The late Emperor Augustus placed in the most conspicuous part of his forum, two pictures, representing War and Triumph. He also placed in the Temple of his father, Cæsar, a picture of the Castors, and one of Victory, in addition to those which we shall mention in our account of the works of the different artists. He also inserted two pictures in the wall of the Curia which he consecrated in the Comitium, one of which was a Nemea seated upon a lion, and bearing a palm in her hand. Close to her is an old man, standing with a staff, and above his head hangs the picture of a chariot with two horses. Nicias has written upon this picture that he “inburned”[229] it. In the second picture the thing to be chiefly admired is the resemblance that the youth bears to the old man his father, allowing, of course, for the difference in age; above them soars an eagle, which grasps a dragon in its talons. Philochares attests that he is the author of this work, an instance, if we only consider it, of the mighty power wielded by the pictorial art; for here, thanks to Philochares, the senate of the Roman people, age after age, has before its eyes Glaucion and his son Aristippus, persons who would otherwise have been altogether unknown. Cimon of Cleonæ first invented foreshortenings, or in other words, oblique views of the figure, and first learned to vary the features by representing them in the various attitudes of looking backwards, upwards, or downwards. It was he, too, who first marked the articulations of the limbs, indicated the veins, and gave the natural folds and sinuosities to drapery. Panænus, the brother of Phidias, even executed a painting of the battle fought by the Athenians with the Persians at Marathon: and so common had the employment of colors become, and to such a state of perfection had the art arrived, that he was able to represent the portraits of the various generals who commanded at that battle, Miltiades, Callimachus, and Cynægirus, on the side of the Athenians, and, on that of the barbarians, Datis and Artaphernes. Polygnotus of Thasos was the first to paint the figures of women in transparent drapery, and to represent the head covered with a parti-colored head-dress. He, too, was the first to contribute many other improvements to the art of painting, opening the mouth, for example, showing the teeth, and throwing expression into the countenance, in place of the ancient rigidity of the features. CHAPTER XV. ARTISTS WHO PAINTED WITH THE PENCIL.