[51] By Timomachus, a Byzantine contemporary with Cæsar, who was his patron according to one passage in Pliny’s thirty-fifth book; but other passages, with, as I think, more likelihood, make him older than Apelles. On carefully comparing such authorities as we have on the subject, I cannot help thinking that there were two, if not three, painters of the name. Two seem to have been Thracians. [52] Most probably from the Pæcile, where the pictures were not painted in fresco, but on pannel. The portico of Octavia, with its library and pictures, was burnt in the time of Titus. [53] The fashion of the fine wrought cups of chalcedony is said by Pliny to have been introduced into Rome by Pompey. B. xxxvii., c. 11. [54] For his other various merits, see Fuseli’s first lecture. [55] Among the pictures taken from Greece, Tiraboschi names, on the authority of Vitruvius, b. ii. c. 8, some frescoes from Sparta; which, by orders of the Ediles Murena and Varro, were sawn from the walls they adorned, and, being tightly wedged in wooden cases, were transported to Rome. [56] Dioscorides, whose works came next in beauty to those of Pyrgoteles, Acmon, Aulus, and some others in the time of Augustus; Alpheus and Anthon in that of Caligula; Evodus and Necander under Titus; Ænorus in the reign of Marcus Aurelius, &c. [57] See the basso-relievo, of the size of life, in the Villa Albani, and the statues in the Museum of the Capitol and the Galleries of the Vatican. [58] Marcus Aurelius was himself a painter: his master was, according to Julian, Diognetes; whether the same Diognetes, who was his master in moral philosophy, does not appear. [59] The arch of Constantine in Rome furnishes a perfect example: such parts as he stole from the forum of Trajan are of great merit, and do credit to the artists of the last good school of antique sculpture. Those portions of the decorative bas-reliefs, executed by Constantine’s workmen, are mean and deformed--totally worthless in design and contemptible as sculpture. [60] Now Palestrina. See Cecconi, Historia di Palestrina. [61] All Roman families of rank preserved the effigies of their forefathers, some in wax, others in clay, wood, marble, or bronze. These were carried in procession at funerals. The images of Brutus and Cassius were not permitted to appear among those of seventy of the principal houses of Rome, at the funeral of Junia the widow of Cassius; but Tacitus says, that “before all the rest THEY flashed upon men’s thoughts, the more for not being there.”--Annals, Book iii. The Athenians set up the statues of Brutus and Cassius along with those of Harmodius and Aristogiton.--Dion. Cassius, Book xlvii., c. 20, quoted by Colonel Leake. [62] Of these, there are beautiful examples in the _Libreria_ at Sienna, and some in the collection at Munich. The latter had not been arranged when I saw them in 1827.