be perceived to be panting for breath. His Aeneas, Castor and Pollux (Polydeuces), all in the same picture, are also highly praised, and likewise his group^a of Telephus with Achilles, Agamemnon and Odysseus. Parrhasius was a prolific artist, but one who enjoyed the glory of his art with unparalleled arrogance, for he actually adopted certain surnames, calling himself the ‘Bon Viveur,’ and in some other verses ‘Prince of Painters,’ who had brought the art to perfection, and above all saying he was sprung from the lineage of Apollo and that his picture of Heracles at Lindos presented the hero as he had often appeared to him in his dreams. Consequently whenTimanthes. defeated by Timanthes at Samos by a large majority of votes, the subject of the pictures being Ajax and the Award of the Arms, he used to declare in the name of his hero that he was indignant at having been defeated a second time by an unworthy opponent.^b He also painted some smaller pictures of an immodest nature, taking his recreation in this sort of wanton amusement.

To return to Timanthes—he had a very high degree of genius. Orators^c have sung the praises of his Iphigenia,^d who stands at the altar awaiting her doom; the artist has shown all present full of sorrow, and especially her uncle,^e and has exhausted all the indications of grief, yet has veiled the countenance of her father himself.^f whom he was unable adequately to portray. There are also other examples of his genius, for instance a quite small panel of a Sleeping Cyclops, whose gigantic stature he aimed at representing even on that scale by painting at his side some Satyrs measuring the size of his thumb