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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?.
ing-place near the village of Dourlah in Caria. We hope he rest-
ed well, and that his pullets were tender; for they, and an otter,
are the only objećts we meet with in this part of his pere-
grination. Why multiply plates without any, vocation from
taste, instruction, or curiosity ?
The 75th plate represents the reception which our noble Tra-
veller met with from Hisân Tchaosch Oglou at Moglad, a city
raised upon the ruins of Alinda. This old man had rendered
himself independent on the Ottoman Porte by his opulence and
courage, and asted the sovereign with spirit and capacity. The
conversation that passed between him and our Traveller reads
well enough, when we have the handsome print of the Aga's
palace before us ; it would lose by being exhibited in scraps, and
we cannot afford room for the whole.
The Palace of the Aga of Eski-Hisar is the subjećt of the 76th
plate, and a very poor business it is. The inconsiderable village
of Esti-Hisar may have been (as Pocock and Chandler suppose)
the ancient Stratonicea, which was founded by the Macedonians,
and received its name from the Queen of Antiochus Soter; but
there are no vestiges remaining of its ancient temples mentioned
in history, as dedicated to Hecate and Jupiter Chrysaoreus, where
all the cities of Caria sent, annually, deputies to offer sacrifices
in common, and to regulate the general affairs of their confede-
rated republic. -
The 77th plate represents a Turkish fossival, which resembles
a good deal the dances and merry-making of the Flemings in the
prints of Teniers, with this difference, that the dress of the
Turks is more elegant, and the motions of the dancers more
violent than those of the phlegmatic inhabitants of the Austrian
Netherlands.
The 78th and 79th plates exhibit the remains of several an-
cient tombs and monuments; and the two following, which
conclude this Number, represent the ruins of Stratonicea; among
other fragments, are those of the theatre.
This Number is terminated by a drawing which recals to re-
membrance the misfortunes of Monimia, and exhibits some me-
dals of the cities already mentioned. The medal of Alinda re-
presents, on one side, the head of Hercules, and, on the other,
his club and the lion's skin. There are two medals also of Stra-
tonicea, the figures and charaćters of which make us recollečt the
games that were celebrated in that city: on the first, we see an
altar with the fire kindled between two torches— on the reverse,
an Athletic horseman holding a steed by the bridle. On the
second, there is a VICTORY holding a crown and a palm branch,
and on the reverse, the name of Stratonicea inclosed in a crown

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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.]

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