The following well-known old fable might also furnish a new image. Salmacis, and the youth beloved by her, were changed to a fountain, unmanning to such a degree, that _Quisquis in hos fontes vir venerit, exeat inde_ _Semivir: & tactis subito mollescat in undis,_ Ovid. Metam. L. IV. The fountain was near Halicarnassus in Caria. Vitruvius[285] thought he had discovered the truth of that fiction: some inhabitants of Argos and Trœzene, says he, going thither with a mind to settle, dispossessed the Carians and Leleges; who, sheltering themselves among the mountains, began to harass the Greeks with their excursions: but one of the inhabitants having discovered some particular qualities in that fountain, erected a building near it, for the convenience of those who had a mind to make use of its water. Greeks and Barbarians mingled there; and these at length, accustomed to the Greek civility, lost their savageness, and were insensibly moulded into another nature. The fable itself is well known to the artists: but the narrative of Vitruvius might instruct them how to draw the allegory of a people taught humanity and civilised, like the Russians by Peter the First. The fable of Orpheus might serve the same purpose. Expression only must decide the choice. Supposing the above general observations upon allegory insufficient to evince its necessity in painting, the examples will at least demonstrate, that painting reaches beyond the senses. The two chief performances in allegorical painting, mentioned in my treatise, viz. the Luxemburg gallery, and the cupola of the Imperial Library at Vienna, may shew how poetical, how happy an use their authors made of allegory. Rubens proposing to paint Henry IV. as a humane victor, with lenity and goodness prevailing, even in the punishment of unnatural rebels, and treacherous banditti, represents him as Jupiter ordering the gods to overthrow and punish the vices: Apollo and Minerva let fly their darts upon them, and the vices, hideous monsters, in a tumultuous uproar tumble over each other: Mars, entering in a fury, threatens total destruction; but Venus, image of celestial love, gently lays hold of his arm:—you fancy you hear her blandishing petition to the _mailed_ god: “rage not with cruel revenge against the vices—they are punished.” The whole performance of Daniel Gran[286] is an allegory, relative to the Imperial Library, and all its figures are as the branches of one single tree. ’Tis a painted Epopee, not beginning from the eggs of Leda; but, as Homer chiefly rehearses the anger of Achilles, this immortalizes only the Emperor’s care of the sciences. The preparations for the building of the library are represented in the following manner: