The great public work of Euphranor was a portico, in that part of Athens called the Ceramicus. One of the subjects was an allegorical picture of the early political state of Athens. The Athenian people, Theseus, and the personage of Democracy, were introduced; but Pausanias, who mentions the subject, gives no account of its treatment, though he says it signified that Theseus first established equal rights of citizenship among the Athenians. In the same portico, Euphranor also painted the battle of Mantinea, in which the most remarkable group was an encounter of cavalry. Epaminondas was at the head of the Bœotians, and Gryllus, the son of Xenophon, led the Athenian horse. One end of the portico Euphranor sanctified by paintings of the twelve superior gods. Perhaps some slight judgment of the tone of these pictures may be formed from the expression of Euphranor himself--that, while the Theseus of Parrhasius looked as if he had fed upon roses, his own showed that he lived upon flesh. The other principal pictures of Euphranor appear to have belonged to the temple of Diana at Ephesus, the most remarkable of which was the feigned madness of Ulysses, who was harnessing a horse and an ox to the same yoke. Before I proceed to the painters of less note, I will use the words of Quintillian to sum up the general character of some of the greatest men who distinguished the third period of Greek art. “Protogenes distinguished himself by his accuracy: Pamphilus and Melanthus by beauty of design: Antiphilus by the easy and natural strokes of his pencil: Theon of Samos by his lively imagination: and Apelles by his ingenuity, and the graces which he boasted he had excelled in: Euphranor made himself admirable by being possessed of these different qualities in as eminent a degree as the best masters.” The great encouragement of art about the time of Philip, and in the reign of Alexander and his immediate successors, called out abundance of talent of various kinds and degrees; from that of the Egyptian, or rather Alexandrian Antiphilus, whose attention to nature must have been of singular use to him in those scenes for the theatre on which he loved to employ himself, to that pupil of Apelles to whom his master said sarcastically, “As you have not been able to paint your Venus beautiful, you have made her fine;” in allusion to a profusion of gold chain and other ornaments with which he had loaded her. The serious pictures of Antiphilus which were carried to Rome, were the death of Hippolytus; several votive pictures of Greek divinities, and some few heroes. He painted grotesques so perfectly, that from one of his figures, a fool named Gryllus, with a cap and bells, such subjects got the name of Grylli.