Following his example, Nealces succeeded in representing the foam at a horse’s mouth; for on one occasion, when engaged in painting a man holding in a pair of horses and soothing them with his voice, he also dashed his sponge against the picture, with the view of producing a like effect.
On account of this Ialysus, which he was apprehensive of destroying, King Demetrius forbore to set fire to the only side of the city of Rhodes by which it was capable of being taken; and thus, in his anxiety to spare a picture, did he lose his only opportunity of gaining a victory. The dwelling of Protogenes was in a little garden in the suburbs in the midst of the camp of Demetrius. The combats that were taking place made no difference whatever to the artist, and in no way interrupted his proceeding with the work which he had commenced. At last he was summoned before the king, who inquired how he could have the assurance thus to remain without the walls. “Because I know,” was his answer, “that you are waging war with the Rhodians, and not with the arts.” Upon this, the king, delighted at having the opportunity of protecting the hand which he had thus spared, ordered a guard to be placed at his disposal for the especial purpose of his protection. In order, too, that he might not distract the artist’s attention by sending for him too often, he would often go, an enemy albeit, to pay him a visit, and, abandoning his aspirations for victory, in the midst of arms and the battering down of walls, would attentively examine the compositions of the painter. Even to this day, the story is still attached to the picture which he was then engaged upon, to the effect, that “Protogenes painted it beneath the sword.”
Protogenes executed also a Cydippe; a portrait of Philiscus, the tragic poet, in an attitude of meditation: an Athlete; a portrait of King Antigonus, and one of Phæstis, the mother of Aristotle.
CHAPTER XVI.
VARIOUS OTHER KINDS OF PAINTING.
We must now make some mention of those artists who acquired fame by the pencil in an inferior style of painting. Among these was Piræicus, inferior to few of the painters in skill. I am not sure that he did not do injustice to himself by the choice of his subjects, seeing that, although he adopted an humble walk, he still attained in that walk the highest reputation. His subjects were barbers’ shops, cobblers’ stalls, jackasses, eatables, and the like. His paintings, however, are exquisitely pleasing, and have sold at higher prices than the very largest works of many masters.
It would not be right to pass in silence the painter of the Temple at Ardea, particularly as he was honored with the citizenship at that place, and with the following inscription in verse upon one of the paintings which he executed there:
“These paintings, worthy of this worthy place,
Temple of Juno, queen, and wife of Jove,
Plautius Marcus, from Alalia, made.
May Ardea now and ever praise him for his skill.”