Having just told us of the events leading to the death and apotheosis of Hercules, Ovid continues book 9 of his Metamorphoses by telling the story of his birth. He leads into this by telling us that Alcmena, Hercules’ mother, had found Iole, Hercules’ lover, a good confidante. Since Hercules’ apotheosis, and at the hero’s instruction, Hyllus had married Iole, and she was now pregnant with his child.

This reminds Alcmena of her own pregnancy with Hercules, that had been cursed by Juno to be a difficult one. She was in labour for seven days and nights, in agony, and called on Lucina and the multiple Roman deities of childbirth to deliver her child. But Lucina had received instructions from Juno, and would not let the labour progress.

Lucina sat on an altar by the door, her legs crossed and her hands linked, preventing delivery. One of Alcmena’s most loyal maids, Galanthis, took matters into her own hands, and announced to Lucina that Hercules had been born. The goddess was so shocked that she jumped up, parting her hands, so allowing Alcmena’s labour to conclude at last. But Galanthis ridiculed Lucina for this. The goddess seized Galanthis by her hair and dragged her along the ground. As the maid struggled to rise she was transformed into a weasel, and Hercules entered the world.

I’ve been unable to find any paintings of this story, but there are several engravings.

Virgil Solis engraved Alcmena’s Labour at some time around 1550. Alcmena is in the left foreground, in the throes of her protracted labour, with four women attending to her. In the background, two women are talking, and at the far right, Lucina is dragging Galanthis to the ground by her hair. There’s also a weasel walking past.

Subsequent engravings have drawn on this. Some show Lucina and Galanthis fighting in the background, but most omit the weasel. One other comes close to showing the story as told by Ovid.

The unknown engraver who made Alcmena Giving Birth to Hercules: Juno, Jealous of the Child, Attempts to Delay the Childbirth, in about 1606, has an almost identical group around Alcmena. The same two women are talking in the background, but the weasel is prominent.

Other stories about Hercules as a baby and young child, which Ovid doesn’t tell here, have been much better represented in paintings. According to older Greek myths, the sons of Jupiter could only become divine if they were suckled at Juno’s breast. Shortly after the birth of Hercules, Mercury took the infant to Juno, who put him to her breast. When she realised who the baby was, she pulled him away, and the excess milk released as a result sprayed over the heavens, forming the Milky Way.

There are two outstanding paintings showing this unusual scene.

Jacopo Tintoretto’s The Origin of the Milky Way from about 1575 shows the infant Hercules being pulled away by an anonymous assistant, with fine streams of milk gushing upwards to generate individual stars. In the background, Jupiter’s eagle appears to have a crablike object in its talons, perhaps representing the constellation of the Crab (Cancer), and Juno’s peacocks are at the right.

Just a few years before his death, Rubens painted an even more wonderful version, The Birth of the Milky Way (1636-37). Jupiter sits in the background on the left, seemingly bored. Juno’s milk arcs out from her left breast over the heavens, and her peacocks look distressed.

Other myths tell that Juno was still furious that Hercules had been born, so she placed two serpents in his cradle, in an attempt to kill the child. Hercules’ mortal twin Iphicles (not mentioned by Ovid) screamed at the snakes, bringing their father Amphitryon running. He found Hercules strangling the serpents with his bare hands: proof that he was indeed the son of Jupiter.

Several fine paintings seize this unique opportunity to show an infant strangling serpents.

This painting from the mid seventeenth century, attributed to Bernardino Mei, has been neutrally titled Scene from the Infancy of Hercules. Rather than let his father discover the baby’s strange abilities, it’s Alcmena who has come running into his nursery.

Pompeo Batoni’s account, The Infant Hercules Strangling Serpents in his Cradle from 1743, succeeds because it shows so well Hercules’ parents, disturbed from their bed, discovering their baby despatching the snakes, all by the light of an oil lamp.

The third version of this story comes from Sir Joshua Reynolds, who was commissioned by Catherine the Great of Russia in 1785 to paint her a history subject of his choice. Reynolds thought that he could flatter the Empress of Russia, perhaps, and produced this preparatory study for the heart of his final work.

The Infant Hercules was painted between about 1785-88, then exhibited at the Royal Academy before being sent to Russia. Reynolds is reputed to have used a real baby as his model, and later reused this for a painting of Puck as a baby.

Reynolds’ finished painting of The Infant Hercules Strangling Serpents in his Cradle (1788) loses the baby among its elaborate supporting cast. It has also suffered problems with deterioration in its paint layer, a common issue with many of Reynold’s paintings.

Once Achelous had completed telling the story of how his lost horn had been transformed into the Horn of Plenty, the floods had abated, so his guests left the banquet, leaving Ovid to explain the events leading to the death of the great hero Hercules. This reverses the chronological order, as the next story after that in Metamorphoses tells of his birth.

Having won her hand by defeating Achelous, Hercules married the beautiful Deianira, and was returning with her to his native city. The couple reached the River Euenus, which was still in spate from the winter’s rains. Hercules feared for his bride trying to cross the river, but the centaur Nessus came up and offered to carry her across.

Hercules had thrown his club and bow to the other bank and had swum across the river when he heard Deianira’s voice calling. He suspected Nessus was trying to abduct her, so shouted warning to him before loosing an arrow at the centaur’s back.

Ovid’s description of these events poses a problem for those trying to depict them, in choosing the right point of view and composition to remain faithful to that account.

Guido Reni’s masterly painting from around 1620, one of the finest of its period in the Louvre, almost fills the canvas with Nessus, who looks worryingly heroic, and Deianeira, who seems to be flying. The small figure of Hercules in the distance is well-lit, but loses the details of bow and arrow. In any case, that arrow could hardly strike Nessus in the chest.

Paolo Veronese’s painting from about 1586 also elects for this early moment, as Hercules is readying his bow and arrow, with Nessus just reaching the opposite bank. He shows the scene from Hercules’ position, but discovers the problems with that point of view: Nessus and Deianeira are now small, and Nessus is looking away with his chest concealed, and even Hercules’ face is turned from the viewer. The result makes its hero look more like a furtive stalker.

This marvellous painting was probably made by Rubens’ workshop around the time of the Master’s death in 1640. It views the events from the bank on which Hercules is poised to shoot his arrow into Nessus. This has the centaur running across the width of the canvas, his face and body well exposed for Hercules’ arrow to enter his chest. To make clear Nessus’ intentions, a winged Cupid has been added, and Deianeira’s facial expression is clear in intent. An additional couple, in the right foreground, might be intended to be a ferryman and his friend, who appear superfluous apart from their role in achieving compositional balance.

