'TYPE KNOWN AS "THE DEMOS/' ON COINS OF RHEGIUM. 177
tended on what appears good ground that allegorical subjects were not foreign to Greek sculptural design at a very early period ; for do we not read in Pausanias that on the chest of Cypselus there was depicted Afar] punishing 'AZucla ? Justice and injustice seem purely allegorical figures. Yet we find that Hesiod already knows ALKTJ as the child of Zeus and Themis, and that altars were erected to her. About' A.ILKLCL there seems to be no such positive information. Nevertheless, she surely did assume shape and did exist in the Greek mind as the necessary antithesis to Aa-i;, and as a divine, if evil, being.
The work commonly mentioned as the first allegory in sculpture was a group by Euphranor, of presumably the middle of the fourth century, which represented Hellas crowned by 'Aper//. Only one, however, of the figures— that of Hellas—can be truly called allegorical. 'Apery], as much as Nike or the Muses, was divine, and supposed to be the daughter of Zeus.11
Lysippus became the real creator of allegory in sculpture when he produced his celebrated Katpos, presumably not many years after the production of the Hellas of Euphranor.12
Painting, with its greater freedom of choice, had preceded sculpture in the treatment of allegorical subjects. Thus we read that Panaenus, the contemporary and friend of Phidias, painted a figure of Hellas and of Salamis. About half a century later Parrhasius produced his famous Demos. The art of die-engraving partaking, in regard to treatment and choice of subjects, of the character of sculpture and painting, it is interesting and instructive to
11 Koscher's Lexikon tier griech. u. rom. MytJwlogie.
12 Overbeck's Gesch. der gnech. Platiih. II, Ed.? vol. ii.? 92*