artists: to Chares, to Laches, and to Lyfippus himself. Meurfius fupposes, with great probability, that it was begun by Chares, and finished by Laches. These two sculptors were both natives of Lindus, a Rhodian city; and Chares is known to have been a favourite difciple of Lyfippus. A paffage of Cicero, in which he is mentioned as such, informs us in what particular parts of the human figure different sculptors of eminence were thought to excel *.

NOTE X. Ver. 421.

Servility benumbs the foul of Greece.

Winkelmann, who juftly estimated the influence of freedom upon art, has obferved, that after Greece was reduced to the condition of a Roman province, hiftory mentions no Greek artist of any note till the period of the Roman triumvirate. "The liberty of the Greeks," fays that animated author, "was buried in the ruins of Corinth. Art "funk entirely in Magna Græcia, where it had flourished with the phi"losophy of Pythagoras and of Zeno, in the bofom of many free and " opulent cities. It perished utterly by the arms and the barbarity of the "Romans."

* "Chares a Lyfippo ftatuas facere non ifto modo didicit, ut Lyfippus caput oftenderet "Myronis, brachia Praxitelis, pectus Polycleti : fed omnia coram magiftrum facientem vi"debat: cæterorum opera vel sua sponte confiderare poterat."-Rhet. ad Herennium, lib. iv.

NOTE XI. Ver. 441.

And, faintly promifing to flourish, died.

The learned and enthufiaftic hiftorian of ancient art, in noticing its migration from the defolated cities of Greece into Syria and Egypt, remarks, that being employed to ferve the pomp and pageantry of courts, it lost an infinite portion of its grandeur and genius under the Seleucides and the Ptolemies. Yet he afferts, that under Ptolemy Philadelphus, "Alexandria became almost what Athens had been."

cence.

Is not this paying rather too high a compliment to the Egyptian monarch? He was, however, a patron of art, and a lover of magnifiHis regard for a Grecian city, diftinguished by talents, appears confpicuous, from a circumftance recorded by Athenæus, in the description of a splendid festival with which Ptolemy amused himself and the people of Alexandria. In this gorgeous fcene an immense multitude of ftatues were carried in proceffion; and near to that of Ptolemy himself (who was attended by three oddly-grouped companions, Alexander, Virtue, and Priapus) was the image of Corinth, adorned with a diadem of gold *.

Winkelmann imagines, from the profusion of statues which appeared in this sumptuous pageant, that a great number of Grecian statuaries found, at this peirod, an asylum in Alexandria. If they did, it is but too probable that their talents were enfeebled by their change of fituation; fince Winkelmann himself has obferved, that of the artists who

* Αλεξανδρε δε και Πτολεμαίω αγαλματα εςεφανωμένα στεφανοις κισσινοις εκ χρυσε" το δε της Αρετης αγαλμα το παρεςος τῳ Πτολεμαίῳ στεφανον είχεν ελαίας χρυσῶν· και Πρίαπος δ' αυτοις συμπαρην εχων στεφανον κισσον εκ χρυσε. Κορινθος δε πολις παρέδωσα τῳ Πτολεμαίῳ εσεφάνωτο διαδήματι χρυσῷ.-ΑTHENÆUS, p. 201.

then flourished in Egypt, we know only the name of a single sculptor, Satyreius, who formed, of chrystal, a portrait of Arfinoe the wife of Ptolemy Philadelphus; a performance celebrated in the following Greek epigram from the Fourth Book of the Anthologia :

Thine, Zeuxis ! grace and colour; yet in me,
Small chrystal image for Arfinoe

By Satureius form'd, her charms are seen

True as they sparkle in the living queen.

Winkelmann confiders this representation of Arfinoe as an engraved gem: but I have seen a small bust of chrystal and porphyry united, which may poffibly be the very portrait described by Diodorus.

Ptolemy was fo fond of the arts and of his queen, that he is faid to have projected a temple to her memory, fo vaulted with loadstone, as to keep a metallic ftatue of Arfinoe fufpended in the air; a project which the death of his famous architect Dimocrates is fuppofed to have defeated! Arfinoe happened to suffer, in a singular manner, in confequence of her husband's paffion for fculpture. In marrying his daughter to Antiochus king of Syria, Ptolemy had affectionately conducted the bride to Seleucia; and being charmed by a magnificent ftatue of Diana, he received it as a prefent from his fon-in-law, and tranfported it to Alexandria: but Arfinoe falling fick on its arrival, faw, in her troubled dreams, the offended goddess, who complained of being removed from her Syrian temple. Ptolemy had tenderness fufficient to calm the difturbed fancy of his queen, by fending back the favourite ftatue, but had not the reward he deferved for his humanity-the delight of reftoring the health of his Arfinoe.

Winkelmann, in speaking of the arts at the court of Seleucia, afferts that the Grecian fculptors who migrated into Afia furpaffed, in their works, fuch of their brethren as remained in their own country; and he quotes the laft character of Theophraftus in proof of this affertion. In confulting the character referred to, I find nothing that can relate to works of art but in a character very near the laft, (the 23d, on Oftentation,) I find a paffage which, if it proves any thing, may be thought rather to prove the reverse of what the learned hiftorian of art has, in this inftance, advanced with an inaccuracy very pardonable in an animated writer, whofe researches were fo extenfive, and whofe general merits are fo great. Theophraftus makes his man of oftentation, who boasts of his campaigns with Alexander, contend that the artists in

Afia are fuperior to those in Europe; whence we may reasonably infer not that they really were fo, but that Theophrastus rather thought the contrary. The paffage, however, alludes not to ftatues, but to goblets and gems

The learned Heyne, in his Differtation on the Ptolemies, has juftly obferved, "Primorum ftatim regum ftudia artium et cupiditates operum ad faftum et magnificentiam potius fe inclinaffe, quam ad judicii elegantiam aut veræ pulchritudinis fenfum: ex ipfis enim regni "opibus mature luxus et mollities orta aulam et urbem tanquam pefti"lenti fidere afflavit."-HEYNE Opufcula, vol. i. p. 115.

NOTE XII. Ver. 463.

Thy zeal to fave may Sculpture's field exprefs!

Whether we contemplate the excellence or the number of ancient ftatues that have been wonderfully recovered in the three last centuries, our obligations to Time, as a preferver, are fuch as may juftly excite astonishment and gratitude. Had he restored only the Laocoon, the Apollo of the Belvedere, and the Medicæan Venus, a lover of the arts might confider his kindness in the department of sculpture, as equivalent to his literary beneficence in preferving the compofitions of Demofthenes, Plato, and Homer. The liberality of Time, as a restorer, will appear in the strongest point of view, if we contraft what Poggio said of the ftatues in Rome, in the fifteenth century, and what the Abbé Guafco

* Και συνοδοιπόρε απολαυσας εν τη εδω λεγειν ως μετα Αλεξανδρε ετρατεύσατος και όσα λιθοκόλλητα ποτήρια εκόμισε, και περι των τεχνιτών των εν τη Ασία οτι βελτίως είσι των εν τη Ευρώπη, αμφισβητησαι, THEOPHRASTUS, edit. Newton, p. 225.