BOOK XXXV. xxxYi. 71-74 



be perceived to be panting for breath, His Aeneas, 

 Castor and Pollux (Polydeuces), all in the same 

 picture, are also highly praised, and hkewise his 

 group" of Telephus with Achilles, Agamemnon and 

 Odysseus. Parrhasius was a proHfic artist, but one 

 who enjoyed the glory of his art with unparalleled 

 arrogance, for he actually adopted certain surnames, 

 calling himself the ' Bon Viveur,' and in some other 

 verses ' Prince of Painters,' who had brought the art 

 to perfection, and above all saying he was sprung from 

 the Hneage of Apollo and that his picture of Heracles 

 at Lindos presented the hero as he had often ap- 

 peared to him in his dreams. Consequently when Timanthes. 

 defeated by Timanthes at Samos by a large majority 

 of votes, the subject of the pictures being Ajax 

 and the Award of the Arms, he used to declare in 

 the name of his hero that he was indignant at having 

 been defeated a second time by an unworthy 

 opponent.^ He also painted some smaller pictures 

 of an immodest nature, taking his recreation in this 

 sort of wanton amusement. 



To return to Timanthes — he had a very high degree 

 of genius. Orators ^ have sung the praises of his 

 Iphigenia,^ who stands at the altar awaiting her 

 doom ; the artist has shown all present full of sorrow, 

 and especially her uncle,^ and has exhausted all the 

 indications of grief, yet has veiled the countenance 

 of her father himself/ whom he was unable ade- 

 quately to portray. There are also other examples 

 of his genius, for instance a quite small panel of a 

 Sleeping Cyclops, whose gigantic stature he aimed 

 at representing even on that scale by painting at his 

 side some Satyrs measuring the size of his thumb 



" Menelaus. ^ Agamemnon. 



