their own interests in the island. (Diod. xvi. 7; Dem. Olynth. i. p. 11, de Chers. p. 108, c. Androt. p. 597; Aesch. c. Ctes. p. 65.) In the following year the Social War broke out; and in the second campaign of it (B. c. 356) Timotheus, Iphicrates, and Menestheus were joined with Chares as commanders of the Athenian fleet. The circumstances which followed are variously related. According to Diodorus, Chares vainly endeavoured to induce his colleagues to engage the enemy in a storm, and, on their refusal, wrote to the people, accusing them of treachery. The account of C. Nepos is that Chares, having risked a battle in spite of the weather, was defeated, and, in order to screen himself, laid the blame on the other generals for not supporting him. Any how they were recalled, and Iphicrates and Menestheus were brought to trial first, the prosecution being conducted by Aristophon the Azenian. They were acquitted; but Timotheus was nevertheless afterwards arraigned, probably in B. c. 354, and condemned to the crushing fine of 100 talents (more than 24,000l.). From Deinarchus we learn that the main charge against him was the having received bribes from the Chians and Rhodians, and the truth of this, if we follow the common reading in the passage (Dein. c. Dem. p. 92), he himself confessed. According to Isocrates, his condemnation was caused chiefly by his haughty and unbending demeanour, and by his refusal to pay court to the people and the popular orators. Be that as it may, he was unable to pay the fine, and withdrew to Chaleis in Euboea, where he died shortly after. The Athenians subsequently remitted nine-tenths of the penalty, and allowed his son Conon to expend the remainder on the repair of the walls, which the famous Conon had restored. (Isocrг. Пepì 'Avтid. §§ 137, &c.; Diod. xvi. 21; C. Nep. Tim. 3, 4; Deinarch. c. Philocl. p. 110; Ael. V. H. iii. 47, xiv. 3; Perizon. ad loc.) gives him some very common-place advice, and recommends to his notice a friend of his, named Autocrator, the bearer of the epistle. (Diod. xvi. 36; Wess, ad loc.; Memn. ap. Phot. Bibl. 224 ; Isocr. Ep. ad Tim.) [CLEARCHUS.] 4. An Athenian, of the priestly family of the Eumolpidae, whom Ptolemy Lagi brought over to Egypt, to preside over and interpret religious rites and ceremonies. He was consulted by the king when, in consequence of a dream, he was contemplating the introduction of the foreign deity Se-, rapis. (Tac. Hist. iv. 83; Plut. de Is. et Osir, 28.) [E. E.] TIMOTHEUS (Tuódeos), literary. 1. An Athenian comic poet of the Middle Comedy, of whose plays we have the following titles, Kuvápiov (Ath. vi. p. 243, d; Suid.), Пúктηя, ПарAKATαθήκη, and Μεταβαλλόμενος or Μεταφερόμενος. The only fragments of his dramas extant are the three lines quoted by Athenaeus from the first of the above plays, and three other lines, without the title of the comedy to which they belong (Append. Florent. ad Stob. p. 23. 7, ed. Gaisford). Three of the above titles are identical with those of plays ascribed to other poets; namely, there is a ПÚKτηя by Timocles, a Пapakата0ńкη by Aristophon, Sopater, Sophilus, and Timostratus, and a Metapepóuevos by Poseidippus. The Kúkλw, which Harless adds to the list of the comedies of Timotheus, is evidently the title of a work of the celebrated dithyrambic poet Timotheus. (Fabric. Bibl. Gracc. vol. ii. p. 505; Meineke, Frag. Com. Graec. vol. i. p. 428, vol. ii. p. 589; Editio Minor, p. 798.) read Neoμovcov, which very likely to be the invention of a comic poet, in allusion to the innovations made by Timotheus in music. (Diatribe in Dithyramb. pp. 96, 97.) 