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

PICTURA. PICTURA. 901
aslticitd d'Ercolano, vol. i. plates 1, 2, 3, 4.) imitative art, nor is there mention of any artist,
They are paintings of a late date and are of con- similar to Itephaestus, who might represent the
siderable merit ill every respect, but the colours class of painters. This is the more remarkable,
have been nearly destroyed by the heat, and the since Homer speaks of rich and elaborate empictures are in some places defaced; they are broidery as a thing not uncommon; it is sufficient
painted upon marble. They were probably all to mention the splendid Diplax of HIelen (II1. iii.
executed by the same artist, Alexander of Athens. 126), in which were worked many battles of the
AAEAANAPO: AOHNAIO: EIPAEN, is an in- Greeks and Trojans fought on her account. This
scription upon one of them (pl. 1), which represents embroidery is actual painting in principle, and is
five females, with their names attached&, two of a species of painting in practice, and it was consiwhom are playing at the ancient game of the tali dered such by the Romans, who. termed it " pictura
(aT'paTa-aoc;4s). These tablets are in the col- textilis" (Cic. VJerr. ii. 4. 1'), " textili stragulo,
lection of ancient paintings of the Museo-Borbonico magnificis operibus picto" (Id. Tusc. v. 21); that
at Naples, Nos. 408, 409, 410, 411. is, painted with the needle, embroidered, acu picto.
The next and last essential step towards the (Ovid. M-et. vi. 23; Virg. A1en. ix. 582.) The
full development or establishment of the art of various -allusions also to other arts, similar in
painting (cowypapia) was the proper application of nature to painting, are sufficient to prove that paintlocal colours in accordance with nature. This is, ing must have existed in some degree in Homer's
however, quite a distinct process from the simple time, although the only kind of painting he notices
application of a variety of colours before light and is the "red-cheeked" and " purple-cheeked ships"
shade were properly understood, although each ob- ('es r Aroo7rdppol, 11. ii. 637; e'as rpouuKosrap!pject may have had its own absolute colour. The ours, Od. xi. 123), and an ivory ornament for the
local colour of an object is the colour or appearance faces of horses, which a Maeonian or Carian woit assumes in a particular light or position, which man colours with purple. (il. iv. 141.) The decolour depends upon, andchanges with,the light and scription of the shield of Achilles, worked by
the surrounding objects; this was not thoroughly Hephaestus in various-coloured metals, satisfacunderstood until a very late period, but there will torily establishes the fact that the plastic art must
be occasion to speak of this hereafter. Probably have attained a considerable degree of development
Eumarus of Athens, and certainly Cimon * of in the time of Homer, and therefore determines also
Cleonae, belonged to the class of ancient tetra- the existence of the art of design. (Ars delineanidi;
chromists or polychromists, for painting in a variety ypa&c*pa.)
of colours, without a due or at least a partial obh.- Painting seems to have made considerable proservance of the laws of light and shade, is simply gress in Asia, Minor, while it was still in its infancy
polychromy; and a picture of this latter descrip- in Greece, for Candaules, king of Lydia (B. c. 716),
tion is a much more simple effort than the rudest is said-to have purchased at a high price a painltforms of the monochrom in chiaroscuro. There are ing of Bularchus, which represented a battle of
a few examples of this kind of polychrom upon the the Magnetes. (Plin. H. N. xxxv. 34.) It would
most ancient vases. In the works of Eumarus of appear from the expression of Pliny (HI. V. vii. 39)
Athens, however, there must have been some at- that Candaules paid the painter as much gold coin
tention to light and shade, and in those of Cimon as would cover the picture. It must be confessed
of Cleonae still more. that the tradition is very doubtful (see Diet. of
IV. FPainting in Asia Minor and in Megnan Biog. art. Bularchus); but this painting of Bularchus
Graecia. It is singular that the poems of Homer is not an isolated fact in evidence of the early
do not contain any mention of painting as an cultivation of painting in Asia; there is a remarlcable passage in Ezekiel, who prophesied about
* These two names are generally connected 600 B. c., relating to pictures of the Assyrians
with each other, but Eumarus must have preceded (xxiii. 14, 15): "MA:n pourtrayed upon the wall,
Cimlon some time. He was the first, according to the images of the Cibaldeans pozrstrcayed ewith verPliny (H. N. xxxv. 34), who distinguished the ivflion, girded with girdles upon their loins, exmale from the female in painting: " qui primus in ceeding in dyed attise upon their heads, all of them
pictura marem feminamque discreverit,... figlras princes to look to, after the manner of the Babyloomnes imitari ausum." The most obvious dis- nians of Chaldea, the land of their nativity."
tinction which here suggests itself can scarcely be The old Ionic or Asiatic painting, the "genus
alluded to by Pliny, or Eumnarus must belong to a picturae Asiaticum," as Pliny (HI. N. xxxv. 10.
very early period, for we find that distinction very s. 36) terms it, most probably flourished at the
decidedly given on even the most ancient vases, same time with the Ionian architecture, and conwhenever the figure is naked. That Eumarus tinned as an independent school until the sixth
dared or ventured to imitate all figures, may imply century B. c., when the Ionians lost their liberty,
that he made every distinction between the male and with their liberty their art. Herodotus (i.
and the female, giving also to each sex a character- 164) mentions that when Harpagus besieged the
istic style of design, and even in the compositions, town of Phocaea (B. c. 544), the inhabitants coldraperies, attitudes, and complexions of his figures, lected all their valuables, their statues and votive
clearly illustrating the dispositions and attributes offerings from the temples, leaving only their
of each, exhibiting a robust and vigorous form in paintizgs, and such works in metal or of stone as
the males, and making the females slighter and could not easily be removed, and fled with them
more delicate. These qualities are all perfectly to the island of Chios; from which we may concompatible with the imperfect state of the art of elude that paintings were not only valued by the
even so early a period, and they may also be very Phocaeans, but also common among them. Heevident, notwithstanding ill-arranged composition, rodotus (iv. 88) also informs us that Mandrocles of
defective design, crude colour, and a hard and Samos, who constructed for Dareius Hystaspis the
tasteless execution. bridge of boats across the Bosporus (B. C. 5t080
3 mi 3