among the Ancients. 527 



as a variation ad infinitum of this appearance was 

 impoffible, the method adopted by Timanthes 

 feems to have been the moft natural under the 

 circumftances. 4. It is a known fa6l in human 

 nature, the foundation of a known principle of 

 art, that we are apt to conceive more highly of 

 that which is concealed. 5. It left fomething to 

 the imagination of the fpeftator;, which fnould 

 always be attended to, and was the common 

 pradice of Timanthes, the "painter of this pifture. 

 In omnibus ejus operibus intelligitur plus Jemper quam 

 pingituf-. This is praife far beyond the general 

 defert of modern artifts. 6. The a6lion itfelf 

 was the moft natural under the circumftances. 

 Thofe who feel the moft in a cafe of diftrefs will 

 be the moft anxious to hide their feelings. The 

 moft ingenious device may be called a trick, and 

 if frequently repeated may deferve reprehenfion.* 

 Another inftance of excellence in expreffion 

 among the ancient paintings was the Medea of 

 Timomachus. She was painted about to kill 

 her infants. Aufonius fpeaks with admiration of 

 the mingled expreffion of anger and maternal 

 fondnefs in her face and manner, f 



Immanem 



* Raphael has adopted the idea in a pifture of a dead 

 Chrill, wherein the charafters of grief being exhaulted 

 by the other figures, Mary Magdalen covers her face. 



f Aufon. Ep. 122. Sir Jofhua Reynolds, in his Dif- 

 courfes, 8vo. p. 157, decries the attempt of producing an 



expreffion 



