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: