PARRHASIUS  , of See also:

• EPHESUS
• EPHESUS, COUNCIL OF

Ephesus, one of the greatest painters of See also:

• GREECE

Greece . He settled in See also:

• ATHENS
• ATHENS ['AN vat, Athenae, modem colloquial Greek `Ath va]

Athens, and may be ranked among the See also:

• ATTIC (i.e. "in the Attic style ")

Attic artists . The See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of his activity is fixed by the See also:

• ANECDOTE (from av-, privative, and isSLSwµu, to give out or publish)

anecdote which See also:

• XENOPHON

Xenophon records of the conversation between him and See also:

• SOCRATES

Socrates on the subject of See also:

• ART

art; he was therefore distinguished as a painter before 399 B.C . See also:

• SENECA

Seneca relates a See also:

• TALE (O.Eng. talu, number, account, story; the word is common to many Teutonic languages; cf. Ger. Zahl, number, Erzahlung, narrative, Du. taal, speech, language)

tale that Parrhasius bought one of the Olynthians whom See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip sold into See also:

• SLAVERY

slavery, 346 B.C., and tortured him in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to have a See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model for his picture of See also:

• PROMETHEUS

Prometheus; but the See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story, which is similar to one told of See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo, is chronologically impossible . Another tale recorded of him describes his contest with Zeuxis . The latter painted some grapes so perfectly that birds came to See also:

• PECK

peck at them . He then called on Parrhasius to draw aside the See also:

• CURTAIN

curtain and show his picture, but, finding that his See also:

• RIVAL

rival's picture was the curtain itself, he acknowledged himself to be surpassed, for Zeuxis had deceived birds, but Parrhasius had deceived Zeuxis . He was universally placed in the very first See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank among painters . His skilful See also:

• DRAWING

drawing of outlines is especially praised. and many of his drawings on See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood and See also:

• PARCHMENT

parchment were preserved and highly valued by later painters for purposes of study . He first attained skill in making his figures appear to stand out from the background . His picture of See also:

• THESEUS

Theseus adorned the Capitol in See also:

• ROME
• ROME (Roma)

Rome . His other See also:

• WORKS

works, besides the obscene subjects with which he is said to have amused his leisure, are chiefly mythological See also:

• GROUPS
• GROUPS, THEORY

groups .

A picture of the Demos, the personified See also:

• PEOPLE

People of Athens, is famous; according to the story, which is probably based upon epigrams, the twelve prominent characteristics of i he people, though apparently quite inconsistent with each other, were distinctly expressed in this figure .