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You know not what you ask. It is not in the power of words certainly not of my words to portray such wondrous beauty; scarcely could an Apelles, a Zeuxis, a Parrhasius, a Phidias or an Alcamenes, do justice to it; as for my flimsy workmanship, it will but insult the original. Poly. Well, never mind; what was she like? There can be no harm in trying your hand.
Zeuxis, Parrhasius, and Timanthes belonged to the Ionian school of painting, which flourished during the Peloponnesian war. This school was excelled by that of Sikyon, which reached its highest prosperity between the end of the Peloponnesian war and the death of Alexander the Great.
Here, also, was the horse painted by Apelles which living horses neighed at; his first portrait of Alexander the Great, and his last unfinished picture of Venus asleep. Each of these works of art, together with others by Parrhasius, Timanthes, Polygnotus, Apollodorus, Pausias, and Pamplulus, required more time and study than I could bestow for the adequate perception of their merits.
He was brought up by his grandfather Pittheus, and had a master and tutor, Konnidas, to whom even to the present day, the Athenians sacrifice a ram on the day before the feast of Theseus, a mark of respect which is much more justly due to him, than those which they pay to Silanion and Parrhasius, who have only made pictures and statues of Theseus.
It is said that he actually laughed himself to death from amusement at one of his own pictures, which represented an old woman. Zeuxis had a rival in the painter Parrhasius, and their names are often associated. On one occasion they made trial of their artistic skill. Zeuxis painted a bunch of grapes so naturally that the birds came to peck at them.
But Filarete's expression was very different when, one day, Domenico shyly inquired concerning the truth of that story of Parrhasius and the Hercules of Lindos. Strange rumours were current in Rome of unholy festivities in which Filarete and other learned men some of those whom Paul II. had thrown into prison had once taken part.
A sarcastic smile lighted his Apollo-like face, as he answered: "There is more truth in your metaphor than you imagined; a la Parrhasius, I do see you, a tortured Prometheus, chained by links of your own forging to the Caucasus of Atheism. But listen to " "No, no; not that! not Atheism! God save me from that deepest, blackest gulf!" She shuddered, and covered her face with her hands.
Many hundred years ago there were still some famous painters, such as those named Phidias, Praxiteles, Apelles, Polycleitus, Parrhasius, Lysippus, Protogenes, and the rest, some of whom wrote about their art and very artfully described it and gave it plainly to light: but their praise-worthy books are, so far, unknown to us, and perhaps have been altogether lost by war, driving forth of the peoples, and alterations of laws and beliefs a loss much to be regretted by every wise man.
When a picture, painted by Parrhasius, in which the artist had represented Atalanta in the act of submitting to Meleager's lust in a most unnatural way, was bequeathed to him, with this proviso, that if the subject was offensive to him, he might receive in lieu of it a million of sesterces, he not only chose the picture, but hung it up in his bed-chamber.
Parrhasius, too, was a vain man, and went about in a purple robe with a gold wreath about his head and gold clasps on his sandals; he painted his own portrait, and called it the god Hermes, or Mercury; he wrote praises of himself in which he called himself by many high-sounding names, for all of which he was much ridiculed by others.
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