Antonio del Pollaiolo’s painting from about 1475–80 tries a side-on view, requiring Nessus to be shot while still in the river, in a slight adjustment to the original story. Deianeira appears precariously balanced, and must be grateful that Nessus’ muscular arms save her from being dropped into the river below. The artist also leaves it to the viewer to know that Hercules’ poisoned arrow strikes Nessus rather than Deianeira.

Three centuries later, Louis-Jean-François Lagrenée clearly understood the compositional problem, but didn’t arrive at such a good solution. Nessus, bearing a distressed Deianeira in his arms, has just reached the opposite bank, in the foreground. Hercules is on the left in the distance, and we can at least see his face, bow and arrow. There appears to be no way that Hercules’ arrow could impale Nessus’ chest, without first passing through some of the abundant Deianeira, nor his back. Lagrenée also adds a ferryman, who seems to have been knocked over in Nessus’ haste to make off with his captive.

Gustave Moreau’s final drawing of about 1860, squared up and ready to transfer to canvas for painting, alters the story to make its composition feasible. He puts Nessus in the foreground, with the attendant risk of making him appear the hero, somehow supporting the upstretched body of Deianeira. In the right distance, Hercules has already loosed the fatal arrow, which is prominently embedded not in the front of Nessus’ chest, but in his back. The centaur’s legs have collapsed under him, and his head and neck are stretched up in the agony of death.

Gustave Moreau and Jules Élie Delaunay seem to have worked on a compositional solution together, resulting in Delaunay’s brilliant painting of 1870, which is sadly not available for use here.

That single shot ran Nessus through. He tore the arrow out, and his blood spurted freely, mixed with poison from the Lernaean hydra. Determined to avenge his own death, the centaur gave Deianira his tunic soaked with that poison, telling her to keep it to “strengthen waning love.”

In about 1706, Sebastiano Ricci embroidered this story further, showing Hercules, his left hand grasping Nessus’ mouth, about to club the centaur to death, while a slightly bedraggled Deianeira watches in the background. There’s no arrow in Nessus’ chest, and Hercules’ quiver is puzzlingly trapped under Nessus’ right foreleg. Three other figures of uncertain roles are at the right, and a winged putto hovers overhead, covering its eyes with its right hand.

In Arnold Böcklin’s puzzling painting from 1898, Nessus is far from part-human, and Deianeira isn’t the beauty she was claimed to be. As those two wrestle grimly, Hercules has stolen up behind them, and is busy pushing a spear into Nessus’ bulging belly. Blood pours from the wound, but Deianeira is in no position to collect it.

Years passed after Nessus’ death, and Hercules was away in Oechalia, intending to pay his respects to Jupiter at Cenaeum. Word reached Deianira that her husband had fallen in love there with Iole. Initially, she was upset, but then tried to devise a strategy to address his rumoured unfaithfulness. It was then that she recalled the blood of Nessus, and his dying words to her. She therefore impregnated a shirt with that blood, and gave that to Lichas, Hercules’ servant, to take to her husband.

This is shown in this beautiful miniature accompanying Octavien de Saint-Gelais’ translation of Ovid’s Heroides from about 1510.

Hercules donned the shirt as he was about to pray to Jupiter. He felt warmth spreading throughout his limbs, quickly growing into intense pain. Trying to tear the shirt off, he obtained no relief, and only ripped off his burnt skin from the burning flesh underneath. Hercules roamed through Oeta like a wounded beast, still trying to tear the shirt off his body. He came across Lichas, and accused him of being his murderer. His servant tried to protest his innocence, but Hercules picked him up, swung him around, and flung him out to sea, where he was transformed into a rock pinnacle.

Hercules then cut down trees and built himself a funeral pyre. Ordering this to be lit, he climbed on top, and lay back on his lionskin.

This is illustrated in another miniature, The Death of Hercules (c 1470), this time for Raoul Le Fèvre’s Histoires de Troyes.

Francisco de Zurbarán’s powerful Death of Hercules (1634) uses chiaroscuro as stark as any of Caravaggio’s to show a Christian martyrdom, with its victim staring up to heaven, commending his soul to God.

Jupiter came to the aid of the dying hero, calling on the gods to consent to Hercules being transformed into a god; they agreed, and his immortal form was carried away on a chariot drawn by four horses, into the stars above.

Tiepolo’s wonderful Apotheosis of Hercules (c 1765) portrays this as a saintly ascension, which seems inappropriate.

Ovid ended Book 8 of his Metamorphoses with a teaser, telling how the river god Achelous was able to transform himself into a snake or bull, and that he had recently lost one of the bull’s two horns. Book 9 opens by explaining how that came about.

With a little prompting from Theseus, Achelous resumes his narration, lamenting that he’s about to tell a story of a battle lost. He and Hercules both asked for the beautiful Deianira’s hand in marriage, forcing other suitors to resign their claims and leave the matter to them to plead their cases. Hercules wasn’t happy to do this in words, so rushed at his competitor to engage him in a fight.

Achelous gives a flattering account of the pair wrestling, eventually admitting that Hercules got the better of him and forced him onto his knees. The river god then shifted shape, changing first to a snake so he could slither away from his opponent. Hercules mocked him for that, reminding him of his conquest of the Lernean Hydra. When Hercules got a stranglehold on him, Achelous changed into his third and final form, that of a bull. Once again Hercules brought him down, and wrenched off one of his horns. The missing horn was transformed into the Horn of Plenty, cornucopia, and the guests were then served fruit in such a horn at their banquet.

This exquisitely engraved rock crystal plaque by Annibale Fontana, showing Hercules and Achelous wrestling, is one scene from a life of Hercules. This was originally set with others into a gilded casket owned by the ducal Gonzaga family, of the city of Mantua in Italy. Hercules, on the right, wears his signature lion-skin, and Achelous is conventionally old, bearded, and shaggy.

Cornelis van Haarlem’s painting of Hercules and Achelous, probably from around 1590, shows a late stage in the wrestling, with Achelous in the form of a bull, brought to the ground by Hercules, who is here trying to twist his horns off.

Guido Reni’s Hercules and Achelous (1617-21) opts for a more conventional wrestling match, with Achelous still in his initial human form.

Noël Coypel, the father of the better-known history painter Antoine Coypel, painted Hercules Fighting Achelous in about 1667-69. This too opts to show the pair during the first phase of their fight. In addition to wearing his lion-skin, Hercules wields his fearsome club, although Ovid doesn’t refer to its use on this occasion.

Nicolas Bertin’s Hercules fighting Achelous (1715-30) is more elaborate. Hercules has almost got Achelous onto the ground, and looks as if he’s about to punch him with his fist. Hercules’ club rests in the foreground. The woman at the right is Deianira, over whom they are fighting, and a winged goddess is ready to place the laurel wreath on the victor.

