Here we have exactly the opposite of what Winkelmann asserts. So utterly forgotten, even in Homer’s time, was the name of the saddler who made the shield of Ajax, that the poet was at liberty to substitute that of a perfect stranger. Various other little errors I have found which are mere slips of memory, or concern things introduced merely as incidental illustrations. For instance, it was Hercules, not Bacchus, who, as Parrhasius boasts, appeared to him in the same shape he had given him on the canvas.[197] Tauriscus was not from Rhodes, but from Tralles, in Lydia.[198] The Antigone was not the first tragedy of Sophocles.[199] But I refrain from multiplying such trifles. Censoriousness it could not be taken for; but to those who know my great respect for Winkelmann it might seem trifling. NOTES TO THE LAOCOON. Note 1, p. 8. Antiochus (Anthol. lib. ii. cap. 4). Hardouin, in his commentary on Pliny (lib. xxxv. sect. 36), attributes this epigram to a certain Piso. But among all the Greek epigrammatists there is none of this name. Note 2, p. 9. For this reason Aristotle commanded that his pictures should not be shown to young persons, in order that their imagination might be kept as free as possible from all disagreeable images. (Polit. lib. viii. cap. 5, p. 526, edit. Conring.) Boden, indeed, would read Pausanias in this passage instead of Pauson, because that artist is known to have painted lewd figures (de Umbra poetica comment. 1, p. xiii). As if we needed a philosophic law-giver to teach us the necessity of keeping from youth such incentives to wantonness! A comparison of this with the well-known passage in the “Art of Poesy” would have led him to withhold his conjecture. There are commentators, as Kühn on Ælian (Var. Hist. lib. iv. cap. 3), who suppose the difference mentioned by Aristotle as existing between Polygnotus, Dionysius, and Pauson to consist in this: that Polygnotus painted gods and heroes; Dionysius, men; and Pauson, animals. They all painted human figures; and the fact that Pauson once painted a horse, does not prove him to have been a painter of animals as Boden supposes him to have been. Their rank was determined by the degree of beauty they gave their human figures; and the reason that Dionysius could paint nothing but men, and was therefore called pre-eminently the anthropographist, was that he copied too slavishly, and could not rise into the domain of the ideal beneath which it would have been blasphemy to represent gods and heroes. Note 3, p. 11.