Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/483

 Foppa, the elder, and partner of Buttinone, with whom he generally painted in common. A few pictures are ascribed to him alone, as Madonna in the Ambrosiana, Virgin with Saints and Kneeling Duke and Duchess Sforza, in the Brera (1494-96), and Annunciation in the Casa Borromeo, Milan; but Lermolieff says there is no authenticated picture by him in existence. After 1501 he gave most of his time to architecture. In 1515 he became architect of Santa Maria sopra San Celso, and in 1519 of the Duomo, Milan. He wrote a treatise on perspective in 1524.—C. & C., N. Italy, ii. 33; Vasari, ed. Le Mon., vii. 127; xi. 271; Burckhardt, 608; Ch. Blanc, École milanaise; Lübke, Gesch. ital. Mal., i. 489; Lermolieff, 459.

ZEPPENFELD, VICTOR, born at Greiz, Reuss-Greiz, in 1834. Genre painter, pupil in Hamburg of Gensler, then studied in Munich and under Jordan in Düsseldorf, whence he visited Germany, Switzerland, and North Italy. Works: Morning before Riflemen's Festival: Grocery Shop; Recovery; Blind Musician; At the Post-Office; Mouse-Trap Seller; Summer Theatre; Silver Wedding; Kaulbach's Arrival in Olympus, A Burial (1871), Kunsthalle, Hamburg.—Müller, 571.

ZEUXIPPUS. See Zeuxis.

ZEUXIS, one of the most famous of Greek painters, native of Heraclæa (probably the Pontic), latter part of 5th century B.C. Ionic school. Called Zeuxippus by Socrates in the Protagoras of Plato (Brunn, ii. p. 77). It is uncertain whether his master was Demophilus of Himera or Neseas of Thasos, but he probably owed more to Apollodorus, who was at the height of his reputation when Zeuxis went to Athens, than to either of them. Pliny says (xxxv. 36 [61]) that Zeuxis entered the doors of art which had been thrown open by Apollodorus, and Apollodorus himself complained in verse that Zeuxis had robbed him of his art. His characteristics were close imitation of nature and sensuous charm. In his works the highest standard of human beauty was reached, and the closest representation of those objects in nature which are incapable of an ideal representation. But, according to Aristotle (Poët., vi. 5), they were wanting in character, or that which elevates the moral sentiments. His Helen, in which were combined the physical charms of the five most beautiful virgins of Crotona, was celebrated as the embodiment of the perfection of female loveliness. It was consecrated in the Temple of Juno in that city, but it was probably carried to Rome, as Pliny mentions a Helena by Zeuxis in the Portico of Philip. Other pictures mentioned by Pliny (l. c.) are: The Infant Hercules Strangling the Serpent in presence of Amphitryon and Alcmena, probably the same as the Alcmena which the artist gave to the people of Agrigentum, after he had arrived at the conclusion that there was no price large enough to set on his works; A Jupiter Enthroned surrounded by the other Deities; A Marsyas Bound, preserved in the Temple of Concord, Rome, supposed to have been similar in design to a picture found at Herculaneum; a Pan, which he gave to King Archelaüs of Macedonia, whose palace at Pella he decorated; and a Penelope. Lucian describes (Zeuxis, 3) also his picture of the Centaur Family or Hippocentaur, a female centaur suckling her young in the foreground, with the male in the background holding up a lion's whelp to frighten the little ones. Lucian saw only a copy of this picture, the original having been lost in a vessel off Cape Malea on its way to Rome, whither Sulla had sent it from Athens. An engraved gem in the Florentine Museum is supposed to have been copied from it. A picture of Eros crowned with Roses is mentioned by the scholiast to Aristophanes, a Menelaus by Tzetzes, and a Boreas or Triton by Lucian (Timon, 54), as among the works of Zeuxis. That Zeuxis elaborated his paintings with great care may be inferred from his reply to Agatharcus, who boasted of the ease and speed with which he worked: