Pictor in fabula

Picture took her feigning from poetry; from geometry her rule, compass, lines, proportion, and the whole symmetry. Parrhasius was the first won reputation by adding symmetry to picture; he added subtlety to the countenance, elegancy to the hair, love-lines to the face, and by the public voice of all artificers, deserved honour in the outer lines. 

Eupompus gave it splendour by numbers and other elegancies.  From the optics it drew reasons, by which it considered how things placed at distance and afar off should appear less; how above or beneath the head should deceive the eye, &c.  So from thence it took shadows, recessor, light, and heightnings.  From moral philosophy it took the soul, the expression of senses, perturbations, manners, when they would paint an angry person, a proud, an inconstant, an ambitious, a brave, a magnanimous, a just, a merciful, a compassionate, an humble, a dejected, a base, and the like; they made all heightnings bright, all shadows dark, all swellings from a plane, all solids from breaking. 

See where he[[5:Eupompus]] complains of their painting Chimæras (by the vulgar unaptly called grotesque) saying that men who were born truly to study and emulate Nature did nothing but make monsters against Nature, which Horace so laughed at.

Socrates taught Parrhasius and Clito (two noble statuaries) first to express manners by their looks in imagery.