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

902 PICTURA. PICT URA.
had a picture painted, representing the passage of cated the veins, and gave natural folds to drapery.
Dareius's armly, and the king seated on a throne (Plin. H. N. xxxv. 34.) The term " catagrapha,"
reviewing the troops as they passed, which he de- which Pliny uses, evidently signifies any oblique
dicated in the temple of Hera at Samos. view of the figure or countenance whatever, whether
After the conquest of lonia, Samos became the in profile or otherwise; in technical language,fbreseat of the arts. (Herod. iii. 60.) The Heraeum skhorteoings.
at Samos, in which the picture of Mandrocles was'We learn from Aelian ( V. TI. viii. 8) that Cimon
placed, was a general depository for works of art, was much better paid for his works than any of his
and in the time of Strabo appears to have been predecessors. This alone implies a great superiority
particularly rich in paintings, for he terms it a in his works. He appears to have emancipated
picture-gallery " (rnlatKoceoOll, xiv. p. 637). painting from its archaic rigidity; and his works
Consecrated or votive pictures on panels or tablets probably occupied a middle place between the
(rivaKceEs aYaKCelUo/lEV, or ypapal avaceitzEvaL) con- productions of the earlier school and those of Polystituted a considerable portion of the cu'aaOtlara gnotus of Thasos.
or votive offerings in the temples of Greece, most At the time of Polygnotus (n. c. 460), partly on
of which in a later period had a distinct building account of the changes which took place in the
or gallery (o'lmwua) attached to them disposed for Greek character subsequent to the Persian invasion,
the reception of pictures and works of this class. and partly in consequence of his ownI great works
(Paus. i. 22. ~ 4, x. 25. ~ 1i 2; Ath. xiii. p. 606, b.; in Athens and at Delphi, painting attracted the
Strab. ix. p. 396.) attention of all Greece; but previous to this time,
After the decline of the Ionian art, painting the only cities that had paid any considerable atflourished amongst the Greeks in Italy and Sicily, tention to it, were Aegina, Sicyon, Corinth, and
and especially in Crotona, Sybaris, and Tarentum. Athens. Sicyon and Corinthhad long been famnous
Aristotle (de Vlfirab. A escult. c. 99) speaks of a for their paintings upon vases and upon articles of
magnificent cloth or pallium (cyastorv) of Alcis- furniture; the school of Athens was of much later
thenes of Sybaris, which measured 15 cubits, was date than the others, and had attained no celebrity
of the richest purple, and in it were worked the whatever, until the arrival of Polygllotaus from
representations of cities, of gods, and of men. It Thasos raised it to that pre-eminence vwhich,
came afterwards into the possession of the tyrant through various circumstances, it continued to
Dionysius the elder, who sold it to the Carthagi- maintain for more than two centuries, although
nians for 120 talents. This is sufficient evidence very few of the great painters of Greece were naof the existence of painting among the Italiots, tives of Athens.
and even of painting of a high degree. It has been attempted hitherto, as far as our
Pliny would induce us to believe that painting space would admit of, to trace the progressive steps
was established throughout Italy as early as the of Grecian painting from its inftancy, until it attime of Tarquinius Priscus (H. N. xxxv. 6). Ile tained that degree of development requisite to enmentions solne most ancient paintings at Caere; title it to the name of an independent art; but
and a naked group of Helen and Atalanta, of before entering upon the consideration of the paintbeautiful forms, painted upon the wall of a temple ing of the Greeks in its complete development, it
at Lanuvium, and some paintings by the same will be wellto examine both their technic systems
artist in the temple of Juno at Ardea, accompanied and their mechanical means.
-with an inscription in ancient Latin characters, VI. TeeCzliC. - Vehicles, Materials, r&c. (cpdprecording the name of the artist and the gratitude /aKa, eSal, &c., Pollux, vii. 128). The Greeks
of Arden. (11. N. xxxv. 6, 37.) painted wvith wax, resins, and in water colours, to
V. Paiztinz/ in Greece. Cimon of Cleonae is which they gave a proper consistency, according to
the first important personage we meet with in the the material upon which they painted, with gumit
history of painting in Greece. His exact period (geun2zmi), glue (glttinzlom), and the white of egg
is very uncertain, but lie was probably a contem- ((ovi a/lznenz); gum and glue were the most comporary of Solon, and lived at least a century before mon. It does not appear that they ever painted
Polygnotus. It is not at all necessary, as Pliny in oil; the only mention of oil in ancient writers
supposes, that he must have preceded Bularchus, in connection with painting, is the small quantity
which would place him very much earlier; as he which entered into the composition of encaustic varmay easily have acquired the art in one of the nish, to temper it. (Vitruvius, vii. 9; Plin. I-I. T.
Ionian cities, for in the time of Solon there was a xxxiii. 40.) They painted upon wood, clay, plaster,
very extensive intercourse between Greece and the stone, parchment, and canvas; the last was, accordAsiatic colonies. The superior quality of the ing to one account (Plin. H. N. xxxv. 33), not used
works of Cimon, to which Pliny and Aelian bear till the time of Nero; and though this statement
sufficient testimony, is a strong reason for assigning appears to be doubtful (" depictam in tebhula
him a later date; but his having been contem- sipuariove imaginem rei," (Quint. Inst. Or. vi. 1. ~
porary with Dionysius of Colophon, who imitated 32; see Raoul-Rochette, p. 331). the use of canthe works of Polyginotus, is quite out of the ques- vas must have been of late introduction, as there
tion. This has been inferred from the occurrence is no mention of it having been employed by the
of the name Cimon in connection writh that of Greek painters of the best periods. They generally
Dionysius in Simonides (AntLol. Pal. ix. 758, and painted upon panels or tablets (7rivaces, 7rtmMciaK
in Append. ii. p. 648); but as MUiller (A.dvcisologie, tcabl/ae, ta)ellae), and very rarely upon walls;
~ 99. 1) has observed, Mloswvs ought to be there and an easel simlilar to what is now used, was
most probably substituted for Klg.te'. common among the ancients, who called it oKpicias
Cimon improved upon the inventions of Eumarus; or icaxAvas. (Pollux, vii. 129.) Even in the
he was the first who made foreshortenings (card- time of Pliny, when wvall-painting was conmmion,
graphia), and drew the figure in a variety of atti- those only who painted easel-pictures (tatllue)
tudes; he first made muscular articulations, indi- were held in esteem: " sed nalla gloria artificumn est