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

':i130 PICTURA. PICTURA.
Scyon were the principal seats of the art at this able works of art, still the execution was surpassed
period. by the invention. As asl instance of the ingenuity
Apellodorts, says Plutarch, invented tone (qOopav of his invention, Plinly (IH. N. xxxv. 36. ~ 6) menKCel a3lrdXPopwiv arqaLs), which is well defined by tions a sleeping Cyclops that he painted upon a
Fuseli (Lec. 1) as " the element of the ancient small panel, yet conveyed an idea of his gigantic'Ap/toyl, that imperceptible transition, which, with- form by means of some small satyrs who were
out opacity, confusion, or hardness, united local I painted measuring his thumb with a thyrsus. He
colour, demitint, shade, and reflexes." This must, was celebrated also for a picture of the sacrifice of
however, not be altogether denied to the earlier Tphigenia. (See the admirable remarks of Fuseli
painters; for Plutarch himself (Ti7ol. 36) attri- upon this picture, Lecture i.) Timanthes defeated
bntes the same property to the works of Dionysins Parrhasius in a professional competition, in which
(iaXbv'xeovra rKal -drov), though in a less degree. the subject was the contest of Ulysses and Ajax
The distinction is, that what in the works of Dio- for the arms of Achilles. (Aelian, i. c.; Plin.. c.)
nysius was really merely a gradation of light anzd Eupompus of Sicyon was the founder of the
shade, or gradual diminution of light, was in those celebrated Sicyonian school of painting which was
of Apollodorus a gradation also of tints, the tint afterwards established by Pamphilus. Such was
gradually changing according to the degree of light. the influence of Eupompus's style, that he added a
The former was termed ro',os, the latter &p/yoTl; third, the Sicyonic, to the only two distinct styles
but the English term tone, when applied to a co- of painting then recognized, the HIelladic or Grecian
loured picture, comprehends both; it is equivalent and the Asiatic, but subsequently to Eupompns disto the " splendor " of Pliny. (H. Au. xxxv. 11.) tinguished as the Attic and the Ionic; which with
Apollodorus first painted men and things as they his own style, the Sicyonic, henceforth constituted
really appeared; this is what Pliny (H. N. xxxv. the three characteristic styles of Grecian paint36) means by " Hic primus species exprimnere insti- ing. (Plin. H. N. xxxv. 36. s. 7.) We may judge,
tuit.5" The rich effect of the combination of light from the advice which Eupompus gave Lysippus,
and shade with colour is also clearly expressed in that the predominant characteristic of this style was
the words which follow: "primusque gloriam individuality; for upon being consulted by Lysippenicillo jure contulit; " also, "neque ante eum pus whom of his predecessors he should imitate, he
tabula ullius ostenditur, quae teneat oculos." We is reported to have said, pointing to the surrounding
may almost imagine the works of a Rembrandt to crowd, "Let nature be your model, not an artist."
be spoken of; his pictures rivetted the eye. (Plin. II. A. xxxiv. 19. s. 6.) This celebrated
Through this striking quality of his works, he was maxim, which eventually had so much influence
surnamed the shadoswer, atlaTypdeoS. (Hesychius, upon the arts of Greece, was the first professed
s, v. Comp. further Diet. of Biog, s. v.) deviation from the principles of the generic style of
Zeuxis combined a certain degree of ideal form Polygnotus and Pheidias.
with the rich effect of Apollodorus. Qlsintilian XIII. Period of RefiCn7eme1t. The art of this
(1. c.) says that he followed Homer, and was period, which has been termed the Alexandrian,
pleased with powerful forms even in women. because the most celebrated artists of this period
Cicero (Bzrt. 18) also praises his design. Zeuxis lived about the time of Alexander the Great, was
painted many celebrated works, but the Helen of the last of progression or acquisition; but it only
Croton, which was painted from five of the most added variety of effect to the tones it could not imbeautiful virgins in the city, was the most re- prove, and was principally characterised by the
nowned, and under which he inscribed three verses diversity of the styles of so many contemporary
(156-158) in the third book of the Iliad. (Valer. artists. The decadence of the art immediately
Max. iii. 7. ~ 3; Cic. de Invent. ii. I; Aelian, succeeded; the necessary consequence, when, in1. H. iv. 12, &c.) Stobaeus (Sern1. 61) relates stead of excellence, variety and originality became
an anecdote of the painter Nicomachls and this the end of the artist. "Floruit circa Philippum,
Helen, where the painter is reported to have ob- et usque ad successores Alexandri," says Quintiserved to one who did not understand why the lian (. c.), " pictura praecipue, sed diversis virtutipicture was so much admired, " Take my eyes bus " and he then enumerates some of the princitmid you will see a goddess." ~re learn from pal painters of this time, with the excellencies for
another anlecdote, recorded by Plutarch (P'ericl. 13), which each was distinguished. Protogenes was
that Zeuxis painted very slowly, distinguished for high finish; Pamphilus and MeParrhasius is spoken of by ancient writers in laiuthius for composition; Antiphilus for facility;
terms of the very highest praise. He appears to Theon of Samos for his prolific fancy; and for
have combined the magic tone of Apollodorus, and grace Apelles was unrivalled; Euphranor was in
the exquisite design of Zeuxis, with the classic in- all things excellent; Pausias and Nicias were revention and expression of Polygnotus; and lie so mrarkable for chiaroscuro of various kinds; Nicodefined all the powers and ends of art, says Quin- machnus was celebrated for a bold and rapid pencil;
tilian (I. c.), that he was called the " Legislator." and his brother Aristeides surpassed all in the depth
He was himself not less aware of his ability, for of expression. Tihere were also other painters of
lie termed himself the prince of painters. ('EAAX- great celebrity during this period: Philoxenus of
-'sV 7rpCTca dE'pOv7a Te'Xy'qS, Athen. xii. p. 543, c.) Eretria, Asclepiodorus of Athens, Athenionl of
He was, says Pliny (II. N. xxxv. 36), the most 1M\arone, Echion, Cydias, Philochares, Theoernesinsolent and most arrogant of artists. (Compare tus, Pyreicus, &c.
Athen. xv. p. 687, b.; and Aelian, V. H. ix. 1].) This general revolution in the theories and pracTimanthes of Cythnus or Sicyon, was distin- tice of painting appears to have been greatly owing
guished for invention and expression; the par- to the principles taught by Eupompus at Sicyon.
ticular charml of his invention was, that he left Pamphilus of Amphipolis succeeded Eupomplos in
much to be supplied by the spectator's own fancy; the school of Sicyon, which from that time became
aid although his productions were always admuir- the most celebrated school of art in Greece. Pam