For once, the most detailed and magnificent account of one of Ovid’s myths is modern, painted in 1947 for a department store in Kansas City. Thomas Hart Benton’s Achelous and Hercules (1947) is a gem of narrative painting.

At the centre, Hercules, stripped to the waist and wearing denim jeans, is about to grasp Achelous’ horns. Immediately to the right, Deianira is also shown in contemporary American form, with a young woman next to her bearing a laurel crown. They’re sat on the Horn of Plenty, and Benton is one of few to include this important reference.

To the left of centre, Benton shows a second figure of Hercules holding a rope, making this multiplex narrative. That is part of a passage referring to ranching and cowboys, and further to the left to the grain harvest. To the right, the Horn of Plenty links into the cultivation of maize (corn), the other major crop from the area.

My final painting to accompany this short story is another collaboration between the workshop of Peter Paul Rubens and Jan Brueghel the Elder: Nymphs Filling the Horn of Plenty (c 1615). Although it has no references to the fight between Hercules and Achelous, it’s good to see the staff preparing the second course of Achelous’ banquet.

As Ovid draws Book 8 of his Metamorphoses to a close, Lelex has just told the touching story of Philemon and Baucis, who were transformed into an intertwining pair of trees. Achelous, host of the banquet, then takes over as narrator, to tell of three examples of shape-shifters, who can transform whenever they want.

His first example is probably the most accomplished of all: Proteus, who apparently can transform himself into all manner of creatures and objects, at one moment a boar, the next a snake or a fire. Both Hans Thoma and Cy Twombly have painted Proteus, but I regret that neither of their works is available to show here.

This leads Achelous on to tell the longer story of another shape-shifter, the daughter of Erysichthon, who remains unnamed here, elsewhere being known as Mestra or Mnestra. But he first has to introduce her father, by telling the story of his downfall.

Erysichthon was an irreligious man, even desecrating Ceres’ sacred grove by chopping down a giant and ancient oak within it. As he prepared to swing his axe at the tree, it shuddered and turned pale. A man stood in his way, so he was peremptorily beheaded. As he raised his axe ready, its nymph warned him that her death would bring him punishment.

The other Dryads (wood nymphs) prayed to Ceres to punish Erysichthon. The goddess decided to bring him insatiable hunger, but as it was decreed that Ceres and the goddess of hunger could never meet, Ceres sent an Oread as her messenger. The Oread found Hunger in the Caucasus mountains, and passed the message. Ovid then gives a detailed account of how Erysichthon was wracked with hunger, even in his dreams. Nothing could satisfy his appetite, and he spent his entire wealth trying to do so. When he ran out of money, he sold his own daughter to raise money for more food.

Erysichthon’s daughter then called on Neptune, who had previously raped her, to be spared from slavery. The god then transformed her into a fisherman, and her father, not recognising his daughter, called on the fisherman to tell him where his daughter had gone. She denied all knowledge of her former female self, and the man who had bought her went away. Knowing her ability to transform herself, Erysichthon sold her to a succession of people, enabling her to cheat on them and be sold again in a different form. He fed his constant hunger from the money she brought him, until he started to eat his own flesh and limbs.

Johann Wilhelm Baur’s engraving showing Erysichthon Sells His Daughter Mestra (c 1630) is a simple depiction of Ovid’s story, but has the interesting feature of Neptune, with his traditional horses and trident, down on the water to the right.

It’s Neptune and water that provide a thread running through much of Ovid’s narrative here. For Neptune not only raped Mestra and enabled her shape-shifting, but he is the father of Proteus, the most adept of all shape-shifters, and both Achelous and Neptune are gods of the waters. Neptune has been painted frequently, but I can find no reference to him being shown with his son Proteus, nor with Mestra. But there is one painting in which father and son might appear together.

Nicolas Poussin’s The Birth of Venus (1635-36) is controversial, as there is no general agreement as to what it is actually about, nor the identity of the goddess at its centre. One reading maintains that its current title is correct, and the central goddess is Venus, who has just been born from sea foam. To the left is clearly Neptune (Poseidon), bearing his trident, and astride his horses. In the far distance, riding on the clouds, Venus’ chariot is being towed towards her by swans.

There are other figures to identify, but one man in the distance at the left edge looks similar to Neptune, and could well be his son, The Old Man of the Sea, Proteus himself. An alternative interpretation is that it’s the sea nymph Galatea, being drawn on a chariot of cockleshells by a school of dolphins, at the centre, rather than Venus.

There is another more recent painting that appears to have been influenced by Poussin’s: William Dyce’s remarkable fresco in Queen Victoria’s holiday palace on the Isle of Wight, Osborne House.

In Dyce’s Neptune Resigning to Britannia the Empire of the Sea (1847), Neptune stands astride his three white seahorses with their fish tails, holding their reins in his right hand, and passing his crown with the left. The crown is just about to be transferred by Mercury (with wings on his cap) to the gold-covered figure of Britannia, who holds a ceremonial silver trident in her right hand. Neptune is supported by his entourage in the sea, including the statutory brace of nudes and conch-blowers. At the right, Britannia’s entourage is more serious in intent, and includes the lion of England, and figures representing industry, trade, and navigation.

The depiction of Neptune, and much of the left half of the painting, has more than a passing resemblance to Poussin’s. But look into the distance, below Mercury and behind Neptune, and there’s an Old Man of the Sea with two nymphs. Could that also be Proteus?

In the closing lines of the book, Ovid then reveals through Achelous the link to the start of Book 9: Achelous reveals that he too is a shape-shifter, able to transform himself into a snake or a bull. But that bull had recently lost one of its two horns, the basis of the next myth.

Achelous the river god is hosting Theseus, Ixion’s son Lelex, and others at a banquet. Once Achelous has told the story of the nymphs who were turned into the Echinades, Lelex launches into the next, of Philemon (husband) and Baucis (wife). This is one of Ovid’s most touching myths, which doesn’t appear in any other source.

Lelex claims that Achelous made the gods appear too great, so tells his story to prove that whatever the gods decree will happen does take place. His story is set in Phrygia (now west central Anatolia, in Turkey), at a place where an oak and a lime tree grow side by side. Nearby is a marsh, where once the land was habitable, and Lelex explains how those came to be.

One day, Jupiter and his son Mercury were walking in Phrygia. When they grew tired and wanted to rest, they tried a thousand homes, but every one rejected the visitors, until they came to a poor thatched cottage. There they met the elderly Philemon and Baucis, who had married in their youth, and had lived good and pious lives together ever since. The couple welcomed the gods into their tiny and humble home.

