was a custom with Apelles, to which he most tenaciously adhered, never to let any day pass, however busy he might be, without exercising himself by tracing some outline or other; a practise which has now passed into a proverb. It was also a practise with him, when he had completed a work, to exhibit it to the view of the passers-by in some exposed place; while he himself, concealed behind the picture, would listen to the criticisms that were passed upon it: it being his opinion that the judgment of the public was preferable to his own, as being the more discerning of the two. It was under these circumstances, they say, that he was censured by a shoemaker for having represented the shoes with one shoe-string too little. The next day, the shoemaker, quite proud at seeing the former error corrected, thanks to his advice, began to criticize the leg; upon which Apelles, full of indignation, popped his head out, and reminded him that a shoemaker should give no opinion beyond the shoes—a piece of advice which has equally passed into a proverbial saying. In fact, Apelles was a person of great amenity of manners—a circumstance which rendered him particularly agreeable to Alexander the Great, who would often come to his studio. He had forbidden himself by public edict, as already stated, to be represented by any other artist. On one occasion, however, when the prince was in his studio, talking a great deal about painting without knowing anything about it, Apelles quietly begged that he would quit the subject, telling him that he would get laughed at by the boys who were there grinding the colors; so great was the influence which he rightfully possest over a monarch who was otherwise of an irascible temperament. And yet, irascible as he was, Alexander conferred upon him a very signal mark of the high estimation in which he held him: for having, in his admiration of her extraordinary beauty, engaged Apelles to paint Pancaste undraped—the most beloved of all his concubines—the artist while so engaged fell in love with her; upon which, Alexander, perceiving this to be the ease, made him a present of her: thus showing himself, tho a great king in courage, a still greater one in self-command—this action redounding no less to his honor than any of his victories.
Superior to all the statues not only of Praxiteles,[97] but of any other artist that ever existed, is his Cnidian Venus; for the inspection of which, many persons before now have purposely undertaken a voyage to Cnidos. The artist made two statues of the goddess, and offered them both for sale: one of them was represented with drapery, and for this reason was preferred by the people of Cos, who had the choice; the second was offered them at the same price, but on the grounds of propriety and modesty they thought fit to choose the other. Upon this, the Cnidians purchased the rejected statue, and immensely superior has it always been held in general estimation. At a later period, King Nicomedes wished to purchase this statue of the Cnidians, and made them an offer to pay off the whole of their public debt, which was very large. They preferred, however, to submit to any extremity rather than part with it; and with good reason, for by this statue Praxiteles has perpetuated the glory of Cnidos. The little temple in which it is placed is open on all sides, so that the beauties of the statue admit of being seen from every point of view—an arrangement which was favored by the goddess herself, it is generally believed.
Among all nations which the fame of the Olympian Jupiter has reached, Phidias[98] is looked upon, beyond all doubt, as the most famous of artists; but to let those who have never seen his works know how deservedly he is esteemed, we will take this opportunity of adducing a few slight proofs of the genius which he displayed. In doing this we shall not appeal to the beauty of his Olympian Jupiter, nor yet to the vast proportions of his Athenian Minerva, six-and-twenty cubits in height, and composed of ivory and gold: but it is to the shield of this last statue that we shall draw attention; upon the convex face of which he has chased a combat of the Amazons, while upon the concave side of it he has represented the battle between the gods and the giants. Upon the sandals, again, we see the wars of the Lapithæ and Centaurs; so careful has he been to fill every smallest portion of his work with some proof or other of his artistic skill.
FOOTNOTES:
[86] From the "Natural History." Translated by John Bostock and H. T. Riley.
[87] A name applied to tribes living in Africa east of the desert of Sahara.
[88] An Ionian city of Asia, distant seventy miles from Ephesus.
[89] An interior town of Cilicia, in Asia Minor.
[90] The home of this warlike people appears to have been Jutland.
[91] The tyrant king of Syracuse, successor to Gelon.
[92] A country of Asia Minor occupying a part of the Black Sea coast.
[93] From the "Natural History." Translated by John Bostock and H. T. Riley.
[94] Apelles lived in the time of Philip and Alexander the Great. Cos is an island in the Ægean Sea.
[95] A painter of the Sicyonian school who flourished in the third century b.c.
[96] Protogenes, a native of Caria, in Asia Minor, was celebrated as a painter at Rhodes in the second half of the fourth century b.c.
[97] Praxiteles was born in Athena about the end of the fifth century and continued active as an artist until the time at Alexander the Great. Nearly sixty of his works are mentioned in ancient writings, but only two have been identified in modern times.
[98] Phidias was born in Athens about 500 b.c. and died about 430.
QUINTILIAN
Born in Spain about 35 a.d.; died about 95; celebrated as rhetorian; educated in Rome, where he taught oratory for twenty years; patronized by the emperors Vespasian and Domitian; his most celebrated work the "Institutio Oratoria."[99]
THE ORATOR MUST BE A GOOD MAN[100]
Let the orator, then, whom I propose to form, be such a one as is characterized by the definition of Marcus Cato, a good man skilled in speaking.
But the requisite which Cato has placed first in this definition, that an orator should be a good man, is naturally of more estimation and importance than the other. It is of importance that an orator should be good, because, should the power of speaking be a support to evil, nothing would be more pernicious than eloquence alike to public concerns and private, and I myself, who, as far as is in my power, strive to contribute something to the faculty of the orator, should