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fame with what Plato delivers in his Timæus, where he fays that in mirrors the right appears to be the left, because the contrary parts of the mirror are regarded by the contrary parts of the fight, as it happens in all things that are applied to, or placed against one another; as if, for inftance, any man were placed in the room of the looking-glais, and had his face turned towards us, for in that cafe his right would be oppofite our left; and fo on the contrary. But the mathematicians in Euclid, Oswp. 19. explains this matter otherwife, and demonftrate their opinions by feveral arguments. They teach, that the angle of reflection is alike, and equal to that angle which is made by the line of incidence into the glass from the point of the object feen: whence there wili always be a reflection to the part that is oppofite to that part of the glafs upon which the line of incidence that is produced from the point of the things feen, happens to frike. II. They teach, that the images which are feen in glaffes, are contained in the very fhorteft lines poffible: therefore, when the right part of the thing feen anfwers, and is oppofite to the left line of reflection rather than to the right, and fo on the contrary; it cafes the line of reflection which is most on the right, to fall on the right part of the image, and in like manner on the contrary: For which reason the left part of the object feen is oppofed to the right part of the image; and on the contrary, the right to the left. III. They teach, that the image of the thing seen, and the very thing feen, are to one another in the nature of the two gladiators, who are contending face to face for the right eye of the one answers to the left eye of the other. But obferve, that this happens only in plain and convex glaffes, for it is otherwife in the concave, in which the right parts anfwer to the right, and the left to the left: Of which Plato and Euclid give the reafon, which is too long to be here inferted, though we shall have occafion to fay fomething concerning concave glaffes, below in the note on ver. 320.

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Ver.305." Cretea Perfona:" for the masks, which the actors wore at Rome, were made of chalk, or of potters clay. Therefore, "cerea perfona," as fome copies read it, is rejected. Lambinus is fond of "Creffa," or "Cretea Perfona," pretending they were made of plafter that came from the ifland Crete, now called Candy, and fituate in the Ægean Sea. All the old copies that Heinfius faw, read cretea;" ;" and in the Catalects of Petronius we find, Dum fumit creteam faciem Sertoria, cretam Perdidit illa fimul, perdidit et faciem. which fufficiently proves they were made of chalk, or fomething of that nature: and renders the opinion of Lambinus liable to fufpicion.

are as the thighs of edifices; "quafi quædam ædi. ficiorum femora." Pila fignifies the moles that are built in water, fuch as are at this day to be feen at Geneva. Virg. Æn. ix. ver. 710. Qualis in Euboico Baiarum littore quondam Saxea pila cadit, &c.

See likewife Vitruvius. lib. v.

Ver. 31 In thefe ten verfes is contained the fifth problem, which he proposes and solves. Why the fame image is reflected from mirror to mirror, and feen in feveral at once, infomuch that five or fix images are reflected; or that the fame image may be reprefented five or fix times by as many glaffes; the left part of which image will be inverted to the right, and the right to the left alternately? For whatever things are in the remoteft parts of a building, the image of them may, by the means of feveral looking glaffes, rightly and duly placed, be, as it were, brought out and conveyed through windings and turnings into any part of the houfe. Nay, it may be fo ordered, that you may fee your own back. For, take two plain glaffes, and place one of them be hind you in a fhelving poûture, fo that it may nei ther lie flat upon the ground, nor ftand directly upright: Hang the other over your head in fuch a manner, that it may be directly oppofite to our eyes, and in a bending pofture likewife: you mut of neceffity fee your own back in the glass that hangs up. Of which Lucretius gives this reafon; because the image of the thing that strikes upon the glass, being returned from that glass, is reflect. ed upon, and received into the oppofite glas But though all this be certain, yet it may be inquired, whether it be the fame image that is mul tiplied fo often; or whether a-new exuvies do not fly from off every image, as at firft, the first image flew off from the body? Lucretius anfwers, That each image flies away from the object, and that the departure of the first is fupplied by the com ing of a fecond, in a perpetual and never-cealing flux; for the image behind impels the image be fore; and thus they run in a fucceffive courfe, abd urge on their predeceffor images; infomuch that the very image, which we this moment fee in the laft glafs, was but just now in the first; and that a new fucceeds in the room of that which went laft away; and thus a perpetual fucceffion of images is made from glafs to glass. This I take to be the fenfe of Lucretius in this paffage, which Creech b rendered but obfcurely and imperfectly.

