Orationes

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22 Οὐδαμῶς. — Δ. Καὶ πότερον οἴει τὸν ἔμπειρον τῆς τεκτονικῆς τέχνης, εὐθύ τι ἐργάσασθαι βουλόμενον, ἑνὶ προσαρμόσαντα κανόνι καὶ μιᾷ στάθμῃ σταθμησάμενον ἥδιον ἔχειν καὶ πεποιθέναι περὶ τῆς ὀρθότητος μᾶλλον ἢ πολλοῖς τε καὶ ἀνωμάλοις ξύλοις ἀπευθύνοντα καὶ καταμετροῦντα; φέρε πρὸς Διός, ἆρα ἀκήκοας ζωγράφου χαρίεντος ἔργον, γραφήν τινα προθέντος εἰς τὸ φανερὸν ἵππου θαυμαστήν τε καὶ ἀκριβῶς ἔχουσαν;

23 φασὶ γὰρ αὐτὸν κελεῦσαι παραφυλάττειν τὸν παῖδα τοὺς ὁρῶντας, εἰ ψέγοιεν ἢ ἐπαινοῖεν, καὶ μνημονεύσαντα ἀπαγγεῖλαι πρὸς αὐτόν. τῶν δὲ ἕκαστον ἄλλον ἄλλο τι λέγειν περὶ τῆς γραφῆς καὶ αἰτιᾶσθαι, τὸν μέν τινα οἶμαι τὴν κεφαλήν, τὸν δὲ τὰ ἰσχία, τὸν δὲ περὶ τῶν σκελῶν, ὡς, εἰ τοιαῦτα ἐγεγόνει, πολὺ κάλλιον ἂν εἶχεν. ἀκούσαντα δὲ τὸν γραφέα τοῦ παιδός, ἐργασάμενον ἄλλην γραφὴν κατὰ τὴν τῶν πολλῶν δόξαν καὶ ἐπίνοιαν, κελεῦσαι θεῖναι παρὰ τὴν πρότερον. εἶναι οὖν πολὺ τὸ διαφέρον· τὴν μὲν γὰρ ἀκριβέστατα ἔχειν, τὴν δὲ αἴσχιστα καὶ γελοιότατα καὶ πᾶσι μᾶλλον ἢ ἵππῳ ἐοικέναι.

24 δῆλον οὖν ὡς εἰ σφόδρα προσδεήσεται τοῦ παρὰ τῶν πολλῶν ἐπαίνου, τῆς αὑτοῦ γνώμης ἡγούμενος κυριώτερον τὸν ἐκείνων ψόγον τε καὶ ἔπαινον, οὕτως ἕκαστα πράξει καὶ προθυμήσεται τοιοῦτον παρέχειν ἑαυτὸν ὁποῖον ἀξιοῦσιν οἱ πολλοί. καὶ δῆλον ὅτι ἔσται ταχὺ μάλα ἐοικὼς ἀντ’ ἐκείνου τοῦ πρότερον ἵππου, τοῦ φαύλως καὶ κατὰ τὴν τοῦ ἑνὸς εἰργασμένου τέχνην, τῷ θαυμαστῷ καὶ πολυτέχνῳ δημιουργήματι, μηδὲ αὐτοὺς ἐκείνους ἀρέσκοντι τοὺς δημιουργούς, ὑπὸ τῆς ἁπάντων ἐπινοίας καὶ δημιουργίας συγκείμενος·

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