2. The celebrated musician and poet of the later Athenian dithyramb, was a native of Miletus, and the son of Thersander (Steph. Byz. s. v. Miλntos; Marm. Par. Ep. 77; Alex. Aetol. ap. Macrob. Sat. v. 22; Suid. s. v.). Suidas calls him a son of Thersander, or Neomysus, or Philopolis; The character of Timotheus was marked by but, as Schmidt observes, when Suidas mentions mildness and amiability, even though we should set several names for a person's father, the first is against this the haughtiness and the somewhat pre- usually the one which he has obtained from the sumptuous self-reliance which his brilliant successes best authorities; and the same scholar has sugseem to have produced in him. Like his contem-gested that the name Neouúσou should perhaps be poraries Chabrias and Chares, he preferred residing abroad when he could,-a preference which may be ascribed at least as much to the glaring evils of the Athenian democracy as to the luxurious propensities which have been, on no very strong The date of Timotheus is marked by the angrounds, impnted to him. The eloquence and cients with tolerable precision. According to the learning which were united with his military ta- Parian marble, he died in B. c. 357, in the ninelents, must be traced in a great measure to his in-tieth year of his age, which would place his birth timate friendship with Isocrates, who frequently in B. c. 446; but Suidas (s. v.) says that he attended him in his campaigns, and wrote his de-lived ninety-seven years. The period at which he spatches for him. As a general he possessed some of the highest qualities, and held in contempt that fiery rashness which, as in the case of Chabrias, forgets the special duties of the commander in the mere dashing gallantry of the soldier. (Ael. V. H. ii. 10, 18; Ath. x. p. 419, c., d., xii. p. 532, b. ; Cic. Tusc. Quaest. v. 35, de Orat. iii. 34, de Off. i. 32; Nep. Chabr. 3; Plut. Sull. 6, Reg. et Imp. Apoph. Tim. 2.) 3. Son of Clearchus, the tyrant of Heracleia on the Euxine. After the death of his father in B. C. 353, he succeeded to the sovereignty, under the guardianship, at first, of his uncle Satyrus, and held the rule for fifteen years. There is extant a letter addressed to him by Isocrates, in which the rhetorician commends him for his good qualities, | | flourished is described by Suidas as about the times of Euripides, and of Philip of Macedon; and he is placed by Diodorus with Philoxenus, Telestes, and Polyeidus, at Ol. 95, B. c. 398. (Diod. xiv. 46). The absence of any mention of Timotheus by Aristophanes (unless we suppose him to have been one of the many Timothei who, as the Scholiast on the Plutus, v. 180, tells us, were attacked by the poet) is a proof that he could not have attained to much eminence before the date mentioned by Diodorus; but yet it must have been before that year that his innovations in music began to attract public attention; for we have the testimony not only of Suidas, but also of Plutarch (see below) to the fact of his commencing his career during the life-time of Euripides, and we have also Πάτρα Μίλητος τίκτει Μούσαισι ποθεινὸν the decisive evidence of the celebrated passage from | (l. c.), who has preserved the following epitaph the comic poet Pherecrates, in which the musicians upon him. (Also in Jacobs, Anth. Pul. App. No. of the day are violently attacked as corrupters of 295, vol. ii. p. 851.) the art (Plut. de Mus. 30, p. 1141, f.; Meineke, Frag. Com. Graec. vol. ii. pp. 326-335). It is evident that this attack was aimed principally at Timotheus, whom the personification of Music mentions last of all, as having inflicted more numerous and more serious injuries upon her than either of his predecessors, Melanippides, Cinesias, or Phrynis. The following are the lines referring to him: ὁ δὲ Τιμόθεός μ ̓, ὦ φιλτάτη, κατορώρυχεν κἂν ἐντύχῃ πού μοι βαδιζούσῃ μόνῃ, Respecting the details of his life we have very little information. He is said to have spent some time at the Macedonian court; and reference will presently be made to a visit which he paid to Sparta. He appears to have formed his musical style chiefly on that of Phrynis, who was also a native of Miletus, and over whom he on one occasion gained a victory. He was at first unfortunate in his professional efforts. Even the Athenians, fond as they were of novelty, and accustomed as they were to the modern style of music introduced by Melanippides, Phrynis, and the rest, were offended at the still bolder innovations of Timotheus, and hissed off his performance. On this occasion it is said that Euripides encouraged Timotheus by the prediction that he would soon have the theatres at his feet (Plut. An seni sit gerend. Respub. 