PAIN 
therefore called Jkiagrams. The next ftep was to the mo¬ 
nogram, or lines within the outline; and afterwards to 
the monochrom, or outlines filled up with one fingle co¬ 
lour. This, by ftudy, and a more fcientific mode of 
proceeding, advanced to the polyvhrom, or picture of 
many colours ; and at length was perfected by that har¬ 
mony of tone, fo exalted in the hands of Apelles and his 
contemporaries. 
Pliny mentions the name of Saurias, as one who prac- 
tifed the earlieft ftage of the art, and of his drawing the 
figure of a horfe; and of Philocles the Egyptian, Cle- 
anthes of Corinth, Ardices of the fame place, and Te- 
lephanes of Sicyon, who advanced to the monographic. 
Cleophantes of Corinth is faid to have been the firft who 
practifed the monochromatic, and his colour to have been 
that of a pounded tile. In concurrence with him, or after 
him, wrought Hygiemon, Dinias, and Charmas; and proba¬ 
bly one of thefe improved the monochromatic ftyle, fo as 
not to make a whole pidture, containing many figures, of 
one colour in every part, but varied the colours, fo as to 
charadterife the different objedts introduced. According 
to Quintilian, (lib. ii. c. 3.) “ they could fo manage the 
fingle colour which theyufed in the monochromatic ftyle, 
as to give every appearance of relief to parts;” but, by 
what means, as light and fliade appear not to have been 
obferved, he does not fay. After thefe came Eumarus 
the Athenian, and Cymon of Cleonea ; to the latter of 
whom Pliny gives the praife of having greatly advanced 
the art, by giving variety of attitudes to his figures, at¬ 
tending to the folds of draperies, and more difcriminately 
marking the joints and veins of the body than had been 
done by his predeceffors. 
To the exiftence of none of the above-mentioned artifts 
does Pliny, or any other author, affix a date ; but he con¬ 
tends, and with reafon, for that of an eftabliffied and im¬ 
portant fadt in the hiftory of the art, viz. that about the 
s6th olympiad, or little better than 700 years before the 
Chriftian era, Candaules king of Lydia purchafed a pic¬ 
ture painted by Bularchus, called the Battle of the Mag- 
netes, and gave for it its weight in gold ; a fufficient proof 
of the high efteem the art was held in at that time; though 
we ought by no means to deduce from it, that Bularchus 
bad arrived at any other degree of perfedlion than what 
placed him among the heft of his day; and it tells but 
very little as to the adtual ftate of the art at the time : 
fince, in its infancy, the patron could only be guided in 
his judgment by what had preceded; and the beft, 
though moderate, has always received the higheft eulo- 
giums from thofe who,of neceffity, are ignorant offuperior 
exertions. 
Whatever was the degree of excellence to which the 
immediate fucceffors of this fortunate painter carried the 
art, we muft be content to remain entirely ignorant of it. 
Poffibly tbeconfufionsof civil anarchy and of foreign wars, 
which followed this period, and brought Athens, and in¬ 
deed all Greece, near to deftrudtion, prevented in a great 
degree the exercife of an art, which requires the fofter- 
ing aid of peace, of fcience, and of patronage flowing 
from the hand of power. 
When inteftine commotion had fubfided, and Xerxes 
had been driven out of Greece, then thedepreffion under 
which her inhabitants had groaned, was removed, and 
herfpirit revived, exalted by a fenl'e of its own dignity 
and importance. Genius then ftepped forth from its re¬ 
treat, encouraged and rewarded. The liberal arts, aided 
by the general cultivation of mind which then took place, 
were fummoned to affift in eredling monuments to the 
heroic deeds of the national heroes ; and again we are 
enabled to trace the fteps of painting, ftill weak and tot¬ 
tering in her gait at firft, but foon advancing with ama¬ 
zing rapidity towards the higheft point flie is fuppofed 
ever to have reached. 
Sculpture was moft probably pradtifed with continued 
fuccefs, even during the times of diftrefs and warfare. 
The neceffities of the idolatrous religion, which fo pow- 
Vol. XVIII. No. 1236. 
