BOOK XXXV. XXXV. qq-xxxvi. 62 



at the public expense. There was also another 

 Micon, distinguished from the first by the surname 

 of ' the Younger,' whose daughter Timarete also 

 painted. 



XXXVI. In the 90th Olympiad Hved Aglaophon, 420-417 b.c. 

 Cephisodorus, Erillus, and Evenor the father and ^KS" 

 teacher of Parrhasius, a very great painter (about 

 Parrhasius we shall have to speak when we come to 

 his period). All these are now artists of note, yet $ 67. 

 not figures over which our discourse should Hnger 

 in its haste to arrive at the luminaries of the art ; 

 first among whom shone out ApoUodorus « of Athens, 

 in the 93rd Olympiad. Apollodorus was the first 408-406 b.c. 

 artist to give realistic presentation of objects, and 

 the first to confer glory as of right upon the paint 

 brush. His are the Priest at Prayer and Ajax 

 struck by Lightning, the latter to be seen at 

 Pergamum at the present day. There is no painting 

 now on view by any artist before Apollodorus that 

 arrests the attention of the eyes. 



The gates of art having been now thrown open by zeuxis. 

 Apollodorus they were entered by Zeuxis of Heraclea 

 in the Ith year of the 95th Olympiad, who led forward 400-397 e.c. 

 the already not unadventurous paintbrush — for this 

 is what we are still speaking of — to great glory. 

 Some ^VTiters erroneously place Zeuxis in the 89th 424-421 b.c. 

 Olympiad, when Demophilus of Himera and Neseus 

 of Thasos must have been his contemporaries, as of 

 one of them, it is uncertain which, he was a pupil. 

 Of Zeuxis, Apollodorus above recorded wrote an 

 epigram in a Hne of poetry to the eifect that ' Zeuxis 

 robbed his masters of their art and carried it off with 

 him.' Also he acquired such great wealth that he 

 advertised it at Olympia by displaying his own 



307 



