[66] For the best account of Spanish art, see Lettera di A. R. Mengs a Don Antonio Ponz. Opere di Mengs, vol. ii. Mengs was born at Ausig, in Bohemia, in 1728, and died at Rome in 1779. THIRD LECTURE. INVENTION. PART I. ----ΤΙ Τ' ΑΡ ΑΥ ΦΘΟΝΕΕΙΣ, ΕΡΙΗΡΟΝ ΑΟΙΔΟΝ ΤΕΡΠΕΙΝ, ΟΠΠΗ ΟΙ ΝΟΟΣ ΟΡΝΥΤΑΙ; ΟΥ ΝΥ Τ' ΑΟΙΔΟΙ ΑΙΤΙΟΙ, ΑΛΛΑ ΠΟΘΙ ΖΕΥΣ ΑΙΤΙΟΣ, ὉΣΤΕ ΔΙΔΩΣΙΝ ΑΝΔΡΑΣΙΝ ΑΛΦΗΣΤΗΣΙΝ, ΟΠΩΣ ΕΘΕΛΗΣΙΝ ΕΚΑΣΤΩΙ. Homer. Odyss. A. 346. ARGUMENT. Introduction. Discrimination of Poetry and Painting. General idea of Invention--its right to select a subject from Nature itself. Visiones--Theon--Agasias. Cartoon of Pisa--Incendio del Borgo. Specific idea of Invention: Epic subjects--Michael Angelo. Dramatic subjects--Raphael. Historic subjects--Poussin, &c. Invention has a right to adopt ideas--examples. Duplicity of subject and moment inadmissible. Transfiguration of Raphael. THIRD LECTURE. The brilliant antithesis ascribed to Simonides, that 'painting is mute poesy and poetry speaking painting,' made, I apprehend, no part of the technic systems of antiquity: for this we may depend on the general practice of its artists, and still more safely on the philosophic discrimination of Plutarch[67], who tells us, that as poetry and painting resemble each other in their uniform address to the senses, for the impression they mean to make on our fancy and by that on our mind, so they differ as essentially in their _materials_ and their _modes_ of application, which are regulated by the diversity of the organs they address, ear and eye. _Successive action_ communicated by sounds, and _time_, are the medium of poetry; _form_ displayed in _space_, and momentaneous energy, are the element of painting.