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Updated: May 17, 2025
The Roman philosopher Seneca also tells a story of Parrhasius as follows: While engaged in making a painting of "Prometheus Bound," he took an old Olynthian captive and put him to the torture, that he might catch, and transfer to canvas, the natural expression of the most terrible of mortal sufferings.
I am minded to give you, after the manner of Cebes, a life-picture of Dependence; with this before your eyes, you may judge for yourself, whether it is the life for you. I would gladly call in the aid of an Apelles or a Parrhasius, an Aetion or a Euphranor, but no such perfect painters are to be found in these days; I must sketch you the picture in outline as best I can.
But the step was of the utmost significance. It meant the abandonment of mere colored drawing and the creation of the genuine art of painting. Two artists of the highest distinction now appear upon the scene. They are Zeuxis and Parrhasius. Parrhasius was born at Ephesus, Zeuxis at some one or other of the numerous cities named Heraclea.
"I am the only man in the world who can paint a picture so true to life," he said. So he painted a beautiful picture which seemed to be covered with a curtain. Then he invited Zeuxis to come and see it. Zeuxis looked at it closely. "Draw the curtain aside and show us the picture," he said. Parrhasius laughed and answered, "The curtain is the picture."
Greek productions were not merely matters of property, they were copied and reproduced in all the cities of the Mediterranean; and though no artist of original genius arose from Augustus to Constantine, galleries of art existed everywhere in which the masterpieces of Polygnotus, Pausias, Aristides, Timanthes, Zeuxis, Parrhasius, Pamphilus, Euphranor, Protogenes, Apelles, Timomachus, and of other illustrious men, were objects of as much praise as the galleries of Dresden and Florence.
But why should I attempt to depict and describe in detail, and feature by feature, the beauty of the peerless Dulcinea, the burden being one worthy of other shoulders than mine, an enterprise wherein the pencils of Parrhasius, Timantes, and Apelles, and the graver of Lysippus ought to be employed, to paint it in pictures and carve it in marble and bronze, and Ciceronian and Demosthenian eloquence to sound its praises?"
His headquarters were not at Athens, but at Ephesus, a city which also produced Parrhasins, to whom Zeuxis himself gave the palm, since he deceived the painter by his curtain, while Zeuxis only deceived birds by his grapes. Parrhasius established the rule of proportions, which was followed by succeeding artists.
"You say true." "And cannot the pencil imitate all this likewise?" "It may." "And in which do you take most pleasure," said Socrates, "in regarding the picture of a man whose external appearance discovereth a good natural disposition, and bespeaks an honest man, or of one who wears in his face the marks of a vicious inclination?" "There is no comparison between them," said Parrhasius.
Then Parrhasius painted a hanging curtain, and when his picture was exposed to the public Zeuxis asked him to draw aside his curtain, fully believing it to be of cloth and concealing a picture behind it. Thus it was judged that Parrhasius was the best artist, for he had deceived Zeuxis, while the latter had only deceived the birds.
Yet, with much spirit and feeling, there was a conventional treatment. Apollodorus of Athens was distinguished, but Zeuxis of Heraclea is said to have been the first to paint movable pictures. He is famed for his marvelous power of imitation: the birds pecked at a bunch of grapes which he painted. But even he was outdone by Parrhasius.
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