her as she flies toward the Peneus; her arms have already sprouted into laurels.—Cat. Nat. Gal.
APOLLO AND MARSYAS, Claude Lorrain,
Earl of Leconfield; canvas, H. 3 ft. 9
in. × 5 ft. Liber Veritatis, No. 95. Engraved
by Muller. Collections Passart, Haye,
Sir T. Coke. Another Apollo and Marsyas
(Liber Veritatis, No. 45), formerly in Crozat
Gallery, now in Hermitage, St. Petersburg.—Pattison,
Claude Lorrain, 231, 246.
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Apollo and Marsyas, Guercino, Palazzo Pitti, Florence.
By Guercino, Palazzo Pitti, Florence; canvas, H. 5 ft. 11 in. × 6 ft. 7 in. Apollo nude, is flaying Marsyas, who lies upon his back with his hands bound to a tree upon which are suspended a violin and bow; behind Apollo, two figures, partially concealed, are looking on. Engraved by Massard; L. Martelli.—Wicar, ii. Part 17; Gal. du Pal. Pitti, i. Pl. 6.
By Guido Reni, Munich Gallery; canvas, H. 6 ft. 10 in. × 5 ft. 3 in. Apollo flaying Marsyas; the lyre of the god hangs upon a tree. Figures life size.
By Raphael, Camera della Segnatura, Vatican; fresco, on ceiling, Apollo seated, with his lyre in his hand, is ordering a shepherd to flay Marsyas, who is bound to a tree; another shepherd holds a laurel crown over Apollo's head. Painted in 1511. The victory of Apollo is that of true over false art which merits punishment. Engraved by R. Wibert.—Passavant, ii. 89; Müntz, 347.
By Raphael, Louvre, Paris; wood, H. 15-1/3 in. × 11-1/3 in. Apollo standing with a staff, listens disdainfully to the strains of a pipe played by Marsyas, who is sitting on a bank; background a landscape with river, hills, and a town. Painted in Perugia in 1504-5 (?). Collection of John Barnard; sold in 1787 to M. Duroveray, at whose death, bought in 1850, by Mr. Morris Moore, of Rome, who sold it to the Louvre in 1883 for £8000. Authenticity denied by Waagen, Passavant, and Mündler, but their opinion not generally accepted. Has been attributed to Mantegna, and with more reason to Timoteo Viti.—C. & C., Raphael, i. 209; Passavant, ii. 354; Müntz, 224; Gruyer, Raphael et l'Antiquité, ii. 421; Eitelberger, Rafael's Apollo und Marsyas, Vienna (1860); Batté, Le Raphael de M. Morris Moore, Paris (1859); Graphic, London, May 26, 1883.
APOLLO AND THE MUSES. See Muses,
Dance of.
APOLLODORUS, of Athens; old Attic
school; about 408 B.C. Dr. H. Brunn regards
him as the first real painter, inasmuch
as he no longer marked contours by
actual lines, but represented objects as they
appear to the eye. He changed the rigid
architectural character of painting, distinguished
before him by a formal and rhyth-