Philemon and Baucis waited on their guests’ every needs, lighting a fire, providing them with warm water to bathe their feet, then serving them food and wine; the latter was strange, because as fast as they could pour wine into their guests’ beechwood goblets, the pitcher of wine refilled itself. The couple tried to catch the goose that guarded their cottage, to kill and cook it for their guests, but it ran to the safety of a guest’s lap.

Adam Elsheimer’s exquisite oil on copper painting of Jupiter and Mercury with Philemon and Baucis (1609-10) shows Philemon (right) and Baucis (centre right) giving their hospitality generously to Jupiter (left) and Mercury (centre left), in their tiny, dark cottage. All four are depicted in contemporary dress, although Mercury’s winged helmet is an unmistakeable clue as to his identity. Their modest stock of food is piled in a basket in the right foreground, and the goose is just distinguishable in the gloom at the lower edge of the painting, below Mercury’s feet.

David Rijckaert’s undated painting of Philemon and Baucis Giving Hospitality to Jupiter and Mercury provides the basis of what has become the most popular depiction: Mercury (left) and Jupiter (left of centre) seated at the table, with Philemon (behind table) and Baucis (centre) waiting on their every need. Baucis has almost caught the evasive goose, and an additional figure is in the background preparing and serving food for the gods. Rijckaert adds some subtle details such as Jupiter’s eagle perched in the rafters.

Rembrandt’s Baucis and Philemon (1658) is one of his late works, and shows Jupiter looking decidedly Christlike, and Mercury the younger, almost juvenile, figure, sat at the table of a dark and rough cottage, lit by a lamp behind Mercury. This dramatic lighting is precursor to similar effects in his later Ahasuerus and Haman (1660) and Conspiracy of the Batavians (1661-2). Philemon and Baucis are crouched, chasing the evasive goose towards Jupiter. A humble bowl of food is in the centre of the table, and there is a glass of beer. As is usual in Rembrandt’s narrative paintings, he dresses them in contemporary rather than historic costume.

Although Rembrandt created many wonderfully narrative paintings, he seldom depicted stories from Ovid’s Metamorphoses. He has made the painting using rough brushstrokes and highly gestural marks of paint, as roughly hewn as the cottage which it depicts. It isn’t just an outstanding account of this myth, but one of his finest narrative paintings.

Johann Carl Loth, in his Jupiter and Mercury with Philemon and Baucis (c 1659-62), appears to have reworked the narrative from Ovid’s original. While Baucis and Philemon are waiting on their guests, with Philemon holding the jug containing wine, Mercury (centre) appears to be remonstrating with Jupiter (right), holding out his right index finger and pointing it at the other god. The evasive goose is shown behind Mercury’s back, apparently about to peck his left hand. The whole scene is set in a well-lit area, perhaps outside the cottage in daylight.

This painting from the circle of Appiani, possibly by Stefano Tofanelli or Pietro Benvenuti, shows Jupiter and Mercury with Philemon and Baucis in less straitened circumstances. Jupiter (left) holds a glass of wine in his left hand, and Mercury (centre) is both eating grapes and looking longingly at a fresh bowl of fruit that Philemon (right) is just about to place on the table. Baucis (front right) is looking at Jupiter, and holding out her right hand, as if to refill his glass.

The gods then revealed their divinity, and told their hosts that those who had shunned them would pay for their wickedness, but the old couple would be spared. Jupiter and Mercury then took them outside, and led them up the nearby mountain. When close to the top, Philemon and Baucis looked back to see all the land below was flooded, except for their tiny cottage, which had been transformed into a temple with a roof of gold.

Peter Paul Rubens’ Stormy Landscape with Philemon and Baucis from about 1625 is one of the few paintings to show a broader view of this later moment in Ovid’s story. His dramatic landscape shows storm-clouds building over the hills, a raging torrent pouring down the mountainside, dragging large trees and animals in its swollen waters, and the four figures on a track at the right. Philemon and Baucis are struggling up the track with their sticks, Jupiter points to a rainbow formed over a waterfall at the lower left corner, and Mercury is all but naked.

Jupiter then asked the couple what they most wanted. After a moment’s consultation, they agreed that they wanted to be the priests of that temple, and that, when their time came, they should both die together. Their wish was granted, and later, when they were even older, they both turned into an intertwining pair of trees, one an oak, the other a lime (linden), just as Lelex had described.

At the end of the Calydonian boar hunt, what should have been an occasion for rejoicing turned sour when the two sons of Thestius objected to Atalanta being given the prize, and the enraged Meleager ran them both through with his sword. This leads Ovid on to describe the strange death of Meleager, following that with a series of stories told at a feast hosted by the river god Achelous.

When Meleager’s mother Althaea first hears of his success in killing the boar, she gives thanks to the gods. She then learns that he has also killed her two brothers, and is plunged into profound grief, and anger at her son. She determines to avenge the deaths of her brothers, and recalls that when Meleager was born, the Fates gave her a burning log they said would determine the life of her child: he would live as long as that log remained, and wasn’t consumed by fire. As soon as the Fates had gone, Althaea took the log from the fire, extinguished its flame, and kept it in a safe place, so preserving her son’s life.

She now decides to throw that log of life onto a fire of her hatred. Four times she tries to throw the log onto the flames and cannot bring herself to do it. She lets loose a long soliloquy (one of Ovid’s finest) in which she frames her dilemma, then finally throws the log on the fire, where it’s rapidly consumed.

Meleager doesn’t know what is happening, only that he has a deep internal burning pain. As he groans, he calls for his mother, brothers, and sisters in his suffering, and dies with his sisters at his side. Two of Meleager’s sisters are thus transformed into birds, most probably guinea hens.

This marble relief from a Roman sarcophagus shows the Death of Meleager using multiplex narrative. At the right, Meleager has killed one of the sons of Thestius, and is about to kill the other. In the centre, he lies on a couch, in the throes of death, his sisters beside him. At the left, his mother Althaea throws a log or brand onto the fire to bring about her son’s death.

By comparison, François Boucher’s The Death of Meleager from 1727 is more formulaic. Meleager is ailing fast on the left, his family and friends around him. One sister at the right is apparently being fondled quite inappropriately by the man behind her. Although there is a figure in the centre background who might be Althaea, there’s no clear visual reference to the burning log.

Ovid then moves on to the next set of stories, which take place during Theseus’ journey home after the boar hunt. It has been raining very heavily and the rivers are swollen when he reaches the River Achelous, whose river god invites Theseus to pause with him until his waters have fallen. Theseus accepts this invitation, and is taken to a hut made of pumice and volcanic tufa, with a damp and mossy floor, and a ceiling decorated with conch and murex shells. There Achelous hosts a banquet, his guests being Theseus, Ixion’s son Lelex, and others, who recline on couches as they feast.

