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men and birds and beasts are given with the best effects of ceramic art.

Of the great painters of Greece more is known than of their works. PLYGNOTUS, who

flourished from B. C. 475 to 455, is regarded as the first of the masters. By him many of

the public buildings of Athens were adorned with elaborate frescoes and splendid panels.

He it was who is said to have painted Polyxena with such expressiveness of countenance

that the whole Trojan war flashed from her eyes! Then came ZEUXIS and PARRHASIUS. The

first painted grapes which deceived the birds, and the other a curtain which deceived

Zeuxisl Athens applauded the achievements of her favorite artists, and wealth poured her

treasure into their laps. TITHMANES also shared their fame. He it was who in his Sacrifice

of Iphigenia, unable to depict as he would the grief of the father, drew a veil over his

face, and left the rest to thought. This great artist belonged to what is known as the

Sicyonian School, and to a time subsequent to the age of Pericles. PAUSIAS, also, was a

member of this group. He had the reputation of possessing great realistic powers and

extra- ordinary genius in the art of foreshortening.

But the greatest painter of the Greeks was APELLES, the court artist of Alexander the

Great. He was an Ionian by birth, who followed the traditions of the Sicyonian School. He

began his career in portraiture, and so great was his fame that Alexander would permit no

other to paint him. The generals of the conqueror and the beloved Campaspe were also the

subjects of his art. From portraiture he proceeded to mythological themes, and in these

achieved the highest honors. His masterpiece was a picture of Venus Rising from the Sea,

executed with such wonderful sweetness and delicacy as to surpass all competition.

From the age of Apelles painting declined until its glory was distinguished with the glory

of Hellas by the conquest of the country by the Romans. Nevertheless, in the period

between the time of Alexander and the final destruction of Greek nationality, many artists

flourished who under more favorable circumstances would have done honor to their country.

Such was PROTOGENES of Rhodes and the realistic THEON, whose picture of the Swordsman gave

him merited fame. But the chisel of Hellas surpassed her