Though the very choice of spokesmen interposes the chooser, scholars generally, I hope, will accept Aristotle for the theory of rhetoric as the energizing of knowledge, Cicero for its scope and skill in practise, Quintilian for its teaching, and so on through a list chosen for representative significances. Nor does the plan of spokesmen preclude sufficient indications of general theory and practise. It shows in Cicero the influence not only of Aristotle, but of Isocrates. In poetic, ancient epic art is revealed most definitely and most largely in the _Æneid_ because Vergil, besides being one of the greatest of poets, was so studious a craftsman as to choose from all the ancient experience the most vital ways of narrative. Historically the New Comedy seems more significant than the Old; and the same consideration has included not only Ovid, but even Seneca. These analyses of ancient achievement are made complementary to ancient theory by being strictly limited to composition. All the authors chosen have been already expounded and translated, some of them again and again, but rather as philosophers, or as orators, or as men of letters, or simply as Greeks or Romans, than as writers on composition. Yet composition was not only one of the greatest ancient achievements; it was a constant preoccupation and a consistent technic. No other body of technic is more thorough and comprehensive than ancient rhetoric; and few have been so generally recognized. Every writer had it in mind; and since commentators have often had in mind something else, I have felt myself bound always to explore the technical connotations of the originals, and usually to retranslate. Verification is facilitated by exact citation, and comparative study by the indexes. What may thus serve incidentally as a book of reference is primarily, however, a progressive exposition from ideas through principles to details. The Greek philosophy of rhetoric is confirmed and applied in the great period of Rome by the most influential orator of history. Aristotle’s theory and Cicero’s vindication put us in the best position to comprehend the method and the detail of Quintilian. This in turn guides appreciation of that abundant study of style which is exemplified typically in Dionysius of Halicarnassus and illuminated by the genius who wrote the _De sublimitate_. Through such spokesmen, with complementary technical analysis of ancient achievement, the way seems surest toward recovering inductively the ancient artistic experience.