TING. 209 
erfully controlled the Greeks, might alone have re¬ 
quired the exertion of all the talents the country could pro¬ 
duce. We can no otherwife account for the immenfe ad¬ 
vance which that art is found to have made before paint¬ 
ing, at the period of which we are fpeaking. Phidias, 
who was the moft renowned among fculptors, guided the 
hand of his brother Panacnus, (the firft painter whofe 
name occurs after the re-appearance of the art,) in adorn¬ 
ing the walls of the portico called Pcecile at Athens, 
where he painted the Battle of Marathon, and intro¬ 
duced into it the portraits of the principal commanders, 
both Greek and Perfian. But how great was the differ¬ 
ence between their powers ! The former, among other 
works, had produced thofe in the temple of Minerva, 
called the Parthenon, which to this day remain a fource 
of admiration and of envy ; while that of the latter, as 
deferibed by Paufanias, (Attics, lib. i. c. 16.) exhibit his 
art ftill in its infancy: although Pliny obferves, that the 
painters were then fupplied with colours better fuited to 
their purpofe; and thus proves that the practice of it had 
continued in cultivation, however flow its progrefs. To 
Panaenus, however, Greece was indebted for an anxious 
zeal to advance the art he pradtifed to a more equal fta- 
tion with fculpture ; and in his time prizes wereinftituted 
at Delphos and at Corinth for its encouragement; where 
he himfelf contended, but was excelled by Timagoras of 
Chalcis. 
Juft fo far as to have become the partial and humble ri¬ 
val of fculpture in bas-relief, with, the exception of co¬ 
lour, had painting at this period proceeded; and even 
Polygnotus of Thafos, who fucceeded Panaenus, ad¬ 
vanced it no farther than a more vivid imagination, ac¬ 
ting upon the fame fyftem, might rationally be fuppofed 
to have done. He alfo was employed to paint in the 
Pcecile at Athens, and in the Lefche, or public hall, at 
Delphos. Three of his pidtures in the latter place are 
minutely deferibed by Paufanias. The fame imperfedl 
elemental principle is their bafis as in that of his prede- 
ceffor, or rather perhaps his contemporary; at lead in, 
part; for Pliny fays Polygnotus was prior to the 90th. 
olympiad, and Phidias is known to have died in the firft 
year of the 91ft, (4.32 years B.C.) The pidtures by Po¬ 
lygnotus which were at Delphos were works of immenfe 
labour, from the number of figures introduced in each; 
but they were entirely without any idea of compofition, 
perfpedtive, or chiaro-fcuro. Each figure had its appro¬ 
priate aftion, confident with its hiftory and charadter; 
but no connedtion in lines with its neighbour: and, that 
the obferver might be at no lofs of time in confidering 
whom they reprefented, the painter had placed a name to 
every figure. They were arranged in rows, befide or over 
each other; and Paufanias, in deferibing them, begins at 
one end, and proceeds with an individual enumeration of 
them to the other, and then fpeaks of other figures over 
thefe ; but whether they diminiffied in fize, does not ap¬ 
pear. Yet Polygnotus was a man endowed with uncom¬ 
mon talents, and certainly advanced his art very far in 
point of expreffion and adtion in his figures, and in ideal 
colouring. Of this, his figure of the demon Eurynomus, 
in one of the pictures above-mentioned, viz. of Ulyffes 
conlulting the ffiade of Tirefias in Hades, is a fufficient 
proof. “ His colour,” lays Paufanias, “ is between black 
and azure, like that of flies who infeft meat; he fhows 
his teeth, and fits upon the Ikin of a vulture.” Pliny 
alfo fays of this artift, that he was the firft who dreffed 
his female portraits in gay colours; and he has been 
highly complimented by Lucian, who invokes his aid to 
accomplifli his perfedt woman. “ Polygnotus,” fays he, 
fliall open and fpread her eyebrows, and give her that fine 
glowing decent blufli, which fo inimitably beautifies his 
Caffandra. He like wife fliall give her an eafy flowing 
drefs, with all its delicate wavings ; partly clinging to 
her body, and partly fluttering in the wind.” 
It could not be many years after the time of Polyg¬ 
notus, or perhaps it was even during his life, that ano- 
3 H ther 
