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Agathias, on the Statue of Æsop. Well hast thou done, Lysippus, thus to place

Thy sculptur'd Æsop high on Honour's base, Before the seven sages. Their discourse In soft persuasion fails, though not in force. His sapient fi&tion timely truth supplies ; Sporting he leads his hearer to be wise. We shun harsh counsel : but this Samian sage Of fable forms a feast for ev'ry age.

NOTE XI. Ver. 248.

Rever'd his glory as a public truft. Diogenes Laertius asserts, in his Life of Socrates, that the Athenians immediately repented their conduct towards the philosopher, and honoured his memory by a public statue of brass, the work of Lysippus ! It is remarkable that two men, one esteemed the wisest, and the other the wittiest of the Greeks, Socrates and Lucian, were bred to the profession of sculpture. The vivacity of Lucian, and his antipathy to a severe relation, his master, probably precluded that comic genius from making any considerable advances in an art which requires the steadiest union of industry and talent. But Socrates is known to have executed some works, as a statuary, that were objects of public regard. Paufanias has noticed the Graces, in the Acropolis of Athens, as the work of the philosopher ; and in observing that these and the elder Golden Graces of Bupalus were not destitute of drapery, he professes himself unable to discover what artist introduced the custom, prevalent in his time, of representing the Graces naked. Falconet imagines that statues executed by Socrates could have but a trifling degree of merit as works of art, from the philosopher's having quitted the profession very early in life : but the more candid Greeks seem inclined to applaud the laudable endeavours of juvenile talent; and a Greek epigram on a very young sculptor, Eutychides, speaks of him as equal to Praxiteles, though calamitously hurried out of life at the age of sixteen :

Πραξιτελες ανθεν λαοξους ετι χερειών,

Ες δ' ετεων δισσας ηλυθον ογδοαδας.
Ουνομα δ' Ευτυχιδης ψευδωνυμον, αλλα με δαιμων

Θηκεν αφαρπαξας ωκυτατ' εις αιδα

NOTE XII. Ver. 264.

And rail'd at statues rais'd in woman's name.

Let me introduce the just and polite Guasco, defending the fair sex against the asperity of the Roman censor :

“ Caton le censeur, toujours zélé pour le maintien des maximes prim“ ordiales, et peut-être quelquefois un peu sujet à l'humeur, blamoit “ comme un abus les statues qu’on dressoit aux dames Romaines dans “ les provinces, le regardant comme chose contraire aux vieilles max“ imes de la simplicité et de la décence des moeurs ; cependant les “ blâmes de Caton ne parvinrent point à arrêter cette pratique même “ dans la capitale de l'empire.

" Plutarque auffi philosophe, mais plus galant que Caton, sans parler “ de ce dernier, mais probablement dans l'intention de le refuter, fait “ l'apologie des monumens élévés en l'honneur des femmes illustres *, " et soutient qu'elles avoient droit aussi bien que les hommes, aux mo“ numens qui font vivre dans la postérité, toutes les fois qu'elles les “ avoient mérités par des vertus et des actions brillantes ; ajoutant “ plusieurs exemples qui prouvent que la vertu du beau sexe peut être “ aussi utile à l'état que celle des hommes. En effet, s'il arrive que “ s'élevant au-dessus de la foiblesse naturelle, une femme donne des “ exemples d'une vertu superieure, pourquoi la priveroit-on des “ honneurs patriotiques, pourquoi ôteroit-on de devant les yeux des “ monumens capables d'encourager son sexe à se vouer au bien public? “ Car quoiqu'on fatte perpétuellement les charmes du beau sexe, “ quoiqu'on en abuse sans cesse, on ne confidere pas assez la puissante

“. Dans le Traité des Femmes Vertueuses."

“ influence que les femmes peuvent avoir comme mères, comme “ épouses, comme citoyennes, en bien des occasions et en mille “ manières sur l'esprit et sur le cour.”De l'Usage des Statues, p. 269.

NOTE XIII. Ver. 272. E'en from a hostile king extorted praise. “ Cloelia Virgo, una ex obsidibus, quum caftra Etruscorum forte haud “ procul ripa Tiberis locata essent, frustrata custodes, dux agminis vir“ ginum inter tela hoftium Tiberim tranavit, fofpitesque omnes Romam “ ad propinquos reftituit.

" Quod ubi regi nuntiatum est, primo incensus ira..... deinde in ad“ mirationem versus, ‘Supra Coclites Muciosque,' dicere, ‘id facinus “ effe.' Pace redintegrata, Romani novam in fæmina virtutem novo “ genere honoris, statua equestri, donavere. In summa sacra via fuit “ posita Virgo insidens equo."--Liv. lib. ii. c. 13.

NOTE XIV. Ver. 286.

Confummate beauty, and the true sublime. Cornelia was the admired model of the maternal chara&ter in ancient Rome. Her sons and the people seem to have sympathized in affectionate veneration towards this illustrious woman: and a statue was raised to the living parent with that most simple and eloquent inscription, “ Cor“ nelia, Mater Gracchorum.” Pliny describes the statue in the following words:

“ Sedens, soleisque fine amento infignis, in Metelli publica Porticu: “ quæ ftatua nunc eft in Octaviæ operibus.”—Lib. xxxiv. c. 6.

NOTE XV. Ver. 326. Expressd the feelings of that parting bour. This anecdote, one of the most pleasing in all the records of Pagan history, is well related in the following words of Pausanias :

Το δε αγαλμα της Αιδους, τριακοντα που σταδια απεχος της πολεως, Ικαρια μεν αναθημα ειναι ποιηθηναι δε επι λογω φασι τοιωδε. Οτ' εδωκεν Οδυσσει Πηνελοπην γυναικα Ικαριος, επειρατο μεν κατοικησαι και αυτον Οδυσσεα εν Λακεδαιμονι διαμαρτανων δε εκεινε, δευτερα την θυγατερα ικετευε καταμειναι, και εξορμώμενης ες Ιθακην επακολουθων των αρματι εδειτο. Οδυσσευς δε τεως μεν ηνεικετο, τελος δε εκελευε συνακολοθειν Πηνελοπην εκεσαν, η τον πατερα ελομενης αναχωρείν ες Λακεδαιμονα και την αποκρινασθαι φασιν εδεν εγκαλυψαμενης δε προς το ερωτημα, Ικαριος την μεν, ατε δη συνιεις ως βελεται απιεναι μετα Οδυσσεως, αφιησιν' αγαλμα δε ανεβηκεν Αιδες ενταύθα γαρ της οδε προηκεσαν ηδη την Πηνελοπην λεγεσιν εγκαλυψασθαι.-P. 263.

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