he divine Marcus
Aurelius Antoninus, Julius Capitolinus, says how he learned to paint,
Diognetus being his teacher; and even AElius Lampridius relates that the
Emperor Severus Alexander, who was an exceedingly powerful prince, himself
painted his genealogy to show that he descended from the lineage of the
Metelos. Of the great Pompey, Plutarch says that in the city of Mitylene
he drew with a style the plan and shape of the theatre, in order to have
it afterwards built in Rome, which he did.

"And although, owing to its great effects and beauties, noble painting
merits all veneration without seeking praise from other virtues, beside
those proper to it, I still wished to show here, before one who knows it,
by what sort of men it was esteemed. And if by chance, at any time or in
any place, there should be found any one who, because of being highly
placed and great, refuses to esteem this art, let him know that others
still greater appreciated it greatly. Who can compare himself with
Alexander the Greek? Who will exceed the prowess of Caesar the Roman? Who
is of greater glory than Pompey? Who more a prince than Trajan? For these
Alexanders and Caesars not only dearly loved the divine painting, and paid
great prices for it, but with their own hands they occupied themselves
with it and touched it. Or who, out of bravery and presumption, will
despise it and be not rather very humble and very unworthy before
painting, before her severe and grave face?"

Thus it seemed that Lactancio was finishing, when the Marchioness
proceeded, saying:

"Or who will be the virtuous and serene man (if he despises it for its
sanctity) who will not show great reverence and adore the spiritual
contemplation and devotion of holy painting? I think that time would
sooner be lacking than material for the praises of this virtue. It
produces joy in the melancholy, it brings both the contented and the angry
man to the knowledge of human misery; it moves the obstinate to
compunction, the mundane to penitence, the contemplative to contemplation,
and the fearful to shame. It shows us death and what we are, more gently
than in any other way; the torments and dangers of hell; so far as is
possible, it represents to us the glory and peace of the blessed, and the
incomprehensible image of our Lord God. It represents to us the modesty of
His saints, the constancy of the martyrs, the purity of the virgins, the
beauty of the angels, and the love and ardour with