tack, and the sea is covered with wrecks: all mouths are open in applause of this picture, and it was but the other day, that the great orator Demosthenes referred to it in a solemn harangue upon Neæra, as did Eschines in his pleadings against Ctesiphon. All our Captains are taken from the life; that General who is encouraging his troops is Miltiades; he is the hero of the piece, and I can assure you the resemblance is in all points exact: this is the portrait of Callimachus the Polemarck: there you see the hero Echetlus, and this is the brave Epizelus; that Athenian, who is valiantly fighting, is Cynogirus himself, who lost both his hands in the action; there goes an extraordinary story with that dog which is by his side, and has seized the dying barbarian by the throat; the faithful creature would not forsake his master; he was killed in the action, and is now deservedly immortalized in company with the illustrious heroes, who are the subject of the piece. Those splendid warriors in the army of the Medes, who are standing in their chariots, and calling to their troops, are the generals Datis and Artaphanes. They are drawn in a proud and swelling style, and seem of a larger size and proportion than our Athenian champions; and the fact is, that this group was inserted by another master; they are by the hand of Micon, and perhaps do not exactly harmonize with the rest; the silly Athenians were piqued at their appearance, and in a fit of jealousy punished Micon by a fine for having painted them too flatteringly; the painter suffered in his pocket, but the people in my opinion were disgraced by the sentence: this circumstance has given occasion for many on the part of Micon to contest the honour of the painting with Pananus, who in justice must be considered as principal author of the work; and in

course of time it may happen, that posterity will be puzzled which master to ascribe it to.

• There are many more pictures well deserving your attentive notice, particularly that by Pamphilus, which represents Alcmena with Heraclidæ asking aid of the Athenians against Eurystheus: and this inspired old figure by Polygnotus with a lyre in his hand, which is the portrait of no less a person than the great Sophocles;-but come, let us be gone, for we have much besides to see; and I perceive Zeno coming this way with his scholars to hold his lectures in this portico; and I for one must confess I am no friend to the Stoics, or as we call them the Zenonians.'

NUMBER CI.

Ad vetustissimam et sapientissimam et diis carissimam en communem amasiam, hominumque ac Deorum terram, Athenas mittebaris.

LIBANIUS IN ORATIONE.

FROM the painted portico, in which my last was dated, my Athenian conductor took me to the Ptolemaic Gymnasium, in which I observed several statues of Mercury in marble, and others of brass, which he explained to me to be of Ptolemy the founder, Juba and Chrysippus the philosopher. There was one of Berosus the astrologer with a tongue of pure gold, in commemoration of his divine predictions: on one hand of me stood the doric temple of Theseus, enriched with some inestimable paintings of Micon, particularly one upon the sub

ject of the fight of the Lapitha and Centaurs: on the other hand was the antient temple of the Dioscuri, in which I was shewn many capital pictures by Polygnotus; it is here, says my conductor, we administer to the Athenian youth that solemn oath, which binds them not to desert their ranks in action, but to perish, when necessity so requires, in defence of their country; the form is rather long, says he, but this is the substance of the oath. The Prytaneum, or Court-house, was now in view, where the magistracy of the city assemble for the dispatch of public business: here I saw the venerable laws of Solon in a chest of stone, the statues of Pax and Vesta, and (which were more interesting to me) the figures of Miltiades and Themistocles of exquisite workmanship in pure marble; in this place all those citizens, and the posterity of those who have deserved well of the state, receive their public doles or allowance of bread in cakes composed of meal, oil, and water; here also I saw the perpetual fire upon the altar of Vesta, and the celebrated image of the Bona Fortuna of the Athenians. In the adjoining temple of Lucina I was shewn the famous statues of that deity clothed in drapery to the feet: my guide now carried me to the great temple of Olympian Jupiter, founded by the tyrant Pisistratus, and perfected by his sons and successors. I observed to my conductor, that I had seen no temple in Athens, except this, with interior columns; he informed me that the great span of the roof made it necessary in this instance, but that it was contrary to their rule of architecture and obtained in no other: he further told me, that the city had expended ten thousand talents in this edifice: the image of the god was cut in ivory and gold; to every column was affixed a brazen statue, representing the colonial cities of the Athenian empire. The display of sta

tuary exceeded all description or belief, nor was the painter's art wanting in its share of the decoration; for wherever pictures could be disposed, and particularly about the pedestal of the statue of Jupiter, the most capital paintings were to be seen.

6

My sight was now so dazzled with the display of brilliant images, and my mind so overpowered with the miracles of art, which had passed in review, that I beseeched my guide to carry me either to some of those groves which were in my eye, where I could meditate on what I had seen, or to spectacles of any other sort according to his choice and discretion, for otherwise I should apprehend, from the variety of objects, I should retain the memory of none. He told me in reply, that this was his intention, observing that the proportion I had seen was very small indeed to what the city contained; there was however one more statue, which he could not dispense with himself from shewing me, being a model of beauty and perfection; and having so said, methought he took me into a neighbouring garden, and in a grove of cypress and myrtle presented to my view the most exquisite piece of sculpture I had ever beheld.-This, says he, is the Venus called Celestial, the workmanship of the immortal Alcamen.-After I had contemplated this divine original with astonishment and rapture, I was satisfied within myself, that we are mistaken in supposing it has descended to us, and I now acknowledge that our celestial Venus is a copy far inferior to its inimitable prototype. Having examined this statue for some time, I turned to my conductor and said:-Let us gratify our senses in some other way; I have seen enough of art.

"It is impossible to avoid it, replies he, in this city, and so saying led me into the Lyceum; this Gymnasium, says he, has been lately instituted by

Pericles, and these plantations of plane-trees are of his making; so are these aqueducts; the Lyceum was originally dedicated to Pastoral Apollo; and owes its foundation and beauty in the first instance to the elegant Pisistratus, who from the surprising resemblance of their persons we now call the elder Pericles. The place is delightful, and before you leave it take notice of this statue of Apollo; the artist has described him in the attitude of resting after his daily course; you see he leans against a column; his right arm bent over his head, and in his left he holds his bow; it is a first-rate piece of sculpture. Leaving the Lyceum my conductor took me by the way of the Tripods; here he shewed me the inimitable satyr in brass, the boasted master-piece of Praxiteles, and the Cupid and Bacchus of Thymilus; we were now close by the theatre, in the portico of which I was shewn the statue of Eschylus, and two pedestals for the statues of Sophocles and Euripides, then under the artist's hands, although both those poets were now living: the doors of the theatre were not yetopened, and the temple of Venus being near at hand, methought we entered, and I beheld the beautiful Cupid crowned with roses, painted by Zeuxis; from hence I could see the works that Pericles had been carrying on upon the citadel, but this we did not enter.

Methought I was now carried into the theatre amidst a prodigious crowd of people; the comedy of the night was intitled The Clouds, and the famous Aristophanes was announced to be the author of it. It was expected that Socrates would be personally attacked, and a great party of that philosopher's enemies were assembled to support the poet. I was much surprized, when my companion pointed out to me that great philosopher in person, who had actually taken his seat in the theatre, and was sitting