I shall comment upon the way the elder Philostratus, author of Imagines, inscribes both the art of painting and his own interpretation of 65 particular paintings within a larger framework, which is composed of nature on the one hand, and the human perception of nature on the other. To get to this framework in a slightly oblique way, I will start with a brief reminder of Philostratus' often neglected classification of the arts.
In his Life of Apollonius of Tyana 8.7, Philostratus takes notice of the established opposition between the mechanic and the liberal arts (τέχναι βάναυσοι and τέχναι σοϕαί), but then proceeds to further divide the liberal arts into three groups: some are simply σοϕαί (poetry, music, astronomy, the art of sophist and orator); others are only seemingly liberal, ψευδόσοϕοι (the art of wizards or jugglers); between these two groups are situated the ‘less liberal arts’ or ὑπόσοϕοι τέχναι, namely painting, plastic art, sculpture, navigation and agriculture.