader of one of the parties in that city, and having induced his chief adversaries to return from exile under a promise of security, had them all put to death. (Liv. xli. 25.) [E. H. B.]

EUPO'LEMUS (Evñóλeμos.) 1. Is mentioned by Arrian and Aelian in the introductions to their works on tactics, as an author who had written on the military art; but he is otherwise unknown.

EUPHRON (Euppwv), an Athenian comic poet of the new comedy, whose plays, however, seem to have partaken largely of the character of the middle comedy. We have the titles and some consider- 2. A Greek historian who lived previous to the able fragments of the following plays:-'Adeλpol, Christian aera and wrote several works on the hisAloxpú, 'Aπodidoûoa (according to the excellent tory of the Jews, of which the following are known emendation of Meineke, Εὔφρων for Εὐφορίων, by their titles: 1. Περὶ τῶν ἐν τῇ Ἰουδαίᾳ βασιAthen. xi. p. 503, a.), Δίδυμοι, Θεῶν ̓Αγορά, λέων (Clem. Αlex. Strom. i. pp. 146, 143.) 2. Περὶ Θεωροί, Μοῦσαι, Παραδιδομένη (or, as Meineke τῆς Ἠλίου προφητείας (Joseph. c. Apion. i. 23), and thinks it should perhaps be, Παρεκδιδομένη, which | Περὶ τῶν τῆς ̓Ασσυρίας Ἰουδαίων. It has been is the title of a play of Antiphanes), Zuvéon6o. supposed that Eupolemus was a Jew, but from the (Suid. s. v.; Athen. passim: Stobaeus, Flor. xv. manner in which Josephus (l. c.) speaks of him, we 2, xxviii. 11, xcviii. 12; Meineke, Frag. Com. must infer that he was not a Jew. (Comp. Euseb. Graec. vol. i. pp. 477, 478, vol. iv. pp. 486- Praep. Evang. x. 17, 30; Hieronym. de illustr. 495; Fabric. Bibl. Graec. vol. ii. p. 444.) [P.S.] Script. 38; Chron. Alexandr. pp. 148, 214; C. G. EUPHRO'NIDES (Evopovídns), of Corinth, a A. Kuhlmey, Eupolemi fragmenta prolegom. et comGreek grammarian, who is mentioned among the mentar. instructa, Berlin, 1840, 8vo.) [L. S.] teachers of Aristophanes of Byzantium. (Suid. s. v. Αριστοφάνης.) [L. S.]

EUPHRO'NIDES, a statuary, contemporary with Lysippus and Alexander the Great, Ol. 114, B. c. 324. (Plin. xxxiv: 8. s. 19.) [P.S.]

EUPHRO'NIUS. [EUPHORION, No. 4.] EUPHRO'SYNE. [CHARITES.] EUPITHIUS (Evπloios), an Athenian grammarian, the author of one epigram in the Greek Anthology (Brunck, Anal. vol. ii. p. 402; Jacobs, Anth. Graec. vol. iii. p. 110), which contains all we know of him, and from the contents of which, as well as from its title in the Vatican MS., TO στίξαντος τὴν καθόλου, we learn that Eupithius had spent much grammatical labour on the punctu ation and accentuation of the kabuλiкǹ прoσwdía, vr ʼn kałóλov (sc. Téxvn) of Herodian. Herodian flourished under the emperor Marcus Antoninus. (Jacobs, Anth. Graec. vol. x. pp. 186, 187, vol. xiii. p. 895; Fabric. Bibl. Graec. vol. iv. p. 475.) [P.S.] EUPLUS (Euλovs), an engraver of gems, whose time and country are unknown. The name is seen on a gem of Love sitting on a Dolphin. Some take the inscription ETIÃO, not for the name of the artist, but for an allusion to the subject of the gem. (Bracci, Tab. 72.) [P.S.]

EUPO'LEMUS (Evπóλeμos). 1. One of the generals of Cassander, was sent by him in 314 B. C. to invade Caria, but was surprised and taken prisoner by Ptolemy, who commanded that province for Antigonus. (Diod. xix. 68.) He must have been liberated again directly, as the next year we find him commanding the forces left by Lassander in Greece, when he moved northward against Antigonus. (Diod. xix. 77.)

EUPO'LEMUS (Evπóλeμos), an Argive architect, who built the great Heraeum at Mycenae, after its destruction by fire in B. C. 423. The entablature was ornamented with sculptures representing the wars of the gods and giants, and the Trojan war. A full description of the other works of art connected with this temple is given by Pausanias. (Paus. ii. 17. § 3; Thuc. iv. 133.) [P.S.]

EU'POLIS (EйTOλis), son of Sosipolis, an Athenian comic poet of the old comedy, and one of the three who are distinguished by Horace, in his well-known line,

"Eupolis, atque Cratinus, Aristophanesque poetae,* above all the

"alii quorum prisca comoedia virorum est," a judgment which is confirmed by all we know of the works of the Attic comoedians.

Eupolis is said to have exhibited his first drama in the fourth year of the 87th Olympiad, B. c. 42%, two years before Aristophanes, who was nearly of the same age as Eupolis. (Anon. de Com. p. xxix.; Cyrill. c. Julian. i. p. 13, b.; Syncell. Chron. p. 257, c.) According to Suidas (s. v.), Eupolis was then only in the seventeenth year of his age; he was therefore born in B. c. 449. (Respecting the supposed legal minimum of the age at which a person could produce a drama on the stage, see Clinton, Fast. Hell. vol. ii. Introd. pp. lvi.-lviii,) The date of his death cannot be so easily fixed. The common story was, that Alcibiades, when sailing to Sicily, threw Eupolis into the sea, in revenge for an attack which he had made upon him in his Bánta. But, to say nothing of the improbability of even Alcibiades venturing on such an outrage, or the still stranger fact of its not