ly suffered defeat at the hands of Timanthes of
Kythnos, by a Contest between Ajax and Ulysses for the Arms of
Achilles. Timanthes's famous work was the Sacrifice of Iphigenia, of
which there is a supposed Pompeian copy.

SIKYONIAN SCHOOL: This school seems to have sprung up after the
Peloponnesian Wars, and was perhaps founded by Eupompos, a
contemporary of Parrhasios. His pupil Pamphilos brought the school to
maturity. He apparently reacted from the deception motive of Zeuxis
and Parrhasios, and taught academic methods of drawing, composing, and
painting. He was also credited with bringing into use the encaustic
method of painting, though it was probably known before his time. His
pupil, Pausias, possessed some freedom of creation in _genre_ and
still-life subjects. Pliny says he had great technical skill, as shown
in the foreshortening of a black ox by variations of the black tones,
and he obtained some fame by a figure of Methe (Intoxication) drinking
from a glass, the face being seen through the glass. Again the
motives seem trifling, but again advancing technical power is shown.

[Illustration: FIG. 13.--ODYSSEY LANDSCAPE, VATICAN. (FROM WOLTMANN AND
WOERMANN.)]

THEBAN-ATTIC SCHOOL: This was the fourth school of Greek painting.
Nikomachus (fl. about 360 B.C.), a facile painter, was at its head.
His pupil, Aristides, painted pathetic scenes, and was perhaps as
remarkable for teaching art to the celebrated Euphranor (fl. 360 B.C.)
as for his own productions. Euphranor had great versatility in the
arts, and in painting was renowned for his pictures of the Olympian
gods at Athens. His successor, Nikias (fl. 340-300 B.C.), was a
contemporary of Praxiteles, the sculptor, and was possibly influenced
by him in the painting of female figures. He was a technician of
ability in composition, light-and-shade, and relief, and was praised
for the roundness of his figures. He also did some tinting of
sculpture, and is said to have tinted some of the works of
Praxiteles.

LATE PAINTERS: Contemporary with and following these last-named
artists were some celebrated painters who really belong to the
beginning of the Hellenistic Period (323 B.C.). At their head was
Apelles, the painter of Philip and Alexander, and the climax of Greek
painting. He painted many gods, heroes, and allegories, with much
"gracefulness," as Pliny puts it. The Italian Botticelli, seventeen
hundred years after him, tried to reproduce his celebrated Calum