A Dictionary of Greek and Roman biography and mythology. By various writers. Ed. by William Smith. Illustrated by numerous engravings on wood.

162 PAUSIAS. PAUSIAS.
The edition of C. G. Siebelis, Leipzig, 1822- lived at Sicyon, where also Pausias passed his
1828, 5 vols. 8vo, has an improved text, and the life. He was thus perpetually familiar with those
corrected version of Amaseo, with a copious com- high principles of art which the authority of Pammentary and index. The edition of Imm. Bekker, philus had established at Sicyon, and with those
Berlin, 1826-7, 2 vols. 8vo, is founded solely on great artists who resort to that city, of which Pliny
the Paris MS. 1410, and the few deviations from says, diu fuit illa patria picturae.
the text are noted by the editor; there is a very The department of the art which Pausias most
good index to this edition. The latest edition is practised, and in which lie received the instruction
by J. H. C. Schubart and C. Walz, Leipzig, of Pamphilus, was painting in encaustic with the
1838-40, 3 vols. 8vo. There is a French trans- cestrumn, and Pliny calls him priunum in hoc yenere
lation by Clavier, with the Greek text collated nobilent. Indeed, according to the same writer, his
after the Paris MSS. Paris, 1814, &c, 6 vols. 8vo. restoration of the paintings of Polygnotus, on the
The latest German translation is by E. Wiedasch, walls of the temple at Thespiae, exhibited a striking
Munich, 1826-29, 4 vols. 8vo. There is an inferiority, because the effort was made in a departEnglish translation by Thomas Taylor, the trans- ment not his own, namely, with the pencil.
lator of Plato and Aristotle, which in some pas- Pausias was the first who applied encaustic
sages is very incorrect. [G. L.] painting to the decoration of the ceilings and walls
PAUSA'NIAS (Iuavcavtas). 1. A commentator of houses. Nothing of this kind had been pracon Heracleitus, hence surnamed'HpaKAEsrls7fs. tised before his time, except the painting of the
(Diog. LaiSrt. ix. 15.) ceilings of temples with stars.
2. A Lacedaemonian historian, who, according The favourite subjects of Pausias were small
to Suidas (s. v.), wrote, IHEpl'EAX7lo7rr0'ov, AaKw- panel-pictures, chiefly of boys. His rivals imvKli, XpovIKua,?repl'AjUpKCvv0VV,, 7repl rT3v & Ad'- puted his taste for such small pictures to his want
IKcolV eoprZv. He is probably the author referred of ability to paint fast: whereupon he executed a
to by Aelian and Arrian (Tactic. c. 1) as having picture of a boy in a single day, and this picture
written on the subject of Tactics. [W. M. G.] became famous under the name of hemneresios (a
PAUSA'NIAS (nlavoavias), the name of two day's work).
Greek physicians. Another celebrated picture, no doubt in the
i. A native of Sicily in the fifth century B. c., same style, was the portrait of Glycera, a flowerwho belonged to the family of the Asclepiadae, girl of his native city, of whom he was enamoured
and whose father's name was Anchitus. He was when a young man. The combined force of his
an intimate friend of Empedocles, who dedicated affection for his mistress and for his art led him to
to him his poem on Nature. (Diog. Lairt. strive to imitate the flowers, of which she made
viii. 2. ~ 60; Suidas, s.v. vA rov s; Galen, De the garlands that she sold; and he thus acquired
iMeth. Med. i. 1. vol. x. p. 6.) There is ex- the greatest skill in flower-painting. The fruit of
tant a Greek epigram on this Pausanias, which these studies was a pictutre of Glycera with a garis attributed in the Greek Anthology to Simonides land, which was known in Pliny's time as the
(vii. 508), but by Diogenes Lairtius (I. c.) to Stephaneplocos (garland-weaver) or Stephanepolis
Enmpedocles. The latter opinion appears to be (garland-seller). A copy of this picture (apogramore probable, as he could hardly be known to phon) was bought by L. Lucullus at the Dionysia
Simonildes, who died B. c. 467. It is also doubtful at Athens for the great sum of two talents.
whether he was born, or buzried, at Gela in Sicily, Another painting is mentioned by Pliny as the
as in this same epigram Diogenes Laertius reads finest specimen of Pausias's larger pictures: it was
f'OpEhe FehAa, and the Greek Anthology EdOauE preserved in the portico of Pompey at Rome.
re'Aa. Perhaps the former reading is the more This picture was remarkable for striking effects of
correct, as it seems to be implied by Diogenes foreshortening, and of light and shade. It repreLa'rtius that Pausanias was younger than Empe- senting a sacrifice: the ox was shown in its whole
docles, and we have no notice of his dying young, length in a front and not a side view (that is, poweror being outlived by him. fully foreshortened): this figure was painted black,
2. A physician who attended Craterus, one of while the people in attendance were placed in a
the generals of Alexander the Great, and to whom strong white light, and the shadow of the ox was
the king addressed a letter when he heard he was made to fall upon them: the effect was that all
going to give his patient hellebore, enjoining him the figures seemed to stand out boldly from the
to be cautious in the use of so powerful a medi- picture. Pliny says that this style of painting
cine, probably about B. c. 324. (Plut. Alex. was first invented by Pausias; and that many had
c. 41.) [W. A. G.] tried to imitate it, but none with equal success.
PAUSA'NIAS (Ilavouavtas), artists. 1. A (Plin. H.N. xxxv. 11. s. 40.)
statuary, of Apollonia, made the statues of Apollo Pausanias (ii. 27. ~ 3) mentions two other
and Callisto, which formed a part of the great paintings of Pausias, which adorned the Tholus
votive offering of the Tegeans at Olympia. He at Epidaurus. The one represented Love, having
flourished, therefore, about B. c. 400. (Paus. x. 9. laid aside his bow and arrows, and holding a lyre,
~ 3; DAEDALUS II.) which he has taken up in their stead: the other
2. A painter, mentioned by Athenaeus as a Drunkenness (M48o), drinking out of a glass gobwropvoypacpos, but otherwise unknown. (Ath. xiii. let, through which her face was visible.
p. 567, b.) [P. S.[ Most of the paintings of Pausias were probably
PAU'SIAS (ilavefas), one of the most distin- transported to Rome, with the other treasures of
guished painters of the best school and the best Sicyonian art, in the aedileship of Scaurns, when
period of Greek art, was a contemporary of Aris- the state of Sicyon was compelled to sell all the
teides, Melanthius, and Apelles (about B.c. 360- pictures which were public property, in order to
330), and a disciple of Pamphilus. He had pre- pay its debts. (Plin. 1. c.)
viously been instructed by his father Brietes, who Pliny (1. ~ 31) mentions Aristolaus, the son