PARKOCEL that lie bad assigned to art precise limits which could never be transgressed. Quin- tilian says (xii. 10. 5) that Pan-basins was so exact in bis drawing that be was called the legislator of painting, and that other painters followed, as a matter of obligation, his models of gods and heroes. Pliny adds (xxxv. 3C) that he was the first to give expression to the features, elegance to the hair, and gracefulness to the mouth ; and that it was universally admitted that he bore oft' the palm for contour, or the rounding off of his outlines. Parrhasius was a prolific artist and left many works. Among those men- tioned by Pliny (1. c.), one of the most cel- ebrated was an allegorical picture of the Athenian People. Another famous one was a Theseus, preserved in the Capitol at Rome. His Archigallus (high priest of Cybele), valued at 600,000 sesterces, was kept by the Emperor Tiberius in his own chamber. Other scarcely less celebrated pictures by him were an Armed Runner contending for the Prize, and the same taking oft' his ar- mour ; a Meleager, Hercules, and Perseus ; an Achilles, Agamemnon, and Ulysses ; and an JEneas, Castor, and Pollux. Plutarch (De And. Poet, 3) says that he painted also Ulysses feigning Madness. On being de- feated at Samos by Timanlhes in a painting competition, the subject being the Contest for the Arms of Achilles by Ajax and Ulys- ses, Parrhasius remarked that he felt quite disgraced at seeing Ajax defeated a second time by an unworthy opponent (Pliny, 1. c. ; Ath., xii. 543 ; Ml V. H., ix. 11). He was more sucessful in a contest with Zeu.rix. The story told by Seneca (Coutrov., v. 10) about Parrhasius's torturing a slave, pur- chased from among the captives taken at Olyntbia (346 B.C.), that be might serve as a model for a picture of Prometheus, is chron- ologically impossible, as the pamter was then dead. Brunn, ii. 97. PARROCEL, BARTHELEMY, born at Montbrison (Loire), about 1600, died at Brignolles (Var), in 1660. French school ; painter of sacred history. Having aban- doned the priesthood he went to Italy to study art. Before reaching Rome, where he lived several years, he is said to have visited Spain with a nobleman who took a fancy to him, and to have been taken pris- oner by an Algerian corsair during the voy- age to Italy. On his return to France he settled at Brignolles, where he died at an early age. His two sous, Joseph and Louis, were painters, as were their sons, Charles, Ignace, and Pierre, and Pierre's son, Jo- seph Ignace Franc;ois. Bartlu'lcmy's only known work is a Descent from the Cross, in the Church of the Saviour at Brignolles. Louis also is known by a single picture, an Agony in the Garden, in the Church of St. Martin at Marseilles. Bellier, ii. 206 ; Mt> moires im'dits, ii. 40. PARROCEL, CHARLES, born in Paris, May 6, 1688, died there, May 24, 1752. French school ; bat- tle painter, son of Joseph Parrocel, and pupil of Charles de Lafosse and BonBoul- logne. After serving two campaigns in a cavalry regiment, be ' went to Italy to study painting. In 1721 he painted two pic- I tures for Louis XIV., and in 1744-45 ac- companied Louis XV. in his campaigns, ! to paint bis victories. Died of apoplexy at 1 the Gobelins, where be resided. Member of the Academy, 1721 ; councillor, 1735 ; professor, 1746. "Works : Cavalry Fighting (1709) ; Cavalry Charging (1711) ; Battle of Cavalry and Infantry (1721) ; Entry of the Turkish Ambassador for an Audience, His Departure after the Audience, Entry of Louis XV. into Mons, 1747, Portraits (2) of Louis XV., Versailles Museum ; King's ! Guards Halting (1737), Louvre ; Attack of
