Page:Cyclopedia of painters and paintings (IA cyclopediaofpain02cham).pdf/48

 National Gallery, Edinburgh; Ulysses and the Sirens (1837), Manchester Gallery; Origin of Marriage, Bevy of Fair Women (1828), Stafford House, London; Venus and Cupid, Henry Bicknell, Cavendish House, Clapham Common; Rape of Proserpine (1839), Venus Anadyomene, Three Graces, J. Gillott Collection; Judgment of Paris; Venus and her Satellites (1835); Wise and Foolish Virgins; Hylas and Nymphs; Prodigal Son; Prodigal's Return; Destruction of Temple of Vice; Adam and Eve; Pandora; Parting of Hero and Leander; Death of do.; Diana and Endymion; Amoret freed by Britomart; Zephyr and Aurora; Robinson Crusoe returning Thanks for Deliverance; Joan of Arc (3 pictures, 1847).—Gilchrist, Life (London, 1855); Redgrave; Art Jour. (1849), 13; (1858), 233; Sandby, ii. 49; Ch. Blanc, École anglaise; Portfolio (1875), 88, 107, 142, 149, 172, 180; Gaz. des B. Arts (1862), xiii. 208.

ETZDORF. See Ezdorf.

EUCHEIR, of Athens, mythic painter, spoken of as the discoverer of painting in Greece, and as related to Dædalus.—Pliny, vii. 57 [205].

EUDORUS, scene-painter and statuary, place and date unknown.—Pliny, xxxv. 40 [141].

EUMARUS, monochrome painter, of Athens, latter part of 6th century Said to have been the first to distinguish men from women in his pictures by colour, by which is meant, probably, that he painted the flesh of the former of a reddish brown and that of the latter white. Also said to have first marked the differences in age between the persons whom he painted. Painting in Greece, up to his time on a level with that in Assyria and Egypt, took with him the first steps in the path of progress.—Pliny, xxxv. 34 [55].

EUMELUS, painter, of Caria, probably about 190. His picture of Helen was in the Roman Forum.—Philost. Vita Sophist., ii. 5.

EUPHRANOR, one of the greatest of Greek artists, of Corinth, Theban-Attic school, pupil of Aristides of Thebes or of his son and pupil Ariston, about 370-336 Master of all arts—painter, sculptor, chaser of metals, and writer on symmetry and colour (Pliny, xxxiv. 19; Quin., xii. 10, 6). He united the traditions of his Theban master with those of the Sicyonic school, and painted many famous works, both at Corinth and at Athens. Upon one wall in the Stoa Basilæus at Athens he painted Theseus with personifications of Democracy and the Demos, and upon the opposite one the twelve great gods. There also he represented a fight between the Athenian and Bœotian cavalry at the battle of Mantinæa, with portraits of Epaminondas and of Gryllus, son of Xenophon (Paus. i. 3. 2, 3). With reference to the first-named picture Euphranor remarked that the Theseus of Parrhasius had been fed on roses, but his own on beef (Pliny, xxxv. 40). Some famous pictures of his at Ephesus are also mentioned: Ulysses in his feigned Madness, yoking together an Ox and a Horse; and a Warrior sheathing his Sword.

EUPOMPUS, a noted Greek painter, of Sicyon, founder of the Sicyonic school, contemporary and rival of Parrhasius and Timanthes, about 400 (Pliny, xxv. 36 [61, 64, 75]). Before his time only two schools of painting were recognized in Greece, the Ionic (Asiatic) and the Attic (Hellenic). We know the subject of but one of his works, a winner in the Olympic games carrying a palm of victory in his hand. This picture was so marked in its individuality that the painter was conceded to have founded a third school, the Sicyonic, at the head of which stands his scholar Pamphilus, the master of Apelles.

EURIPIDES, painter and poet (485-406 ). The great tragic poet was a painter in his youth, and several of his works were preserved in Megara.—Suidas, v. and Vita Eurip. in Vitæ scriptores Græci minores (ed. Westerm. 134, 15).

EUROPA, RAPE OF, Claude Lorrain, Buckingham Palace; canvas, H. 4 ft. × 4 ft.