first work on the imitation of Greek art, allowed an error to creep in with regard to Sophocles. “The most beautiful of the youths danced naked in the theatre, and Sophocles, the great Sophocles, was in his youth the first to show himself thus to his fellow-citizens.” Sophocles never danced naked on the stage. He danced around the trophies after the victory of Salamis, according to some authorities naked, but according to others clothed. (Athen. lib. i. p. m. 20.) Sophocles was one of the boys who was brought for safety to Salamis, and on this island it pleased the tragic muse to assemble her three favorites in a gradation typical of their future career. The bold Æschylus helped gain the victory; the blooming Sophocles danced around the trophies; and on the same happy island, on the very day of the victory, Euripides was born. INDEX. Achilles, sceptre of, 98; shield of, 113. Action, culminating point of an, not the point to be represented by the artist, 16. Albani, Cardinal Alexander, his discovery of a vase which illustrated the date of the Laocoon, 178 _et seq._ Anacreon, two odes of, 133, 139. Apelles, his picture of Diana, 143. Ariosto, his description of Alcina, 128, 138. Aristophanes, element of disgust used by, 161. Aristotle, advice of, to Protogenes, 76; his reason why we receive pleasure from a faithful copy of the disagreeable, 154. Art should express nothing essentially transitory, 17. Arts among the ancients, subject to the control of law, 10. Bacchus, how represented in poetry and painting, 56 _et seq._ Beauty, the supreme law of the imitative arts, 11; subordinated in modern art to other ends, 16; representations of physical, the province of painting, not of poetry, 126. Boivin, his explanations of Homer, 118, 121. Calaber, Quintus, his rendering of the story of Laocoon, 34; his account of the death of Thersites, 150. Callimachus, his picture of famine, 165. Caricature, law against, among the Thebans, 9. Caylus, Count, some points in his work considered, 71, 77, 80, 82, 86, 87, 93; his sketch for a picture of Helen, 140. Chateaubrun, his representation of Philoctetes, 25. Cicero, his views in regard to bodily pain, 28. Cleyn, Francis, illustrations by, 39. Constancy, how represented in art, 68 _et seq._ Dacier, Madame, her translation of Homer, 113. Dante, his description of the starvation of Ugolino, 166. Deformity, physical, in art, produces disgust, 159. Disgust produced more through the other senses than through that of sight, 160; object of, in painting, 167. Disgusting, the, its use in expressing the horror of famine, 164. Dolce, his dialogue on Painting, 131. Drama, expression of suffering in the, 21 _et seq._ Dryden, his Ode on Cecilia’s Day, 89. Flaccus, Valerius, his description of an angry Venus, 57 _et seq._ French language, not adapted to translation of Homer, 112.