PAMPHILUS. 



PAN.ENUS. 



654 



He was introduced to King Charles II. by the celebrated Coello, and 

 obtained through the friendship of Carenno a commission to paint the 

 gallery Del Ciervo. He painted the history of Psyche so entirely to 

 the king's satisfaction that he gave him the title of his principal painter 

 and a considerable pension. He obtained such numerous commissions 

 that notwithstanding his extraordinary industry he was often unable 

 to do more than furnish the design, leaving it to be finished by his 

 pupil, Dionisco VidaL His reputation continued to increase, and all 

 hia works, which he executed at Valencia, Salamanca, Granada, and 

 Cordova, to which cities he was successively invited, were highly 

 approved. It has been a reproach to him that among some of his 

 grandest works, such as the ' Confession of St. Peter ' in the cathedral 

 of Valencia, and those in the cathedral of Cordova, his figures are too 

 faithful transcripts of ordinary life. What he executed himself, 

 whether in oil or in fresco, is distinguished by invention and drawing, 

 and hia perspective and colouring are admirable. He died at Madrid 

 April 13, 1726. 



Palomino is the author of a work in three parts, theoretical, prac- 

 tical, and biographical. The first two bear the title of ' El Museo 

 pictorico y Escala Optica ; ' the third part, ' El Parnaso Espanol pic- 

 torico, tomo terc-iro," Madrid, 1724, though perhaps only intended as 

 an appendix to the two others, is by far the moat important and inter- 

 eating, but the work is disfigured by carelessness in dates, credulity, 

 prolixity, and want of judgment. 



PA'MPHILUS was a native of Amphipolis (Suidas, 'Apelles'), but 

 he studied his art under Eupompus of Sicyon, and succeeded in 

 establishing the school which his master founded. Eupompus was a 

 native of Sicyon and the founder of the Sicyonian school of painting. 

 He introduced a new style of art, and added a third, the Sicyonic, to 

 the till then only acknowledged two distinct styles of painting, known 

 previously as the Helladic and the Asiatic, but subsequently to 

 Eupompus as the Attic and the Ionic. These two styles, with the 

 Sicyouic, henceforth formed the three characteristic styles of Grecian 

 painting. ('Pliny,' xxxv. 10, 36.) Through his pupil Pamphilus, 

 Eupompus established those principles of art which Euphranor, 

 Apellea, Protogenes, and Aristides successfully developed. 



The characteristics of the Sicyonic school were, a stricter attention 

 to dramatic truth of composition, and a finer and a more systematic 

 style of design. The leading principles of Eupompus were, that man 

 should be represented as he actually appears, not as he really is, and 

 that nature herself was to be imitated, not an artist. (' Pliny ,' xxxiv. 

 8, 19.) Such was the answer which Eupompus gave to Lysippus, upon 

 being asked by him which of his predecessors he should imitate. 



Pamphilus succeeded Eupompus in the school of Sicyon, and 

 taught his principles to Apelles. He was, says Pliny (xxxv. 10, 36), 

 the first painter who was skilled in all the sciences, " omnibus literis 

 eruditus," particularly arithmetic and geometry, without which he 

 denied that art could be perfected. By arithmetic and geometry we 

 must understand those principles of the art which can be reduced to 

 rule : by arithmetic, the system of the construction and the propor- 

 tions of the parts of the human body ; by geometry, perspective and 

 optica, at least so much of them as is necessary to give a correct repre- 

 sentation of and a proper balance to the figure. Flaxman properly 

 explains the terms by the rules of proportion and motion ; and he 

 remarks farther, that "it is impossible to seethe numerous" figures 

 springing, jumping, dancing, and falling in the Herculaneum paintings 

 on the painted vases, and the antique basso-relievos, without being 

 assured that the painters and sculptors must have employed geometrical 

 ligur. s to determine the degrees of curvature in the body, and angular 

 or rectilinear extent of the limbs, and to fix the centre of gravity." 



Such was the authority of Pamphilus, says Pliny (xxxv. 10, 36), 

 that chiefly through his influence, first in Sicyon and then throughout 

 all Greece, noble youth were taught the art of drawing before all 

 others ; it was considered among the first of liberal art?, and was 

 practiced exclusively by the free-born, for there was a law prohibiting 

 all slaves the use of the cestrum or graphis. In this school of Pam- 

 pbilus, the most famous of all the schools of ancient painting, the 

 progressive courses of study occupied the long period of ten years, 

 comprehending instruction in drawing, 'arithmetic,' geometry, anatomy, 

 and painting in its different branches. The fee of admission was no 

 less than a talent ('Pliny, xxxv. 10, 36) ; a large fee, for the Attic 

 talent, which is most probably here alluded to, was about 216. sterling. 

 Pliny mentions that Apelles and Melanthius both paid this fee. Apelles 

 studied under Kphorus of Ephesus before he entered the school of 

 Pamphilus at Sicyon. Pausias of Sicyon also studied encaustic under 

 Pamphilus, but Pliny does not inform ua whether he belonged to his 

 school and paid the above-mentioned fee. 



Pamphilus, like his master Eupompus, seems to have been occupied 

 principally with the theory of art and with teaching, for we have very 

 scanty notices of his works. Yet he and his pupil Melanthius, accord- 

 ing to (I ;:ntilkn (xii. 10), were the most renowned among the Greeks 

 for composition. We have accounts of only four of hia paintings, the 

 ' Heraclidae,' mentioned by Aristophanes (Plutus, 386), and three 

 oth"rs mentioned by Pliny the Battle of Phlius and Victory of the 

 Athenians, Ulysses on the Haft, and a relationship, ' cognatio," probably 

 a family portrait; these pictures were all conspicuous for the scien- 

 tific arrangement of their parts, and their subjects certainly afford 

 good materials for fine composition. 



