T I M 



463 



T I M 



We learn from Pliny also that the" picture of Medea was 

 not finished ; its completion was interrupted apparently 

 by the death of the painter, yet it was admired, he says, 

 more than any of the finished works of Timomachus, as 

 was the case likewise with the Iris of Aristides, the Tyn- 

 daridfe of Nicomachus, and a Venus by Apelles, which 

 were more admired than any of the finished works of their 

 respective masters. This picture is noticed also by Plu- 

 tarch < D, And. Poet., 3) in a passage where he speaks of 

 the representation of improper subjects, but which we ad- 

 mire on account of the excellence of the execution. 



In the common text of Pliny, Timomachus is said to be the 

 contemporary of Caesar (' Julii Caesaris aetate '), but Durand, 

 in his ' Histoire de la Peinture Ancienne,' &c., expresses 

 an opinion that the word aetate is an addition of the 

 ;^t, for which he a.s=i<rns several reasons. The con- 

 jecture has much in its favour ; the price of these pictures 

 i 17.2HU/. i is enormous, if we suppose it to have been paid 

 to a living painter ; but on the contrary it is a case with 

 many parallels if we suppose the money to have been 

 paid tor two of the reputed masterpieces of antient paint- 

 incr. The fact of the Medea being unfinished puts it 

 beyond a doubt that the picture was "not purchased of the 

 painter himself; and from a passage in Cicero < In l r err., \. 

 iv., c. 60) it seems equally clear that both pictures were 

 purchased of the city of Cyzicus ; and from the manner in 

 which they are mentioned with many of the most celebrated 

 productions of the antient Greek artists, it would appear 

 that they were works of .similar renown, and were likewise 

 of an artist long since deceased. Timo- 

 machus was therefore most probably a contemporary of 

 I*auias, Nicias, and other encaustic painters, about 300 B.C. 

 Pliny himself, elsewhere speaking of fimomaehus, mentions 

 him together with the more antient and most celebrated 

 pain 1 <-e, with Nieomachus, Apelles, and Aris- 



tUNt, M in the passage above quoted. 



Pliny mentions also the following works of Timoma- 



: an Orestes; an Iphigema in Tauris ; Lecythion, a 



gymnasiast ; a 'eognatio nobilium ;' two philosophers or 



others, with the pallium, about to speak, one standing, the 



othci -id a very celebrated picture of a Gorgon. 



TIM ,i/), a Greek poet and philosopher who 



lived in the reign of Ptolemaeus Philadetphus, about 270 



1J.C. He v. i of Timarchus, and a native of Phlitis 



territory of Sicyon. He studied philosophy under 



ra, and under Pyrrho, in Elis. 1U" 

 'ly spent some time in the countries north of the 

 n, and thence went to Athens, where he passed the 

 remainder of his life, and died in the ninetieth year of 



ige. 



Diogenes Laertixis, who has written an account of 

 Timon (ix.. <. 12:, ascribes to him epic poems, 60 tragedies, 

 sntyric dramas, 30 comedies, silli 'T<\AOI), and cinaedi 

 (fivnifot) or licentious songs. The silli however appear to 

 have been the kind of poetry in which he excelled. They 

 were satires directed against the arrogance and pedantry 

 <>!' the learned. Timon wrote th;re books of silli fAthe- 

 naeiis, vi., p. 2ol : vii., p. 279), in which he parodied all 

 the dogmatic philosophers of Greece: he himself was a 

 tic. The metre of these poems was the hexameter, 

 and it appears that sometimes he took whole passages from 

 Homer which he applied as parodies. In the first book 

 Timon spoke in his own person ; in the second and third 

 the form of the poems was that of a dialogue, in which he 

 .on versed with Xenophanes of Colophon, who was sup- 

 ; to have been the inventor of the silli. (Diogenes 

 I.aert., ix. 1110 We now only possess a few fragments of 

 these poems, which show that in their way they must 

 have been admirable productions. They are collected in 

 II. Sit-phaniis, ' Poesis Philosophica ;' in F. Paul, ' De 

 Sillis Graecorum,' Berlin, 1821, p. 41, &c. ; in Branck's 

 it. <>7; and iv. 139. Respecting the other 

 ;s ascribed to him we possess no information. 



inrich, De Timone Sillographo, in 3 parts, 

 Linaiac, 1720-23.) 



I'l \IO\ 'Tiptav'), surnamed the Misanthrope, was a son 



hecratidos, and a native of Colyttus, a demos in 



i, Tiiwin, c. 7; Tzetzes, Ch.il., vii. 273.) 