23, p. 795, c. d.). This prediction appears to have been accomplished in the vast popularity which Timotheus afterwards enjoyed. Plutarch records his exultation at his victory over Phrynis (De se ipsum laudand. 1, p. 539, b. c.); and even when, on one occasion, he was conquered by Philotas, a disciple of Polyïdus, he could console himself with the rebuke administered to the boasting master of his successful competitor by the witty Stratonicus, ori avròs μèv (i. e. Polyïdus) npioμaтa Tоiei, Tiμóleos de vóμovs. (Ath. viii. p. 352, b.: the point of the saying is in the double meaning of vóuovs, laws and musical strains, and is untranslateable into English.) The Ephesians rewarded him, for his dedicatory hymn to Artemis, with the sum of a thousand pieces of gold (Alex. Aetol. ap. Macrob. Sat. v. 22): the last accomplishment, by which the education of the Arcadian youth was finished, was learning the nomes of Timotheus and Philoxenus (Polyb. iv. 20; Ath. xiv. p. 626, c.): and there is still extant a decree of the Cnossians, probably of the second century B. C., in which Timotheus and Polyïdus are mentioned with the highest praise, and their names associated with those of the ancient Cretan poets (see POLYIDUS, p. 467, b.). Timotheus died in Macedonia, according to Stephanus of Byzantium The meaning of this epithet is doubtful. See Schmidt, pp. 97, 98, and Lehrs, Quacst Epic. 20, 21. pp. The general character of the music of Timotheus, and the nature of his innovations, are pretty clearly described in the fragment of Pherecrates above quoted, and in other passages of the ancient writers. He delighted in the most artificial and intricate forms of musical expression, "windings like the passages in ant-hills (Pherecr. l. c.): he used instrumental music, without a vocal accompaniment, to a greater extent than any previous composer (at least if Ulrici is right in his interpretation of the words μόνῃ βαδιζούσῃ in Pherecrates): and, in direct opposition to the ancient practice, he preferred the chromatic to the other genera of music, and employed it to such an extent, as to be by some considered its inventor. (Boëth. de Mus. i. 1, p. 1372, ed. Basil.) But perhaps the most important of bis innovations, as the means of introducing all the others, was his addition to the number of the strings of the cithara. Respecting the precise nature of that addition the ancient writers are not agreed; but it is most probable, from the whole evidence, that the lyre of Timotheus had eleven strings. The eight-stringed cithara, formed by the addition of the chord of the octave which was wanting in the heptachord of Terpander, was used in the time of Pindar [TERPANDER]. The ninth string appears to have been added by Phrynis (Plut. Apophtheg. Lacon, p. 220, c.). There were already ten strings to the cithara in the time of Ion of Chios, the contemporary of Sophocles (Ion, Epigr. ap. Euclid. Introd. Harmon. p. 19, ed. Meibom.); and the conjecture appears therefore probable that the tenth was added by Melanippides. There remains, therefore, only the eleventh string to be ascribed to Timotheus, for it is most probable that the mention of a twelvestringed lyre, in the above passage of Pherecrates, according to the present text, arises from some error, and the word ëvdekа may be substituted for dúdeкa in the last verse, without injuring the metre. The positive testimonies for ascribing the eleventh string to Timotheus, are that of Suidas (s. v.), who, however, makes him the inventor of the tenth string also, which the testimony of Ion proves to be an error; and the tradition that, when Timotheus visited Sparta, and entered the musical contest at the Carneia, one of the Ephors snatched away his lyre, and cut from it the strings, four in number, by which it exceeded the seven-stringed lyre of Terpander, and, as a memorial of this public vindication of the ancient simplicity of music, and for a warning to future innovators, the Lacedaemonians hung up the mutilated lyre of Timotheus in their Scias. (Paus. iii. 12. § 8; Plut. Instit. Lacon. 