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

PICTURA. PICTURA. 911
philus had the reputation of being the most scientific constituted the light of the picture. Pliny (I. c.)
artist of his time; and such was his authority, tells us that Apelles glazed his pictures in a nmanner
says Pliny (It. T. xxxv. 36), that chiefly through peculiar to himself, and in which no one could
his influence, first in Sicyon, then throughout all imitate him. WVhen his works were finished he
Greece, noble youths were taught the art of draw- covered them with a dark transparent varnish
ing before all others: the first exercise was pro- (most probably containing asphaltum), which had
bably to draw a simple line. (rpaAs/~,c EAlciCral, a remnarkable effect in harmonizing and toning the
Pollux, vii. 128; see further, respecting the school colours, and in giving brilliancy to the shadows.
of Pamphilus, Dict. of Biog. s. v.) Sir J. Reynolds discovered in this account of Pliny
Nicomachus of Thebes was, according to Pliny "an artist-like description of the effect of glazing
(I. c.), the most rapid painter of his time; but or sculnbling, such as was practised by Titian and
he was as conspicuous for the force and power the rest of the Venetian painters." (Notes to
of his pencil as for its rapidity; Plutarch (Ti7zol. hresn. 37.) There is a valuable though incidental
36) compares his paintings with the verses of remark in Cicero (de Nat. Deor. i. 27), relating to
Homer. Nicomachus had many scholars, of whom the colouring of Apelles, where he says, that the
Plciloxenus of Eretria was celebrated as a painter tints of the Venus Anadyomene were not blood,
of battles; a battle of Alexander and Dareius by but a resemblance of blood. The females, and the
him is mentioned by Pliny ([I. N. xxxv. 36) as one pictures generally, of Apelles, were most probably
of the most celebrated paintings of antiquity; but simple and unadorned; their absolute merits, andthey were all surpassed by his own brother Aris- not their eff'ect, constituting their chief attraction.
teides, who appears to have been the greatest master See further Dict. of Biog. s. v.
of expression among the Greeks. We must, how- Protogenes of Caunus, a contemporary of Apelever, apply some modification to the expression les, was both statuary and painter; he was reof Pliny (I. c.), that Aristeides first painted the markable for the high finish of his works, for a
mind and expressed the feelings and passions of detailed account of which, as well as of his life and
man, since ie07l, as it is explained by Pliny in this his relations with Apelles, see Diet. of Biog. art
passage, cannot be denied to Polygnotus, Apollo- Protogenes.
dorus, Parrhasius, Timanthes, and many others. Euphranor, the Isthnlian, was celebrated equally
(See further Diet. of Biog. art. Aristeides.) as painter and statuary; he was, says Pliny (1i. N.
Pausias of Sicyon painted in encaustic, with the xxxv. 40), in all things excellent, and at all times
cestrum, and seems to have surpassed all others in equal to himself. He was distinguished for a pecuthis method of painting; he was the pupil of Pam- liarity of style of design; he was fond of a muscular
phillls, and the contemporary of Apelles. Pausias limb, mlaid adopted a more decided anatomical diswas conspicuous for a bold and powerful effect of play generally, but he kept the body light, in prolight and shade, which he enhanced by contrasts portion to the head and limbs. Pliny says that
and strong foreshortenings. (Dict. of Biog. s..) Euphranor first represented heroes with dignity.
Apelles was a native of Ephesus or of Colo- Parrhasius was said to have established the canon
phon (Suidas, s. v.), according to the general of art for heroes; but the heroes of Parrhasius
testimony of Greek writers, although Pliny (I.c.) were apparently more divine, those of Euphranor
terms him of Cos. Pliny asserts that le sur- more humnan. We have examples of both these
passed all who either preceded or succeeded him; styles, inl the kindred art of sculpture, in the Apollo
the quality, however, in which he surpassed all and the Laoco6n, and in the Meleager and the
other painters will scarcely bear a definition; it Gladiator, or the Antinous and the Discobolus.
has been termed grace, elegance, beauty, XdpLs, It was to this distinction of style which Euphranor
tre(estcas. Fuseli (Lee. 1) defines the style of it. apparently alluded, when he said that the Theseus
Apelles thus: — His great prerogative consisted of Parrhasius had been fed upon roses, but his own
msore in the unison than the extent of his powers; upon beef. (Plut. de Gloer. Atllen. 2; Plin. 1. c.)
lie knew better what he could do, what ought to Euphranor painted in encaustic, and executed many
be done, at what point he could arrive, and what famous works; the principal were a battle of Malnlay beyond his reach, than any other artist. Grace tineia, and a picture of the twelve gods. (Plin. 1. c.;
of conception and refinement of taste were his ele- Plut.. c.; Pans. i. 3; Lucian, Isnag. 7; Valer.
mients, and went hand in hand with grace of exe. Max. viii. 11. ~ 5; Eustath. ad II. i. 529, &c.)
cution and taste in finish; powerful and seldom, Nicias of Athens was celebrated for the delicacy
possessed singly, irresistible when united." with which he painted females, and for the rich
The most celebrated work of Apelles was per- tone of chiaroscuro which distinguished his painthaps his Venus Anadyomene, Venus rising out of ings. He also painted in encaustic. His most
the waters. (Diet. of' Bioq. art. Apelles.) celebrated work was the,eIKv'a, or the region of
Hle excelled in portrait, and indeed all his the shades, of Homer (eceromantiac 1omeri), which
works appear to have been portraits in an ex- he declined to sell to Ptolemy I. of Egypt, who
tended sense; for his pictures, both historical and had offered 60 talents for it, and preferred preallegorical, consisted nearly all of single figures. senting to his native city, Athens, as he was then
1-e enjoyed the exclusive privilege of painting the sufficiently wealthy. Nicias also painted some of
portraits of Alexailder. (Hor. Agl~. ii. 1. 239.) One the marble statues of \Praxiteles. (Plin. II. NA.
of these, which represented Alexander wielding xxxv. 40; Plut. lior-. Epicclr. 11; see No.VIII.)
the thunderbolts of Jupiter, termed the Alexander Athenion of Maronea, who painted also in enKepUvvoqpcoos appears to have been a masterpiece caustic, was, according to Pliny (I. c.), conmpared
of effect; -the hand and lightning, says Pliny, with, and even preferred by some to Nicias; he
seenced to start from the picture, and Plutarch was more austere in colouring, but in his austerity
(Alex. 4) informs us that the complexion was more pleasing, and if he had not died young, says
browner than Alexander's, thus making a finer Pliny, he would have surpassed all men in paintcontrast wit.h the fire in his hland, which apparently ing. lie appears to have looked upon colours as a