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sieger, there shall be a champion in the garrison ready to turn out and give him battle; Let all who are upon the sick list in the community be laid out between the camps, and let the respective combatants fight it out over the bodies, but let the forces of life and health have no share in the fray: Why should their peace be disturbed, or their society contaminated by the infectious communication? It is as much out of time and place for a man to be giving the diary of his disease in company, who are met for social purposes, as it is for a doctor to be talking politics or scandal in a fick man's chamber; yet so it is that each party are for ever out of character; the chatterer disgusts his patient by an inatten, tion to his complaints, and the valetudinarian disgusts his company by the enumeration of them, and both are equally out of season,

Every man's observation may furnish him with instances not here enumerated, but if what I have said shall seem to merit more confidera, tion than I have been able to give it in the coma pass of this paper, my readers may improve upon the hint and society cannot fail to profit by their reflections,

No XCIX, No XCIX.

Cunčti adfint, meritæque expectent præmia palmæ !

A

CURIOUS Greek fragment has been

lately discovered by an ingenious traveller at Constantinople, which is supposed to have been saved out of the famous Alexandrian library, when set on fire by command of the Caliph. There is nothing but conje&ure to guide us to the author : Some learned men, who have examined it, give it to Pausanias, others to Ælian; some contend for Suidas, others for Libanius; but most agree in ascribing it to some one of the Greek fophifts, so that it is not to be disguised that just doubts are to be entertained of it's veracity in point of fact. There may be much ingenuity in these discussions, but we are not to expect conviction; therefore I shall pass to the subject-matter, and not concern myself with any previous argumentation on a question, that is never likely to be settled.

“This fragment says that some time after the death of the great dramatic poet Æschylus, there was a certain citizen of Athens named Philoteuchus, who by his industry and fair cha

racter

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racter in trade had acquired a plentiful fortune, and came in time to be actually chosen one of the Arcopagites : This man in an advanced period of his life engaged in a very splendid undertaking for collecting a series of pictures to be composed from scenes in the tragedies of the great poet above-mentioned, and to be executed by the Athenian artists, who were then both numerous and eminent.

4 The old Areopagite with a spirit, that would have done honour to Pififtratus or Pericles, constructed a spacious lyceum for the reception of these pictures, which he laid open to the refort both of citizens and strangers, and the fuccels of the work reflected equal credit upon the undertaker and the artists, whom he employed.

The chain of the narration is here broken by a loss of part of the fragment, which how, ever is fortunately resumed in that place, where the writer gives some account of the masters, who painted for this collection, and of the scenes they made choice of for their several pictures.

“ He tells us that Apolles was then living and in the vigour of his genius, though advanced in years; he defcribes the scene chofen for his composition minutely, and it appears to have been taken froin that suite of dramas, which we know Elle compted from the story of the

Ataida, Atrida, and of which we have still such valuable remains. He represents Ægisthus, after the murder of Agamemnon by the instigation of Clytemnestra, in the act of consulting certain Sybils, who by their magical spells and incantations have raised the ghost of Agamemnon, which is attended by a train of phantoms, emblematic of eight successive kings of Argos, his immediate descendants : The spectre is made pointing to his pofterity, and at the same time looking on his murderer with a smile, in which Apelles cona trived to give the several expressions of contempt, exultation and revenge with such a character of ghastly pain and horror, as to make the beholders shrink. Amongst these Sybils he introduces the person of Cassandra the prophetess, whom Agamemnon brought captive from the de{truction of Troy. The light, he says, proceeds only from a flaming cauldron, in which the Sybils have been making their libations to the infernal deities or furies, and he speaks of the refiected, ruddy tints, which by this management of the artist were cast

the figures, as producing a wonderful effect, and giving an amazing horror and magnificence to the group. Upon the whole he states it as the most capital performance of the master, and that he got fuch universal honour thereby, that he was afterwards employed to paint for the Persian monarch, and had a commission even from the queen of Scythia, a country then emerging from barbarity.

upon

employed

Parrhasius, though born in the colony of Miletus on the coast of Asia, was an adopted citizen of Athens and in great credit there for his celebrated picture on the death of Epaminondas: He contributed to this collection by a very capital composition taken from a tragedy, which was the third in a series of dramas, founded by Æschylus on the well-known story of Oedipus, all which are loft. The miserable monarch, whose misfortunes had overturned his reason, is here depicted taking shelter under a wretched hovel in the midst of a tremendous storm, where the elements seem confpiring against a helpless being in the last stage of human misery. The painter has thrown a very touching character of insanity into his features, which plainly indicates that his loss of reason has arisen from the tender rather than the inflammatory passions; for there is a majestic fensibility mixed with the wildness of his distraction, which still preserves the traces of the once benevolent monarch. In this defolate scene he has a few forlorn companions in his distress, which form a very peculiar group of personages ; for they consist of a venerable old man in a very

piteous

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