AGELADES

Is a perpetual theme of praise, as a statuary, in Pausanias, who enumerates many of his productions. He was celebrated, in the Greek Anthology, and is highly spoken of by Pliny.

AMONG his more celebrated works were Jupiter, as a boy, in brass. A youthful Hercules in brass. A statue of Timotheus, at Delphi, in brass, horses, female captives, chariots, &c. in the same metal. See the epigram in the Anthology, beginning, with Tpituyes ai

μεσαι, &c.

AGLAOPHON.

There is hardly an antient writer of eminence who does not praise the paintings of this artist. Alcibiades exhibited to the public view two famous pictures by Aglaophon. In one Pythias and Olympias, personified, were represented as crowning him with laurel. In the other Alcibiades was sitting on the knees of Nemeas. Cicero speaks of him as perfect in his art,

and Ælian, in his history of animals, says much of a mare painted by Aglaophon, by which he obtained immortal honour. Our space however demands conciseness and I therefore pass on to

AGORACRITUS,

Who was a statuary, and a pupil of Phidias. Pausanias says that the master loved his scholar too well. Pliny speaks of a beautiful Venus, the work of Agoracritus, and Strabo tells of a figure of Nemesis not inferior in beauty to any of the productions of Phidias. Pausanias speaks of two exquisite statues, in brass, by Agoracritus, in the temple of the Itonian Minerva, one of Minerva, the other of Jupiter.

ANTIPHILUS

Has often been ranked as a painter with Apelles and Protogenes. He is praised by all the antient writers on subjects of art. A story is told of him by Lucian, which diminishes our respect for his talents. He told a lie of Apelles to Pto

lemy, which was very near costing that wonderful man his life. His most memorable pictures were Cadmus, Europa, Philip, Alexander, Bacchus, &c. &c. Your villa, says Varro, in his book De Re Rustica, is crowded with pictures and statues; come and see mine, where you will find no performance either of Lysippus or Antiphilus. And now I come to

APELLES,

Of whom volumes might easily be written, but our professed object is brevity; we shall therefore not enter into any elaborate investigation of his claims to immortality, for these are universally admitted, but shall be satisfied with touching on some of his principal performances. He was confessedly at the head of his art, which was distinguished by his name, for instead of the art of painting, it was called the Apellean art. He also wrote a treatise on his art, as appears from Pliny, and many of his witty and acute remarks have been preserved. Observing one of his pupils decorating a figure of Helen with

over splendid drapery, If you do not make her beautiful, said he, you have at least made her rich. It is proverbially remarked of him, that he never suffered a day to pass without doing something in his profession. There is nothing new under the sun, and it is probable that the old and trite story of Aut Morus, aut diabolus, may be traced to the visit paid by Apelles to Protogenes, at Rhodes; for the particulars, see Pliny, l. xxxv, 10. Many of his bon mots are recorded, A novice in his art, showed one of his performances to Apelles, observing that he had painted it in a hurry. I perceive you did, was the answer. Plutarch abounds with anecdotes concerning him. The Persian Megabyzus was once sitting by Apelles, in whose room were a number of lads grinding colours, and otherwise employed. Their attention was directed in silence to the splendour of the stranger's dress. At length he began to talk of light and shade, and the boys laughed. Whilst you were silent, said Apelles, the boys were lost in admiration of your

magnificence: the moment you began to talk of what you did not understand they laughed at you. Apelles was confessedly pre-eminent above all painters ; his great distinctions were grace and simplicity. How dear he was to Alexander the Great, who would allow no one else to paint him, is sufficiently known. The story of Campaspe, called by Ælian Pancaste, need not be repeated.

His principal works were these, Alexander with the bolt of Jupiter in his hand, in the temple of Diana at Ephesus.

CLYTUS on horseback, going to battle; his servant giving him his helmet. Antigonus in profile. The monarch had lost an eye, which the artist thus concealed.

NEOPTOLEMUS on horseback.

DIANA in the midst of her nymphs.

FORTUNE in a sitting attitude.

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