an Ethiopian washing himself, as an allusion to labour lost[271], is perhaps the best. There are indeed images, and useful hints, dispersed in some books of greater note, (as for instance, The Temple of Stupidity in the Spectator[272],) which ought to be collected, and made more general. Thus, were the treasures of science joined to those of art, the time might come, when a painter would be able to represent an ode, as well as a tragedy.
I shall myself submit to the publick some images: for rules instruct, but examples still more. Friendship, I find every where pitifully represented, and its emblems are not worth mentioning: their flying scribbled labels shew us the depth of their inventors.
This noblest of human virtues I would paint in the figures of those two immortal friends of heroic times, Theseus and Pirithous. The head of the former is said to be on gems[273]: he likewise appears with the club[274] won from Periphetes, a son of Vulcan, on a gem of Philemon. Theseus consequently might be drawn with some resemblance. Friendship, at the brink of danger, might be taken from the idea of an old picture at Delphos, as described by Pausanias[275]. Theseus was painted in the action of defending himself and his friend against the Thesprotians, with his own sword in one hand, and another drawn from the side of his friend, in the other. The beginning of their friendship, as described by Plutarch[276], might also be an image of that idea. I am astonished not to have met, among the emblems of the great men of the Barbarigo-family, with an image of a good man and eternal friend. Such was Nicolas Barbarigo, who contracted with Marco Trivisano a friendship worthy of immortality;
Monumentum ære perennius:
a little rare treatise alone has preserved their memory[277].
A little hint of Plutarch’s might furnish an image of Ambition: he mentions[278] the sacrifices of Honour, as being performed bareheaded, whereas all other sacrifices, save only those of Saturn[279], were offered with covered heads. This custom he believes to have taken its rise from the usual salutation in society; though it may as well be vice versa: perhaps it sprung from the Pelasgian rites[280], which were performed bareheaded. Honour is likewise represented by a female figure, crowned with laurels, a Cornucopia and Hasta in her hands[281]. Accompanied by Virtue, a male figure with a helmet, she is to be found on a coin of Vitellius[282]: and the heads of both on those of Gordian and Galien[283].
Prayers might be personified from an idea of Homer. Phœnix, the tutor of Achilles, endeavouring to reconcile him to the Greeks, makes use of an allegory. “Know Achilles, says he, that prayers are the daughters of Zeus[284]; they are bent with kneeling; their faces sorrowful and wrinkled, with eyes lifted up to heaven. They follow Ate; who, with a bold and haughty mien marches on, and, light of foot as she is, runs over all the world, to seize and torment mankind; for ever endeavouring to escape the Prayers, who incessantly press upon her footsteps, in order to heal those whom she hath hurt. Whoever honours these daughters of Zeus, on their approach, may obtain much good from them; but meeting with repulse, they pray their fire to punish by Ate the hard-hearted wretch.”
The following well-known old fable might also furnish a new image. Salmacis, and the youth beloved by her, were changed to a fountain, unmanning to such a degree, that
Quisquis in hos fontes vir venerit, exeat inde
Semivir: & tactis subito mollescat in undis,