later discoveries at Pompeii show the same correctness of design in painting as in sculpture, and also considerable perfection in coloring. The great artists of Greece were both sculptors and painters, like Michael Angelo. Phidias and Euphranor, Zeuxis and Protogenes, Polygnotus and Lysippus, were both. And the ancient writers praise the paintings of these great artists as much as their sculpture. The Aldobrandini Marriage, found on the Esquiline Mount, during the pontificate of Clement VIII., and placed in the Vatican by Pius VII., is admired both for drawing and color. Polygnotus was praised by Aristotle for his designs and by Lucian for his color. [Footnote: _Poetica of Aristotle_, c. 286. _Imagines of Lucian_, c. 7.] [Sidenote: Contemporaries of Polygnotus.] Dionysius and Micon were the great contemporaries of Polygnotus, the former of whom was celebrated for his portraits. His pictures were deficient in the ideal, but were remarkable for expression and elegant drawing. [Footnote: Plutarch, _Timol._ 36.] Micon was particularly skilled in painting horses, and was the first who used for a color the light Attic ochre, and the black made from burnt vine twigs. He painted three of the walls of the Temple of Theseus, and also the walls of the Temple of the Dioscuri. [Sidenote: The school of Apollodorus.] With Apollodorus, of Athens, a new development was made in the art of painting. Through his labors, about 408 B.C., dramatic effect was added to the style of Polygnotus, without departing from his pictures as models. "The acuteness of his taste," says Fuseli, "led him to discover that, as all men were connected by one general form, so they were separated each by some predominant power, which fixed character and bound them to a class. Thence he drew his line of imitation and personified the central form of the class to which his object belonged, and to which the rest of its qualities administered, without being absorbed; agility was not suffered to destroy firmness, solidity, or weight; nor strength and weight agility; elegance did not degenerate to effeminacy, nor grandeur swell to hugeness." [Footnote: Fuseli, Lect. I.] His aim was to deceive the eye of the spectator by the semblance of reality. He painted men and things as they really appeared. He also made a great advance in coloring. He invented chiaro-oscuro. Other painters had given attention to the proper gradation of light and shade; he heightened this effect by the gradation of tints, and thus obtained what the moderns call _tone_. He was the first who conferred due honor on the pencil--"primusque gloriam penicillo jure contulit." [Footnote: Pliny, H. N. xxxv. 11.] [Sidenote: Peculiarities of Zeuxis as a painter.]