Theseus looks out and sees an island which he doesn’t recognise. Achelous informs him that it’s actually five islands, the Echinades. They had been five nymphs, who had sacrificed ten bullocks to the gods, but forgot to invite Achelous. The river god raged in anger, and washed them out to sea, where they formed those islands. Achelous points out one island in the distance which is dear to him, and named Perimele: she had been a nymph beloved by Achelous, but had lost her virginity. Her father Hippodamas was so incensed that he threw her from a cliff. Achelous saved her, and called on Neptune to turn her into an island too.

Hendrick de Clerck’s The Banquet of Achelous was probably the first of a run of depictions of this myth in the seventeenth century, and was painted in about 1610. The four men are feasting, sat around a table rather than reclining in Roman style. The rock pergola surrounding them is suitably decorated with shells, and a bevy of bare-breasted young women serve seafood and fruit. In the distance, to the right, nymphs are cavorting in a bay, a delightful reference to Achelous’ story of the creation of the Echinades.

Jan Brueghel the Younger and Hendrick van Balen combined talents to paint The Feast of Achelous slightly later, by about 1620. It follows a similar composition to de Clerck’s painting, but is reversed, with the distant nymphs on the left. (I apologise for the poor quality of this image.)

At about the same time, around 1615, Peter Paul Rubens collaborated with Jan Brueghel the Elder (father of Jan Brueghel the Younger) in The Feast of Achelous. There are now nine men around the table, and the distant nymphs are nowhere to be seen.

At some time during the first half of the seventeenth century, a painter from Rubens’ school made this rather less convincing and closer composition of The Banquet of Achelous. The stone hut has closed in on the group, and the distant landscape views are gone. The arrangement is reminiscent of the Last Supper or a New Testament wedding feast, with the figure of Theseus presiding, even down to a loaf of bread on the table, and wine being poured. There is precious little to link this painting with Ovid’s story of the Echinades.

After Achelous has told this story, Lelex starts the next, of Philemon and Baucis, one of Ovid’s most touching myths, which doesn’t appear in any other source.

As Ovid approaches the midpoint of Book 8 of his Metamorphoses, he has just left Daedalus burying his son Icarus after their flight from Crete went tragically wrong. He then relates one of the greatest stories of the period, of the Calydonian Boar Hunt, which he tells with wry humour, lightening its gruesome events.

With the Minotaur dead, and Daedalus welcomed to Sicily, Theseus was sought to bring help to Calydon, a city in southern Greece that was being plagued by a wild boar as big as an ox, the vengeance of Diana. Calydon’s king Oeneus had paid oblations to most of the deities, but not to Diana, so incurring her wrath. Ovid provides a vivid description of how the beast was destroying crops and livestock in the area surrounding the city.

A long list of heroes were summoned to hunt the boar: Theseus brought Pirithous with him, Telamon the son of King Aeacus came, Meleager from Calydon itself, and more than a dozen others. With them came a plainly dressed young woman, Atalanta, to whom Meleager took an immediate fancy.

Their departure is shown in The Hunt of Meleager and Atalanta (c 1634-39), dubiously attributed to Nicolas Poussin. The procession of heroes, some on horseback, others on foot, makes its way out into the Calydonian countryside. It’s easy to spot Atalanta who is wearing a plain blue robe, holding her bow, and riding a white horse, towards the right. There are two statues behind: on the right is Pan with his pipes, and in the centre is Diana, cause of the problem, with the skull of a boar shown on the tree behind.

The hunters travelled to dense ancient woodland to trap the boar, where they laid their nets, released their dogs, and set about trying to track their quarry. They found the boar at the boggy bottom of a deep gully, from where he rushed at them. Several threw their javelins, but none hit the beast, who promptly charged at the men, goring several of them fatally before disappearing into a dense thicket.

Telamon tripped over in his pursuit, and as he was being helped up, Atalanta loosed an arrow that grazed the boar’s back and buried itself into the animal’s head just below the ear. Meleager praised her for this first success.

Ancaeus then boasted how his weapons would surpass those of any woman, and raised himself to bring his double axe down on the boar. The beast gored and disembowelled him before he could strike. Pirithous threw his spear only to strike the branch of a chestnut tree, and Jason’s javelin impaled one of their dogs, pinning it to the ground.

At this stage, the efforts of the heroes had been at best amateur, if not farcical. It was now up to Meleager, whose second spear-shot struck home in the boar’s back, allowing him to finish the beast off.

Peter Paul Rubens and his workshop painted several different accounts. The first appears to have been The Calydonian Boar Hunt, in about 1611-12, now in the Getty. Here Meleager is just about to finish the wounded boar off. Atalanta’s arrow is visible by its left ear, and the body of Ancaeus lies just behind Meleager’s left foot. The wall of horses behind the boar, and the crowd of hunters behind Meleager, including Atalanta in blue, frame the combatants in the foreground, with some spears directing the gaze at a visual centre of the boar’s snout.

A few years later, in about 1618-19, Rubens reworked his composition in this marvellous study of Meleager and Atalanta and the Hunt of the Calydonian Boar. This shifts the visual centre closer to the geometric centre, and brings the gaze in using a greater range of radials. It also gives Atalanta a more active part, as in Ovid’s text.

Rubens’ finished result is The Hunt of Meleager and Atalanta probably from around 1618-20, now in Vienna. Meleager has aged slightly, and the boar rests its hoof on the body of Ancaeus. Radial lines of spears are augmented by a dog and some human figures, and the centre of the painting now includes a landscape, with bright sky used to emphasise the visual centre. It also seems to show not just Atalanta at the right hand of Meleager, but two other women behind her, and possibly another in blue robes on a horse just above the middle of the painting.

Meleager stood, one foot on the boar’s head, and gave his prize to Atalanta, to share the glory with him: he delighted her by giving the young woman the boar’s skin and head with its tusks as large as an elephant’s. But the two sons of Thestius objected to this, and took Meleager’s gift, enraging him, who promptly killed them both with his sword, leading into the next story.

With the boar now dead, Jacob Jordaens shows Meleager and Atalanta (1620-50) allocating the best part of the prize, the boar’s head. This is raised high above the couple at the right. On the left, though, the two sons of Thestius look incredulous, and are just about to refute Meleager, and take the head from Atalanta.

Rubens and his workshop’s Meleager Presents Atalanta with the Head of the Calydonian Boar (before 1640) prefers a more private award by Meleager. The couple are here alone, apart from an inevitable winged cupid, and a goddess, most probably Diana, watching from the heavens. Meleager stands on the forelegs of the dead boar, and his spear behind is still covered in its blood.

