Antidotus, as a painter, was more careful in his works than prolific, and his colouring was of a severe style. His principal glory was his having been the instructor of Nicias[2116] of Athens; who was a most careful painter of female portraits, and a strict observer of light and shade,[2117] making it his especial care that the figures in his pictures should appear in the boldest relief. His works are, a Nemea, which was brought from Asia to Rome by Silanus, and was placed in the Curia, as already stated;[2118] a Father Liber,[2119] in the Temple[2120] of Concord; a Hyacinthus,[2121] which the Emperor Augustus was so delighted with, that he took it away with him after the capture of Alexandria; for which reason also it was consecrated in the Temple[2122] of Augustus by the Emperor Tiberius; and a Danaë. At Ephesus, there is a tomb by him of a megabyzus,[2123] or priest of the Ephesian Diana; and at Athens a representation of the Necyomantea[2124] of Homer; which last he declined to sell to King Attalus for sixty talents, and in preference, so rich was he, made a present of it to his own native place. He also executed some large pictures, among which there are a Calypso, an Io, an Andromeda, a very fine Alexander, in the Porticos[2125] of Pompeius, and a Calypso, seated. To this painter also there are some pictures of cattle attributed, and in his dogs he has been remarkably successful. It was this Nicias, with reference to whom, Praxiteles, when asked with which of all his works in marble he was the best pleased, made answer, “Those to which Nicias has set his hand,” so highly did he esteem the colouring of that artist. It has not been satisfactorily ascertained whether it is this artist or another of the same name that some writers have placed in the hundred and twelfth Olympiad. With Nicias has been compared, and indeed sometimes preferred to him, Athenion of Maronea,[2126] a pupil of Glaucion of Corinth. In his colouring he is more sombre than Nicias, and yet, with all his sombreness, more pleasing; so much so indeed, that in his paintings shines forth the extensive knowledge which he possessed of the art. He painted, in the Temple at Eleusis, a Phylarchus;[2127] and at Athens, a family group, which has been known as the “Syngenicon;”[2128] an Achilles also, concealed in a female dress, and Ulysses detecting him; a group of six whole-length figures, in one picture; and, a work which has contributed to his fame more than any other, a Groom leading a Horse. Indeed, if he had not died young, there would have been no one comparable to Athenion in painting.