In painting, the sphere of portraiture was larger than in sculpture, and subject apparently to no such restrictions. The earliest portrait on record by any great painter was not of hero, philosopher, or athlete, but of Elpinice, the daughter of Miltiades and the mistress of Polygnotus, who painted her portrait as Laodice, one of the daughters of Priam, in his famous picture representing the “Rape of Cassandra,” in the Pœcile at Athens. This picture was executed about 463 B. C., when Elpinice must have been at least thirty-five years of age. Dionysius of Colophon was also a distinguished portrait-painter and celebrated for his excessive finish. Nicephorus Chumnus, the grammarian, describes Apelles and Lysippus as making and painting Ζῶσας εἰκώνας καὶ πνοῆς μόνης καὶ κινήσεως ἀπολειπόμενας,—being likenesses only wanting breath and motion. For one of his portraits of Alexander Apelles received twenty talents of gold (£5,000), which was measured, not counted, out to him. He also painted the portraits of Campaspe and Phryne in the character of Venus, taking the face from Campaspe and the nude figure from Phryne. Speaking of Apelles, Pliny himself relates in his thirty-sixth book that “he painted portraits so exact to the life that one of those persons called Metoscopi, who divine events from the features of men, was enabled, on examining his portraits, to foretell the hour of the death of the person represented.” And this monstrous story Pliny apparently accepts. At all events, he does not question it. Parrhasius, “the most insolent and arrogant of artists,” says Pliny, “painted a portrait of himself and dedicated it in a public temple to Mercury; and though the Athenians had publicly proceeded against Phidias for so doing, they allowed it to Parrhasius, thus plainly showing that the dignity of sculpture was higher than that of painting.”