Before they had completed their labours, they took umbrage at some affront from the people and left the island. A great famine followed; and the oracle being consulted, said, that, the only remedy was the return of the artists to finish their labours, which, with great difficulty, they were prevailed upon to do. These two artists seemed on all occasions to have worked together.

THEY assisted to adorn the temple of Castor and Pollux, at Argos; the temple of Minerva, at Cleone. The island of Suger was indebted to their skill for statues of Apollo, Diana, Hercules, and Minerva. Pliny observes, that Ambracia, Argos, and Cleone, were crowded with the works of Diponus. His expression is, 'Dipœni quidem Ambracia, Argos, Cleone, operibus refertæ fuere.' They had many pupils, whose works were greatly. admired.

ECHION

Was a noble painter, and ranked among

among the greatest proficients of his art. We are accustomed to praise, says Cicero, the forms and outlines of the works of Zeuxis, Polygnotus, Timanthes, and those other painters, who used only four colours; but in Echion, Nicomachus, Protogenes, and Apelles, every thing was perfect. "Jam perfecta sunt omnia."

PLINY specifies the following pictures, by this artist, and calls them "Nobiles picturæ."

A BACCHUS, a subject which seems to have been more frequently painted by the ancient artists, than any other.

TRAGEDY and COMEDY.

An historical picture on the subject of SEMIRAMIs, who, from the humble situation of a slave, became a mighty sovereign.

An OLD WOMAN, carrying a lamp.

A BRIDE. The character of modesty in this female figure was greatly admired.

EUPHRANOR

Was one of the most celebrated Athenian painters. He bestowed great pains upon his performances, and was the first, according to Pliny, who gave an air of dignity to his heroes. His reputation must have been very great, for many of his works are spoken of by Plutarch, Pausanias, Eustathius, Pliny, Valerius Maximus, and others.

His principal works seem to have been these:

THE TWELVE GREAT GODS.

ULYSSES, in a pretended fit of madness, yoking a horse with an ox.

THESEUS. Parrhasius also painted á picture of Theseus, of which Euphranor remarked that Parrhasius had made his hero feed on roses, he on flesh.

A BATTLE of CAVALRY.

His masterpiece seems to have been a figure of PARIS; in which he, at the same time, represented him as the judge in the trial of beauty, the lover of Helen, and the warrior who killed Achilles. He also painted a JUNO, the hair of which was particularly admired.

A LATONA, having in her arms Apollo and Diana. This picture adorned the temple of Concord, at Rome.

A MINERVA, which was afterwards placed in the Capitol.

A Figure of GOOD FORTUNE, having in its right hand a patera, in the left a poppy and a ear of corn.

EUPHRANOR was also an author, and wrote a treatise on colours and proportion.

No antient artist has been more highly extolled.

(To be continued.)

BIBLIOGRAPHIANA *.

WHOEVER will be at the pains of taking even a cursory survey of the number

It may be proper to notice in the present place, in order to keep up the Series of Catalogues, proposed to be analised under the article of Bibliographiana', that, in the year 1727 there was printed by Bettenham, A Catalogue of the Library which DANIEL WILLIAMS, S. T. P. bequeathed to the public body of Dissenters. Lond, 8vo. M,DCC,XXVII.' The title is in Latin, as is also the preface to the reader; from the beginning of which latter I select the following translated passage. The learned William Bates, S. T. P. who was passionately addicted to polite literature, collected together a great number of rare and curious books; which, on his decease, Dr. Williams purchased for a considerable sum. This collection, to which were added a great number of books subsequently procured by the purchaser, Dr. W. bequeathed to the public-not to the Dissenters exclusively, but (as he was influenced by the purest benevolence) to all who were devoted to literary or theological pursuits.'

This catalogue is elegantly printed on a large 8vo. paper; and is arranged alphabetically, according to the size of the volumes (folio, quarto, or octavo). Every letter in each size is again divided into Greek, Latin, Italian, French, and English books. There are