[4] "Les hommes qui ont changé l'univers, n'y sont jamais parvenus en gagnant des chefs; mais toujours en remuant des masses. Le premier moyen est du ressort de l'intrigue, et n'amène que des résultats secondaires; le second est la marche du Génie, et change la face du monde."--_Napoleon._ [5] Tacit. Annal. lib. xiv. et xvi. [6] Difficile est proprie communia dicere. Hor. A.P. [7] Τον δ' αρ' ὑπο ζυγοφιν προσεφη ποδας αἰολος ἱππος. Iliad xix. 404. ----Rhœbe diu, etc.--_Virg._ x. [8] Plin. lib. xxxv. [9] This picture, during a period of nearly half a century, graced the collection of Charles Lambert, Esq. of Paper-buildings, Temple; where it remained without having been washed or varnished. At his death it was purchased by my friend Mr. Knowles, has been cleaned by a skilful hand, and restored to nearly its pristine state. [10] Sea Voyage, Act 3rd. sc. 1st. [11] Dante Inferno, Cant. xxiv. [12] ΗΘΗ. Mores. Plin. l. xxxv. [13] The Necromantia of Nicias--the sacking of a town, by Aristides. Plin. l. xxxv. [14] A group of Stephanus in the Villa Ludovisi, known by the name of Papyrius and his mother, called a Phædra and Hippolytus, or an Electra with Orestes, by J. Winkelmann, bears more resemblance to an Æthra with Theseus, or a Penelope with Telemachus. [15] Gallum inficetissime linguam exserentem.--Plin. l. xxxv. [16] Plin. l. xxx. W. c. xiv. [17] Commonly named the Dying Gladiator; by J. Winkelmann called a Herald; with more probability the "Vulneratus deficiens, in quo possit intelligi quantum restet animæ." A work of Ctesilas in bronze, was probably the model of this. Plin. l. xxxiv. [18] Sueton. l. vi. [19] In one of the cartoons of Raffaello, now lost, but still in some degree existing in tapestry and in print. [20] Engraved by G. Audran. [21] In the cartoon of Peter and John. [22] Iliad, L. xviii. l. 93; L. xvi. l. 74 and 75; L. ix. l. 346. [23] Commonly called the Castor and Pollux of Monte Cavallo,--the name given from their horses to the Quirinal. [24] Plin. N.H. l. xxxv. c. ix. Tantus diligentia, ut Agrigentinis facturus tabulam, quam in templo Junonis Lucinæ publice dicarent, inspexerit virgines eorum nudas, et quinque elegerit, ut quod in quaque laudatissimum esset, pictura redderet. [25] Mengs Lettera à don A. Ponz. Opere di A.R. Mengs, t. ii. p. 83. [26] Such was probably that austerity of tone in the works of Athenion, which the ancients preferred to the sweetness or gayer tints of Nicias--"austerior colore et in austeritate jucundior."--Plin. l. xxxv. c. xi. [27] See the sonnet of Agostino Carracci, which begins "Chi farsi un bon Pittor cerca e desia," &c. which the author himself seems to ridicule by the manner in which he concludes. [28] Οὐκ ἀγαθον πολυκοιρανιη εἱς κοιρανος ἐστω. Il. ii. 204. The conception of every great work must originate in one, though it may be above the power or strength of one to execute the whole. [29] Pliny, l. xxxiv. c. 8.