The architect and artificer Daedalus had been introduced by Ovid in his account of the death of the Minotaur, and the next myth in Metamorphoses tells of the tragic end to Daedalus’ stay on the island of Crete, where he and his son Icarus had effectively been imprisoned since the construction of the labyrinth that had confined the minotaur. Much as Daedalus yearned to leave the island and King Minos, there was no hope of him departing by sea, so he decided to take to the air.

Daedalus built two sets of wings made from feathers held together by beeswax. Once they were completed, he tested his by hovering in the air. He then cautioned his son to fly a middle course: neither so low that the sea would wet the feathers and make them heavy, nor so high that the heat of the sun would damage them. He also told Icarus to follow his lead, and not to try navigating by the stars.

Daedalus fitted his son with his wings, and gave him further advice about how to fly with them. He shed tears as he did that, and his hands trembled. Once they were both ready, Daedalus kissed his son, and flew off in the lead just like a bird with its fledgeling chick in tow.

Towards the end of his career in Rome in 1645-46, the great French painter Charles Le Brun painted Daedalus and Icarus. This shows the master artificer fastening wings made of feathers and wax on his son’s back, prior to their escape from Crete.

Andrea Sacchi’s Daedalus and Icarus (c 1645) shows Daedalus at the left, fitting Icarus’ wings, prior to the boy’s flight. Icarus has his right arm raised to allow the fitting, and looks intently at his new wings. Daedalus is concentrating on adjusting the thin ribbons passing over his son’s shoulders, and may be explaining to him the importance of flying at the right altitude.

Anthony van Dyck’s Daedalus and Icarus (1615-25) shows Daedalus giving his son the vital pre-flight briefing. From the father’s gestures, he is here explaining the importance of keeping the right altitude.

Frederic, Lord Leighton’s Icarus and Daedalus (c 1869), shows the pair on the roof of a tower overlooking the coast. Daedalus is fitting his son’s wings, and looks up at Icarus. The boy holds his right arm up, partly to allow his father to fit the wings, and possibly in a gesture of strength and defiance, as the two will shortly be escaping from Crete. Icarus looks to the right, presumably towards their mainland destination, and Daedalus is wearing a curious scalp-hugging cap intended for flight.

Charles Paul Landon’s (1760–1826) Icarus and Daedalus (1799) shows the moment that Icarus launches into flight from the top of the tower, his arms held out and treading air with his legs during this first flight. Daedalus stands behind, his arms still held horizontally forward from launching his son.

The pair flew over a fisherman holding his rod, a shepherd leaning on his crook, and a ploughman with his plough, amazing them with the sight. They flew past Delos and Paros, and approached further islands, but Icarus started to enjoy the thrill of flying too much, and soared too high. As he neared the sun, the wax securing the feathers in his wings softened, and his wings fell apart.

As Icarus fell from the sky, he called to his father, before entering the water in what’s now known in his memory as the Icarian Sea, between the Cyclades and the coast of modern Turkey. All Daedalus could see were the feathers, remnants of wings, on the surface of the water.

Rubens’ initial oil sketch of The Fall of Icarus (1636) above, was presumably turned into a finished painting by his apprentice Jacob Peter Gowy, below. Icarus, his wings in tatters and holding his arms up as if trying to flap them, plunges past Daedalus. The boy’s mouth and eyes are wide open in shock and fear, and his body tumbles as it falls. Daedalus is still flying, though, his wings intact and fully functional; he looks towards the falling body of his son in alarm. They are high above a bay containing people with a fortified town at the edge of the sea.

Merry-Joseph Blondel’s spectacular painted ceiling showing The Sun or the Fall of Icarus (1819) combines a similar view of Daedalus flying onward, and Icarus in free fall, with Apollo’s sun chariot being driven across the heavens.

Joos de Momper’s Landscape with the Fall of Icarus (c 1565), above, show Icarus’ descent within a much bigger landscape, including some of Ovid’s finer details:

• an angler catching a fish with a rod and line,
• a shepherd leaning on a crook,
• a ploughman resting on the handles of his plough.

To aid the viewer, de Momper has painted their clothing scarlet.

De Momper may also have made the copy, below, of Pieter Brueghel the Elder’s famous Landscape with the Fall of Icarus. Here, Brueghel makes the viewer work harder to see the crucial elements of the story: all there is to be seen of Icarus are his flailing legs and some feathers, by the stern of the ship at the right. Daedalus isn’t visible at all, but the shepherd leaning on his crook is looking up at him, up to the left. As in de Momper’s own version, Brueghel also shows the ploughman and the angler.

Vlaho Bukovac (Biagio Faggioni) (1855–1922) painted two different versions of Icarus reaching earth: in The Fall of Icarus (1898), one panel of a diptych about this story, he shows Icarus on the seabed, as he drowns, the remains of his wings still visible.

His earlier Icarus on the Rocks (1897) departs from Ovid’s account and has Icarus crash onto rocks; his posture is similar in the two paintings.

Finally, Herbert Draper’s (1863–1920) Lament for Icarus (1898) shows an apocryphal and more romantic view, in which three nymphs have recovered the apparently dry body of Icarus, and he is laid out on a rock while they lament his fate to the accompaniment of a lyre. Perhaps influenced by contemporary thought about human flight, Draper gives Icarus huge wings, and those are shown intact, rather than disintegrated from their exposure to the sun’s heat.

Daedalus was full of remorse, and buried his son’s body on the nearby island. As he was digging his son’s grave, a solitary partridge watched him from a nearby oak tree. The partridge had originally been Daedalus’ nephew, who had been brought to him as an apprentice. As the nephew’s skills and ingenuity grew, Daedalus became envious of him, seeking to kill him and pretend it had been an accident. When Daedalus threw him from the roof of her temple on the Acropolis, Pallas Athena saved the apprentice by transforming him into a partridge in mid-air. The bird still remembers being saved from its fall, and to this day won’t fly far above the ground.

Book 8 of Ovid’s Metamorphoses resumes his account of King Minos of Crete waging war against the Greeks, and the hapless Cephalus who had inadvertently killed his wife Procris with his javelin. Cephalus and his party return to Athens, by which time King Minos is already laying waste to Megara, and attacking the city of Alcathous ruled by King Nisus. The latter has a lock of purple hair on his head, a talisman that ensures the safety of his kingdom.