17, p. 238, c., Agis, 10; Artemon. ap. Ath. xiv. p. 636, e.; Cic. de Legg. ii. 15; the number of the additional strings is only stated in the first of these passages, but, besides the agreement of that number with the other evidence, it must be remembered that Pausanias actually saw the lyre hanging in the Scias at Sparta). It is quite a mistake to argue, in the spirit of a pseudo-rationalistic criticism, against the truth of this tradition, from the fact of the very same story being told about the nine-stringed lyre of Phrynis (Plut. Agis, 10, Apophth. Lacon. p. 220, c.); for the conduct and took now one direction, now another; preferring, however, to seize on such points as gave room for an immediate imitation in tones, and admitting a mode of description which luxuriated in sensual charms." And a little above (p. 60)— scriptive, or, as Aristotle says, a mimetic character (ueTaboλ). The natural phenomena which it described were imitated by means of tunes and rhythms and the pantomimic gesticulations of the actors (as in the antiquated Hyporcheme); and this was very much aided by a powerful instrumental accompaniment, which sought to represent with its loud full tones the raging elements, the voices of wild beasts, and other sounds. A parasite wittily observed of one of these storm-dithyrambs of Timotheus, that he had seen greater storms than those which Timotheus made in many a kettle of boiling water' (Ath. viii. p. 338, a.)." A striking example of this mimetic and sensuous mode of representation is furnished by the dithyramb of Timotheus, entitled "the Travail of Semele" (Zeuéλns wôív), which is censured in the pseudoLacedaemonian decree already quoted, and on one passage of which Stratonicus said to have asked, "If she had been bringing forth a mechanic, and not a god, what sort of cries would she have uttered ?" (Ath. viii. p. 352, a.; comp. Dio Chrysost. Orat. 77, p. 426, ed. Reiske.) ascribed to the Ephor is so characteristic of the state of Spartan feelings with reference to the ancient music, that we may easily believe such an incident to have occurred every time that the attempt was made to violate that feeling; so that the two stories rather confirm one another; and," At the same time the dithyramb assumed a demoreover, they are mentioned together, as two distinct events, by Plutarch (Agis, 10). The tradition is also embodied, with other particulars of the innovations of Timotheus, in the alleged decree of the Spartans, preserved by Boëthius (de Mus. 1. c.). It has been, however, very clearly proved, that this decree is the forgery of a grammarian of an unknown date. (See especially Müller, Dor. b. iv. c. 6. § 3, vol. ii. pp. 316–319, ed. Schneidewin). Still it is of importance, as embodying what the grammarian, who forged it, had collected from the ancient writers respecting the musical innovations of Timotheus. The substance of it is an order to the Ephors to censure Timotheus the Milesian, for that he had dishonoured the ancient music, and had corrupted the ears of the youth by deserting the seven-stringed lyre, and introducing | a multiplicity of strings, and a novelty of melodies, in which ignoble and diversified strains took the place of the old simple and sustained movements, and by changing the genus from the Enharmonic to the Chromatic as an Antistrophic variation, and also for that, when invited to perform at the festival of the Eleusinian Demeter, he had given an indecent representation of the myth, and had improperly taught the youth the travail of Semele; and, besides this censure, he was to be ordered to cut away the strings of his lyre which exceeded seven. Suidas (s. v.) describes his style in general terms as a softening of the ancient music (Thy ȧpxaíav μovoikǹv ènì tò μaλakútepov μeтnyayev). And Plutarch mentions him, with Crexus and Philoxenus, and the other poets of that age, as pортikúтeрos kaì piλókaivoi, and as