4
The Centaur herself is depicted lying on fresh young grass with all the horse part of her on the ground. Her feet are stretched behind her. The human part is slightly raised up on her elbows. Her fore-feet are not now stretched out, as you might expect with one lying on her side; one foot is bent with the hoof drawn under like one who kneels, while the other on the other hand is beginning to straighten and is taking a grip on the ground, as is the case with horses striving to spring up. She holds one of her offspring aloft in her arms, giving it the breast in human fashion; the other she suckles from her mare’s teat like an animal. Towards the top of the picture, apparently on some vantage point, is a Hippocentaur, clearly the husband of her who is feeding her children in two ways. He is leaning down and laughing. He is not completely visible, but only to a point halfway down his horse body. He holds aloft in his right hand a lion’s whelp, suspending it above his head to frighten the children in his fun.
5
The other qualities, not completely discernible by the eye of an amateur like myself, nevertheless display the whole power of his craftsmanship—such things as precision of line, accuracy in the blending of colours, taste in application of the paint, correct use of shadow, good perspective, proportion, and symmetry. But let the sons of artists appreciate these points, men who make it their business to know them. For my part I praised Zeuxis for this in particular, that in one and the same subject he has shown his extraordinary craftsmanship in so many ways. His husband is completely frightening and absolutely wild; he has a proud mane, being almost completely covered in hair—not only the horse part of him but his human chest as well and especially his shoulders, and his glance, although he is laughing, is altogether savage, wild, and of the hills.
