Page:Dictionary of Greek and Roman Biography and Mythology (1870) - Volume 3.djvu/116

Rh 104 PAMPHILUS. the bishop of Caesareia in Palestine. In the fifth year of the persecution under Diocletian, towards the end of the year a. d. 307, he was thrown into prison by Urbanus, the governor of Palestine, for refusing to sacrifice to the heathen deities. Eu- sebius attended upon hira most affectionately during his imprisonment, which lasted till the 16th of February, 309, when he suffered martyr- dom by the command of Finnilianus, the successor of Urbanus. The life of Pamphilus seems to have been en- tirely devoted to the cause of biblical literature, and of a free theology, but more especially the former: he was an ardent admirer and follower of Origen. Jerome tells us that he was always ready to show his friendship for studious men, and to supply their wants ; and that he multiplied copies of the Holy Scriptures to such an extent that he was able not only to lend, but to give them away. He formed, at Caesareia, a most va- luable public library, chiefly of ecclesiastical au- thors, a catalogue of which was contained in the lost work of Eusebius on the life of Pamphilus. Not only did the writings of Origen occupy an important place in this library, but the greater part of them were transcribed by Pamphilus with his own hand, as we learn from Jerome, who used these very copies. Perhaps the most valuable of the contents of this library were the Tetrapla and Hexapla of Origen, from which Pamphilus, in con- junction with Eusebius, formed a new recension of the Septuagint, numerous copies of which were put into circulation. Among the other treasures of this library was a copy of the so-called Hebrew text of the gospel of St. Matthew, as used by the Nazarenes. There is still extant one MS., if not two, which some suppose to have been tran- scribed by Pamphilus for his library (Montfaucon, Bibl. Coisl. p. 25 1 ; Proleg. ad Orig. Heccapl. pp. 14, 76.). The library is supposed to have been destroyed at the taking of Caesareia by the Arabs, in the seventh century. Another eminent ser- vice which Pamphilus rendered to the Christians of Caesareia, was the foundation of a theological school, in which the exposition of the Scriptures formed the chief study. The statement of Jerome that Pamphilus, though so ardent in the study and transcription of the old writers, composed nothing of his own, except a few letters, is cer- tainly incorrect. Photius expressly states that the Apology for Origen was commenced by Pamphilus in prison, where he composed five books of it in conjunction with Eusebius, and that the sixth book was added by Eusebius after the martyrdom of Pamphilus. Of these six books the first only is extant, in the incorrect Latin version of Rufinus. It is printed in Delarue's edition of Origen, Gal- landi's BibliolJieca Patrum, and Routh's Reliquiae Sacrae. The work was in the form of a letter to the Christian confessors condemned to the mines in Palestine. There is another work ascribed to Pamphilus by some writers, under the title of Eocpositio capitum Actuum Apostolicorum, but it is quite impossible to decide whether this was really written by Pamphilus or by Euthalius. Eusebius wrote a life of Pamphilus in three books, but it is entirely lost, excepting a few frag- ments, and even these are doubtful. All that we now know of him is derived from scattered pas- sages in the works of Eusebius, Jerome, Photius, and others. (Euseb. //. E. n. 32, vii. 32,<;?e Afart. PAMPHILUS. Palacst. 11 ; Hieron. de Vir. Illust. 75, adv. Bufin. L vol. iv. p. 357, II. vol. iv. p. 419 ; Phot. Cod. 118; Acta S. Pamphili Martyris ; Fabric. Bill. Graec. vol.x. p.7l2 ; Lardner, Tillemont, Schrockh, and the other church historians.) [P. S.j PAM'PHILUS {u6.^ji<piXos artists. 1. Of Araphipolis (Suid. s. v. 'ATreAATjs ; Macedo na- tione, Plin.), one of the most distinguished of the Greek painters, flourished about 01 97 — 107, B.C. 390 — 350. He was the disciple of Eupompus, the founder of the Sicyonian school of painting [Eu- pompus], for the establishment of which, how- ever, Pamphilus seems to have done much more than even Eupompus himself. (Plin. H.N. xxxv. 10. s. 36. §7,11. s. 40 ; Pint. Aral. 13). Of his own works we have most scanty accounts ; but as a teacher of his art he was surpassed by none of the ancient masters. According to Pliny, he was the first artist who possessed a thorough acquaintance with all branches of knowledge, especially arithmetic and geometry, without which he used to say that the art could not be perfected. All science, there- fore, which could in any way contribute to form the perfect artist, was included in his course of in- struction, which extended over ten years, and for which the fee was no less than a talent. Among those who paid this price for his tuition were Apelles and Melanthius. (Plin. H.N. xxxv. 10. 8. 36. § 8). Not only was the school of Pam- philus remarkable for the importance which the master attached to general learning, but also for the minute attention which he paid to accuracy in drawing. On this subject Pliny says that this artist's influence established the rule, first at Si- cyon, and afterwards through all Greece, that free- born boys were taught before any thing else (in art, of course) the graphic art {grapMcen., drawing with the graphis that is, painting on box-wood, and this art was received into the first rank of the studies of the free-born (Plin. I. c). Two things are clear from this passage. First, it proves the high and just view which Pamphilus took of the place which art ought to occupy in a liberal edu- cation : that, just as all learaing is necessary to make an accomplished artist, so is some practical knowledge of art needful to form an accomplished man : and, secondly, the words grapMcen, hoc est, picturam in buoco^ while they are not to be restricted to mere drawing, are yet evidently intended to describe a kind of drawing or painting, in v/hich the first requisites were accuracy and clearness of outline. (See Diet, of Ant. s. v. Painting, p. 692, note ; Bottiger, Ideen zur Arch'dologie der Malerei^ pp. 145, foil. ; and Fuseli's First Lecture.') Modern writers have taken great pains to ascer- tain how Pamphilus made arithmetic and geometry to contribute so essentially to the art of painting. Speaking generally, the words evidently describe the whole of the laws of proportion, as definitely determined by numbers and geometrical figures, which form the foundation of all correct drawing and composition. This subject is very fully illus- trated in Flaxman's fourth Lecture, where he re- marks that the laws given by Vitnivius (iii. 1) were taken from the writings of the Greek artists, perhaps from those of Pamphilus himself: and in another passage he observes, " Geometry enabled the artist scientifically to ascertain fonns for the configuration of bodies ; to determine the motion of the figure in leaping, running, striking, or fall- ing, by curves and angles, whilst arithmetic gave