Ver. 318, 319. Thefe two verfes run thus in the original:

Ufque adeo è fpeculo in fpeculum tralucet imago Et cùm læva data eft, fit rurfum ut dextera fiat; Inde retrorfum reddit se, et convertit eodem. Ver. 306. "Allidat pilæve trabive." Pila fig- The meaning of which is, when the image is tranf nifies a column or pillar, which the Greeks call ferred from one glass to another glass, it changes sian. Apuleius 3. Metamorph. "Pila media quæ its left part into its right; but when it is ag in ftabuli trabes fuftinebat. Feftus, Pila, que pari- reflected from the fecond glafs into the third, it etem fuftentat, ab opponendo dicitur." Budæus refumes the fame order and fite it had in the first likewife fays, that the " pilæ lapidæ” in build-glafs; and will continue to change in like man. ings, are pillars or Atructures of hewn ftone, which ner, as it paffes into the other following glaffes.

Ver. 320. In these leven verfes is contained problem fixth. Why in those glaffes, whofe plains or faces are, as if they were feveral glaffes oppofed to one another to the right and left, the fite of the image reflected is returned, fo that the right part of the image anfwers to the right of the object, or thing feen, and the left in like manner to the left? The answer is: Because the plains or faces of that glass supply the place of glaffes placed apart from one another, and are the caufe that as in them the image is reflected from glafs to glafs, fo it is reflected in these upon the fame glafs: and this indeed happens in concave glaffes; of which, for that reafon, Lucretius feems here to fpeak. And thus Gaffendus himself interprets this paf. fage: But Lambinus is of opinion, that the poet is fpeaking of many glaffes joined together in the convex figure of a pillar. Now, we generally reckon seven forts of glasses that restore the image after the fame usual manner. I. The plain. 11. The pillared convex. III. The pillared concave. IV. The convex made in the fhape of a pyramid. V. The concave made likewife in the figure of a pyramid. VI. The globous convex. VII. The globous concave. By what means the reflection is made from plain glasses the poet has taught already: but seems to have omitted the reafon of the feveral forts of reflection from all the other glaffes; for in thefe feven verfes he feems to ípeak only of convex and concave glaffes, though fome think that even here he argues only of the

other.

you, regard the fame image of your own perfon, they will each of them fee it in different places of the glafs, and none of them in the place where you do; infomuch that you cannot take any of their places, but you will fee the image in another place than it was in before; from whence it is farther evident, that it is not only one image of yourself that you fee in the glass, but innumerable images: and thofe too mutually mixing together in such a manner, that in the very place where you see your own nofe, another may be fo placed as to fee your chin, another your forehead, a third your eye, a fourth your mouth, &c and, nevertheless, not one of them fees any thing but one fimple and diftinct image.

Ver. 335. It is faid of Democritus, that he made himself blind by ftaring on the glare of a brazen buckler that he placed in the fun; and this he did, that the view of external objeЯs might no longer divert his mind from meditation. Laberius in Gellius, lib. x. c. 17.

Ver. 334. Hitherto of mirrors. He now propofes the eighth problem: Why glaring objects hurt the eyes, and why the fun even caufes blindnefs? Of which, in these ten verfes, he gives this reafon: Because a fplendid object fends forth many feeds of fire that burn the eyes; or is a fenfible too ftrong for the organ of fenfe; and fpoils, and renders it ufelefs for this reafon : because, by loofening its texture, it so perverts and destroys its due temper and commensuration, that it renders it incapable of receiving any longer any other fenfibles. Ariftotle, lib. iii. de Anim. fays, it is common to all the fenfes, that if the things that fall under the sphere of their perception be too exceffive, and furpafs their due measure, they destroy the fenfes themselves. Thus, too much noife makes men deaf, too much fplendour blind; Ver. 327. In these seven verses is contained and in like manner of the rest. For each fenfe is problem feventh, viz. Why our images that are a certain proportion, and all proportion is destroyfeen in the glass, seem to move forward or back-ed by whatever is too much: for example, if the ward, &c. as we ourselves do, and to imitate our ftrings of an inftrument be screwed too high, all actions? Of this he gives the following reafon : the fymphony is ruined. Becaufe, from whatever part of the glass we retire, and withdraw ourselves, the image cannot, from that moment, be reflected from that part: for all the images that are emitted from bodies, are reflected by equal and like angles. This, therefore, is appofitely and truly afcribed to the variations of the image in the parts of the glass; which variations are caufed by the feveral motions of the object; and these being different, the reflection likewife on the eye, and confequently the image, muft differ in like manner. For, as the mathematicians truly affert, it is not the fame image that remains feen; but when all the points, that is to fay, all the parts of the object feen, are reflected, now from thefe, now from other parts, a new image is made of the whole object. Whence it follows, that, when the thing feen is moved, the image must of neceffity feem to move likewife; fince the parts of the thing feen continually answer to the parts of the image. And yet the image is not actually moved, but a new one is rather produced by the mutation of the fight of the object feen; but this happens by reafon of the continual reflection of the parts of the image, which is made in the utmost cefure of the glafs.Tum color in nigris exiitit nubus arqui. Hence it is evident, that if, whilst you are looking on your own image in a glafs, there be others, who, either from the right, left, above or below

