Francisci and Chaffey had filmed their Colchian locations in Italy, while Freda stayed entirely in the studio.
Colchian religion is personified in Medea, princess and priestess.
Medea finds a new connection to her Colchian identity, and tragedy ensues.
131-137, presumably employed it to inspect Roman military installations along the Colchian coast between Trapezus and Dioscurias/Sebastopolis in c.
Trapezus not only connected the Cappadocian army on the upper Euphrates with the Euxine but also served the various garrisons on the Colchian coast.
131 was probably a provincial classis Cappadocica, not the praetorian classis Pontica, and this local fleet continued to serve outposts on the Colchian coast through the middle of the 3rd and again in the 4th century.
Scholars have noted that Apollonius takes considerable pains to integrate his similes with the flow of his narrative, and the autumnal avalanche of quivering leaves is just the right image to convey the chaotic, yet directed movement of the mass of angry Colchians .
In Apollonius the reader encounters a mass of Colchians crowding along the banks of the river Phasis.
Furthermore, as I have remarked above, Apollonius binds his similes tightly to his narrative, and the simile's waves may well be linked with the Colchians' setting sail in pursuit of Medea just twenty lines further on in the narrative.
Aeneas will also have to work for his destiny, implied by Virgil's reference to the Colchians gathering in great numbers at the banks of the Phasis.
In Apollonius's celebrated treatment, which found a close imitation in Vergil's Aeneid, the goddess induced her son Eros/Cupid to arouse Medea's passion; Valerius, by contrast, has Venus herself visit the Colchian princess in disguise as her sister Circe.
In the case of Europa, the "remythologizing" of the legend is contained in Absyrtus's exhortation to his Colchian troops as they pursue the Argonauts in the final book of the poem: