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424 BC (search for this): entry zeuxis-bio-6
was, and we have no other mention of the latter,--it appears to us that this passage, when cleared of a mistaké into which Pliny was led in a way which can be explained, contains the true period of Zeuxis, namely, from about Ol. 89 to Ol. 89,. B. C. 424-400 ; the mistake referred to, as made by Pliny, being the assumption of the period at which Zeuxis had attained to the height of his reputation, as that at which he began to flourish. And here we have the reply to the argument of Sillig in favany occasion to refer to it. This date of Ol. 79 would, in fact, make Zeuxis a contemporary of Polygnotus. The important result which remains to us is the positive testimony of some of the Greek writers on art, that Zeuxis flourished in Ol. 89, B. C. 424. Pliny's reason for rejecting this statement, and for fixing on the 95th Olympiad as the commencement of the career of Zeuxis, is, we suspect, to be found in his notion of the relation of Zeuxis to Apollodorus, whom he places at Ol. 93. Pliny
425 BC (search for this): entry zeuxis-bio-6
anon a)nqe/mwn. Now, from the general character of the allusions in the comic poets, we may safely infer that the picture alluded to was only recently painted; and therefore we are quite prepared to accept the express statement of the Scholiast, that the picture referred to was one painted by Zeuxis, and dedicated in the temple of Aphrodite at Athens, representing Eros in the fairest youthful beauty, and as crowned with roses (comp. Suid. s. v. *)Anqe/mwn). The date of the Acharnians was B. C. 425 ; and this agrees wonderfully well with the passage in the Protagoras, where it is clearly implied that the painter had already achieved a very high reputation. It is hardly necessary to remark, that there is no difficulty in explaining the word newsti\ as referring to a period three or four years back, especially when we are dealing with a chronological allusion in Plato. It is true that each portion of the incidental evidence now adduced has a certain degree of indefiniteness; but some o
355 BC (search for this): entry zeuxis-bio-6
own name in letters of gold : another example of that vanity, into which the consciousness of merit often betrays the artist, and which was still more strongly exhibited by his contemporary PARRHASIUS. The time of his death is unknown, for the inference which has been drawn from the eulogium upon him in the oration of Isocrates peri\ a)ntido/sews merely confirms the fact, which is evident from the arguments already adduced as to his age, that he died before the delivery of that oration in B. C. 355 (comp. Harpocrat. s. v.). The story told of the manner of his death, namely, that he choked with laughing at a picture of an old woman which he had just painted (Festus, s.v. Pictor), furnishes another instance of those fictions which the ancient grammarians were so fond of inventing, in order to make the deaths of great men correspond with the character of their lives. In the case of Zeuxis, we would understand the fable to refer to that marvellous power of imitation, which was one of the
422 BC (search for this): entry zeuxis-bio-6
events, earlier than the date assigned by Pliny (Plat. Gorg. p. 453c. d.; Xen. Mem. 1.4.6, Oecon. 10.1; and probably also Sympos. 4.63, and Plat. Protag. p. 318b. c. ; see ZEUXIPPUS). Besides the general indications of his date, furnished by these passages, the one last quoted (if Zeuxippus there be Zeuxis) gives a specific date perfectly in accordance with the one assumed, for the second visit of Protagoras to Athens, on occasion of which the dialogue is supposed to be held, took place in B. C. 422. Similar incidental evidence may be derived from Aristophanes, who, in the Acharnians (991, 992), having mentioned Eros, adds :-- w(/sper o( gegramme/nos, e)/xwn ste/fanon a)nqe/mwn. Now, from the general character of the allusions in the comic poets, we may safely infer that the picture alluded to was only recently painted; and therefore we are quite prepared to accept the express statement of the Scholiast, that the picture referred to was one painted by Zeuxis, and dedicated in the te
413 BC (search for this): entry zeuxis-bio-6
The above arguments apply to the beginning of the career of Zeuxis : they are abundantly confirmed by evidence referring to a later period, namely, from what we are told of his connection with Archelaüs, king of Macedonia, whose reign began in B. C. 413, and ended in B. C. 399. the very year in which, according to Pliny, Zeuxis began to flourish. But for this king he executed an important and extensive work, which would not have been entrusted to any but an artist of established reputation, thning of nea/niskos in the Protagoras); and therefore that he was born about B. C. 455, and that he came to Athens about or soon after the beginning of the Peloponnesian War. He must have been in Macedonia, at the court of Archelaüs, soon after B. C. 413. He must have spent some time in Magna Graecia, as we learn from the story respecting the picture of Helen, which he painted for the city of Croton ; and it is also probable that he visited Sicily, as we are told that one of those inestimable p
