to preserve it from the effects of the
sun or the weather; but this process required so much care, and was
attended with so much expense, that it was used only in the better
houses and palaces." The later discoveries at Pompeii show the same
correctness of design in painting as in sculpture, and also considerable
perfection in coloring. The great artists of Greece--Phidias and
Euphranor, Zeuxis and Protogenes, Polygnotus and Lysippus--were both
sculptors and painters, like Michael Angelo; and the ancient writers
praise the paintings of these great artists as much as their sculpture.
The Aldobrandini Marriage, found on the Esquiline Mount during the
pontificate of Clement VIII., and placed in the Vatican by Pius VII., is
admired both for drawing and color. Polygnotus was praised by Aristotle
for his designs, and by Lucian for his color.

Dionysius and Mikon were the great contemporaries of Polygnotus, the
former being celebrated for his portraits. His pictures were deficient
in the ideal, but were remarkable for expression and elegant drawing.
Mikon was particularly skilled in painting horses, and was the first who
used for a color the light Attic ochre, and the black made from burnt
vine-twigs. He painted three of the walls of the Temple of Theseus, and
also the walls of the Temple of the Dioscuri.

A greater painter still was Apollodorus of Athens. Through his labors,
about 408 B.C., dramatic effect was added to the style of Polygnotus,
without departing from his pictures as models. "The acuteness of his
taste," says Fuseli, "led him to discover that as all men were connected
by one general form, so they were separated each by some predominant
power, which fixed character and bound them to a class. Thence he drew
his line of imitation, and personified the central form of the class to
which his object belonged, and to which the rest of its qualities
administered without being absorbed. Agility was not suffered to destroy
firmness, solidity, or weight; nor strength and weight, agility.
Elegance did not degenerate into effeminacy, nor grandeur swell to
hugeness." His aim was to deceive the eye of the spectator by the
semblance of reality: he painted men and things as they really appeared.
He also made a great advance in coloring: he invented chiaro-oscuro.
Other painters had given attention to the proper gradation of light and
shade; he heightened this effect by the gradation of tints, and thus
obtained what the moderns