_Poly_. I proceed then to the delineation of Culture, the confessed mistress of all mental excellences, particularly of all acquired ones: I must render her features in all their manifold variety; not even here shall my portraiture be inferior to your own. I paint her, then, with every grace that Helicon can give. Each of the Muses has but her single accomplishment, be it tragedy or history or hymn: all these Culture shall have, and with them the gifts of Hermes and of Apollo. The poet’s graceful numbers, the orator’s persuasive power, the historian’s learning, the sage’s counsel, all these shall be her adornments; the colours shall be imperishable, and laid on with no niggardly brush. It is not my fault, if I am unable to point to any classical model for the portrait: the records of antiquity afford no precedent for a culture so highly developed.—May I hang this beside the other? I think it is a passable likeness. _Ly_. Passable! My dear Polystratus, it is sublime; exquisitely finished in every line. _Poly_. Next I have to depict Wisdom; and here I shall have occasion for many models, most of them ancient; one comes, like the lady herself, from Ionia. The artists shall be Aeschines and Socrates his master, most realistic of painters, for their heart was in their work. We could choose no better model of wisdom than Milesian Aspasia, the admired of the admirable ‘Olympian’ [Footnote: See _Pericles_ in Notes.]; her political knowledge and insight, her shrewdness and penetration, shall all be transferred to our canvas in their perfect measure. Aspasia, however, is only preserved to us in miniature: _our_ proportions must be those of a colossus. _Ly_. Explain. _Poly_. The portraits will be alike, but not on the same scale. There is a difference between the little republic of ancient Athens, and the Roman Empire of to-day; and there will be the same difference in _scale_ (however close the resemblance in other respects) between our huge canvas and that miniature. A second and a third model may be found in Theano, and in the poetess of Lesbos; nay, we may add Diotima too. Theano shall give grandeur to the picture, Sappho elegance; and Diotima shall be represented as well by her wisdom and sagacity, as by the qualities for which Socrates commended her. The portrait is complete. Let it be hung. _Ly_. ’Tis a fine piece of work. Proceed. _Poly_. Courtesy, benevolence: that is now my subject. I have to show forth her gentle disposition, her graciousness to suppliants. She shall appear in the likeness of Theano—Antenor’s Theano this time—, of Arete and her daughter Nausicaa, and of every other who in her high station has borne herself with constancy. Next comes constancy of another kind,—constancy in love; its original, the daughter of Icarius, ‘constant’ and ‘wise,’ as Homer draws her; am I doing more than justice to his Penelope? And there is another: our lady’s namesake, Abradatas’s wife; of her we have already spoken.