234 ANCIENT PAINTING AS AMONG THE LOST ARTS. 



ing. Pliny says that Protogenes painted this picture with four 

 layers of colors, in such a way that, when one was destroyed by 

 the hand of time, the layer underneath would reproduce the 

 piece in all its original freshness and beauty. This is entirely 

 incomprehensible to us, and we must revert again to our theory 

 of Lost Arts. 



It was between Protogenes and Apelles that occurred that re- 

 markable trial of skill in sketching, which gives us some ideas of 

 Grecian Art not otherwise obtainable. Apelles, who was an 

 Athenian, having heard much of Protogenes who lived on the 

 island of Rhodes, bethought him at one time to make the voyage, 

 and thus to form his rival's acquaintance. Arriving, he called at 

 the house of Protogenes, and learned that he was absent. Being 

 shown into the studio, and finding a canvas and brushes placed 

 as if for work, he took the liberty to draw a figure thereon, and 

 then left. Protogenes returning saw the sketch, and at once said 

 that no one but Apelles could have done that. But he immedi- 

 ately took the brush and drew a figure over the first, correcting 

 or bettering some of the outlines. He then directed his house- 

 keeper that, if the stranger came back, she was to show him 

 again into the studio. It happened as he foresaw, and Apelles 

 seeing himself outdone in the second trial, seized the brush and 

 over all drew a third figure, still more perfect than either, and 

 cutting both. Protogenes now confessed himself vanquished. 

 He ran to the harbor, sought out his rival, and the two became 

 thereafter the warmest of friends. Now, that this trial brought 

 out some extraordinary results, is shown by the fact that the 

 canvas containing it became highly prized, and at a later day was 

 taken to Rome and preserved in the Palace of the Caesars. Art 

 writers, both ancient and modern, have had much to say about it. 

 Michael Angelo thought without doubt that the figures were 

 outlines of the human form, and that they embodied some of 

 those exquisite perfections which make the Grecian statues, 

 which have been dug out of Italian ruins in the last few cen- 

 turies, objects of study and wonder to all who see them. 



To illustrate this fact, and to show wherein consists that excel- 

 lence, allow me to relate an incident connected with our own 

 most distinguished countryman and artist, Benjamin West. 



