Metamorph. vi. 387. “The skin is torn from the upper limbs of the shrieking Marsyas, till he is nought but one great wound: thick blood oozes on every side; the bared sinews are visible; and the palpitating veins quiver, stripped of the covering of skin; you can count the protruding entrails, and the muscles shining in the breast. Footnote 165: Metamorph. lib. viii. 809. “Seeing Famine afar off, she delivers the message of the goddess. And after a little while, although she was yet at a distance and was but approaching, yet the mere sight produced hunger.” Footnote 166: Hym. in Cererem, 111–116. Footnote 167: Argonaut. lib. ii. 228–233. “Scarcely have they left us any food that smells not mouldy, and the stench is unendurable. No one for a time could bear the foul food, though his stomach were beaten of adamant. But bitter necessity compels me to bethink me of the meal, and, so remembering, put it into my wretched belly.” Footnote 168: See Appendix, note 52. Footnote 169: Richardson de la Peinture, vol. i. p. 74. Footnote 170: Geschichte der Kunst, p. 347. Footnote 171: Not Apollodorus, but Polydorus. Pliny is the only one who mentions these artists, and I am not aware that the manuscripts differ in the writing of the name. Had such been the case, Hardouin would certainly have noticed it. All the older editions also read Polydorus. Winkelmann must therefore have merely made a slight error in transcribing. Footnote 172: Ἀθηνόδωρος δὲ καὶ Δαμέας ... οὗτοι δὲ Ἀρκάδες εἰσὶν ἐκ Κλείτορος. Phoc. cap. ix. p. 819 (edit. Kuhn). Footnote 173: Plinius, lib. xxxiv. sect. 19. Footnote 174: Lib. xxxvi. sect. 4. “Nor are there many of great repute the number of artists engaged on celebrated works preventing the distinction of individuals; since no one could have all the credit, nor could the names of many be rehearsed at once: as in the Laocoon, which is in the palace of the emperor Titus, a work surpassing all the results of painting or statuary. From one stone he and his sons and the wondrous coils of the serpents were sculptured by consummate artists, working in concert: Agesander, Polydorus, and Athenodorus, all of Rhodes. In like manner Craterus with Pythodorus, Polydectes with Hermolaus, another Pythodorus with Artemon, and Aphrodisius of Tralles by himself, filled the palaces of the Cæsars on the Palatine with admirable statuary. Diogenes, the Athenian, decorated the Pantheon of Agrippa, and the Caryatides on the columns of that temple rank among the choicest works, as do also the statues on the pediment, though these, from the height of their position, are less celebrated.” Footnote 175: Bœotic. cap. xxxiv. p. 778 (edit. Kuhn). Footnote 176: Plinius, lib. xxxvi. sect. 4, p. 730. Footnote 177: Geschichte der Kunst, part ii. p. 331. Footnote 178: