Spence, Joseph; Tindal, Nicholas [Hrsg.]; Dodsley, James [Bearb.]: A Guide To Classical Learning: Or, Polymetis Abridged: Containing, I. By Way of Introduction, the Characters of the Latin Poets and their Work ... II. An Inquiry concerning the Agreement between the Works of the Roman Poets and the Remains of the Antient Artists ... Being a Work absolutely necessary, not only for the Right Understanding of the Classics, but also for forming in Young Minds a True Taste for the Beauties of Poetry, Sculpture, and Painting (London: Printed for J. Dodsley, 1786)

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many ages is represented with some of the attri-
butes of eternity itself. On a gem of Adrian
at Florence, he appears with a fine look and
long loose robe. He holds his right hand up-
wards, and has the globe and phoenix in hi&
left. He is inclosed by an oval (not circular)
ring, to sliow the great round of time over which
he presides m.
The Sjecula, or Centuries, are mention-
ed sometimes personally by the poets, but they do
not appear in any of the works of the artists.
The Four Ages, or Gradations, of the
life of man, infancy, youth, manhood, and old
age, are not all spoken of as persons by the poets
of the better ages. They seem to have divided
the life of man into youth (which was carried on
to forty-five) and old age, which may claim all
the rest. Of both these they speak as personages
and deities n.
The Anni, or Years, are described as per-
sons, with a certain gliding and silent motion.
m The inscription of 'T.emporum Rejiauratlss so frequent orr.me-
sials, and that of Speculum Aureum, on this, had much the same
meaning with Virgil’s fine compliment in his famous. Eclogue to
Pollio.
n Met. vii. v. 241. Art. Am. 1. ii. v. 670. Met. xiv. v.
T43* Hor. Epod. viii. v. 3. Our author here explains a curious
gntient painting (found at th^ Villa Corsini near Rome) as relating
to the sour ages of man, Polym. p. i§o.
There