Timomachus, of Byzantium; Nicias, of Athens; and Theon of Samos, indeed, attained to considerable fame; and there were some painters of familiar life and other subjects, that appear to deserve notice for their reputation, even were it less curious to observe how ancient and modern art have followed the same paths. Pausias was the son and pupil of Brietes, of Sicyon, and appears to have been dexterous in the use of every kind of material and tool then known. He was particularly celebrated for his pictures in encaustic, of the origin of which method of painting Pliny himself was in doubt. His skill in the more ancient methods of painting was such, that he was chosen to repair the pictures of Polygnotus, at Thespiæ, which had suffered greatly from time and damp. It is true that his work was considered greatly inferior to that of the original picture; not, indeed, as Fuseli says, because he used a different method and different tools, but because he wrought in a manner to which he was unaccustomed. May we not also say, because his gay, cheerful disposition, delighting in painting children and flowers, did not and could not enter into the high and solemn feelings which seem to have constantly guided the pencil of Polygnotus? The exceeding beauty of colour which is said to have distinguished the pictures of Pausias, he owed to love. There lived in Sicyon an exceedingly beautiful girl, called Glycera, a garland maker, celebrated for the taste and elegance with which she wove the coronals, then worn universally at religious festivals and banquets, public and private. At first, Pausias resorted to her for the sake of painting the fresh flowers, and catching their combinations of colour and form; but he soon began to love Glycera more than her flowers; and the picture that he painted of her, while wreathing a garland, was the finest work that ever came from his hand[139]. Akin to this, was his Hemerosis, a small picture of a child, reported to have been painted in a single day, though executed with the greatest care and nicety, to prove how falsely those accused him of idleness who said his love of painting children arose from the little necessity there was for care and diligence in such subjects. A very remarkable picture of his is mentioned, representing a sacrifice, in which a number of oxen are introduced. The foreshortening of one of these is said to have been imitated, though without success, by many rivals; the manner of casting the shadows also, upon the more distant groups, was a distinguishing excellence of Pausias. This sacrifice, and other works of this most eminent man, were carried to Rome, when all the pictures at Sycyon were seized during the Edileship of Scaurus, as I have already mentioned. Euphranor, the Isthmean, was the most accomplished of all the ancient painters after the time of Pausias. He was equally celebrated as a sculptor in marble and bronze, and the bowls and vases of his embossing always fetched a high price.