[Footnote 26: The expression literally interpreted would signify that the gates were placed on the top of columns. Pope could not have had such a preposterous notion in his mind, and the meaning must be that the lofty gates were hung upon columns. He copied a couplet in Dryden's Æneis, vi. 744, where the translation misrepresents the original: Wide is the fronting gate, and raised on high With adamantine columns, threats the sky.] [Footnote 27: Addison's Vision of the Table of Fame, in the Tatler: "In the midst there stood a palace of a very glorious structure; it had four great folding doors that faced the four several quarters of the world." Charles Dryden's translation of the seventh Satire of Juvenal, ver. 245: Behold how raised on high A banquet house salutes the southern sky.] [Footnote 28: Dryden, Juvenal, Sat. iii. 142: No Thracian born, But in that town which arms and arts adorn.] [Footnote 29: In the early editions: The fourfold walls in breathing statues grace. Addison in his Letter from Italy had called the Roman statues "breathing rocks."] [Footnote 30: Addison's Letter from Italy: Or teach their animated rocks to live. And emperors in Parian marble frown.] [Footnote 31: Milton, Par. Lost, i. 714: Doric pillars overlaid With golden architrave, nor did there want Cornice or frieze, with bossy sculptures graven.--WAKEFIELD.] [Footnote 32: Dryden, Ovid's Met. book xii.: An ample goblet stood of antique mould And rough with figures of the rising gold. Dryden, Æn. viii. 830: And Roman triumphs rising on the gold. Addison's Letter from Italy: And pillars rough with sculpture pierce the skies.] [Footnote 33: This legendary hero was an Athenian knight-errant who, in imitation of Hercules, went about doing battle with the scourges of mankind, both human and animal.] [Footnote 34: Minerva presented Perseus with her shield when he undertook to kill the Gorgon, Medusa.] [Footnote 35: This figure of Hercules is drawn with an eye to the position of the famous statue of Farnese.--POPE. It were to be wished that our author, whose knowledge and taste of the fine arts were unquestionable, had taken more pains in describing so famous a statue as that of the Farnesian Hercules; for he has omitted the characteristical excellencies of this famous piece of Grecian workmanship; namely, the uncommon breadth of the shoulders, the knottiness and spaciousness of the chest, the firmness and protuberance of the muscles in each limb, particularly the legs, and the majestic vastness of the whole figure, undoubtedly designed by the artist to give a full idea of strength, as the Venus de Medicis of beauty. To mention the Hesperian apples, which the artist flung backwards, and almost concealed as an inconsiderable object, and which therefore scarcely appear in the statue, was below the notice of Pope.--WARTON.