especially addicted to the style called τὴν φιλάνθρωπον καὶ θεματικόν (de Mus. 12. p. 1135, d.). With regard to the subjects of his compositions, and the manner in which he treated them, we have abundant evidence that he even went beyond the other musicians of the period in the liberties which he took with the ancient myths, in the attempt to make his music imitative as well as expressive, and in the confusion of the different subjects and department of lyric poetry; in one word, in the application of that false principle, which also misled his friend Euripides, that pleasure is the end of poetry. Unfortunately the fragments of the poems of Timotheus and the other musicians of the period are insufficient to guide us to a full knowledge of their style; but we can judge of its general character by the choral parts of the tragedies of Euripides, and by the description of Plato (de Legg. iii. p. 700, e.), aided by the ancient testimonies, and the few fragments collected by later writers. The subject is well, though briefly, treated by Müller (Hist. of Lit. of Anc. Greece, vol. ii. pp. 61, 62), who remarks that in the late dithyramb "there was no unity of thought; no one tone pervading the whole poem, so as to preserve in the minds of the hearers a consistent train of feelings; no subor dination of the story to certain ethical ideas; no artificially constructed system of verses regulated by fixed laws; but a loose and wanton play of lyrical sentiments, which were set in motion by the accidental impulses of some mythical story, The language of Timotheus was redundant and luxuriant, as we see by a fragment from his Cyclops, preserved by Athenaeus (xi. p. 465, d.). Of the boldness of his metaphors we have a specimen, in his calling a shield φίαλην "Αρεος, for which he was attacked by the comic poet Antiphanes (Ath. x. p. 433, c.), and which Aristotle has noticed no less than three times (Poet. xxi. 12, Rhet. iii. 4, 11). There is another example of his bold figures in a fragment of Anaxandrides (Ath. x. p. 455, f.). In the celebrated passage of Aristotle respecting the representation of actual and ideal characters, in poetry and painting (Poet. 2), reference is made to the Persae and Cyclopes of Timotheus and Philoxenus ;" but unfortunately there is nothing in the present text to show which of the two poets Aristotle meant to represent as the more ideal. 66 Like all the dithyrambic poets of the age, Timotheus composed works in every species of lyric poetry, and that in such a manner as to confound the distinctions between the several species, mingling Threnes with Hymns, Paeans with Dithyrambs, and even performing on the lyre the music intended for the flute (Plato, de Legg. l. c.). The crowning step in this process appears to have been that which is ascribed to Timotheus alone, namely, the giving a dithyrambic tone and expression to the Nomes, which seem to have been hitherto preserved almost in their original form, and the adapting them to be sung by a chorus, instead of by a single performer (Plut. de Mus. 4, p. 1132, d.; Clem. Alex. Strom. i. p. 365). The account which has now been given of the character of Timotheus as a musician and a poet must not be misunderstood. It is one thing to judge an artist by pure aesthetic standards, or by a comparison with the severe simplicity of an early stage of the development of his art; it is quite another thing to form a genial estimate of his character with reference to the prevailing taste of the times in which he lived, or to the impression he would probably make on the mind of our own age. | Kλewvdy èλevbepías teúxwv μéyav 'Exλáði kóσμov, curean, is mentioned by Strabo among the distinguished natives of Sinope (xii. p. 546; the words are Tuóleov тdv Пaтрlovα). 5. Of Athens, the author of a biographical work, from which Diogenes Laërtius (iii. 5, iv. 3, v. 1, vii. 1) quotes statements respecting Plato, Speusippus, Aristotle, and Zeno. Nothing is known of his age, unless these references be supposed to furnish any guide to it. Vossius is probably right in supposing him to be a different person from the Timotheus whose 'Apуoλikά and the eleventh book of whose work on Rivers are quoted by Plutarch (de Flur. 18. 3), and also different from the writer to whom Eustathius (ad Dion. Pericg. 421) refers. (Vossius, de Hist. Graec. p. 507, ed. Westermann.) 6. A mythological writer, from whom Arnobius (v. 5) quotes some statements respecting the Phrygian worship of the mother of the gods. (Vossius, de Hist. Graec. p. 506, ed. Westermann.) 7. Of Gaza, an eminent grammarian, in the time of the emperor Anastasius, whose financial admiaistration he is said to have attacked in a tragedy entitled Xpurápyupos, of which no fragments are extant. He flourished therefore at the end of the fifth century of our era. He also wrote a poem in epic verse, and in four books, on the quadrupeds of India, Arabia, Egypt, and Libya, and on foreign and extraordinary birds and serpents. (Suid. &.v.; Tzetz. Chil. iv. 128.) He composed, according to Stephanus of Byzantium (1. c.), eighteen books of citharoedic nomes, containing eight thousand verses, and povóμia avλ@v xixia, according to the correction of Gronovius, αὐλῶν for ἄλλων, and, perhaps too, for προνόμια we should read προοίμια, but even so the meaning is not very clear, for we have no account of any flute-music by Timotheus: possibly there is some confusion between him and the flute-player of the same name, who lived in the time of Alexander the Great. Suidas gives a much fuller account of his works, and ascribes to him nineteen Musical Nomes, thirty-six Prooems, eight Diasceuae (StuσKeval, which Meineke supposes to mean compositions by other poets, which Timotheus recast and adapted to his own style of music, Hist. Crit. Com. Graec. p. 32), eighteen Dithyrambs, twenty-one Hymns, some Encomiums, and other works; and, besides this general classification of his works, Suidas mentions the following special titles, Αρτεμις, Πέρσαι ἢ Ναύπλιος, Φινείδαι, Λαέρτης. Probably, instead of Пépσai Navrλios, we ought to read Пépoa, Nauriλos, as two distinct titles, for the Naur Aos of Timotheus is quoted by Athenaeus (viii. p. 338) and by Eustathius (ad Od. v. p. 1538). The KúkAw, which appears to have been one of the most celebrated of his Dithyrambs, has already been referred to. The few extant fragments of these poems are collected by Bergk, Poetae Lyrici Graeci, pp. 860-863, and by Kayser, Diatribe in Dithyrambum, pp. 96-120. (Fabric. Bibl. Graec. Notices of some other ecclesiastics and Christian vol. i. p. 747, vol. ii. p. 325; Müller, Hist. of Lit. writers of the name will be found in the works of of Anc. Greece, vol. ii. pp. 59—62; Ulrici, Gesch. | Cave, Fabricius, and Schröckh. None of them d. Hellen. Dichtkunst, vol. ii. pp. 604-610; Bode, seem to require specific mention, except a chronovol. ii.; Bernhardy, Gesch. d. Griech. Litt. vol. ii.grapher, who is quoted by G. Cedrenus and Jo. pp. 551-554; Kayser, l. c.; Clinton, Fast. Hellen. Malala. (See Vossius, de Hist. Gracc. p. 507, ed. vol. ii. s. aa. 398, 357). Westermann.) [P.S.] | 8. Bishop of Alexandria towards the close of the fourth century, was distinguished for his opposition to Gregory of Nazianzus. He succeeded his brother Peter in the see of Alexandria in A. D. 379, and was present at the second general council at Constantinople, in the year 381, where he was one of the most active agents in the attack upon Gregory of Nazianzus, which caused the retirement of that great and good man, and in the appointment of his successor Nectarius. He died in A. D. 385. He wrote a work on the lives of the fathers and monks, which is quoted by Sozomen (H. E. vi. 25), but is now lost. (Cave, Hist. Litt. s. a. 380, p. 274, ed. Basil.; Fabricius, Bill. Grace. vol. x. pp. 138-293; Clinton, Fast. Rom. s. a. 381). 