214 
on the covers of the Etruscan cinerary urns. It 
appears^ that the intention of expressing with 
more precision and exactness the features of this 
principal part was Jthe motive^ with ignorant 
artists, to enlarge it to such a degree of exagge- 
ration. 
I proceed to another observation, which sug- 
gested itself to me from the examination and ex- 
planation of one of the hieroglyphic paintings I 
have just cited, and on which you have read a 
memoir to our class. The four destructions of 
the world are there represented (Plate 26). 
You compare these periods to the four ages of 
the mythology of the Greeks ; and as you find 
five ages of the world in the traditions of the 
Aztecks, you endeavour to make this difference 
disappear, by proving, that the age of brass in 
Hesiod may easily be divided into two, on ac- 
count of the two generations which the poet 
there describes (vol. xiv, p. 31). I would observe, 
that Hesiod, as well as the Aztecks, counted five 
ages, reckoning, like them, that which was not 
yet consummated, and in which he lived. He 
says in express terms {Opera et Dies, v. 174.) 
IW/t’ ui^eihov eyu TrifjL^roiji (xeTsTvai. 
Oh why did Fate ordain me to be among the men of 
the fifth age !” 
