I find that Homer paints nothing but progressive actions. All bodies, all separate objects, are painted only as they take part in such actions, and generally with a single touch. No wonder, then, that artists find in Homer’s pictures little or nothing to their purpose, and that their only harvest is where the narration brings together in a space favorable to art a number of beautiful shapes in graceful attitudes, however little the poet himself may have painted shapes, attitudes, or space. If we study one by one the whole series of pictures proposed by Caylus, we shall in every case find proof of the justness of these conclusions. Here, then, I leave the Count with his desire to make the painter’s color-stone the touchstone of the poet, and proceed to examine more closely the style of Homer. For a single thing, as I have said, Homer has commonly but a single epithet. A ship is to him at one time the black ship, at another the hollow ship, and again the swift ship. At most it is the well-manned black ship. Further painting of the ship he does not attempt. But of the ship’s sailing, its departure and arrival, he makes so detailed a picture, that the artist would have to paint five or six, to put the whole upon his canvas. If circumstances compel Homer to fix our attention for a length of time on any one object, he still makes no picture of it which an artist can follow with his brush. By countless devices he presents this single object in a series of moments, in every one of which it assumes a different form. Only in the final one can the painter seize it, and show us ready made what the artist has been showing us in the making. If Homer, for instance, wants us to see the chariot of Juno, Hebe must put it together piece by piece before our eyes. We see the wheels, the axle, the seat, the pole, the traces and straps, not already in place, but as they come together under Hebe’s hands. The wheels are the only part on which the poet bestows more than a single epithet. He shows us separately the eight brazen spokes, the golden fellies, the tires of brass, and the silver nave. It would almost seem that, as there was more than one wheel, he wished to spend as much more time in the description as the putting on would require in reality.[101] Ἥβη δ’ ἀμφ’ ὀχέεσσι θοῶς βάλε καμπύλα κύκλα, χάλκεα ὀκτάκνημα, σιδηρέῳ ἄξονι ἀμφίς. τῶν ἤτοι χρυσέη ἴτυς ἄφθιτος, αὐτὰρ ὕπερθεν χάλκε’ ἐπίσσωτρα προσαρηρότα, θαῦμα ἰδέσθαι· πλῆμναι δ’ ἀργύρου εἰσὶ περίδρομοι ἀμφοτέρωθεν. δίφρος δὲ χρυσέοισι καὶ ἀργυρέοισιν ἱμᾶσιν ἐντέταται, δοιαὶ δὲ περίδρομοι ἄντυγές εἰσιν. τοῦ δ’ ἐξ ἀργύρεος ῥυμὸς πέλεν· αὐτὰρ ἐπ’ ἄκρῳ δῆσε χρύσειον καλὸν ζυγόν, ἐν δὲ λέπαδνα κάλ’ ἔβαλε, χρύσει’·