Nisus’ daughter Scylla regularly watches the forces of Minos from her royal tower, and has got to know many of the Cretan commanders, including Minos himself. From her watching, she feels that she has fallen in love with him, and has an impulse to go to him to bring the fighting to an end, and to marry him. One night, she’s determined to act, so sneaks into her father’s bedroom, and cuts off his lock of purple hair to end the protection it had given his kingdom. She then makes her way out of the city, through the Cretan lines, until she meets King Minos. She tells him what she has done, and presents him with the lock of hair.

She’s shocked that, far from winning Minos’ love and hand in marriage, he calls on the gods to curse her, and refuses to let her enter Crete. Nevertheless, Minos conquers the city before setting sail once more in his ships. Scylla lets loose a long tirade of insults at Minos, and calls on her father Nisus to punish her for her treachery. With a final insulting reference to Minos’ wife Pasiphae and her mating with a bull, Scylla announces that she will cling to Minos’ ship and follow him over the sea. The gods had changed her father Nisus into an osprey, which then pursues Scylla, who is in turn transformed into a seabird, probably a shearwater.

Ovid then summarises the story of Minos and the Minotaur of Crete. He tells of Minos’ return, and his sacrifice of a hundred bulls to Jupiter. But he couldn’t escape the shame of his wife Pasiphae’s bestial adultery with a bull, resulting in the birth of the Minotaur, a beast with the head of a bull and the body of a man.

Gustave Moreau appears to have started to paint Pasiphaé in the 1880s but then to have abandoned it, probably because of difficulties it would raise in depicting her bestial relationship.

Minos had the architect and artificer Daedalus design and build a maze, within which the Minotaur was confined. Every nine years, the monster was fed on Athenian victims, but at the third such feeding, Minos’ daughter Ariadne helps Theseus kill the Minotaur.

This detail of a wonderful painted cassone The Legend of Crete from around 1500-25 shows what has become a popular image of the labyrinth constructed by Daedalus. At its centre, Theseus has just decapitated the Minotaur, while Ariadne waits, holding the thread enabling him to retrace his steps to the exit.

George Frederic Watts was apparently driven to paint The Minotaur (1885) as a response to a series of articles in the press revealing the industry of child prostitution in late Victorian Britain; those referred to the myth of the Minotaur, so early one morning he painted this image of human bestiality and lust. His Minotaur has crushed a small bird in its left hand, and gazes out to sea, awaiting the next shipment of young men and virgin women from Greece.

Earlier in his career, Gustave Moreau painted this scene of Athenians Being Delivered to the Minotaur (1855). Wearing laurel wreaths to mark their distinction and sacrifice, the young men and women hold back while Theseus crouches, waiting to do battle with the beast, seen at the right.

Henry Fuseli captured the dynamics of the situation, in his spirited mixed-media sketch of Ariadne Watching the Struggle of Theseus with the Minotaur (1815-20). Theseus appears almost skeletal as he tries to bring his dagger down to administer the fatal blow, and Ariadne looks like a wraith or spirit.

Theseus, Victor over the Minotaur (c 1791) is one of only three paintings by Charles-Édouard Chaise known to survive. With its crisp neo-classical style, it shows Theseus standing in triumph over the lifeless corpse of the Minotaur. He’s almost being mobbed by the young Athenian women whose lives he has spared. At the left, his thread rests on a wall by an urn, suggesting that the young woman by it may be Ariadne; she is being helped by a young man.

Ovid then races through the rest of the story, where Theseus abducts Ariadne and takes her to the island of Naxos, only to abandon her there. Ariadne meets the god Bacchus, who comforts and marries her. Finally, Theseus takes Ariadne’s wedding diadem and sets it in the heavens as the constellation Corona Borealis.

Ovid ends Book 7 of his Metamorphoses with one of his best stories. It’s told by Cephalus, the envoy from Athens, to the sons of King Aeacus on the island of Aegina, following the king’s account of the Myrmidons.

Having told Cephalus of the plague and the Myrmidons that followed it, King Aeacus falls asleep, so his son Phocus takes Cephalus and his companions to their accommodation. There Phocus notices the unusual javelin carried by Cephalus, with its gold tip on a shaft of wood that he cannot identify. This leads Cephalus to tell him that the javelin killed his wife, and so to explain the circumstances.

Within two months of his marriage to the beautiful Procris, when he was laying nets to catch a deer at dawn, Aurora saw Cephalus and tried to abduct him (she has a track record of affairs with humans). Cephalus protested and told Aurora of his love for his wife, so she let him go, warning him that if she saw him again, he would regret ever marrying Procris.

Nicolas Poussin’s Cephalus and Aurora (1630) shows the dawn scene of Cephalus trying to avoid the obviously amorous intentions of the goddess Aurora, who is seated and nearly naked. Behind Cephalus is the winged horse drawing the chariot of the dawn. A winged putto is holding up an image for him to view, presumably showing Procris, to help his resolve. At the left is a river god. Beyond the horse is another deity bearing a coronet: although difficult to see, that might be Diana, given her association with hunting and her role in this myth.

Peter Paul Rubens’ oil sketch of Aurora Abducting Cephalus was probably made in 1636-37, late in Rubens’ life, for his workshop to complete as a painting for King Philip IV of Spain’s hunting lodge at Torre de la Parada, near Madrid. In addition to showing the willing Aurora trying to persuade the reluctant Cephalus to join her in her chariot, it includes some details at odds with Ovid’s story: Diana’s hunting dog and javelin, which Procris gave to her husband after their reconciliation, later in the story. Here they may be intended as attributes to confirm his identity.

Over the following couple of centuries, there was a steady stream of paintings showing the abduction of Cephalus, but to my eye the next major work using this theme was Pierre-Narcisse Guérin’s romantic Aurora and Cephalus (1810). Instead of a substantial chariot, the seductive figure of Aurora is bearing a sleeping Cephalus aloft on a bed of cloud, as dawn breaks over the mountains below.

Forty years later, Pierre Claude François Delorme uses a similar motif recomposed into his Cephalus Carried off by Aurora (c 1851). This features ingeniously interlocking arms and embraces: Aurora cradles Cephalus’ shoulder and chest, Cephalus reaches out to Cupid, and Cupid back to Cephalus.

As he went back to his wife, Cephalus started to worry whether his wife had been unfaithful to him. He became aware that Aurora had changed his appearance, and entered the city of Athens unrecognised. When he got home, his household and wife didn’t recognise him either, so Cephalus put Procris to the test: with his wife still thinking him a stranger, he offered her great riches to spend a night with him, and managed to get her to waver with uncertainty.

He then revealed himself to be her husband, and accused her of being unfaithful. She said not a word, but fled to the mountains, where she joined the followers of Diana.

