PAINTING. 73 
Sicyon (figures of children), Euphranor of Corinth (heroes and gods), &c. At 
that time also (104th to 110th Olympiad) encaustic painting, if not invented, 
was considerably improved upon. 
Before all, however, ranks the great Apelles, who united the advantages 
of his native Ionia, grace, sensual charms, and rich coloring, to the scien- 
tific severity of the Sicyonian school. His most charming picture was his 
Anadyomene im Cos, in the temple of Aisculapius, which was brought by 
Augustus to Rome, but was already quite decayed in the time of Nero. 
He showed that heroic subjects were also suited to his genius, and especially 
portraits in the grand style, as e. g. that of Alexander wielding the thunder- 
bolts, of his father, and of his generals. Along with Apelles, Protogenes and 
Theon distinguished themselves. Much praise was bestowed upon the picture 
of Nausicaa by Protogenes in the portico of the Propylea at Athens, in 
which was depicted a harbor with vessels of state, and upon the Matricide 
of Orestes by Theon. Of all these famous paintings we possess nothing but 
obscure accounts of authors and later imitations; yet the vase-paintings of 
this period, with their bright, thinly distributed figures on a dark ground, 
afford some idea of the degree of excellence attained in the art of correct 
design, if we may venture to draw conclusions from the works of simple 
artisans as to the productions of the first artists. Polychromes (paintings 
in several colors) are also found on the vases of this period. Pl. 14, jigs. 1 
and 2, are the two sides of a beautiful specimen of these vases 2 feet 7 
inches in height. The front side relates to a festival of Bacchus. A young 
man holding a lance is seated on his chlamys, and his hat has fallen off; 
he is resting after a war-dance, such as was performed at the Dionysia. 
Near him is a clothed Bacchante holding a thyrsus and a laurel-branch. 
The picture on the reverse side likewise refers to these festivals. We have 
here a pair of Dendrophori, such as appear in the Dionysia, with branches 
of laurel and other trees. Rich ornaments accompany both pictures. 72g. 3 
represents the pictures on a small vase 122 inches high painted with 
various colors. A woman is seated at a tomb, which she is adorning with 
various fillets by way of offerings to the dead, while a richly clothed young 
man, bearing two spears, points to the foot of the monument. The 
vase was found by Sir William Gell in Attica; its ground is a pinkish 
yellow, and the drawings and contours are laid on in red. In our copy all 
the half-shade tones of the figures and ornaments are bright red; those 
next dark are of a brick red; and,the border of the youth’s chlamys, the 
upper garment of the female, and the 2d, 4th, 8th, 12th, and 14th rings 
of the pillar, as also the ornaments @ la grecque, are green. The neck and 
foot of the vase are black. 
In the period of Alexander down to the destruction of Corinth, painting 
was zealously cultivated; yet none of the masters of the three above-named 
schools attained to the fame of their great predecessors, inasmuch as hasty 
painting, which the state processions in the cities where the rulers resided 
rendered necessary, spoiled many an artist. At this time too arose rhypa- 
rography (the painting of low life, as it is called), and scenography was 
applied to decorating the palaces of the great. As the love of splendor 
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