BOOK XXXV. XXXIII. 52-xxxiv. 55 



covered with paintings, so we are told, containing 

 life-like portraits of all the gladiators and assistants. 

 This portraiture of gladiators has been the highest in- 

 terest in art for many generations no^v ; but it was 

 Gaius Terentius Lucanus who began the practice 

 of having pictures made of gladiatorial shows and 

 exhibited in public ; in honour of his grandfather who 

 had adopted him he provided thirty pairs of gladia- 

 tors in the forum for three consecutive days, and 

 exhibited a picture of their matches in the Grove of 

 Diana. 



XXXI\\ I will now run through as briefly as Famous 

 possible the artists eminent in painting ; and it is not "Pa^^^tent 

 consistent with the plan of this work to go into such 

 detail ; and accordingly it will be enough just to give 

 the names of some of them even in passing and in 

 course of mentioning others, with the exception of 

 the famous works of art which whether still extant 

 or now lost it will be proper to particularize. 



In this department the exactitude of the Greeks is Chronoioov. 

 inconsistent, in placing the painters many OhTnpiads 

 after the sculptors in bronze and chasers in metal, 

 and putting the first in the 90th Olympiad, although 420-417 b.c. 

 it is said that even Phidias himself was a painter to 

 begin with, and that there was a shield ^ at Athens 

 that had been painted by him ; and although more- panaenm 

 over it is universally admitted that his brother ""'^ '^^^^- 

 Panaenus came in the 83rd Olympiad, who painted 443-445 b.c. 

 the inner surface of a shield of Athene at EUs made 

 by Colotes, Phidias's pupil and assistant in making 

 the statue of Olympian Zeus. And then, is it not 

 equally admitted that Candaules, the last King of 

 Lydia of the HeracHd hne, who was also commonly 

 known by the name of Myrsilus, gave its weight in 



301 



