the Thebans. But they neglected to occupy the pjisses of Oneium, and Epaminondas, who was preparing to invade Achaia, persuaded Peisias, the Argive general, to seize a commanding height of the mountain. The Thebans were thus enabled to make their way through the Isthmus (Xen. Hell. vii. i. § 41 ; Diod. xv. 75). Towards the end, apparently, of b. c. 36 1 , Timomachus was sent out to take the command in Thrace, for which he seems to have been utterly unfit, and he failed quite as much at least as his immediate predecessors, Menon and Autocles, in forwarding the Athenian interests in that quarter. Not only were his mi- litary arrangements defective, but, according to the statement of Aeschines, it was through his culpable easiness of disposition that Hegesander, his trea- surer {rajj-ias), was enabled to appropriate to his own use no less than 80 minae (more than 300^.) of the public money. Timomachus appears to have been superseded by Cephisodotus in b. c. 360, and, on his return to Athens, was impeached by Apol- lodorus (son of Pasion, the banker), who had been one of his trierarchs. He was condemned, and, according to Demosthenes, was heavily fined ; but his punishment was death, if we may believe the statement of the Scholiast on Aeschines (Aesch. c. Tim. p. 8 ; Schol. ad loc; Dem. de Fals. Leg. p. 398, pro Phorm. p. 960, c. Polycl. pp. 1210, &c.; Rehdautz, Vit. Iph., Chahr., Tim. cap. v. §§ 7, 8). It was during the command of Timomachus in Thrace that he received a letter from Cotys, who repudiated in it all the promises he had made to the Athenians when he wanted their aid against the rebel Miltocythes. (Dem. c. Arist. p. 658.) [Cotys, No. 2.] [E. K]
TIMO'MACHUS (Tifiofiaxos), a very distin-
guished painter, of Byzantium. He lived (if the
statement of Pliny, as contained in all the editions,
be correct) in the time of Julius Caesar, who pur-
chased two of his pictures, the Ajax and Medea,
for the immense sum of eighty Attic talents, and
dedicated them in the temple of Venus Genitrix.
(Plin. H. N. vii. 38. s. 39, xxxv. 4. s. 9, 11. s. 40.
§ 30.) In the last of these passages, Pliny defines
the artist's age in the following very distinct terms :
— " Timomachus Byzantius Caesaris Dictatoris
aetate Ajacem et Medeam pinxit.' But here an
important and difficult question has been raised.
In Cicero's well-known enumeration of the master-
pieces of Grecian art, which were to be seen in
various cities (in Verr. iv. 60), he alludes to the
Ajax and Medea at Cyzicus, but without men-
tioning the painter's name. {Qtdd Cyxicenos [ar-
hitram.ini merere velle], tit Ajacem, aut Medeam
[amittant] ?) From this passage a presumption is
raised, that the two pictures should be referred to a
period much earlier than the time of Caesar,
namely to the best period of Grecian art, to which
most of the other works, in connection with which
they are mentioned, are known to have belonged :
at all events, as the manner in which they are re-
ferred to by Cicero presupposes their being already
celebrated throughout the Roman empire, it is not
likely that they could have been painted during
the life of Caesar, and it is of course impossible
that they were painted during his dictatorship.
But then, the question comes, whether these were
the paintings mentioned by Pliny, and, as will
presently be seen, celebrated by other writers.
The first impulse of any reader would be to assume
_Uiis,as a matter of course ; and it would be strange [
TIMOMACHUS.
indeed if, while two such pictures as the Ajao' and
Medea, celebrated by Cicero, existed at Cyzicus,
two others on the same subjects should have been
painted by Timomachus, and should have been ad-
mired as we know they were, and that the pictures
of Ajax and Medea should be simply mentioned
by Pliny as well known, without any distinction
being made between the two pairs of pictures. It
is true that, from one of the passages of Pliny
above cited (xxxv. 4. s. 9), the inference has been
drawn that, besides the Ajax and Medea, which
Caesar dedicated in the temple of Venus, there
was another pair of pictures brought to Rome, by
Agrippa, who purchased them from the Cyzicenes
at a great price, namely, an Ajax and Venus ; but
the passage is extremely difficult to understand
clearly ; and, even taking the above explanation,
any conclusion drawn from it would apply only to
the Ajax, and not to the Medea, which was evi-
dently the more celebrated of the two. On the
whole, then, it seems most probable that the pic-
tures at Cyzicus, mentioned by Cicero, were the
very pictures of Timomachus, which were pur-
chased by Julius Caesar ; and therefore that the
word aetate in Pliny must either be rejected, or
interpreted with a considerable latitude. In con-
firmation of this conclusion another passage is cited
from Pliny himself (I. c. § 41), in which he enu-
merates, as examples of the last unfinished pictures
of the greatest painters, which were more admired
than even their finished works, the Medea of Ti-
momachus, in connection with the Iris of Aristeides,
the Tyndaridae of Nicomachus, and the Venm of
Apelles ; whence it has been argued that Timoma-
chus was probably contemporary with the other
great painters there mentioned, and moreover that
it is incredible that Caesar should have given the
large price above mentioned for two pictures of a
living artist, especially when one of them was un-
finished. Still, any positive chronological conclu-
sion from these arguments can only be received
with much caution. They seem to prove that
Timomachus flourished not later than the early
part of the first century b. c, but they do not prove
that he is to be carried back to the third century.
The associations of works and names, in the pas-
sages of Cicero and Pliny, have respect to the order
of excellence and not to that of time ; and it must
be remembered that a great artist often obtains a
reputation even above his merits during his life
and soon after his death, and that fashion, as well
as fame, will set a high pecuniary value on such an
artist's works. On the other hand, a positive ar-
gument, to prove that Nicomachus lived later
than the time of that flourishing period of the art
which is marked by the name of Apelles, may be
drawn from the absence of any mention of him by
Pliny in his proper chronological order, which in-
dicates the absence of his name from the works of
the Greek authors whom Pliny followed, and that
he was one of those recent artists who were only
known to Pliny by their works which he had seen.
Without attempting to arrive at any more precise
conclusion with regard to the age of Timomachus,
we proceed to state what is known of his works.
(1.) The two pictures already mentioned were
the most celebrated of all his works, and the
Medea appears to have been esteemed his master-
piece. It is referred to, in terms of the highest
praise, in several passages of the ancient writers,
from which we learn that it represented Medea