Cephalus yearned for his wife, so begged her forgiveness, and admitted that he too would have given way when made such an irresistible offer. Procris returned to him, and the couple lived happily again together. She brought back with her gifts from Diana: a hunting dog who outran all other dogs, and that unusual javelin.

Then the city of Thebes was once again put into difficulty, after Oedipus had broken the siege imposed by the Sphinx. This time the problem took the form of a wild beast that ate all its livestock. All the younger men, including Cephalus, went to hunt the beast, but it eluded them and their dogs. Cephalus then unleashed Diana’s hound to chase the beast. The dog caught it, but it broke free again. Cephalus prepared to throw his javelin, then noticed that his dog and the beast had suddenly been transformed into marble statues.

Cephalus returned to his now blissfully happy marriage with Procris. He went hunting alone at dawn, always feeling safe with his javelin. As the heat of the day came on, he would call on an imaginary zephyr of the cool breeze, talking to it as if it was a real nymph. One day he must have been overheard, and word was taken back to Procris that he was meeting a woman when he was supposed to be hunting. His wife was shocked, but refused to accept the story without herself witnessing her husband’s deceit.

The following morning, Cephalus was out hunting at dawn again, and when he grew hot, he rested and spoke to his imaginary zephyr as usual. He thought that he heard a sound nearby, which he suspected was an animal. He turned and threw his javelin at that noise.

He next heard his wife’s voice, rushed towards it, and found her mortally wounded, with his javelin buried deep in her chest. He took her up into his arms and tried in vain to stop blood from pouring from the wound. Knowing that she was dying, Procris implored him not to take the zephyr as his wife. He then realised the fatal misunderstanding, that Procris believed that he had been unfaithful. As Procris died in his arms, Cephalus tried to explain to her that the zephyr was only imaginary, and that seemed to bring her some comfort in her last moments.

In the foreground of Paolo Veronese’s account from about 1580, Procris has fallen, the javelin embedded in her upper abdomen, and her life is fading fast. Cephalus isn’t embracing her, though, merely holding her hand as he tries to plead his innocence. Veronese leaves us with two small puzzles too. The first is the large hunting hound behind Cephalus’ right shoulder, remembering that Diana’s dog was turned into stone while hunting the beast of Thebes. More puzzling is another figure, and a second dog, in the distance, at the left edge of the painting. These might represent the first part of the scene, before Cephalus throws his javelin, in multiplex narrative.

Peter Paul Rubens offers another oil sketch, of Cephalus and Procris (1636-37), showing the couple just before Cephalus throws the fateful javelin, which rests at his side.

There is another painting that has been claimed to show The Death of Procris, but which is more accurately titled A Satyr Mourning over a Nymph, made by Piero di Cosimo in about 1495.

A brilliant painting, it uses the full width of a panoramic panel to show a satyr with his goat legs and distinctive ears, ministering to a dying or dead nymph, who has a severe wound in her throat. At her feet is a hunting dog, with another three in the distance. But there’s no reason to show Cephalus as a satyr; Procris was impaled in the chest by the javelin; Procris was behind cover, where she was spying on Cephalus, not out in the open; and Cephalus had only one hound, a gift from Diana, which had in any case already been turned to marble. It’s a superb painting of a different story.

Ovid ends the book with Cephalus and his audience in tears, as Aeacus arrives with his other two sons and the army which they have been raising to counter the forces of Minos, setting the scene for the start of the next book.

With Medea finally consigned to oblivion and Theseus united with his father, King Aegeus of Athens, Ovid’s Metamorphoses rushes on to a little-known group of myths explaining the origins of Minos and the fearsome Myrmidons who were later to fight for Achilles in the war against Troy.

The delight of King Aegeus in meeting his son at last proved short-lived when King Minos of Crete threatened war against Athens. Minos assembled a fleet of ships, and cruised the islands obtaining the allegiance and support of the small kingdoms there. When his fleet came to the island of Aegina, Aeacus its king refused on the grounds of his binding treaties with Athens. As the Cretan fleet sailed, Cephalus arrived from Athens, and was told of Aeacus’ unfailing allegiance. However, he noticed that people and things had changed since his last visit to Aegina.

King Aeacus then takes over the narration, giving his account of the plague that had almost destroyed the people of Aegina. It had arisen because of one of Jupiter’s extramarital affairs, with the nymph of the island, inevitably also named Aegina; Juno’s jealous reprisal against the nymph was largely expressed in a plague sent against the people of the island. Aeacus gives a vivid account of the deadly consequences of an infectious disease which sounds much like one of the many outbreaks of the plague that have struck Europe. In the end, with corpses being piled high unburied or in funeral pyres, Aeacus called on Jupiter either to give him his people back, or to kill him.

Aeacus saw an army of ants hard at work on a sacred oak tree, and asked that Jupiter give him such an army of people. When he slept that night, the king dreamed of those ants being transformed into people. The following morning, his son Telamon woke him, to tell him that overnight the city had been peopled afresh. They hailed Aeacus as king, and immediately went on to labour hard on the land and to become the fearsome band of warriors known as Myrmidons, a name derived from the Greek for ant, μύρμηξ (myrmex).

Later legend tells that the Myrmidons moved to Thessaly, from where Aeacus’ grandson Achilles took them with him to the Trojan War. The word has even entered the English language, although little-used for over a century. It came to mean a loyal and unquestioning follower, much like a worker ant.

The first work of visual art which shows the Myrmidons seems to be Virgil Solis’s engraving for a 1581 edition of Metamorphoses. King Aeacus is shown calling on Jupiter to repopulate the island, as the ants climb the old oak tree, and babies spill out from a cleft in its trunk.

That was followed in the latter half of the eighteenth century by this engraving by Jean-Michel Moreau le Jeune, Telemon and Aeacus, showing Telemon taking his father Aeacus out to see the loyal and hard-working Myrmidons at the end of the story. I suspect that this too was made for an illustrated edition of Metamorphoses.

If Aeacus did not make sufficient impression on artists, the figure of Minos did, particularly as he, together with Aeacus and Rhadamanthus, was made a judge of the dead in Hades, after his death.

Michelangelo shows Minos in that (Christianised) role in his huge fresco The Last Judgment (1537-41), with his attribute of a snake, which appears to be about to do Minos something of a mischief.

Minos also features in Dante’s Divine Comedy, which brought him to the attention of two of the greatest illustrators (and fine artists) of the nineteenth century, William Blake and Gustave Doré.

Blake’s watercolour of Minos (1824-27) shows him presiding in judgement over four cavorting couples, in a thoroughly radical vision.

Doré’s version, engraved here by Gaston Monvoisin, is more restrained, and shows Minos’ trademark serpent. Below him are souls queued up for his judgement.