-FIRST LECTURE.

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inventor, he lurely was the greateft matter of allegory,fuppottng that he really embodied by ttgns univerfally^comprehended that image of the Athenian AHM02 orpeople, which was to combine and to exprefs at once itscontradictory qualities. Perhaps he traced the jarringbranches to their fource, the aboriginal moral principleof the Athenian character, which he made intuitive.This fuppotttion alone can (hed a dawn of pottibility onwhat e'lfe appears impofiible. We know that the per-fonification of the Athenian A*j|tcoc, was an objedt offculpture, and that its images by Lyfon and Leochares ( n)were publicly fet up; but there is no clue to decidewhether they preceded or followed the conceit ofParrhattus. It was repeated by Ariftolaus, tb.e fon ofPauttas.

The decided forms of Parrhattus, Timanthes theCythnian, his competitor for fame, attempted to infpirewith mind and to animate with paflions. No pictureof antiquity is more celebrated than his immolation ofIphigenia in Aulis, painted, as Quintilian informs us,in contett with Colotes of Teos, a painter and fculptor

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(n) In the portico of the Pyraeeus by.Leochares : in the hall of the Five-hun-dred, by Lyfon: in the back portico of the Ceramicus there was a picture of The-feus, of Democracy and the Demos, by Euphranor . Paufan. Attic, i. 3. Arilto-laus, according to Pliny was a painter, f e feveriflimis.’