23
‘In the next picture, a tale of retributive justice is dramatically set forth. The painter seems to have taken his hint from Euripides or Sophocles; each of them has portrayed this incident. The two young men are friends: Pylades of Phocis, and Orestes, who is thought to be dead. They have stolen into the palace unobserved, and together they slay Aegisthus. Clytemnestra has already been dispatched: her body lies, halfnaked, upon a bed; all the household stand aghast at the deed; some cry out, others look about for means of escape. A fine thought of the painter’s: the matricide is but slightly indicated, as a thing achieved: with the slaying of the paramour, it is otherwise; there is something deliberate in the manner in which the lads go about their work.
24
‘Next comes a more tender scene. We behold a, comely God, and a beautiful boy. The boy is Branchus: sitting on a rock, he holds out a hare to tease his dog, who is shown in the act of jumping for it. Apollo looks on, well pleased: half of his smile is for the dog’s eagerness, and half for the mischievous boy.
25
‘Once more Perseus; an earlier adventure, this time. He is cutting off Medusa’s head, while Athene screens him from her sight. Although the blow is struck, he has never seen his handiwork, only the reflection of the head upon the shield; he knows the price of a single glance at the reality.
