APELLES  , probably the greatest painter of antiquity . He lived from the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time of See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip of Macedon till after the See also:

• DEATH

death of See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander . He was of Ionian origin, but after he had attained some celebrity he became a student at the celebrated school of See also:

• SICYON, or SECYON (the latter being the older form used by the natives)

Sicyon, where he worked under See also:

• PAMPHILUS
• PAMPHILUS (1st century A.D.)

Pamphilus . He thus combined the Dorian thoroughness with the Ionic See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace . Attracted to the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court of Philip, he painted him and the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young Alexander with such success that he became the recognized court painter of Macedon, and his picture of Alexander holding a thunderbolt ranked with the Alexander with the See also:

• SPEAR (O. Eng. spere, O. H. Ger. sper, mod. Ger. speer, &c., cf. Lat. sparrs; probably related to " spar, " a beam)

spear of the sculptor See also:

• LYSIPPUS

Lysippus . Other See also:

• WORKS

works of Apelles had a See also:

• GREAT

great reputation in antiquity, such as the portraits of the Macedonians Clitus, See also:

• ARCHELAUS

Archelaus and Antigonus, the procession of the high See also:

• PRIEST (Ger. Priester, Fr. pretre)

priest of See also:

• ARTEMIS

Artemis at See also:

• EPHESUS
• EPHESUS, COUNCIL OF

Ephesus, Artemis amid a See also:

• CHORUS (Gr. xopbs)Z

chorus of maidens, a great allegorical picture representing Calumny, and the noted See also:

• PAINTING

painting representing See also:

• APHRODITE

Aphrodite rising out of the See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

sea . Of none of these works have we any copy, unless indeed we may consider a painting of Alexander as See also:

• ZEUS

Zeus in the See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house of the Vettii at See also:

• POMPEII

Pompeii as a See also:

• REMINISCENCE (from Lat. reminisci, to remember)

reminiscence of his See also:

• WORK

work; but some of the See also:

• ITALIAN

Italian artists of the See also:

• RENAISSANCE, THE

Renaissance repeated the subjects, in a vain See also:

• HOPE, ANTHONY
• HOPE, THOMAS (c. 1770-1831)

hope of giving some notion of the See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition of them . Few things are more hopeless than the See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt to realize the See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of a painter whose works have vanished . But a great See also:

• WEALTH

wealth of stories, true or invented, clung to Apelles in antiquity; and See also:

• MODERN

modern archaeologists have naturally tried to discover what they indicate . We are told, for example, that he attached great value to the See also:

• DRAWING

drawing of outlines, practising every See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day . The See also:

• TALE (O.Eng. talu, number, account, story; the word is common to many Teutonic languages; cf. Ger. Zahl, number, Erzahlung, narrative, Du. taal, speech, language)

tale is well known of his. visit to See also:

• PROTOGENES
• PROTOGENES (E. Haeckel)

Protogenes, and the rivalry of the two masters as to which could draw the finest and steadiest See also:

• LINE

line . The See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of drawing such lines is conspicuous in the decoration of red-figured vases of See also:

• ATHENS
• ATHENS ['AN vat, Athenae, modem colloquial Greek `Ath va]

Athens .

Apelles is said to have treated his See also:

• RIVAL

rival with generosity, for he increased the value of his pictures by spreading a See also:

• REPORT (O.Fr. report or raport, modern rapport, from O.Fr. reporter, mod. rap porter, Lat. reportare, to bring back, in poetical use only, of bringing back an account, news, &c.)

report that he meant to buy them and sell them as his own . Apelles allowed the superiority of some of his contemporaries in particular matters: according to See also:

• PLINY, THE ELDER
• PLINY, THE YOUNGER

Pliny he admired the dispositio of See also:

• MELANTHIUS

Melanthius, i.e. the way in which he spaced his figures, and the mensurae of Asclepiodorus, who must have been a great See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of symmetry and proportion . It was especially in that undefinable quality "grace" that Apelles excelled . He probably used but a small variety of See also:

• COLOURS, MILITARY

colours, and avoided elaborate See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective: simplicity of See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design, beauty of line and See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm of expression, were his See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief merits . When the See also:

• NATURALISM

naturalism of some of his works is praised—for example, the See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand of his Alexander is said to have stood out from the picture—we must remember that this is the merit always ascribed by ignorant critics to works which they admire . In fact the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of Alexander was one of notable See also:

• IDEALISM (from Gr. i5Ea, archetype or model, through been urged of the truth of its point of view is the persistency Fr. idealisme)

idealism, and probably Apelles succeeded in a marked degree in imparting to his figures a beauty beyond nature . Apelles was also noted for improvements which he introduced in technique . He had a dark glaze, called by Pliny atramentum, which served both to preserve his paintings and to soften their See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour . There can be little doubt that he was one of the most bold and progressive, of artists . (P .