I shall name a few examples among the antique painters, such as the Ajax struck with the thunderbolt by Apollodorus, and the Infant Hercules of Zeuxis. I am not sure whether to place the Contest of Ulysses and Ajax for the Armour of Achilles, in this or the next class. The pictures of Apelles appear to have been all either portraits or belonging to the fancies. The Battle of Alexander and Darius, by Philoxenus, seems, from description, to belong strictly to this section, and no doubt there are very many others; but, as we are no where told how many of the subjects were treated, it is impossible to class them. Of modern pictures belonging to this section, the first and greatest is the Raising of Lazarus by Sebastian del Piombo[163], one of the finest oil pictures in the world; Raffaelle’s Entombment of Christ[164]; his Spassimo[165]; Titian’s Christ scourged[166]; Correggio’s Nativity[167]; Fra Bartolomeo’s Presentation of Christ in the Temple[168]; Daniel da Volterra’s Descent from the Cross[169]; Albertinelli’s Salutation[170]; Spagnoletto’s Entombment[171]; the small picture by Rembrandt of the Adoration of the Shepherds[172]; Rubens’ famous Descent from the Cross at Antwerp; and a thousand others, that a moment’s recollection will bring to every body’s remembrance. There are also a number of profane subjects treated so as to bring them under this class; particularly Poussin’s Death of Germanicus, and his Testament of Eudamidas. The great rival designs of Leonardo da Vinci and Michael Angelo, namely, the Battle of the Standard and the Surprise at the Bridge, now lost, were, if we may trust descriptions, and some few remaining fragments, so treated, as to bring them also into this section[173]; and I think no German would forgive me if I were to omit Albert Durer’s Massacre of the Christian Legions by Sapor the second[174].