3. A very distinguished flute-player of Thebes, TIMOTHEUS (Tubeos), a statuary and concerning whom a few particulars are mentioned sculptor, whose country is not mentioned, but who in Lucian's dialogue Harmonides, in which Timo- evidently belonged to the later Attic school of theus is introduced as discoursing to his disciple the time of Scopas and Praxiteles; for he was one Harmonides concerning the means of obtaining of the artists who executed the bas-reliefs which success in his art. We learn from Suidas that adorned the frieze of the Mausoleum, about Ol. Timotheus flourished under Alexander the Great, 107, B. c. 352. Timotheus sculptured the southon whom his music made so powerful an impression ern side of the frieze, the other three sides being that once in the midst of a performance by Timo-wrought by Scopas, Bryaxis, and Leochares. (Plin. theus, of an Orthian Nome to Athena, he started H. N. xxxvi. 5. s. 4. § 9; Vitruv. vii. Praef. § 12; from his seat, and seized his arms. (Suid. s. vv. SCOPAS; Dict. of Antiq. s. v. Mausoleum, 2d ed.) ̓Αλέξανδρος, Ορθιασμάτων, Τιμόθεος. We have | This statement also shows the eminence of Timo a suspicion, notwithstanding the opinions of eminent | theus as an artist; for Pliny expressly tells us that scholars, that this Timotheus has been invented, through a series of confusions, out of the celebrated Milesian musician; but it is impossible in such a work as this to discuss every complicated question of criticism which may present itself. 4. A philosopher, follower of Patron the Epi it was an undetermined question, which of the four artists had been the most successful (hodieque certant manus). It must, however, be mentioned, that the Greek writers on the Mausoleum were not agreed as to the share of Timotheus in its execution, some ascribing to Praxiteles that side of The Artemis of Timotheus was esteemed worthy to be placed by the side of the Apollo of Scopas and the Latona of Praxiteles, in the temple which Augustus erected to Apollo on the Palatine (Plin. 1. c. §10; the lines of Propertius, describing these statues, are quoted under SCOPAS, p. 756, b.). The head of this statue, however, was only a restoration by Aulanius Evander. (Plin. l. c.) Pausanias (ii. 32. § 3. s. 4) mentions Timotheus as the maker of a statue at Troezen, which the Troezenians themselves believed to represent Hippolytus, but which he considered to be the statue of Asclepius. Pliny also enumerates Timotheus among the artists who made athletas et armatos et venatores sacrificantesque (H. N. xxxiv. 8. 6. 19. § 34). There is no ground for the doubt expressed by Sillig respecting the identity of the Timotheus referred to in all these passages. It is quite true that the artists of the later Attic school of sculpture wrought chiefly in marble; but there is sufficient evidence that they also practised the art of casting in bronze. [P. S.] TIMO'XENUS (Tiμóčevos). 1. The commander of the troops of Scione, attempted to betray Potidaca to the Persians in B. c. 480, but his treachery was discovered. (Herod. viii. 128; Polyaen. vii. 33. § 1; Aeneas Tact. Poliorcet. p. 31.) 2. Son of Timocrates, was one of the commanders of the Corinthian force sent to Acarnania in B. C. 431. (Thuc. ii. 33.) We the frieze which others assigned to our artist. | when the Greeks had reached the river Telebons (Vitruv. l. c.) on the frontier of his territory, he himself rode up to their camp and proposed a truce, on condition that both parties should abstain from molesting each other, the Greeks taking only what they needed while in his country. The terms were accepted, but Tiribazus kept watching the 10,000 at the distance of several stadia with the intent of assailing them in a mountain pass, through which their march necessarily lay. On hearing this, the main body of the Greeks hastened to secure the pass, and, having moreover attacked the camp of Tiribazus, put the barbarians to flight, and captured the tent of the satrap himself (Xen. Anab. iv. 4. §§ 4-7, 16-21, 5. § 1, vii. 8. § 25; Diod. xiv. 27.) Tiribazus succeeded Tithraustes as satrap of Western Asia, and in this office we find him in B. c. 393, when Antalcidas was sent to negotiate, through him, a peace for Sparta with the Persian king. The satrap was convinced by Antalcidas that it was expedient for Artaxerxes to support the Lacedaemonians, and he accordingly gave them