alongside, his rowers tossing their oars in salutation as the Queen approaches. She is reclining on an ivory throne under an awning of cloth of gold wreathed with roses; on her left crouches a negress—a sistrum player, on her right a white flute player; on a lower stage three priests of Isis burn incense. Antony rises from his seat with an expression of mingled surprise and anger as Cleopatra affects not to see him. Grosvenor Gallery, 1883.—Portfolio (1883), 42; Athenæum, Jan. 13, 1883, 60.
ANTROPOFF, ALEXEI PETROVICH,
born in 1716, died in 1795. Russian history
and portrait painter. Decorated a
church in Kiev in 1752, painted the ceilings
in the Palace Golowin, Moscow, in 1756. As
a portrait painter imitated Rotari, and was
popular in St. Petersburg. He founded
there the first school for the painting of
altar pictures, and was among the painters
sent to Moscow to represent the festivities
at the coronation of Catherine II., whose
portrait he painted. Also painted portraits
of Peter III. (1761) and of Peter the Great
(1769). Among his religious pictures are
The Trinity (1784), and Paul and Mary Magdalen
(1788).—Meyer, Künst. Lex., ii. 161;
Brunn, ii. 286.
ANTUM, AART VAN, flourished about
1604-8. Dutch school; marine painter in the
manner of Hendrik Vroom. Works: Naval
Battle (1604), Berlin Museum; Marine
(1608), National Gallery, Amsterdam; do.,
Madrid Museum.—Meyer, Königl. Mus., 15.
APATURIUS, from Alabanda, Caria,
fourth century B. C. Scene painter, said to
have shown great skill in decorating the
small theatre at Tralles.—Vitruv., vii. 5, 4.
APELLES, most famous of Greek painters,
pupil of Ephorus, of Pamphilus, and of
Melanthius; born probably in Colophon,
Ionia, though Pliny and Ovid call him of
Cos, and Strabo and Lucian of Ephesus;
flourished 352-308 B. C. The best part of
his life was spent at the court of Philip and
Alexander the Great, of both of whom he
painted many portraits. Alexander forbade
any one else to paint his likeness. Apelles
probably accompanied Alexander into Asia,
for he painted at Ephesus several pictures
of him, one of which, for the rebuilt Temple
of Diana, represented him with thunderbolts
in his outstretched hand. This, which Plutarch
says was the best portrait of the king,
gave rise to the remark that Philip's Alexander
was invincible and Apelles's inimitable
(Alex. 4; Fort. Alex. 2). In another picture
Alexander was represented in a triumphal
chariot followed by a chained figure of War;
and in a third, walking with Castor and Pollux
and the Goddess of Victory. Pliny says
(xxxv. 36) the last two pictures were placed
by the Emperor Augustus in the Forum,
and that Claudius had the head of Augustus
substituted in each for that of Alexander.
Apelles painted portraits also of Clitus, Antigonus,
Neoptolemus, and other followers
of Alexander, and a nude picture of Campaspe
or Pancaste, Alexander's favourite concubine.
Pliny says that the artist fell in
love with her and that the king gave her to
him; also that she was his model in his
painting of Venus Anadyomene; but Athenæus
(xiii.) avers that the courtesan Phryne,
whom the artist had seen at Eleusis going
naked into the sea at the Festival of Poseidon,
served him in this capacity. This, the
masterpiece of Apelles, represented the goddess
rising from the sea. In it the painter
reached the acme of that grace and sensuous
charm for which his art was especially distinguished.
The picture was painted for
the temple of Æsculapius at Cos. Augustus
paid 100 talents for it and took it to Rome,
where he dedicated it in the Temple of Julius
Cæsar, who claimed descent from the
goddess. There it decayed in time, as no
one dared to repair it, though Dorotheus
made a copy of it. Pliny says that Apelles
was painting another Venus for the people
of Cos, at the time of his death, which would
have excelled the first. Among his other
works were a King Archelaus on horseback,
a Diana and her Nymphs sacrificing, an Ancæus,
and a Hercules. After the death of