Democritus Abderites, phyficus philofophus,
Clypeum conftituit contra exortum Hyperionis,
Oculos ut poffit effodere fplendore æreo:
Ita radiis folis aciem effodit luniinis.

Ver. 344. These fix verfes contain the ninth problem: Why all objects appear pale and lucid to those who have the jaundice? Because, says Lucretius, many lurid feeds flow from the icterical perfon, and ftain the images as they come to him; at leaft, which is more probable, they dye thofe that are entering into his eyes.

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"Quæcunque tuentur Arquati," That is, fays Nonius, perfons whofe eyes are stained with the likeness of the colours, Arqui, quem poetæ Irim vocant," of the bow, which the poets call Iris, the rainbow: For the ancient Latins writ arguus, not arcus. Lucretius, lib. vi. ver. 525.

This disease, the yellow jaundice, was likewife called iteres, and morbus regius. It was called

eros from the Greek, "Ixris, a kite, because the eyes of those who labour under that disease, seem in colour like the eyes of a kite; regius morbus, as Ovid obferves,

Molliter excelfu quoniam curetur in aulâ.

Arquatus, as I hinted before, because their eyes are dyed with several colours, like the rainbow. It was alfo heretofore called " Aurigo, à colore auri," from the colour of gold, which the bile, diffufed through the body, refembles and perfons, troubled with the difeafe, are called auriginofi. Sipontin.

Ver. 346 Lurid is yellowish colour, drawing towards a blue.

Ver. 350 The tenth problem is in these feventeen verfes. Why, when we are in the dark, we can see objects that are in light: though when we are in the light we cannot fee objects that are in the dark? This, fays he, is caufed by the protrufion of the different air: for when the lucid air follows the dark, it purges and cleanfes the pores of the eye, and makes room for the images of things to enter. For the bright and lucid air is more fubtle than the dusky; at least, it has more ftrength, and is much easier to move. But when

the dark air follows the bright, the paffages of the eye are so closed and choked up by that dull and heavy air, that it becomes incapable to receive the images of things that offer themselves to it.

This was the opinion of Lucretius; but Ariftotle and the mathematicians explain this matter in a few words: They fay, that nothing can be feen of itself but, and that there are no other objects of fight than, light and colour; therefore, whatever is feen, is feen by the help and means of those two things. Now the fenfe of feeing is made by contact, that is to fay, by the form or image of the object feen coming to the eyes. But the things that are in the dark cannot fend their images to the eyes, for want of light and colour, by which they no fooner come to be enlightened, than they instantly emit their forms. Therefore, when we ourselves are in the dark, we may well fee objects that are in the light, but not on the contrary.

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Ver. 367. In these ten verfes is contained the eleventh problem: Why things that are square feem round if beheld at diftance? Square towers, for example, feem round, if we regard them from afar the reafon of which is, fays Lucretius, because the image of a square tower, as it flies to us, is often struck by the air in its paffage, by which means its angles are worn off, at leaft are fo blunted, that when it comes to us, it ftrikes our eyes under a round or circular figure; yet that roundness is not so diftinct and perfect, as if the object itself were round, and feen at a little dif

tance.

