The triremes Paralus and Salamina are mentioned by Thucydides, in his 3rd book, as performing an eminent service to Athens, in the Lacedæmonian war. It seems that Paralus, or Paralia, was the name of the vessel that brought the news of the defeat of Ægospotamos to Athens. So much for the opinion that Paralus _may_ be a hero, but _cannot_ be a ship. [137] See Essay II. [138] See Greek Anthology. [139] This picture was called Stephanopolis, the flower seller, and was bought at Athens by Lucullus, for two talents of silver, £387. 10_s._ Whoever has seen the beautiful picture called Titian’s Flora, in the Florence Gallery, must be reminded of it while reading of the garland maker of Pausias. [140] Some think they were the same; but there seems to have been an older Nicias than either. Perhaps a Thracian, or a Macedonian. Omphalion, who was employed by the Messenians to paint a long series of supposed portraits of their ancient kings in the temple of Æsculapius, at Messene, was the pupil of a Nicias, I suppose of Nicias of Athens. _Pausanias Messenics_, ch. 21. [141] In Lucian’s Dialogue of the Encomium of a House, there is a description of this picture, in which he says, “the little ones, unconscious of their fate, sit with smiling countenances, and whilst they see her holding the sword over them, seem pleased and happy.” _Franklin’s Lucian._ But surely if they saw their mother brandishing a sword or dagger over them, her aspect must have frightened them. ESSAY V. OF THE CLASSIFICATION OF PICTURES. The more general any word is in its signification, it is the more liable to be abused by an improper or unmeaning application. A very general term is applicable alike to a multitude of different individuals, a particular term is applicable but to a few. The latitude of a word, though different from its ambiguity, hath often a similar effect. CAMPBELL. _Philosophy of Rhetoric._ It will be useful to pause a little, between the historic sketch I have already made of antique painting, and that which is to follow, of the entire decay, and first faint revival of the Art; and to consider what branches of painting had been chiefly cultivated by the ancients, and whether the ordinary classification of pictures can be satisfactorily applied to their works, or even correctly to the productions of modern painters. It will not be uninteresting either, to consider the materials and colours used by the ancient artists, as compared with those known to the moderns.