- hind him are several soldiers; to right,
smoke of a fire seen through an arch and men carrying wood. Painted for Cardinal Rangoni. Belonged afterwards to Duke of Urbino and came to the Medici through marriage of Ferdinand II. with Vittoria della Rovere. Carried to Paris in 1799; returned in 1814. A masterpiece. Shows marks of Michelangelo's coöperation.—Vasari, ed. Mil., v. 581; C. & C., N. Italy, ii. 332; Rosini, v. 9; Lavice, 66; Landon, Musée, vi. Pl. 57.
AGATHARCHUS, painter, born in Samos.
Won renown in Athens, 5th cent. B. C.,
as a scenic and decorative painter; aimed at
optical illusion by means of perspective and,
like Apollodorus, is classed among the skenographers
or skiographers, i. e., shadow
painters, showing (Mahaffy, Hist. Clas. Gr.
Lit., i. 244) that the painting of shadows was
first attempted to produce effects of perspective
in scene painting. Agatharchus wrote a
treatise on perspective and prepared the
way for the development of painting in a
modern sense. He decorated the house of
Alcibiades at Athens (Plut. Alcib. 16), and
painted a scene for Æschylus.—Vitruv.
Præf., vii.; R. R., Schorn, 168; Brunn, ii. 51.
AGE OF INNOCENCE, Sir Joshua Reynolds,
National Gallery, London; canvas,
H. 2 ft. 6 in. × 2 ft. 1 in. A little girl,
seated on the grass under trees, with her
hands crossed. Vernon Collection, 1847;
bought at Harman sale (1844) for 1520
guineas. Engraved by J. Grozer (1788),
Ch. Turner, F. Joubert, S. Cousins; etched
by A. Mongin.—Catalogue National Gallery;
Pulling, 84; Portfolio (1877), 149;
Art Journal (1850), 44; Stephens, English
Children, by Sir J. R.
AGES, THREE. See Three Ages.
AGGAS, ROBERT, born about 1619, died
in London in 1679. Landscape and scene
painter, much employed by Charles II. A
landscape by him is preserved in the Painter-Stainers'
Hall, London.
AGLAOPHON, Greek painter, of Thasos,
Ionic school, about 490 B. C. Chiefly noted
as father and master of Polygnotus and
Aristophon, though Quintilian (xii. 10, 3)
says his pictures were worthy of admiration
on other grounds than antiquity. Said to
have been first to represent Victory (Nike)
with wings, and to have painted a horse of
remarkable excellence. The two pictures
commemorative of victories of Alcibiades in
the Olympic games (about 416 B. C.), attributed
both to Aglaophon and to a supposed
grandson of same name, were probably
the work of his son Aristophon.—Pliny,
xxxv. 35, 36 [60]; Brunn, ii. 13.
AGNENI, EUGENIO, born at Sutri,
near Rome, Italy, in 1819. Pupil of F. Coghetti
in Rome, where he went in 1832.
When 18, he executed large paintings for
churches, and in 1847 was employed by
Pius IX. to decorate the throne-room in the
Quirinal. He took part in the defence of
Rome in 1848, and fled to Savona, where he
aided Coghetti in frescoing the cathedral in
1849. He then decorated the palaces of
Rocca, Solari, and Piuma, in Genoa, and invited
by the architect of the Louvre to contribute
to its decoration, went to Paris in
1852, but only a few months later proceeded
to London, where he was employed to decorate
the Queen's room in Covent Garden,
and to paint a large picture of the
royal family. After the liberation of Italy
he settled in Florence; in 1866 again served
as a volunteer under Garibaldi, and has,
since then, been occupied with decorative
paintings in Florence. Besides his great
wall paintings, he has painted many genre
pictures, and biblical and allegorical scenes.
Work: Departed Spirits of Great Florentines
protesting against the Foreign Invasion,
Museo Civico, Turin.—Meyer, Künst.
Lex., i. 124.
AGNES, ST., MARTYRDOM OF, Domenichino,
Bologna Gallery; canvas, H. 15 ft.
10 in. × 10 ft. 4 in. St. Agnes, on a pile of
wood in an open court, is stabbed by an
executioner with a poniard; at right, three
women and a child look on with horror; at
left, the Prefect Sempronius, surrounded by
