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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 of See also: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, where he worked under See also: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 of Philip, he painted him and the See also: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 of the sculptor See also:Lysippus. Other See also:works of Apelles had a See also:great reputation in antiquity, such as the portraits of the Macedonians Clitus, See also:Archelaus and Antigonus, the procession of the high See also:priest of See also:Artemis at See also:Ephesus, Artemis amid a See also:chorus of maidens, a great allegorical picture representing Calumny, and the noted See also:painting representing See also:Aphrodite rising out of the See also:sea. Of none of these works have we any copy, unless indeed we may consider a painting of Alexander as See also:Zeus in the See also:house of the Vettii at See also:Pompeii as a See also:reminiscence of his See also:work; but some of
the See also:Italian artists of the See also:Renaissance repeated the subjects, in a vain See also:hope of giving some notion of the See also:composition of them.
Few things are more hopeless than the See also:attempt to realize the See also:style of a painter whose works have vanished. But a great See also:wealth of stories, true or invented, clung to Apelles in antiquity; and See also: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 of outlines, practising every See also:day. The See also:tale is well known of his. visit to See also:Protogenes, and the rivalry of the two masters as to which could draw the finest and steadiest See also:line. The See also:power of drawing such lines is conspicuous in the decoration of red-figured vases of See also:Athens. Apelles is said to have treated his See also:rival with generosity, for he increased the value of his pictures by spreading a See also: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 he admired the dispositio of See also: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 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, and avoided elaborate See also:perspective: simplicity of See also:design, beauty of line and See also:charm of expression, were his See also:chief merits. When the See also:naturalism of some of his works is praised—for example, the See also: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 of Alexander was one of notable See also: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. There can be little doubt that he was one of the most bold and progressive, of artists. (P.
End of Article: APELLES
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