If we compare the two greatest orators of antiquity—Cicero and Demosthenes—it may seem difficult to decide between them. By devoting his powers almost exclusively to oratory, the latter excelled in energy, strength, and accuracy; and as a mere artist, was probably the superior. Cicero, by cultivating a more extended field, was doubtless far the abler lawyer, statesman and philosopher. Of the value of their works to mankind, there is no comparison; for those of Cicero are not only more numerous and diversified, but of more depth, wisdom, and general application. We must also remark, that while the soul of Demosthenes appears to have been selfish and mean, that of Cicero ranks him among the noblest specimens of humanity, whether of ancient or modern times. If we compare the speeches of these great men with the efforts of modern orators, we shall see that the latter greatly surpass them in range of thought, power of diction and splendor of illustration. The question then arises, why did the orations of Cicero and Demosthenes produce such electrical effects upon their auditors? The reason doubtless was, that they paid the greatest attention to action, manner and tones of voice—thus operating upon their hearers by nearly the same powers as the modern opera. There was stage effect in their manner, and music in their tones, combined with most perfect elocution—and the application of these arts, carried to the utmost perfection, was made to the quick Italians or mercurial Athenians. These suggestions may enable us to understand the fact, that speeches, which, uttered in the less artful manner of our day, and before our colder audiences, would fall flat and dead upon the ear, excited the utmost enthusiasm, in more southern climes, two thousand years ago. [Illustration] APELLES Apelles was a celebrated painter of Cos, a little island in the Egean Sea. The date of his birth is not known, but he painted many portraits of Philip, and was still nourishing in the time of Alexander, who honored him so much that he forbade any other artist to draw his picture. His chief master was Pamphilius, a famous painter of Macedon. He was so attentive to his profession, that he never spent a day without employing his pencil,—whence the proverb of _Nulla die sine linea_. His most perfect picture was the Venus Anadyomene, which, however, was not wholly finished when the painter died.