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Such were Zeuxis, Heracleotes and Polygnotus Thasius and others.
In fact, historical battle-pieces were not rare among the Greeks at any period. As regards the style of Polygnotus we can glean a few interesting facts from our ancient authorities. His figures were not ranged on a single line, as in contemporary bas-reliefs, but were placed at varying heights, so as to produce a somewhat complex composition.
In addition, we have cathedrals whose architectural effect Vitruvius could not have conceived; pictures that Polygnotus could not have painted; books which Aristotle could not have imagined; universities before which Zeno would have stood awestruck; courts of law that would have called out the admiration of Paul and Papinian; houses which Scaurus would have envied; carriages that Nero would have given the lives of ten thousand Christians to possess; carpets that Babylon could not have woven; dyes surpassing the Tyrian purple; silks, velvets, glass mirrors, sideboards, fabrics of linen and cotton and wool, ships, railroads, watches, telescopes, compasses, charts, printing-presses, gunpowder, fire-arms, photographs, engravings, bank-notes, telegraphic wires, chemical compounds, domestic utensils, mills, steam-engines, balloons, and a thousand other wonders of a civilization which no ancient race attained.
Besides, statues and paintings are not properly imitations of manners, but rather signs and marks which show the body is affected by some passion. However, the difference is not great, yet young men ought not to view the paintings of Pauso, but of Polygnotus, or any other painter or statuary who expresses manners.
Such, for example, was the great work of Polygnotus at Delphi, in which was depicted on the one hand the sack of Troy, on the other the descent of Odysseus into Hades; and such his representation of the battle of Marathon, in the painted porch that led to the Acropolis of Athens.
Of the artists of this period it has been asserted by some authorities that Parrhasius was the most celebrated, as he is said to have "raised the art of painting to perfection in all that is exalted and essential;" uniting in his works "the classic invention of Polygnotus, the magic tone of Apollodorus, and the exquisite design of Zeuxis."
A brother of Phidias, Panoenos, was a painter, and is mentioned among those artists, twenty or more in number, who in conjunction with Polygnotus, one of the chief painters of his day, were employed in the decoration of the Poecile or Painted Portico, one of the many beautiful buildings erected by Cimon.
The strength of Parrhasius is said to have lain in subtlety of line, which would suggest that with him, as with Polygnotus, painting was essentially outline drawing. Yet he too can hardly have remained unaffected by the new chiaroscuro. Easel pictures now assumed a relative importance which they had not had a generation earlier.
He imitated the personages and the subjects of the old mythology, and treated them in an epic spirit, his subjects being almost invariably taken from Homer and the Epic cycle. Among the works of Polygnotus, as mentioned by Pliny, are his paintings in the Temple at Delphi, in the Propylaea of the Acropolis, in the Temple of Theseus, and in the Temple of the Dioscuri at Athens.
He was one of the most accomplished men of antiquity, or of any age, an enlightened and curious traveller, a profound thinker; a man of universal knowledge, familiar with the whole range of literature, art, and science in his day; acquainted with all the great men of Greece and at the courts of Asiatic princes; the friend of Sophocles, of Pericles, of Thucydides, of Aspasia, of Socrates, of Damon, of Zeno, of Phidias, of Protagoras, of Euripides, of Polygnotus, of Anaxagoras, of Xenophon, of Alcibiades, of Lysias, of Aristophanes, the most brilliant constellation of men of genius who were ever found together within the walls of a Grecian city, respected and admired by these great lights, all of whom were inferior to him in knowledge.
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