The period of Pamphilus is sufficiently fixed by the circumstance of 

 his having taught Apelles, and he consequently flourished somewhat 

 before and about the time of Philip II. of Macedon, from B.C. 388 

 to about B.C. 348. He left writings upon the arts, but they have unfor- 

 tunately suffered the common fate of the writings of every other 

 ancient artist. He wrote on painting and famous painters. 



PA'MPHILUS was bishop of Csesarea in Palestine, and the intimate 

 friend of Eusebius, who was called Pamphili after him. [EuSEBins.] 

 He is said to have been born at Berytus, and to have been educated 

 by Pierius. He spent the greater part of his life in Csesarea, where he 

 suffered martyrdom in the year 309. 



He was a man of profound learning, and devoted himself chiefly to 

 the study of the Scriptures and the works of Christian writers. 

 Jerome states that he wrote out with his own hand the greater part 

 of Origen's works. He founded a library at Csesarea, chiefly consisting 

 of ecclesiastical works, which became celebrated throughout tho 

 Christian world. It was destroyed before the middle of the 7th cen- 

 tury. He constantly lent and gave away copies of the Scriptures. 

 Both Eusebius and Jerome speak in the highest terms of his piety 

 and banevoleuce. Jerome states that Pamphilus composed an apology 

 for Origen before Eusebius ; but at a later period having discovered 

 that the work which he had taken for Pamphilus's was only the first 

 book of Eusebius's apology for Origen, he denied that Pamphilus 

 wrote anything except short letters to hia friends. The truth seems 

 to be that the first five books of the ' Apology for Origeu ' were com- 

 posed by Eusebius and Pamphilus jointly, and the sixth book by 

 Eusebius alone, after the death of Pamphilus. Another work which 

 Pamphilus effected in conjunction with Eusebius was an edition of 

 the Septuagint, from the text in Origen's ' Hexapla,' This edition 

 was generally used in the Eastern church. Montfaucou and Fabricius 

 have published ' Contents of the Acts of the Apostles ' as a work of 

 Pamphilus; but this is in all probability the production of a later 

 writer. 



Eusebius wrote a 'Life of Pamphilus,' in three books, which is now 

 entirely lost, with the exception of a few fragments, and even of these 

 the genuineness is extremely doubtful .We have however notices of 

 him in the ' Ecclesiastical History ' of Eusebius (vii. 32), and in the 

 'De Viris Illustribus' and other works of Jerome. (Lardner's ' Credi- 

 bility,' part. ii. c. 59, and the authorities there quoted.) 



PAN^iNUS of Athens, the brother or the nephew of Phidias, the 

 former according to Pliny and Pausanias, the latter according to 

 Strabo, was one of the first of the Greeks who attained to any great 

 excellence in painting ; but he has been very improperly termed by 

 some the Cimabue of tho Greeks, for although the contemporary, he 

 was many years the junior of Polyguotus, Micon, and Dionysius of 

 Colophon, who had all deservedly attained the greatest fame in Athens 

 considerably before his time. 



Pauanus assisted Phidias in decorating the Olympian Jupiter, but 

 his most famous work was the ' Battle of Marathon ' in the Pcecile at 

 Athens; it contained the Iconics or portrait figures of Miltiados, 

 Callirnachus, Cyntegirius, generals of the Athenians, and of Datis and 

 Artaphernes, generals of tho barbarians (Pliny, xxxv. 8, 34) ; their 

 respective names were not attached to the figures in this instance 

 (^Eschines ' Against Ctesiphon '), that having already become an anti- 

 quated custom. These Iconics have been considered to signify portraits 

 in the fullest sense of the term, but tho picture of Panaanus cannot 

 have been painted much less than 40 years after the battle of Mara- 

 thon took place, and nearly as many after the deaths of most of the 

 above-named generals ; for the Pcecile was built by Ciinon in the third 

 year of the 77th Olympiad, 20 years after the battle of Marathon ; 

 the Olympian Jupiter was painted in the 86th, 35 years later, and 

 Pliny mentions the 83rd as the period of Panaeuus. The portraiture 

 therefore, unless taken from earlier pictures, which is very improbable, 

 must in this instance have been confined to the costume and decora- 

 tions of generals as known to have been worn by them upon the 

 occasion; and the 'Iconics' consequently, whether paintings or 

 statues, although sometimes portraits in countenance as well as in 

 figure were apparently not necessarily so. 



The painting of the Battle of Marathon was in four great divisions ; 

 the first represented the positions of the two armies before the battle, 

 the second and third the principal incidents during the battle, and 

 the fourth the total rout and flight of the Persians ; each in itself an 

 extensive composition and forming an independent picture. (Pausa- 

 nias, i. 15.) It appears that Micon assisted Pansenus in painting these 

 pictures, and was fined 30 mince (10S), for having painted the 

 barbarians larger than the Greeks. 



The paintings and decorations of the Olympian Jupiter by Panamus 

 were on the throne and on the wall around the throne of the statue. 

 (Strabo, viii. p. 354.) The subjects of the paintings were, Atlas 

 supporting Heaven and Earth, with Hercules near him about to 

 relieve him from his burden ; Theseus and Peirithous ; figures 

 representing Greece and Salamis, tho latter bearing the rostra of a 

 ship in her hands ; the Combat of Hercules with the Nemean Lion; 

 Ajax and Cassandra; Hippodamia, the daughter of O3noinaus, 

 with her mother ; Promothuus chained, and Hercules preparing to 

 destroy tho Vulture which preyed upon him; and Penthesilea dyi .:.; 

 supported by Achilles, with Hesperian nymphs bearing fruit. (1'au- 

 tanias, v. 11.) 



