After the Venus, the ancient critics seem to have prized the famous portrait of Alexander, in the character of Jupiter the Thunderer, which was hung in the temple of Diana of Ephesus, and cost no less than twenty talents of gold, according to Pliny. This picture is praised as much for grandeur and majesty as the Venus for loveliness. Nor was it the only portrait of Alexander he painted, for we are told that he represented him in every action and character, and that the pictures of King Philip, by Apelles, were almost equally numerous. The portrait of Clytus he painted in armour, and that of Megabyzus, the priest of Diana, in his priestly robes, performing a sacrifice. Of other remarkable portraits by him, we have the names of Antiochus, the king, whom he painted in profile to conceal the want of an eye, which disfigured him; of Menander, king of the Rhodians; of Gorgosthenes, the tragedian; and of one Ancæus, a Samian. At Rome there was an allegorical picture painted by him, in which Castor and Pollux, Alexander, and a winged victory were introduced; and also that picture of war in chains, which was afterwards so cruelly defaced by Claudius, who, as I have already mentioned, had the head of Alexander scraped out, and that of Augustus substituted for it[131]. Other subjects on which he employed his pencil have been named by various authors: for instance, a Hercules nearly turned from the spectator; a Hero and Leander; Archelaus with his wife and daughter; and a most beautiful picture of Diana, with her attendant virgins preparing a sacrifice. This last was esteemed by the connoisseurs of Greece as one of his very finest works, though a few preferred a picture of Antigonus on horseback. He had painted the same king in armour, on foot, with his horse led by a soldier, but this work was not esteemed nearly so much as the other. He seems to have been fond of painting horses, and carried away the prize from several rivals in subjects where they were treated, either alone, or along with their riders. I am not clear whether it were a solitary horse, or one on which he had mounted Neoptolemus armed, and charging some Persian soldiers, that, according to Pliny, procured him the compliment of a greeting from a real horse that was passing by[132]. It is evident, I think, from what the ancients have related concerning his works, that he never painted in fresco, nor do I find any mention made of drawings on parchment, like those of Zeuxis and Parrhasius. He must then have painted upon pannel with the usual preparation of chalk or carbonate of lime, with size. Of the peculiar glaze or varnish, which he is said to have first used, I shall have occasion to speak in a future Essay.