<GetPassage xmlns:tei="http://www.tei-c.org/ns/1.0" xmlns="http://chs.harvard.edu/xmlns/cts">
            <request>
                <requestName>GetPassage</requestName>
                <requestUrn>urn:cts:pdlrefwk:viaf88890045.003.perseus-eng1:A.acragas_2</requestUrn>
            </request>
            <reply>
                <urn>urn:cts:pdlrefwk:viaf88890045.003.perseus-eng1:A.acragas_2</urn>
                <passage>
                    <TEI xmlns="http://www.tei-c.org/ns/1.0"><text xml:base="urn:cts:pdlrefwk:viaf88890045.003.perseus-eng1"><body xml:lang="eng" n="urn:cts:pdlrefwk:viaf88890045.003.perseus-eng1"><div type="textpart" subtype="alphabetic_letter" n="A"><div type="textpart" subtype="entry" xml:id="acragas-bio-2" n="acragas_2"><head><persName xml:lang="la"><surname full="yes">Acragas</surname></persName></head><p>an engraver, or chaser in silver, spoken of by Pliny. (33.12.55.) It is not known either
      when or where he was born. Pliny says that Acragas, Boethus and Mys were considered but little
      inferior to Mentor, an artist of great note in the same profession; and that works of all
      three were in existence in his day, preserved in different temples in the island of Rhodes.
      Those of Acragas, who was especially famed for his representations of hunting scenes on cups,
      were in the temple of Bacchus at Rhodes, and consisted of cups with figures of Bacchae and
      Centaurs graved on them. If the language of Pliny justifies us in inferring that the three
      artists whom he classes together lived at the same time, that would fix the age of Acragas in
      the latter part of the fifth century B. C., as Mys was a contemporary of Phidias. </p><byline>[<ref target="author.C.P.M">C.P.M</ref>]</byline></div></div></body></text></TEI>
                </passage>
            </reply>
            </GetPassage>