Ver. 368. What I am here going to obferve concerning the fight, holds good likewife as to all the other fenies. When a fquare tower is feen from afar, and appears round, we muft diftinguifh between these two things: First, That it seems sound; and, fecond, that it is reputed and be

lieved to be fo. For that it appears round is most true; but that it is believed to be round, because it feems to be fo. is falfe. Now the firft belongs to the fight, or to the eye, which receives the appearance, reprefentation, or image, as Lucretius and Empiricus term it, of the object feen: the other belongs to the mind, or intellectual faculty, which forms a judgment from that appearance. For the eye only reports as I may fay, to the underftanding, the object it has feen therefore it neither deceives, nor is deceived, but reprefents the thing as it received it; but it is the office of the mind to judge, whether the thing be, or be not fuch, as it appears to the eye and fight; fo that the mind only deceives or is deceived, or neither deceives nor is deceived, in the judgment it makes. But Lucretius will argue more at large

of these things hereafter, ver. 394 and 490 &c. where he says, that the fenfes are true and certain, and that their deception proceeds from the judgment of the mind. Petronius very pertinently to this purpose, and elegantly too, lays, Fallunt nos oculi, vagique fenfus Oppreffà ratione mentiuntur: Nam turris, prope quæ quadrata furgit, Attritis procul angulis rotatur.

And Macrobius Saturnal. lib. vii. cap. 14. "Hâc (ratione) ceffante vifus inefficax eft ; adeo ut quod remus in aquâ fractus videtur, vel quod turris eminus vifa, cum fit angulofa, rotunda exiftimatur, faciat rationis negligentia; quæ, fi fe intenderit, agnofcit in turre angulos, et in remo integrita. tem; et omnia illa difcernit, quæ academicis damnandorum fenfuum occafionem dederunt: Cum fenfus unus inter certiflimas res habendus fit, comitante ratione."

But it may be inquired, how and by what means the mind judges and difcerns betwixt the different figures of objects: The answer to this is, That the figures of objects may be known, partly from their different colours, partly from their different reflections, and wholly from the knowledge of the divers parts of an object, its distance, and magnitude.

Yet fome give another reason, and fay, that we know the figures of bodies from the particular impreflions they make on the eye: For the rays that proceed from all the parts of an object, paint all its parts on the retina, in the fibres of which they caule an impreflion, in the fame order in which they received their reflection: infomuch that we know fuch a body to be square, becaule its image, formed by the impreflion of the rays on the retina, is fquare: For the rays from all the points of a square body, are collected by the humours, and form a quadrangular or iquare impreffion. The fame may be conceived of all other figures of objects.

Ver. 377. In these seventeen verfes is contained the twelfth problem. Why the fhadow of our body, no less than the image of it in the glass, feems to walk with us, and imitates our postures? The thing itself is notorious, but the realon of it not fo plain. Lucretius fays it is this, becaule fhade is only air deprived of light by fome dense

body interpofing between any place and the fun, |
and when this happens, that place is in fome mea-
fure darkened and deprived of light; and there-
fore, as that denfe body is moved, as it bows
itself down, or raises itself up, the fhadow too
muft of neceffity vary its figure; because several
figures of the air are deprived of light, in as many
feveral manners as the body moves upright, bend-
ing forward, backward, &c. Dryden feems to
have borrowed from this paffage of Lucretius,
that excellent defcription of fhadows, which we
find in a copy of verses of his to Sir Godfrey
Kneller.

Shadows are but privations of the light;
Yet when we walk, they shoot before our fight;
With us approach, retire, arise, and fall;
Nothing themfelves, and yet expreffing all.

Ver. 389. This and the following verfe run thus in the original:

Semper enim nova se radiorum lumina fundunt,
Primaque difpereunt, quafi in ignem lana tra-

hatur.

Our tranflator takes no notice of the laft words "quafi in ignem lana trahatur," and indeed they are variously explained. The poet illuftrates, and teaches by an example, in what manner new rays are continually flowing from the fun's orb; and how they fupply the place of the former that vanish away; viz. as it were like wool drawn

gine, and others imagine erroneously, and without reafon.

Ver. 393. Nigras umbras, the black fhadows. A fhadow feems black, becaufe, as I faid before, it is nothing but air deprived of light, or a privation of light; but light is white and clear, therefore fhadow is black and dark.

