FOOTNOTES
[3] Abstract of the Laws of the Royal Academy, article Professors; page 21.
[4] This has been done in a superior manner by J. G. Herder, in his Ideen zur Philosophie der geschichte der Menschheit, Vol. iii. Book 13; a work translated under the title of Outlines of a Philosophy of the History of Man, 4to.
[5] This account is founded on the conjectures of Mr. Riem, in his Treatise on die Malerey der Alten, or the Painting of the Ancients, 4to. Berlin, 1787
[6] Pausanias Attic. c. xxviii. The word used by Pausanias καταγραψαι, shows that the figures of Parrhasius were intended for a Bassorelievo. They were in profile. This is the sense of the word Catagrapha in Pliny, xxxv. c. 8, he translates it "obliquas imagines."
[7] By the authority chiefly of Pamphilus the master of Apelles, who taught at Sicyon. 'Hujus auctoritate,' says Pliny, xxxv. 10, 'effectum est Sicyone primum, deinde et in tota Græcia, ut pueri ingenui ante omnia diagraphicen, hoc est, picturam in buxo, docerentur,' &c. Harduin, contrary to the common editions, reads indeed, and by the authority, he says, of all the MSS. graphicen, which he translates: ars 'delineandi,' desseigner, but he has not proved that graphice means not more than design; and if he had, what was it that Pamphilus taught? he was not the inventor of what he had been taught himself. He established or rather renewed a particular method of drawing, which contained the rudiments, and facilitated the method of painting.
[8] Pausan. Phocica, c. xxv. seq.
[9] This I take to be the sense of Μεγεθος here, which distinguished him, according to Ælian, Var. Hist. iv. 3, from Dionysius of Colophon. The word Τελειοις in the same passage: και ἐν τοις τελειοις εἰργαζετο τα ἀθλα, I translate: he aimed at, he sought his praise in the representation of essential proportion; which leads to ideal beauty.
The κρειττους, χειρους, ὁμοιους; or the βελτιονας ἠ καθ' ἡμας, ἠ και τοιουτους, ἠ χειρονας, of Aristotle, Poetic. c. 2, by which he distinguishes Polygnotus, Dionysius, Pauson, confirms the sense given to the passage of Ælian.
[10] Παρειῶν το ἐνερευθες, ὁιαν την Κασσανδραν ἐν τη λεσχη ἐποιησε τοις Δελφοις. Lucian: εἰκονες. This, and what Pausanias tells of the colour of Eurynomus in the same picture, together with the coloured draperies mentioned by Pliny; makes it evident, that the 'simplex color' ascribed by Quintilian to Polygnotus and Aglaophon, implies less a single colour, as some have supposed, than that simplicity always attendant on the infancy of painting, which leaves every colour unmixed and crudely by itself. Indeed the Poecile (ἡ ποικιλη στοα) which obtained its name from his pictures, is alone a sufficient proof of variety of colours.