It was this Cimon, too, who first invented foreshortenings,[1952] or in other words, oblique views of the figure, and who 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, too, the brother of Phidias, even executed a painting[1953] of the battle fought by the Athenians with the Persians at Marathon: so common, indeed, had the employment of colours become, and to such a state of perfection had the art arrived, that he was able to represent, it is said, 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. CHAP. 35. (9.)—THE FIRST CONTEST FOR EXCELLENCE IN THE PICTORIAL ART. And not only this, but, during the time that Panænus flourished, there were contests in the pictorial art instituted at Corinth and Delphi. On the first occasion, Panænus himself entered the lists, at the Pythian Games, with Timagoras of Chalcis, by whom he was defeated; a circumstance which is recorded in some ancient lines by Timagoras himself, and an undoubted proof that the chroniclers are in error as to the date of the origin of painting. After these, and yet before the ninetieth Olympiad, there were other celebrated painters, Polygnotus of Thasos,[1954] for instance, who was the first to paint females in transparent drapery, and to represent the head covered with a parti-coloured 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. There is a picture by this artist in the Portico[1955] of Pompeius, before the Curia that was built by him; with reference to which, there is some doubt whether the man represented with a shield is in the act of ascending or descending. He also embellished the Temple[1956] at Delphi, and at Athens the Portico known as the Pœcile;[1957] at which last he worked gratuitously, in conjunction with Micon,[1958] who received pay for his labours. Indeed Polygnotus was held in the higher esteem of the two; for the Amphictyons,[1959] who form the general Council of Greece, decreed that he should have his lodging furnished him at the public expense. There was also another Micon, distinguished from the first Micon by the surname of “the younger,” and whose daughter Timarete[1960] also practised the art of painting. CHAP. 36.—ARTISTS WHO PAINTED WITH THE PENCIL.