Ver. 394. Having finished his difputation concerning fight and vilion, he takes occafion from the two laft problems, to affert and defend the certainty of the fenfes, which not those problems only, but feveral others that he enumerates as examples, to verfe 489, feem to weaken and contradict. Now he infifts that the fenfes are infallible, because they receive the images of things, just as they are brought to them. They underftand not the nature of things, nor do they judge or determine any thing concerning it. Therefore there is no fallacy in them, but all errors proceed from the judgment of the mind. For example; though we may be deceived in fceing light or fhade, yet that deception is not the fault of the eyes, but of the mind. For the office of the eyes is only to fee the light and the fhade; but it belongs not to them to determine what light and ftanding that a fhadow feems to move, though it are, but to the mind; therefore, notwithdo not move, it being only a privation of light; yet our eyes are not deceived, for they fee what it is their business to fee; they see the fhadows now in one place, now in another. Cicero, lib. iv. Arcad. Quæft. afcribes certainty to the

fhade

fenfes, provided they be found and strong, and ftacle to them. And Lactantius, lib. de Opificio that all things be removed that might be any obDei, cap. 9. is of the fame opinion.

certain as alfo, that the mind only deceives, and is deceived, in judging of things amifs, and otherwife than they are. For it is not the office of the eyes, to judge whether the fhip be moved, or not, but of the mind only: from whence it follows, that not the eyes, but the judgment only errs, and is mistaken.

through a flame; for then the wool that is firft drawn would be confumed by the fire; whilft other wool is in the mean time drawing through it. Thus Lambinus, on the authority of feveral copies reads, and then interprets this paffage, and Ver. 404. In these four verses, Lucretius brings Fayus approves of his interpretation. But Scaliger, in his obfervations on Catullus, corrects his first example to confirm his affertion, that neithis lection, and reads carmine for in ignem: "quafither falfe or fallacious, but that they are true and ther the eyes, nor any of the other fenfes, are cicarmine lana trahatur;" taking carmen for the inftrument used in the wool-manufacture, and which is likewife called peen, in English a card. From whence carminare fignifies the fame as pectinare. "Varro de ling. Latin. Carminari lana tum dicitur, cùm caret eo, quod in eâ hæret." And Pliny, lib. ix. cap. 38. & lib. xix. cap. I. ufes the fame word. In which fente we may interpret the meaning of Lucretius in this manner: That new beams flow from the fun as faft as the first vanish, as from a heap of wool new threads are drawn in the card, fo that when the firft are drawn and taken away, new ones may ftill be drawing in the fame card. But this interpretation feems not fo natural as the former. Faber retains the first reading, and obferves it to be a Greek proverb, ξαίνειν εἰς πᾶς, and that it is ufed by Plato and Lucian, when they speak of a ufelefs piece of work, and that never can be ended. "Dicitur de re inutili, ávávur, et quæ abfolvi non poffit." Creech in his Latin edition adheres to this interpretation; and fays, it agrees very well with the meaning of the poet, and expreffes properly enough that perpetual destruction of the rays of the fun. Nardius, for in ignem, leads mar

Ver. 407. Thus too Virg. Æneid. iii. ver. 72. Provehimur portu, terræque urbefque recedunt. Which Sir R. Blackmore feems to have imitated, They fpoom'd away before the shoving wind, And left retreating towns and cliffs behind.

Ver. 408. In these fix verses is contained example fecond, of the ftars, the fun, and the moon, which feem to us to ftand ftill, though they are whirled about in a perpetual and fwift motion. Whence the poet argues, that the eyes are not deceived, because they see the fun, the moon, and the stars, in the places where they are; but that the mind errs in not difcerning those to be feve ral places, and imagining all thofe places, in which the fun, moon, and ftars are, to be one and the fame place.

The feady Pole The end or poms of tre axle- | fplendor or light, that foreruns the rifing fun, that tree, on winch attronomers imagin the 13vens to be turned. There are two of them, one in the north, noted by a star, called polus ar&icus, the north pole; the other in the fouth, but invisible to us, called polus antarcticus, the fouth pole.

Ver. 414. These four verfes contain Example III. in which the poet brings an inftance of anountains, ftanding at fome diftance from one another in the midst of the fea; which neverthelefs, when feen from afar, feem contiguous, and fo like a continent, that they appear like one huge mountain only, or like one vaft ifland: In which the eyes are not deceived neither, it being not their office to judge of the distance of objects: but the mind alone deceives, who imagines there is no space between the mountains, because there appears none.

