It is evident to the slightest consideration, that both Cicero and Quintilian lose sight of their premises, and contradict themselves in the motive they ascribe to Timanthes. Their want of acquaintance with the nature of plastic expression made them imagine the face of Agamemnon beyond the power of the artist. They were not aware that by making him waste expression on inferior actors at the expence of a principal one, they call him an improvident spendthrift and not a wise œconomist. From Valerius Maximus, who calls the subject 'Luctuosum _immolatæ_ Iphigeniæ sacrificium' instead of _immolandæ_, little can be expected to the purpose. Pliny, with the _dignè_ of Quintilian has the same confusion of motive. [18] It is observed by an ingenious Critic, that in the tragedy of Euripides, the procession is described, and upon Iphigenia's looking back on her father, he groans, and hides his face to conceal his tears; whilst the picture gives the moment that precedes the sacrifice, and the hiding has a different object and arises from another impression. ----ὡς δ' εσειδεν Αγαμεμνων αναξ ἐπι σφαγας στειχουσαν εἰς ἀλσος κορην ἀνεστεναξε. Καμπαλιν στρεψας καρα Δακρυα προηγεν, ὀμματων πεπλον προθεις. [19] Pliny, l. xxxv. c. 18. [20] Lysippum Sicyonium--audendi rationem cepisse pictoris Eupompi responso. Eum enim interrogatum, quem sequeretur antecedentium, dixisse demonstrata hominum multitudine, naturam ipsam imitandam esse, non artificem. Non habet Latinum nomen symmetria, quam diligentissime custodivit, nova intactaque ratione quadratas veterum staturas permutando: Vulgoque dicebat, ab illis factos, quales essent, homines: à se, quales viderentur esse. Plin. xxxiv. 8. [21] Μαλλον δε Ἀπελλης ὁ Ἐφεσιος παλαι ταυτην προῦλαβε την εἰκονα· Και γαρ αὐ και οὑτος διαβληθεις προς Πτολεμαιον---- Λουκιανού περι του μ. ῥ. Π. Τ. Δ. [22] Apelles was probably the inventor of what artists call _glazing_. See Reynolds on Du Fresnoy, note 37. vol. iii. [23] In matri interfectæ infante miserabiliter blandiente. Plin. l. xxxiv. c. 9. [24] A design of Raphael, representing the lues of the Trojans in Creta, known by the print of Marc Antonio Raymondi. [25] Reynolds' Disc. V. vol. i. p. 120. Euphranoris Alexander Paris est: in quo laudatur quod omnia simul intelligantur, judex dearum, amator Helenæ, et tamen Achillis interfector. Plin. l. xxxiv. 8. [26] See the Hymn (ascribed to Homer) on Apollo. SECOND LECTURE. ART OF THE MODERNS. ὉΙΤΙΝΕΣ ἩΓΕΜΟΝΕΣ ΚΑΙ ΚΟΙΡΑΝΟΙ ΗΣΑΝ. ΠΛΗΘΥΝ Δ' ΟΥΚ ΑΝ ΕΓΩ ΜΥΘΗΣΟΜΑΙ ΟΥΔ' ΟΝΟΜΗΝΩ ΟΥΔ' ΕΙ ΜΟΙ ΔΕΚΑ ΜΕΝ ΓΛΩΣΣΑΙ, ΔΕΚΑ ΔΕ ΣΤΟΜΑΤ' ΕΙΕΝ, ΦΩΝΗ Δ' ΑΡΡΗΚΤΟΣ. Homer. Iliad. B. 487. ARGUMENT.