2/4 PLINI-'S NATURAL HISTORY. [Book XXXV. 



peius. In this painting he invented several improvements, 

 which many artists have since imitated, but none with the 

 same success. Although in the picture it was particularly his 

 desire to give an impression of the length of the ox, he 

 painted it with a front view and not sideways, and still has 

 caused the large dimensions of the animal to be fully under- 

 stood. And then too, whereas all other painters colour in 

 white such parts as they wish to have the appearance of 

 being prominent, and in black such portions as are intended 

 to remain in the back-ground, he has painted the whole of the 

 ox of a black colour, and has shown the dimensions of the 

 body which throws the shadow by the medium of the shadow 

 itself; thus evincing a wonderful degree of skill in showing 

 relief upon a coat painted with a single colour, and conveying 

 an impression of uniform solidity upon a broken ground.*'' It 

 was at Sicyon also that Pausias passed his life, a city which 

 for a long time continued to be the native place of painting. 

 Ultimately, all the paintings belonging to that place were sold 

 by public auction for the discharge of the debts owing by the 

 city, and were transferred to Kome in the aedileship of 

 Scaurus.''^ 



Next to him, in the hundred and fourth Olympiad, Eu- 

 phranor,^'' the Isthmian, distinguished himself far beyond all 

 others, an artist who has been already mentioned in our 

 account of the statuaries. He executed some colossal figures 

 also, and some statues in marble, and lie chased some drinking- 

 vessels ; being studious and laborious in the highest degree, 

 excellent in every branch, and at all times equal to himself. 

 This artist seems to have been the first to represent heroes with 

 becoming dignity, and to have paid particular attention to sym- 

 metry. Still, however, in the generality of instances, he has 

 made the body slight in proportion to tlie head and limbs. He 

 composed some treatises also upon symmetry and colours. His 

 works are, an Equestrian Combat f^ the Twelve Gods ; and a 



*7 " In confracto." Meaning probably the group of tbe surrounding 

 spectators, on which the shadow of tlic animal's body wastlirown. *' It is 

 evident tliat this artist excelled in his effect of light and shade, enhanced 

 by contrasts, and strong foreshortenings." — Woniura, Smith's Diet. Antiq. 

 Art. Fainting. 



^^ A.u.c. 678. See B. xxxvi.c. 24. " Mentioned also in B. xxxiv.c. 19.. 



^ Praised by Pausanias, V,. i. It was in tliis combat, he says, tliatGryl- 

 lus, the son of Xenophon, and Epaminondas the Tlieban, first distinguished 

 tliemselves. 



