It is said, too, that Pamphilus,[2100] the instructor of Apelles, not only painted in encaustic, but also instructed Pausias[2101] of Sicyon in the art, the first who rendered himself distinguished in this branch. Pausias was the son of Bryetes, by whom he was originally instructed in the art of painting. He retouched also with the pencil[2102] some walls at Thespiæ, then undergoing repair, which had formerly been painted by Polygnotus. Upon instituting a comparison, however, it was considered that he was greatly inferior, this kind of painting not being in his line. It was he, too, who first thought of painting ceilings: nor had it been the practice before his day to use this kind of decoration for arched roofs. He painted many small pictures also, miniatures of children more particularly; a thing which, according to the interpretation put upon it by his rivals, was owing to the peculiarly slow process of encaustic painting. The consequence was, that being determined to give a memorable proof of his celerity of execution, he completed a picture in the space of a single day, which was thence called the “Hemeresios,”[2103] representing the portrait of a child. In his youth, he was enamoured of Glycera,[2104] his fellow-townswoman, the first inventor of chaplets; and in his rivalry of the skill shown by her, he achieved so much success in the encaustic art, as to reproduce the almost numberless tints displayed by flowers. At a later period, he painted her, seated, with a chaplet on, and thus produced one of the very finest of his pictures; known as the “Stephaneplocos”[2105] by some, and as the “Stephanopolis”[2106] by others; from the circumstance that Glycera had supported herself in her poverty by selling these chaplets. A copy of this picture, usually known as an “apographon,”[2107] was purchased by L. Lucullus at Athens, during the festival of the Dionysia, at the price of two talents.