HORAPOLLON, of Phaenebythis in the nome of Panopolis in Egypt, Greek grammarian, flourished in the 4th century A.D. during the reign of Theodosius I. According to Suidas, he wrote commentaries on Sophocles, Alcaeus and Homer, and a work (Τεμενικά) on places consecrated to the gods. Photius (cod. 279), who calls him a dramatist as well as a grammarian, ascribes to him a history of the foundation and antiquities of Alexandria (unless this is by an Egyptian of the same name, who lived In the reign of Zeno, 474-491). Under the name of Horapollon two books on Hieroglyphics are extant, which profess to be a translation from an Egyptian original into Greek by a certain Philippus, of whom nothing is known. The inferior Greek of the translation, and the character of the additions in the second book point to its being of late date; some have even assigned it to the 15th century. Though a very large proportion of the statements seem absurd and cannot be accounted for by anything known in the latest and most fanciful usage, yet there is ample evidence in both the books, in individual cases, that the tradition of the values of the hieroglyphic signs was not yet extinct in the days of their author.
Bibliography.—Editions by C. Leemans (1835) and A. T. Cory (1840) with English translation and notes; see also G. Rathgeber in Ersch and Gruber’s Allgemeine Encyclopädie; H. Schäfer, Zeitschrift für ägyptische Sprache (1905), p. 72.
HORATII and CURIATII, in Roman legend, two sets of three brothers born at one birth on the same day—the former Roman, the latter Alban—the mothers being twin sisters. During the war between Rome and Alba Longa it was agreed that the issue should depend on a combat between the two families. Two of the Horatii were soon slain; the third brother feigned flight, and when the Curiatii, who were all wounded, pursued him without concert he slew them one by one. When he entered Rome in triumph, his sister recognized a cloak which he was wearing as a trophy as one she had herself made for her lover, one of the Curiatii. She thereupon invoked a curse upon her brother, who slew her on the spot. Horatius was condemned to be scourged to death, but on his appealing to the people his life was spared (Livy i. 25, 26; Dion. Halic. iii. 13-22). Monuments of the tragic story were shown by the Romans in the time of Livy (the altar of Janus Curiatius near the sororium tigillum, the “sister’s beam,” or yoke under which Horatius had to pass; and the altar of Juno Sororia). The legend was probably invented to account for the origin of the provocatio (right of appeal to the people), while at the same time it points to the close connexion and final struggle for supremacy between the older city on the mountain and the younger city on the plain. Their relationship and origin from three tribes are symbolically represented by the twin sisters and the two sets of three brothers.
For a critical examination of the story, see Schwegler, Römische Geschichte, bk. xii. 11. 14; Sir G. Cornewall Lewis, Credibility of Early Roman History, ch. xi. 15; W. Ihne, Hist. of Rome, i.; E. Pais, Storia di Roma, i. ch. 3 (1898), and Ancient Legends of Roman History (Eng. trans., 1906), where the story is connected with the ceremonies performed in honour of Jupiter Tigillus and Juno Sororia; C. Pascal, Fatti e legende di Roma antica (Florence, 1903); O. Gilbert, Geschichte und Topographie der Stadt Rom im Altertum (1883-1885).
HORATIUS COCLES, a legendary hero of ancient Rome. With two companions he defended the Sublician bridge against Lars Porsena and the whole army of the Etruscans, while the Romans cut down the bridge behind. Then Horatius threw himself into the Tiber and swam in safety to the shore. A statue was erected in his honour in the temple of Vulcan, and he received as much land as he could plough round in a single day. According to another version, Horatius alone defended the bridge, and was drowned in the Tiber.
There is an obvious resemblance between the legend of Horatius Codes and that of the Horatii and Curiatii. In both cases three Romans come forward as the champions of Rome at a critical moment of her fortunes, and only one successfully holds his ground. In the one case, the locality is the land frontier, in the other, the boundary stream of Roman territory. E. Pais finds the origin of the story in the worship of Vulcan, and identifies Cocles (the “one-eyed”) with one of the Cyclopes, who in mythology were connected with Hephaestus, and later with Vulcan. He concludes that the supposed statue of Cocles was really that of Vulcan, who, as one of the most ancient Roman divinities and, in fact, the protecting deity of the state, would naturally be confounded with the hero who saved it by holding the bridge against the invaders. He suggests that the legend arose from some religious ceremony, possibly the practice of throwing the stuffed figures called Argei into the Tiber from the Pons Sublicius on the ides of May. The conspicuous part played in Roman history by members of the Horatian family, who were connected with the worship of Jupiter Vulcanus, will explain the attribution of the name Horatius to Vulcan-Cocles.
See Livy ii. 10; Dion. Halic. v. 23-25; Polybius vi. 55; Plutarch, Poplicola, 16. For a critical examination of the legend, see Schwegler, Römische Geschichte, bk. xxi. 18; W. Ihne, History of Rome, i.; E. Pais, Storia di Roma, i. ch. 4 (1898), and Ancient Legends of Roman History (Eng. trans., 1906).