As to Timanthes, he was an artist highly gifted with genius, and loud have some of the orators been in their commendations of his Iphigenia, represented as she stands at the altar awaiting her doom. Upon the countenance of all present, that of her uncle Menelaus in particular, grief was depicted; but having already exhausted all the characteristic features of sorrow, the artist adopted the device of veiling the features of the victim’s father, Agamemnon, finding himself unable adequately to give expression to his feelings. There are also some other proofs of his genius, a Sleeping Cyclops, for instance, which he has painted upon a small panel; but, being desirous to convey an idea of his gigantic stature, he has painted some Satyrs near him measuring his thumb with a thyrsus. Indeed, Timanthes is the only one among the artists in whose works there is always something more implied by the pencil than is expressed, and whose execution, though of the very highest quality, is always surpassed by the inventiveness of his genius. He painted the figure of a Hero, a master-piece of skill, in which he carried the art to the very highest pitch of perfection, in the delineation of the warrior: this work is now at Rome, in the Temple of Peace. At this period, too, Euxinidas had for his pupil Aristides, who became a most illustrious artist; and Eupompus instructed Pamphilus, who afterwards became the instructor of Apelles. There is by Eupompus, a Victor in a gymnastic contest, holding a palm. So high was the reputation of this artist, that he established a school of painting, and so divided the art into three styles; whereas till then there had been but two, known respectively as the Helladic and the Asiatic. In honor of him, a native of Sicyon by birth, the Helladic school was divided into two, and from this period there were three distinct styles recognized, the Ionic, the Sicyonian, and the Attic.