"Is not then a hall so beautiful and admirable a dangerous adversary to a speaker? But I ,have not yet mentioned the principal point. You yourselves, gentlemen of the jury, have been regarding the roof as we spoke, admiring the walls and examining the pictures, turning toward each of them. Do not be ashamed! It is excusable if you have felt a touch of human nature, especially in the presence of pictures so beautiful and so varied. The exactness of their technique and the combination of antiquarian interest and instructiveness in their subjects are truly seductive and call for a cultivated ‘spectator. That you may not look exclusively in that direction and leave us in the lurch, I will do my best to paint you a word-picture of them, for I think you will be glad to hear about things which you look at with admiration. Perhaps you will even applaud me for it and prefer me to my opponent, saying. that I have displayed my powers as well as he, and that I have made your pleasure double. But the difficulty of the task is patent, to represent so many pictures without colour, form or space. Word-painting is but a bald thing.

“On the right as you come in, you have a‘ combination of Argolic myth and Ethiopian romance. Perseus is killing the sea-monster and freeing Andromeda ; in a little while he will marry her and go away with her. It is an incident to his winged quest of the Gorgons. The artist has represented much in little—the maid’s modesty and terror (for she is looking down on the fight from the cliff overhead), the lad’s fond courage and the beast’s unconquerable mien. ‘As he comes on bristling with spines and inspiring terror with his gaping jaws Perseus displays the Gorgon in his left hand, and with his right assails him with the sword: the part of the monster which has seen the Medusa is already stone, and the part that is still alive is feeling the hanger’s edge. Cf. Claudian (Gigantom. 113), of a giant slain by Athena: pars moritur ferro, partes periere videndo. An echo of the same source?

“Next to this picture is portrayed another righteous deed, for which the painter derived his model, I suppose, from Euripides or Sophocles, inasmuch as they have portrayed the subject in the same way. In the Electra of each. But tais description is modelled on Sophocles (1424 ff.). The two youthful comrades Pylades of Phocis and Orestes (supposed to be dead) have secretly entered the palace and are slaying Aegisthus. Clytemnestra is already slain and is stretched on a bed half-naked, and the whole household is stunned by tle deed— some are shouting, apparently, and others casting about for a way of escape. It was a noble device on the painter’s part simply to indicate the impious element in the undertaking and pass it over as an accomplished fact, and to represent the young men lingering over the slaying of the adulterer/

“Next is a handsome god and a pretty boy, a scene of fond foolery. Branchus, sitting on a rock, is holding up a hare and teasing his dog, while the dog is apparently going to spring up at him; Apollo, standing near, is smiling in amusement at the tricks of the lad and the efforts of the dog.

“Then comes Perseus again, in the adventure: which preceded the sea-monster. He is cutting off the head of Medusa, and Athena is shielding him. He has done the daring deed, but has not looked, except at the reflection of the Gorgon in the shield, for he knows the cost of looking at the reality.

“In the middle of the wall, above the posternOr perhaps, “rear window.” is constructed a shrine of Athena. The goddess is ‘of marble, and is not in harness but as a war-goddess. would appear when at peace.

“Then we have another Athena, not of marble this time, but in colours as before. Hephaestus is pursuing her amorously; she is running away and Erichthonius is being engendered of the chase. Mother Earth gave birth to him, not Athena.

"On this there follows another prehistoric picture. Orion, who is blind, is carrying Cedalion, and the latter, riding on his back, is showing him the way to the sunlight.

"The rising sun is healing the blindness of Orion, and Hephaestus views the incident from Lemnos.

“Odysseus is next, feigning madness because he does not want to make the campaign with the sons of Atreus. The ambassadors are there to summon him, All the details of his pretence are true to life—the wagon, the ill-matched team, He yoked an ass and an ox together. the folly of his actions. He is shown up, however, by means of his child. Palamedes, son of Nauplius, comprehending the situation, seizes Telemachus and threatens, sword in hand, to kill him, meeting Odysseus’ pretence of madness with a pretence of anger. In the face of this fright Odysseus grows sane, becomes a father and abandons his pretence.

“Last of all Medea is pictured aflame with jealousy, looking askance at her two boys with a terrible purpose in her mind—indeed, she already has her sword—while the poor children sit there laughing, unsuspicious of the future, although they see the sword in her hands.

“Do you not see, gentlemen of the jury, how all these things attract the hearer and turn him away to look, leaving the speaker stranded? My purpose in describing them was not that you might think my opponent bold and daring for voluntarily attacking a task sp difficult, and so pronounce against him, dislike him and leave him floundering, but that on the contrary you might support him and do your best to close your eyes and listen to what he says, taking into consideration the hardness of the thing. Even under these circumstances, when he has you as supporters, not judges, it will be just barely possible for him to avoid being thought altogether unworthy of the splendour of the hall. Do not be surprised that I make this request in behalf of an adversary, for on account of my fondness for the hall I should like anyone who may speak in it, no matter who he is, to be successful.” If this piece had not come down to us among the works of rime nobody would ever have thought of attributing it to him.