72 THE FINE ARTS. 
After the 50th Olympiad, the art of painting, by means of Cimon of 
Cleonze and others, made very considerable progress, especially in the 
perspective treatment of subjects. Cimon of Cleonze at that time painted 
in the Herzeum the picture dedicated by Mandrocles the architect, which 
represented the bridge over the Bosphorus and the passage of Darius upon 
it. Vase-painting was more limited in its resources, and the prevailing 
species, with black figures on a dark red ground, exhibit all the peculi- 
arities of the old style, viz. the excessive prominence of the chief muscles, 
the formal regularity in the folds of the drapery and the postures of the 
figures, and the angular abruptness of their movements. 
In the period when Phidias, Praxiteles, Lysippus, and Leochares fur- 
nished specimens of the highest excellence in the plastic art, that of painting 
also attained, in three great stages, to a perfection which made it a worthy 
rival of sculpture. Ancient painting, however, remained always more 
closely allied to sculpture than that of modern times, by reason of the 
predominance of form over light and shade; the paintings of this period too 
are characterized by a certain separation of the figures in order not to con- 
fuse the outlines, a uniform distribution of light, and an avoidance when- 
ever possible of foreshortenings. 
The first painter of great reputation was Polygnotus of Thasus, who 
resided in Athens, and whose pictures are distinguished by accurate draw- 
ing, a noble and distinct mode of characterizing the mythological figures, and 
charming female forms. His great paintings were planned with an exten- 
sive knowledge of historical legends and according to architectonico-sym- 
metrical principles. He was the son of the painter Aglaophon, and 
painted for the Peecile, the Theseion, the portico of the Propylea, the 
Delphian temple, &c. Pausanias has left us descriptions of these paintings, 
especially of those at Delphi; after which the brothers Riepenhausen have 
attempted to recompose them. Next to Polygnotus are placed Iphion of 
Corinth, Micon of Athens, Dionysus of Colophon, and many others; none 
of whom, however, equalled the first named master. The first who made 
a deeper study of the gradations of light and shade was Apollodorus of 
Athens, who is hence called the shadow-painter (sciagrapher). He formed 
his style after that of Agatharcos of Athens, who painted for the stage. 
With Zeuxis begins the second period of improved paintinggin which the 
art attained the power of deceiving the senses; we will allude only to the 
grapes of Zeuxis which the birds pecked at, and to the painted curtain 
of Parrhasius, which one of his brother painters tried to push aside in order 
to see the picture behind it. Zeuxis particularly excelled in the delinea- 
tion of sublime majesty (Zeus on his throne surrounded by the gods) and 
female beauty (Helen at Crotona); while Parrhasius was preéminent for 
the rich variety of his compositions and the perfect appearance of roundness 
which he gave to his figures. Besides Zeuxis and Parrhasius, who formed 
the so-called Asiatic in contradistinction to the Attic school, Pamphilus 
originated the Sicyonian school, which was distinguished for scientific 
cultivation, and for accuracy and facility of drawing. Celebrated masters 
of this school, in addition to Pamphilus of Amphipolis, were Pausias of 
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