A Dictionary of Greek and Roman biography and mythology. By various writers. Ed. by William Smith. Illustrated by numerous engravings on wood.

APELLES.
Huds.) Comp. Quintil. xi. 2. ~ 14; Bckh, Praef.
d Sc/iol. Pind. p. xxiii., &c.
2. A sceptical philosopher. (Diog. Lairt. ix. 106.)
APELLAS ('ATreAAas), a sculptor, who made,
n bronze, statues of worshipping females (adorantes
eminas, Plin. xxxiv. 19. ~ 26). He made the
statue of Cynisca, who conquered in the chariot-,ace at Olympia. (Paus. vi. 1. ~ 2.) Cynisca
vas sister to Agesilaus, king of Sparta, who died
it the age of 84, in 362 B. c. Therefore the vicory of Cynisca, and the time when Apellas flou'ished, may be placed about 400 B. c. His name
ndicates his Doric origin. (Tolken, Amalthea, iii.,. 128.) [P. S.]
APELLES ('ATrEsXTs). 1. One of the guarlians of Philip V., king of Macedonia. [PHIrFrus V.]
2. Perhaps a son of the preceding, was a friend
if Philip V., and accompanied his son Demetrius
o Rome, B.C. 183. (Polyb. xxiii. 14, &c., xxiv. 1.)
3. Of Ascalon, was the chief tragic poet in the
ime of Caligula, with whom he lived on the most
ntimate terms. (Philo, Legal. ad Caium, p. 790;
)ion Cass. lix. 5; Suet. Cal. 33.)
APELLES ('A-rEXAA^s), the most celebrated of
irecian painters, was born, most probably, at
colophon in lonia (Suidas, s. v.), though Pliny
xxxv. 36. ~ 10) and Ovid (Art. Am. iii. 401;
"Dont. iv. 1. 29) call him a Coan. The account
f Strabo (xiv. p. 642) and Lucian (De Calumn.
ix. ~~ 2, 6), that he was an Ephesian, may be ex-,lained from the statements of Suidas, that he was
aade a citizen at Ephesus, and that he studied.ainting there under Ephorus. He afterwards
tudied under Pamphilus of Amphipolis, to whom.e paid the fee of a talent for a ten-years' course of
astruction. (Suidas, s. v.; Plin. xxxv. 36. ~ 8.)
It a later period, when he had already gained a
igh reputation, he went to Sicyon, and again paid
talent for admission into the school of Melaninius, whom he assisted in his portrait of the
yrant Aristratus. (Plut. Arat. 13.) By this
ourse of study he acquired the scientific accuracy
f the Sicyonian school, as well as the elegance of
he Ionic.
The best part of the life of Apelles was probably
pent at the court of Philip and Alexander the
ireat; for Pliny speaks of the great number of his
ortraits of both those princes (xxxv. 36. ~ 16),
nd states that he was the only person whom
tlexander would permit to take his portrait. (vii.
8; see also Cic. ad F7am. v. 12. ~ 13; Hor.,p. ii. 1. 239; Valer. Max. viii. 11. ~ 2, ext.;
trrian, Anab. i. 16. ~ 7.) Apelles enjoyed the:iendship of Alexander, who used to visit him in
is studio. In one of these visits, when the king's
onversation was exposing his ignorance of art,
ipelles politely advised him to be silent, as the
oys who were grinding the colours were laughing
t him. (Plin. xxxv. 36. ~ 12.) Plutarch relates
nis speech as having been made to Megabyzus.
De Trang. Anim. 12, p. 471, f.) Aelian tells the
necdote of Zeuxis and Megabyzus. (Var. Hist. ii..) Pliny (I. c.) also tells us that Apelles, having
een commissioned by Alexander to paint his faourite concubine, Campaspe (rIayKadro-T Aelian,
"ar. Hist. xii. 34), naked, fell in love with her,
pon which Alexander gave her to him as a pre2nt; and according to some she was the model of
ae painter's best picture, the Venus Anadyomene.
'rom all the information we have of the connexion

APELLES. 221
of Apelles with Alexander, we may safely conclude
that the former accompanied the latter into Asia.
After Alexander's death he appears to have
travelled through the western parts of Asia. To
this period we may probably refer his visit to
Rhodes and his intercourse with Protogenes. (See
below.) Being driven by a storm to Alexandria,
after the assumption of the regal title by Ptolemy,
whose favour he had not gained while he was with
Alexander, his rivals laid a plot to ruin him, which
he defeated by an ingenious use of his skill in
drawing. (Plin. xxxv. 36. ~ 13.) Lucian relates
that Apelles was accused by his rival Antiphilus
of having had a share in the conspiracy of Theodotus at Tyre, and that when Ptolemy discovered
the falsehood of the charge, he presented Apelles
with a hundred talents, and gave Antiphilus to
him as a slave: Apelles commemorated the event
in an allegorical picture. (De Calumn. lix. ~~ 2 -6, vol. iii. pp. 127-132.) Lucian's words imply
that he had seen this picture, but he may have
been mistaken in ascribing it to Apelles. He
seems also to speak of Apelles as if he had been
living at Ptolemy's court before this event occurred. If, therefore, Pliny and Lucian are both
to be believed, we may conclude, from comparing
their tales, that Apelles, having been accidentally
driven to Alexandria, overcame the dislike which
Ptolemy bore to him, and remained in Egypt during the latter part of his life, enjoying the favour
of that king, in spite of the schemes of his rivals to
disgrace him. The account of his life cannot be
carried further; we are not told when or where he
died; but from the above facts his date can be
fixed, since he practised his art before the death of
Philip (B. c. 336), and after the assumption of the
regal title by Ptolemy. (B. c. 306.) As the result
of a minute examination of all the facts, Tilken
(Amalth. iii. pp. 117-119) places him between
352 and 308 B. c. According to Pliny, he flourished about the 112th Olympiad, B. c. 332.
Many anecdotes are preserved of Apelles and
his contemporaries, which throw an interesting
light both on his personal and his professional character. He was ready to acknowledge that in some
points he was excelled by other artists, as by Amphion in grouping and by Asclepiodorus in perspective. (Plin. xxxv. 36. ~ 10.) He first caused
the merits of Protogenes to be understood. Coming
to Rhodes, and finding that the works of Protogenes were scarcely valued at all by his countrymen, he offered him fifty talents for a single
picture, and spread the report that he meant to sell
the picture again as his own. (Plin. ib. ~ 13.) In
speaking of the great artists who were his contemporaries, he ascribed to them every possible
excellence except one, namely, grace, which he
claimed for himself alone. (Ib. ~ 10.)
Throughout his whole life, Apelles laboured to
improve himself, especially in drawing, which he
never spent a day without practising. (Plin. ib.
~ 12; hence the proverb Nudll dies sine linea.)
The tale of his contest with Protogenes affords an
example both of the skill to which Apelles attained
in this portion of his art, and of the importance
attached to it in all the great schools of Greece.
Apelles had sailed to Rhodes, eager to meet
Protogenes. Upon landing, he went straight to
that artist's studio. Protogenes was absent, but a
large panel ready to be painted on hung in the
studio. Apelles seized the pencil, and drew an