Ver. 418. In these four verses, he propofes Example IV. When boys, fays he, turn themfelves often around, or are turned about by others, a giddinefs enfues, and the walls and ceilings of the houses feem to them to move round, and be whirled about, even though they themselves ftand still, and have ceafed to run round. In which the eyes are not deceived, but the mind itfelf, which fuppofes, that the fenforium, in which the agitation continues, receives the images of things that ftand ftill in the fame manner, as it would receive the image of a thing in motion, if itself were at reft. The reafon of this is, becaufe the fpirits that belong to the fight, being fhaken and difturbed by the whirling motion of the body that runs round, fly about in a circular motion likewife, and ceafe not to move fo foon as the body ftands ftill; in like manner as a wheel that has been turned about with violence, ceafes not its motion fo foon as the moving hand is retired, but whirls feveral rounds afterwards.

Ver. 422. In thefe ten verfes he brings Example V. of the fun, that feems to rife very near to mountains, though between the fun and those mountains there be an immenfe interval of space. For when the fun is feen to rife over mountains, he feems almost to touch them with his fires, and yet thofe mountains are scarce two thousand bow shot diftant from us: nay, perhaps not fivehundred cafts of a dart. The reafon is, because the eye does not perceive the distance of objects, and therefore we fuppofe there is no distance at all. "Rubrum tremulis Jubar ignibus," fays Lucretius, "Varro de ling." Latin. lib. 5. fays, that the ftar which appears before fun-rifing is called Jubar, quia in fummo habet diffufum lumen ut leo in capite jubar :" And Feftus: " Jubar ftella quam Græci pwopópov, id eft. Luciferum appellant, quod fplendor cjus diffunditur in modum jubæ leonis And Servius on this verfe of Virgil, It portis jubare exorto delecta juventus.

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n. 4 v. 130. fays, " Jubare exorto, i. e. orto Lucifero. Nam proprie Lucifer Jubar dicitur, quod jubar lucis effundat." Lembus too follows thefe arcients; and others take Jubar in this place to fignify the

is to fay Aurora, or the morning itself: which laft opinion is not without reafon. fince Jubar is fometimes taken for the brightnets or fplendor of any thing whatever: Statius Thebaid. ix. v. 895. "Et pictum gemmis galeæ jubar." Yet not withstanding all these authorities, Creech in his Latin edition of Lucretius fays, that nothing is more certain, than that Jobar here fignifies the fun: "Nihil certius quam unam eandemque rem in hoc versu jubar," and verse 408. "Solem appellari." Creech, in loc.

it.

Ver. 432. In these three verfes he produces Example VI. and alleges, that even in the fhal loweft waters is feen no less a space, than the diftance between heaven and earth. For if any one looks down into water, not above an inch deep, he will feem to fee the sky in it, lying a much below the earth as the sky is diftant from The reafon of which is, because the eye al ways fees the object on the fide from which the ray comes laft of all directly to it; and therefore fees the sky, or the fun and ftars, in the place where the water is: and that by means of the ray, which, being between the water and the fky, or the fun and ftars, is directly joined with that, which is between the eye and the water. In which cafe the mind itfelf, perceiving nothing between the directed and the reflected image, judges that the sky, or the fun and ftar are really in that place, and transfers to beneath, all the space and distance that is above. And hence it is not the error of the eye, but of the mind.

Ver. 435. In these five verfes is contained Example VII. of a man on horseback, standing fill in the midst of a river, and looking down upon the water for then fome force feems to carry the body of the horse, even though he stand still, up against the stream: And on which fide foever he cafts his eyes, all things feem to flow and move in the fame ruanner. In which not the eye, but the mind is mistaken; for, whereas the eye oblerves the waves fucceeding one another in time, the mind apprehends befides, that they fucceed one another in place; and thus judges one and the fame place, to be as many places behind, as waves on that part have beat against the horse.

Ver. 440. What our tranflator here calls courts, Lucretius calls porticus. Now the most wealthy among the ancient Romans had stately walks both for fair and rainy weather: The first were in the fhade of trees, and fometimes planted with box or rosemary, as Pliny witne ffes in an epiftle to Gallus. The fecond were under magnificent roofs, fupported from one end to the other on pillars of an equal height, and placed at equal diftances: The roof too was of an equal height, and the fide-walls exactly alike, nor was the por tico broader in any one place than in another, We may judge of the length of them from Juve. nal, Sat. iv. v. 5. where, fpeaking of the luxurious Critpinus, he says,

Quid refert igitur quantis jumenta fatiget
Porticibus?-

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