Dictionary of Greek and Roman antiquities. Ed. by William Smith. Illustrated by numerous engravings on wood.

.900 PICT URA. PICTUIRA.
ler-Lexicon, Miinchen, 17 vols. 8vo, not yet coin- images, is the common notion of the origin of paintL
pleted; and the lectures of Fuseli upon ancient ing; but simple colouring, and pacintinzg, strictly
painting, and of Flaxman upon sculpture. Other speaking, are quite distinct; the distinction beworks have been written upon general and par- tween " to colour," Xpcgesr, coloremn inducere, and
ticular subjects bearing more or less upon painting, " to paint," Ceeypagesv, piLnere, delineate. (Pollux,
such as those of Heyne, Meyer, Hirt, Hermann, vii. 126.) The colouring of the early- wooden
Kugler, Vilkel, Jacobs, Creuzer, Grund, Caylus, images, the ancient (daia, or the epPaTi, the 7raALevesque, Millin, D'Hancarville, Quatrenetre de hdduea, and the 3aabaAa, must certainly have preQuincy, Inghirami, Visconti, Millingen, and others, ceded any important essays in painting, or the
too numerous to mention here. Of the celebrated representation of forms upon an even surface by
work of WVinckelmann, Gesclieicte der K~unst des means of colour and light and shade combined.
Alterthnuns, only a very small portion is devoted But this is no stage in the art of painting, and
to painting. these figures were most probably coloured by the
III. Paintinzg in its earliest slate. The legends artists who made them, by the old orXrdrraa or
relating to the origin of painting in'Greece, Eip/uoz-yxaep, themselves; the existence, however,
though they may have no real historical value, are of the art of design is established by the existence
at least interesting to the lovers of art. One of the plastic art.
legend, which is recorded by Pliny (H. N. xxxv. WVe will now as briefly as -possible consider the
12. s. 43) and is adverted to by Athenagorns gradual development of painting, and the informa(Leyat. pro Chbrist. 14. p. 59, ed. Dechair), relates tion relating to its progressive steps, preserved in
the origin of the delineation of a shadow (oitla, ancient writers. The simplest form of design or
as'laTypcap7, Pollux, vii. 128), which is the essen- drawing (ypawpun) is the outline of a shadow, withtial principle of design, the basis of the imitative out any intermediate markiings, or the.shape of a
and plastic arts. The legend runs as follows: - shadow itself (a silhlouette), in black, white, or in
The daughter of a certain Dibutades, a potter of colour (umbnLra ominis lineis circunzducta); this
Sicyon, at Corinth, struck with the shadow of her kind of drawing was termed azcaypa~na. But this
lover who was about to leave her, cast by her simple figure or shade, ncida (c'thaeypad.a), wlens
lamp upon the wall, drew its outline (unbsramz ex in colour was also essentially a monochromn (uoveof/acie lineis circumseripsit) with such force and xp ytarov). The next step was the outline, the
fidelity, that her father cut away the plaster "pictura linearis," the monogram (yovdypae.tov,);
within the outline, and took an impression from this is said to have been invented by Philocles of
the wall in clay, which he baked with the rest of Egypt or Cleanthes of Corinth, but first developed
his pottCry. (Diet. of Biog. s. v.) There seem to in practice by Ardices of Corinth and Telephanes
be, however, other claimants to the honour of of Sicyon: it was the complete outline with the
having invented skiagraphy (oera'ypapfa). Athe- inner markings, still without colour; such as we
nagoras (1. e.) mentions Saurias of Sanmos, who find upon the ancient vases, or such as the celetraced his horse's shadow in the sun with the brated designs of Flaxman, which are perfect
point of his spear, and Crato of Sicyon, whomllhe monograms. These outlines were most probably
styles the inventor of drawing or outline ('ypa(pocl), originlally practised upon a white ground (e'v wrivars
for he was the first to practise the art upon tablets A.eAoevCWEi'T), for Pliny remarks that they were
with prepared grounds (&i o7rivartL XeAevscwAueVo). first coloured by Cleophantus of Corinth, who used
Pliny (H. N. vii..57) mentions upon the testimony " testa trita," by which we should perhaps underof Aristotle, that Eucheir (EdXELP), a relation of stand that he was the first to draw them upon a
Daedalus, invented painting in Greece. (Diet. of' coloured or red ground, such as that of the vases.
Biog. s.v.) Although Pliny's account (H. N. xxxv. (Plin. H. NV. xxxv. 5.)
5) of the origin and progress of painting in Greece The next step is the more perfect form of the
is somewhat circumstantial, his information can still monochrom, alluded to above; in this, light and
not be considered as authentic matter of history; shade were introduced, and in its most perfect state
and the existence of several of the most ancient it was, in everything that is essential, a perfect
artists, mentioned by: Pliny and many Greek wri- picture. These " monochromata " were practised
ters, is very questionable. Besides those already in all times, and by the greatest masters. Pliny,
spoken of, we find mention made of Philocles of speaking of Zeuxis (H. N. xxxv. 36), says, " pinxit
Egypt; Cleanthes, Ardices, and Cleophantus, of et monochromata ex albo;" exe albo, that is, in
Corinth; Telephanes of Sicyon, Eugrammus, and gray and gray, similar to the clhirisncui of the
others. (Upon the meanings of some of these Italians. They are described by Quintilian (xi. 3.
names see Bd13ttiger, Ideen zur Arc.hiologie, p. 138, ~ 46), " qui singulis pinxerunt coloribus, alia tauzen
and Thiersch, Epoch. &c., note 22, and Diet. of enminentiora, alia reductiora fecerunt." They were
Biog. art. Cheirisophmls.) painted also red in red. Pliny (H. AI xxxiii. 39)
Sculptume is generally supposed to be a more tells us that the old masters painted them in verancient art than painting; but this arises from an milion, " Cinnabari veteres, quae etiam1 nune vocant
imperfect comprehension of the nature of the two monoclhronsata, pingebant," and also in red lead,
arts, which are one in origin, end, and principle, but that afterwards the rubrica or red ochre was
and differ only in their development. Design is substituted for these colours, being of a more dethe basis of both, colour is essential to neither, nor licate and more agreeable tint.
can it be said to belong'more particularly to the Hygiemon, Dinias, and Charmadas. are ms-lenlatter (-yapasssi) than to the former (rAnar'T i). tioned by Pliny (H. N. xxxv. 34) as having been
Coloured works in plastic, in imitation of nature, famous ancient monochromists; their age is not
were in ancient times as common, and probably known, but they most probably practised the
more so, than coloured designs: the majority of the simpler form, such as we find upon the most ancient
illustrations upon the vases are colourless. The vases. Four monochroms in the latter style, red
staining of the human body, or the colouring of in red, were discovered in Herculaneums. (A