455 BC (search for this): entry zeuxis-bio-6
schylus or Sophocles [AGATHARCIDES]. On these grounds we may say, with almost absolute certainty, that Zeuxis flourished chiefly during the last quarter of the fifth century, B. C.; and, as it has been shown to be probable that he was already exercising his art at Athens with great success at the beginning of that period, we may assume that he was then not less than thirty years old (and this falls within the meaning of nea/niskos in the Protagoras); and therefore that he was born about B. C. 455, and that he came to Athens about or soon after the beginning of the Peloponnesian War. He must have been in Macedonia, at the court of Archelaüs, soon after B. C. 413. He must have spent some time in Magna Graecia, as we learn from the story respecting the picture of Helen, which he painted for the city of Croton ; and it is also probable that he visited Sicily, as we are told that one of those inestimable pictures, which he gave away, was presented to the Agrigeutines. His travels throug
399 BC (search for this): entry zeuxis-bio-6
rown open by Apollodorus of Athens, were entered by Zeuxis of Heracleia in the fourth year of the 95th Olympiad (B. C. 400-399) ... who is by some placed erroneously in the 79th Olympiad (or 89th, for the best MSS. vary; B. C. 464-4460 or 424-420), from what we are told of his connection with Archelaüs, king of Macedonia, whose reign began in B. C. 413, and ended in B. C. 399. the very year in which, according to Pliny, Zeuxis began to flourish. But for this king he executed an important and e which is worth repeating, both for its own sake, and as showing that the work must have been executed some time before B. C. 399 (when Socrates himself was put to death), and yet after the fame of Zeuxis had been spread far and wide --" Archelaüs," he presented to Archelaüs : another proof that he had reached the summit of his reputation before that king's death in B. C. 399, Another indication of his date is found in the story related by Plutarch (Per. 13), which represents him as partly con
433 BC (search for this): entry zeuxis-bio-6
estis, in Macedonia, because Zeuxis enjoyed the patronage of Archelaüs. It is evident how these two opinions show the worthlessness of each other; both rest on facts which are better accounted for by the celebrity of the artist, which was doubtless coextensive with the Grecian name; and, as for the former, it is most probable, as will be seen presently, that Zeuxis was born some time before the foundation of the Italian Heracleia, which was not built till after the destruction of Siris, in B. C. 433. It is rather singular that none of the commentators (so far as we know) have thought of that city which was the most celebrated of any of its name for the great men whom it sent forth, namely, Heracleia on the Pontus Euxeinus. The question deserves investigation whether, when Heracleia is mentioned without any distinctive addition by an Athenian writer of the time of Xenophon and Plato, we are not justified in assuming that the reference is to Heracleia on the Euxine. The probability of t
400 BC (search for this): entry zeuxis-bio-6
f it given by Pliny, who is our chief authority for the artist's life. (H. N. 35.9. s. 36.2.) He says that "The doors of the art, thrown open by Apollodorus of Athens, were entered by Zeuxis of Heracleia in the fourth year of the 95th Olympiad (B. C. 400-399) ... who is by some placed erroneously in the 79th Olympiad (or 89th, for the best MSS. vary; B. C. 464-4460 or 424-420), when Demophilus of Himera and Neseas of Thasos must of necessity have flourished, since it is doubted of which of themnd we have no other mention of the latter,--it appears to us that this passage, when cleared of a mistaké into which Pliny was led in a way which can be explained, contains the true period of Zeuxis, namely, from about Ol. 89 to Ol. 89,. B. C. 424-400 ; the mistake referred to, as made by Pliny, being the assumption of the period at which Zeuxis had attained to the height of his reputation, as that at which he began to flourish. And here we have the reply to the argument of Sillig in favour of
4460 BC (search for this): entry zeuxis-bio-6
e school to which he belonged. The date of Zeuxis has likewise been a matter of dispute, which has arisen from the confused account of it given by Pliny, who is our chief authority for the artist's life. (H. N. 35.9. s. 36.2.) He says that "The doors of the art, thrown open by Apollodorus of Athens, were entered by Zeuxis of Heracleia in the fourth year of the 95th Olympiad (B. C. 400-399) ... who is by some placed erroneously in the 79th Olympiad (or 89th, for the best MSS. vary; B. C. 464-4460 or 424-420), when Demophilus of Himera and Neseas of Thasos must of necessity have flourished, since it is doubted of which of them he was the disciple." Now, passing over what is said of Demophilus and Neseas -- which cannot help us, as it is doubtful who the former artist was, and we have no other mention of the latter,--it appears to us that this passage, when cleared of a mistaké into which Pliny was led in a way which can be explained, contains the true period of Zeuxis, namely, from abo
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