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* La tragedie est l'imitation d'une ačtion noble, entiere, d'une tertaine etendue, &c. pour produire en nous, non par le recit, mais par la terreur et la pitie, ces emotions purgečs de ce qu’elles ont de desagréable.
t See the Appendix to the fixty-first volume of our Review, p. 524. - - . . . primitive
more than probable, that the domus exilis Plutonia in Horace fignified the sepulchral monument. As the tombs of Persepolis bear a striking analogy to those of Telmisus, our Author has given us the representation of a tomb at Naxi-Ruffan, erected near the ruins of the former. These analogies, which are here the objećts of a learned and ample disquisition, illustrate, no doubt, the history of the arts, and the communications which they suppose, and which they produced between ancient nations. The view, and the geometrical plans here exhibited, of the remains of the theatre of Tolmissils, are curious, well drawn, and like the rest of the work, perfect, as to the engraving. This theatre was formed on the declivity of a hill, in the same manner as that of Bacchus at Athens, and, in general, all the Grecian theatres. It is built of a blue grey stone exceedingly hard. All the circular part of the edifice, on which the spectators were placed, is well preserved ; but the extremities, which joined the proscenium, and were not sustained by the ground, are totally destroyed. All this part, together with the stage, is filled with rubbish, which renders the foundations inaccessible. The interior elevation of the stage was divided by five gates, accompanied with pedestals on which probably columns or statues were placed. Under this elevation appear the void spaces, designed to receive the beams which supported the stage. Three passages are also discernible, which were under the stage, and led to the orchestra. . By an allegorical print, which concludes this Number, the Author informs us, that none of the medals of Telmisus have escaped the ruins of time. In this composition we see the wasting power of time, considered in its different modes or aspects. The PAST is represented under the figure of an aged man, leaning upon tombs and ruins; the PRESENT under that of a youth, who destroys every thing by his rapid flight—and FUTURITY under the emblem of a winged infant, who whets his scythe. The French have a peculiar talent at embellishing trifles; but this is an ingenious decoration of nothing. -- No. VIII. PLATE LXXIII. exhibits a complete chart of the Author's voyage from the gulph of Macri to the Meander. His o: through Caria gives him an opportunity of enlarging upon the history and antiquity of the Carians, and the different sovereigns under whose domination they lived successively. After many revolutions, their reduction into the form of a Roman province under Vespasian, obliged them ever after to share the destinies and fate of the Roman empire, until the consequences of the Croisades subjećted them to new bonds, and new tyrants, among the Asiatics. A large tree, the view of a village, and a groupe of figures, which represent his fellow-travellers, furnish our Author with the
the materials of his 74th plate, which exhibits his halt and res?.
gument or summary of contents, which probably has been prefixed to it by the translator, unfolds the subjećt of it in the following manner: “The history of the philosopher, written by us, “ regards Cyrus King of Persia, his legitimate son, Syntipas, “ the preceptor of the young prince, the seven philosophers of “ the king, and one of his wives, who was equally ill-natured ** and immodest :- the Reader w ll, moreover, see in this work, “ the calumnies and intrigues invented by that stepmother to “ ruin the young Cyrus.” This is a curious romance, and must have been well known in all nations; for it has appeared in all languages. The Greek, as we observed already, was translated from the Syriac, and the Syriac was (as our Academician informs us), translated from the Hebrew, the Arabic, or the Persian. The remarks of M. DACIER on this piece are worthy of the name he bears, There are some other Me MoIRs, of more curiosity than importance; for which we refer to the original publication.
A R T. IX. Poyage Pittore/jue de la Grece. Chap. VII. & VIII.-Travels through different parts of Greece, represented in a Series of Engravings, large Folio, No. 7 and 8, Paris 178o and 1781. [See our late Reviews and Appendixes.]