all the help which he could venture to furnish without express authority from his master. do not know the cause which led to Tiribazus being superseded by Struthas, in B. c. 392; but by B. C. 388 he had returned to his satrapy. He then co-operated cordially, as before, with Antalcidas, perhaps accompanied him to the Persian court to support his cause there, and, having summoned, on his return, a congress of deputies from Greek states, he promulgated in the king's name the famous decree which laid down the terms of the peace of Antalcidas (Xen. Hell. iv. 8. §§ 12, &c., v. 1. §§ 6, 25-31; Diod. xiv. 85). [ANTALCIDAS; CONON; STRUTHAS.] In B. c. 386 he was appointed to command the Persian fleet against Evagoras, the land forces being entrusted to Orontes. They defeated Evagoras, and formed the siege of Salamis; but Tiribazus was impeached by Orontes, and was recalled to court to answer for his conduct, B. c. 385. The accounts of what followed, as given by Diodorus and Plutarch, it is not very easy to reconcile. The former seems to intimate that Tiribazus was detained in prison until the return of Artaxerxes from his expedition against the Cadusii; while Plutarch tells us that he accompanied the king in his campaign, and did good service by exciting mutual suspicion against one another in the two Cadusian kings, and so inducing them separately to sue for peace. The language of Plutarch, however, implies that during the expedition in question Tiribazus was in disgrace, and it appears therefore that his trial did not take place until the king's return. It came on before three judges of the highest reputation, whose sense of impartiality would be also quickened by the recollection that some of their predecessors had been recently flayed alive for an unjust sentence, and that the judgment-seat was now covered with their skins. Tiribazus triumphantly disposed of the charges against him, and was honourably acquitted with the full approbation of Artaxerxes, in consideration not only of his innocence in regard to the special charges, but also of the great services he had rendered to his master. (Diod. xv. 8-11; Wess. ad loc.; Plut. Artax. 24.) [EVAGORAS; GAOS; ORONTES.] He now stood higher than ever in the royal favour, and received a promise of the hand of Amestris, the king's daughter. Artaxerxes, however, broke 3. The Achaean, was general of the Achaean League in B. C. 223, in which year he obtained possession of Argos, and successfully resisted the efforts of Cleomenes to recover it. In B. c. 221 he was again general of the League; but in consequence of the want of discipline and practice among the Achaean troops, he was unwilling to undertake the command of the war against the Aetolians; and accordingly a few days before the expiration of the office, he resigned it to Aratus, who was already general elect. He was a candidate for the office again in B. C. 218, and was supported by Aratus, but he was not elected in consequence of the influence of Apelles, the minister of Philip V., who wished to mortify Aratus. He was however general again in B. C. 216, after the termination of the Social War. (Polyb. ii. 53, iv. 6, 7, 82, v. 106; Plut. Cleom. 20, Arat. 38, 47.) T. TINCA, of Placentia, was celebrated for his wit, but was no match for Granius. (Cic. Brut. 46.) [GRANIUS, No. 1.] TINEIUS CLEMENS, consul under Septimius Severus, A. D. 195, with Scapula Tertullus. (Dig. 27. tit. 9. s. 1; Cod. 9. tit. 1. s. 1.) TINEIUS SACERDOS. [SACERDOS.] TIPHYS (Tipus), a son of Agnius or of Phorbas and Hyrmine, of Siphae or Tiphae in Boeotia, was the helmsman of the ship Argo. (Apollon. Rhod. i. 105; Paus. ix. 32. § 3; Apollod. i. 9. § 22; Hygin. Fab. 14; Schol. ad Apollon. l. c.) [L. S.] TIRESIAS. [TEIRESIAS.] TIRIBAZUS or TERIBAZUS (Tipibaços, Tnpísacos), a Persian, high in the favour of Artaxerxes II. (Mnemon), and when he was present, so Xenophon tells us, no one else had the honour of helping the sovereign to mount his horse. At the time of the retreat of the 10,000, in B. c. 401, Tiribazus was satrap of Western Armenia, and, |