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abundance of attraction, from the accuracy of its outline, the sweetness of its expression, and the truth of its colouring.

Purchased by Wm. Chamberlayne, Esq.

Published by LONGMAN, Hurst, Rees, and ORME,

Paternoster Row; J. HATCHARD, Bookseller to Her Majesty, 190, Piccadilly; land WILLIAM Miller, Albemarle Street,

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THE DIRECTOR.

No. 14. SATURDAY, APRIL 25, 1807,

Nam et in ratione conviviorum, quamvis à plerisque

cibis singuli temperemus, totam tamen cænam luudare omnes solemus : nec ea quæ stomachus noster recusat, adimụnt gratiam illis è quibus capimur.

Like guests at a feast, though each of us may leave

most of the dishes untouched, we unite in commend. ing the entertainment altogether ; nor do we allow those dishes which are not agreeable to our palates, to lake away from the gratification of those which we relish.

Pựin. Epist. 5. I. 11. In prosecuting the order which has been adopted, in the 5th and 6th numbers of the Director, we meet with only two names under the second letter of the alphabet, which are of importance enough to be commemorated here. The first is

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BRYAXIS.

The works of this statuary were in such high estimation, that some have not scrupled to rank him with Phidias, Lysippus, aud Praxiteles. Many of his performances are specified in terms of exalted praise by Pliny. The principal of these were, an Æsculapius, a Bacchus, an Apollo, a Pasiphae, &c.

Of the Apollo, the following anecdote is related. It was at Antioch, and of such extraordinary workmanship, that the Emperor Julian paid it divine honours, and consulted it as an oracle: not receiving any response, he foolishly conceived that it was because the relics of some Christian martyr were buried near the spot. He ordered them to be removed ; on this very night fire from heaven consumed the statue. Julian believing this to be a contrivance of the Christians, put their ministers to the torture.

BUPALUS.

The great work of this artist was a figure of Juno ; but he is yet more memorable from the following anecdote. He painted a caricature of Hipponax, a celebrated writer of satires. In return the poet addressed a lampoon to Bupalus, so exceedingly bitter, that he went and hanged himself. Our Hogarth indulged the same propensity with respect to Churchill ; and if titled to credit, the effect was almost as fatal. It is certainly said, that after the Epistle to a Painter appeared, it made an impression upon Hogarth, of which he never got the better. So true is the old adage, that he whose house is made of glass should never throw stones.

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CALLIMACHUS. This statuary was held in very high estimation by the antients. His great work is specified by Pausanias. It was a Juno in a sitting attitude, in the temple of Juno, 'at Platæa, His great distinction was grace, in which he is said to have excelled Phidias. Dionysius of Halicarnassus observes, that Phidias was admired for the dignity of his compositions; but Callimachus evexa ens xeapstos

for ĝràče. He was also much praised by Pliny.

ĈANACHUS

Was very much admired, although, in the opinion of Cicero, his outline was hard. He ranked, however, very high as a statuary. Of the three Musés, celebrated by Antipater, in the Greek Anthology, one was the work of Canachus. His chief performance was à Venus of gold and ivory, in a sitting posture. This is mentioned by Pausanias. He was a pupil of Polycletus.

CHARÈS. The celebrated Colossus of Rhodes, which was seventy cubits high, was thé performance of this statuary, who was the pupil of Lysippus. This wonder of the world occasioned Chares to be cele.

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