There are still some other artists, who, though by no means without reputation, can only be noticed here in a summary manner: Aristocydes; Anaxander; Aristobulus of Syria; Arcesilas,[2177] son of Tisicrates; Corœbos, a pupil of Nicomachus; Charmantides, a pupil of Euphranor; Dionysodorus of Colophon; Dicæogenes, a contemporary of King Demetrius;[2178] Euthymides; Heraclides[2179] of Macedon; Milo of Soli, a pupil of the statuary Pyromachus; Mnasitheus of Sicyon; Mnasitimus, the son and pupil of Aristonidas;[2180] Nessus, son of Habron;[2181] Polemon of Alexandria; Theodorus of Samos, and Stadieus, pupils of Nicosthenes; and Xeno of Sicyon, a pupil of Neocles. There have been some female painters also. Timarete, the daughter of Micon,[2182] painted a Diana at Ephesus, one of the very oldest panel-paintings known. Irene, daughter and pupil of the artist Cratinus,[2183] painted a figure of a girl, now at Eleusis, a Calypso, an Aged Man, the juggler Theodorus, and Alcisthenes the dancer. Aristarete, daughter and pupil of Nearchus, painted an Æsculapius. Iaia of Cyzicus, who always remained single, painted at Rome, in the youth of M. Varro, both with the brush, and with the graver,[2184] upon ivory, her subjects being female portraits mostly. At Naples, there is a large picture by her, the portrait of an Old Woman; as also a portrait of herself, taken by the aid of a mirror. There was no painter superior to her for expedition; while at the same time her artistic skill was such, that her works sold at much higher prices than those of the most celebrated portrait-painters of her day, Sopolis namely, and Dionysius,[2185] with whose pictures our galleries are filled. One Olympias painted also, but nothing is known relative to her, except that she had Autobulus for a pupil. CHAP. 41.—ENCAUSTIC PAINTING. In ancient times there were but two methods of encaustic[2186] painting, in wax and on ivory,[2187] with the cestrum or pointed graver. When, however, this art came to be applied to the painting of ships of war, a third method was adopted, that of melting the wax colours and laying them on with a brush, while hot.[2188] Painting of this nature,[2189] applied to vessels, will never spoil from the action of the sun, winds, or salt water. CHAP. 42.—THE COLOURING OF TISSUES.