After Aglaophon, Phidias, Panenus, Colotes, and Evenor, the father of Parrhasins, came Apollodorus, the Athenian. This painter applied the essential principles of Polygnotus to the delineation of the species, by investigating the leading forms that discriminate the different classes of human qualities and passions. The acuteness of his taste led him to discover, that, as all men were connected by one general form, so were they separated by some peculiar individuality. Pliny and Plutarch considered Apollodorus as the first colorist of his age, and it is very probable, by their descriptions, that he was the inventor of local color and tone. Zeuxis succeeded to Apollodorus, and by uniting in one figure the most perfect parts of many models, produced an ideal form, which, in his opinion, constituted the supreme degree of human beauty. Lucian describes a picture he exhibited at the Olympic Games as remarkable for its invention. It represented a female centaur, suckling her young. It was carried off from Athens by Sylla, but lost on the voyage to Italy. Parrhasins, a native of Ephesus, but a citizen of Athens, was the son of a disciple of Evenor, and contemporary of Zeuxis. By his subtle examination of outline, "he established that standard of divine and heroic form, which raised him to the authority of a legislator, from whose decisions there was no appeal." He was a thorough master of allegory, from the fact of his embodying by signs, universally understood, the Athenian people. In a competition with Timanthes, he had the mortification of being declared, by a majority of votes, inferior to him. The subject for competition, was the contest of Ajax and Ulysses for the arms of Achilles.