BOOK XXXV. xxxiv. 55-57 



gold for a picture of the painter Bularchus repre- 



senting a battle " with the Magnetes ? So high was 



the value already set on the art of painting. This 



must have occurred at about the time of UomuUis, 



since Candaules ^ died in the 18th Olympiad, or, 708-705 b.c. 



according to some accounts, in the same year as 



Romulus, making it clear, if I am not mistaken, ?rad. 717 b.o. 



that the art had already achieved celebrity, and in 



fact a perfection. And if we are bound to accept 



this conclusion, it becomes clear at the same time 



that the first stages were at a much earlier date and 



that the painters in monochrome," whose date is not 



handed down to us, came considerably earher — 



Hygiaenon, Dinias, Charmadas and Eumarus of 



Athens, the last being the earliest artist to distin- 



guish ^ the male from the female sex in painting, 



and venturing to reproduce every sort of figure ; and 



Cimon of Cleonae who improved on the inventions 



of Eumarus. It was Cimon who first invented 



' catagrapha,' that is, images in ' three-quarter,' ^ and 



who varied the aspect of the features, representing 



them as looking backward or upward or downward ; 



he showed the attachments of the Umbs, displayed 



the veins, and moreover introduced wrinkles and folds 



in the drapery. Indeed the brother of Phidias 



Panaenus even painted / the Battle at Marathon 490 b.c. 



between the Athenians and Persians ; so widely 



' The Greek word meant probably ' foreshortened images,' 

 but PUny or his Latin source rightly took it as expressing 

 'slanting {obliquiis) images not profile or fuU-face.' Cf. § 90. 

 The context may exclude from the word obliquus any portraits 

 where the eyes look back, up, or down. 



^ On a wooden panel attached to a waU of the aroa iroLKLXr], 

 ' Painted Portico,' at Athens. The painting was attributed 

 also to Polygnotus and to IMicon ; cf. § 59. 



3^3 



