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Updated: September 8, 2025
Nature was most carefully studied, and that which was most beautiful in Nature became the object of imitation. They ever attained to an ideal excellence, since they combined in a single statue what could not be found in a single individual, as Zeuxis is said to have studied the beautiful forms of seven virgins of Crotona in order to paint his famous picture of Venus.
But more than all did the most gracious Raffaello da Urbino, who, studying the labours of the old masters and those of the modern, took the best from them, and, having gathered it together, enriched the art of painting with that complete perfection which was shown in ancient times by the figures of Apelles and Zeuxis; nay, even more, if we may make bold to say it, as might be proved if we could compare their works with his.
He attempted a defence and was listened to in silence nay, with approval, for many of his auditors were visibly stirred by his words. But some bolder spirits were tired of the show or fearful of its issue. Hermeias and Zeuxis, two of his bitterest enemies, shouted out that he was an Impostor and rushed upon him.
Now I will answer the letters delivered to me by L. Cæsius, whom, as I see you wish it, I will serve in every way I can. One of them is about Zeuxis of Blaundus, whom you say was warmly recommended to you by me though a most notorious matricide.
But those of Polycletes are much finer, and, in my mind, completely finished. The case is the same in Painting; for in the works of Zeuxis, Polygnotus, Timanthes, and several other masters who confined themselves to the use of four colours, we commend the air and the symmetry of their figures; but in Aetion, Nicomachus, Protogenes, and Apelles, every thing is finished to perfection.
Such was the emulation and rivalry between Zeuxis and Parrhasius, which contributed to the improvement of both; and similar thereto was that which inspired the master-minds of Michael Angelo and Raffaelle; of Titian and Pordenone; of Albert Durer and Lucas van Leyden; of Agostino and Annibale Caracci; and we may add, in our own country, of Thomas Cole and Durand.
That inlaying was very wonderful everywhere. Here were seen, as it were in the shade, some snails crawling on the grapes; there, little lizards running on the branches. On this side were grapes that seemed yet greenish; on another, some clusters that seemed full ripe, so like the true that they could as easily have deceived starlings and other birds as those which Zeuxis drew.
The great Zeuxis, after he had established his artistic supremacy, seldom or never painted such common popular subjects as Heroes, Gods, and battle-pieces; he was always intent on novelty; he would hit upon some extravagant and strange design, and then use it to show his mastery of the art. One of these daring pieces of his represented a female Centaur, nursing a pair of infant Centaur twins.
Zeuxis saw that they were preoccupied with the novelty of his subject, art was at a discount, and truth of rendering quite a minor matter.
For the purposes of poetry a convincing impossibility is preferable to an unconvincing possibility; and if men such as Zeuxis depicted be impossible, the answer is that it is better they should be like that, as the artist ought to improve on his model.
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