Falkener, Edward: Daedalus or the causes and principles of the excellence of Greek sculpture (London, 1860)

28

ANCIENT ART.

lie had ever been guided by the desire of setting an
example to himself and to those who should suc-
ceed him, and that the citizens themselves should
see that honour was open to all alike. The statues
of Nelson and of Wellington must enkindle the like
spirit of emulation in the soldier of our own age,
while those of Howard, Heber, or Pitt, must awaken
kindred sentiments of other description, according
as the minds of those who behold them may be
affected. Gregory of Nazianzen tells us of a cour-
tezan, who suddenly beholding a portrait of the
philosopher Polemo, turned back, unable to pursue
her course.1 Sallust states that he had often heard
Quintus Maximus, Scipio, and other excellent men
declare that whenever they beheld the images of
their ancestors, they felt their soul most powerfully
excited to virtue.2 He who is of a soul fitted to
receive instruction, with Paratus,

" Per ooulos liauriat innoeentiam."
" The beauty of goodness has an attractive power;

1 " Intanto alia crescente Soma un simulacro di Giove in atto
di vibrar fulmini, atteriva bene spesso, e richiaraava dal cammino
del vizio ; ed una statua di Pallade, vergine di virtu adorna, e
guerriera, invitava le genti al primo ignoto sentiero della virtu.;
o una pittura d'Ercole domatore de' mostri le invogliava della
fortezza e robustezza, e di sopportar le faticlie, e d'incontrare
senza tiraore i perigliosi contrasti."—Orazione dell'Abate Domenico
Riviera, p. 28.

2 Valerius Maximus says that the ancients placed the images