Consult the list of inscriptions on ancient works of art in Mar. Gudius. (ad Phædri fab. v. lib. i.), and, in connection with that, the correction made by Gronovius. (Præf. ad Tom. ix. Thesauri Antiq. Græc.) NOTE 55, p. 182. He at least expressly promises to do so: “quæ suis locis reddam” (which I shall speak of in their proper place). But if this was not wholly forgotten, it was at least done very cursorily, and not at all in the way this promise had led us to expect. When he writes (lib. xxxv. sect. 39), “Lysippus quoque Æginæ picturæ suæ inscripsit, ἐνέκαυσεν; quod profecto non fecisset, nisi encaustica inventa,” he evidently uses ἐνέκαυσεν to prove something quite different. If he meant, as Hardouin supposes, to indicate in this passage one of the works whose inscription was written in definite past time, it would have been worth his while to put in a word to that effect. Hardouin finds reference to the other two works in the following passage: “Idem (Divus Augustus) in Curia quoque, quam in Comitio consecrabat, duas tabulas impressit parieti: Nemeam sedentem supra leonem, palmigeram ipsam, adstante cum baculo sene, cujus supra caput tabula bigæ dependet. Nicias scripsit se inussisse; tali enim usus est verbo. Alterius tabulæ admiratio est, puberem filium seni patri similem esse, salva ætatis differentia, supervolante aquila draconem complexa. Philochares hoc suum opus esse testatus est.” (Lib. xxxv. sect. 10.) Two different pictures are here described which Augustus had set up in the newly built senate-house. The second was by Philochares, the first by Nicias. All that is said of the picture by Philochares is plain and clear, but there are certain difficulties in regard to the other. It represented Nemea seated on a lion, a palm-branch in her hand, and near her an old man with a staff: “cujus supra caput tabula bigæ dependet.” What is the meaning of that? “over his head hung a tablet on which was painted a two-horse chariot.” That is the only meaning the words will bear. Was there, then, a smaller picture hung over the large one? and were both by Nicias? Hardouin must so have understood it, else where were the two pictures by Nicias, since the other is expressly ascribed to Philochares? “Inscripsit Nicias igitur geminæ huic tabulæ suum nomen in hunc modum: Ὁ ΝΙΚΙΑΣ ΕΝΕΚΑΥΣΕΝ: atque adeo e tribus operibus, quæ absolute fuisse inscripta, ILLE FECIT, indicavit Præfatio ad Titum, duo hæc sunt Niciae.” I should like to ask Hardouin one question. If Nicias had really used the indefinite, and not the definite past tense, and Pliny had merely wished to say that the master, instead of γράφειν, had used ἐγκαίειν, would he not still have been obliged to say in Latin, “Nicias scripsit se inussisse?” But I will not insist upon this point. Pliny may really have meant to indicate here one of the three works before referred to. But who will be induced to