Euphranor

, an excellent sculptor and painter of Athens, was the disciple of Aristides, and flourished about 362 years before Christ. He wrote several volumes on the art of colouring, and on symmetry, which are lost. His conceptions were noble and elevated, his style masculine and bold; and he was, according to Pliny, the first who signalized himself by representing the majesty of heroes. Among his most celebrated paintings were the twelve Gods, the battle of Mantinea, and Theseus. The refinements of expression were certainly carried very far by Euphranor, if we may form our judgment from the Theseus, | which he opposed to that of Parrhasius > and the bronze figure of Alexander Paris, in whom, says Pliny, the umpire of the goddesses^ the lover of Helen, and yet the murderer of Achilles, might be traced. He made the character of Paris so pregnant, that those who knew his history might trace in it the origin of all his future feats, though first impressed by the expression allotted to the predominant quality and moment. Such appears to be the expression of the sitting Paris, formerly in the cortile of the palace Altheims at Rome, a work of the highest style, and worthy of Euphranor, “though,” says Mr. Fuseli, “I shall not venture to call it a repetition in marble of his bronze.” ¹