He lived during the Peloponnesian war, and is said to 



have iiointcd in the friendships he had funned, 



lie conceived a bitter hair 



all man\ivl. i! c period tlr.it his mind 



\VM i was very extraordinary. He lived almost 



entirely secluded from society, and his eccentricities gave 

 rise to numerous anecdotes, which were current in anti- 

 quity. The sea is said to have separated even his grave, 

 which was on the sea-coast, from the mainland, by forming 

 it into an island and thus rendering it inaccessible, i, Plu- 

 tarch, Anton., 70; Suidas, s. v. airopp&jas.) The comic 

 poets, such as Phrynichus (Bekker, Anecdota, p. 344), 

 Aristophanes (Lysistr., 809, &c. ; Aves, 1548), Plato, and 

 Antiphanes, ridiculed him in their comedies. Antiphanes 

 wrote a comedy called ' Timon,' which perhaps furnished 

 Lucian with the groundwork for his dialogue in which this 

 misanthrope acts the most prominent part. His name has 

 remained proverbial to designate a misanthrope down to 

 the present day, and is immortalized by the genius of 

 Shakspere. 



(Hemsterhuis, On Lucian, voK i., p. 99, of the smaller 

 edition.) 



TIMOR. [SUNDA ISLANDS, LESSER.] 

 TIMORLAUT. [SUNDA ISLANDS, LESSER.] 

 TIMOTE'O DA URBl'NO, or DELLA VITE, a cele 

 brated Italian painter of the Roman school, was born at 

 Urbino in 1470, or rather 1480. In about his 20th 

 year, by the advice of a brother living in Bologna, he re- 

 paired to that city to learn the business of a jeweller, &c. ; 

 but displaying a power of design worthy of a greater pur- 

 pose, he devoted himself to painting, and according to 

 Malvasia attended the school of Francia in Bologna for 

 about five years : Vasari however says that Timoteo was 

 his own master. At the age of 26 he returned to Urbino, 

 where in a short time he so far distinguished himself, says 

 Vasari, as to receive an invitation from his cousin Raphael 

 in Rome to repair thither and assist him in some of his ex- 

 tensive works. This statement creates a difficulty not 

 easy to be cleared up : Vasari says that Timoteo died in 

 1524, aged 54 ; yet we find him in his 27th or 28th year, 

 consequently in 1497 or 1498, going to Rome to assist 

 Raphael, who however did not go to Rome himself until 

 1508: 1524 was very probably therefore a misprint for 

 1534 in the original edition of Vasari, and the error has 

 found its way into all the later works. By this supposition 

 and by allowing a year or two to have elapsed between his 

 return to Urbino and his visit to Rome, the various dates 

 may be easily reconciled, and what Vasari says about Ti- 

 moteo's assisting Raphael to paint the Sibyls in the Chiesa 

 della Pace, which were painted in 1511, becomes quite con- 

 sistent. He did not remain long in Rome, but returned 

 to his native place at the solicitation of his mother, much 

 to the displeasure of Raphael. He remained however 

 quite long enough to learn to appreciate and to imitate the 

 beauties of Raphael's style, and to become one of the most 

 distinguished painters of the Roman school ; yet there are 

 in all his works traces of the style of Francia, a certain 

 timidity of design, a delicacy of execution, and a richness of 

 colouring. His chief works are at Urbino, at, Forli, and in 

 the neighbourhood ; he executed many of them in com- 

 pany with Girolamo Genga, as a chapel at Forli and part 

 of the paintings in the chapel of San Martino in the Ca- 

 thedral of Urbino ; the altar-piece was painted entirely by 

 Timoteo : he executed also some excellent works in fresco 

 at < 'a.stel Durante. Further, in Urbino there, are in the 

 Cathedral, a Magdalen; in San Bernardino, outside (he 

 city, a celebrated picture of the Annunciation of the Virgin ; 

 and another fine picture with several figures in Santa 

 Agata ; also in the residence of the Dukes of Urbino, an 

 Apollo and two of the Muses, extremely beautiful ; besides 

 many other works. Vasari remarks that he left some 

 works unfinished at his death, which were afterwards com- 

 pleted by others, and he adds that there could not be a 

 more satisfactory evidence of the general superiority of 

 Timoteo. He was of a cheerful disposition, and used to 

 play every kind of instrument, but, especially the lyre, 

 which he accompanied with his voice, with extraordinary 

 grace and feeling. Lanzi says that the Conception at the 

 Observantines at Urbino, and a Noli me tangere in the 

 church of Sant' Angelo at Cagli, arc perhaps the best of 

 his works that remain. The same writer observes that 

 Pietro della Vite, the brother of Timoteo, also a painter, 

 was probably the priest of Urbino mentioned by Baldi- 

 nucci (vol. v.) as Raphael's cousin and heir. 



(Vasari, Vite de' Pitlori, &c. ; Lanzi, Storia Pittorica 

 Mia Italia.) 



TIMO'THEUS (Ti/i69to C ), son of Conon of Athens. He 

 inherited from his father a considerable fortune, and if we 



