APOLLO Alexander Apelles went to Egypt, where lie was favourably received by King Ptolemv, notwithstanding the jealousy of the court painter Antiphilus, who accused him of tak- ing part in a conspiracy. The charge being disproved, Antiphilus was sold into slavery and Apelles took a painter's revenge in au allegorical picture of Calumny, from Lu- cian's minute description of which Jlotticelli painted a well-known picture now in the Uffi/.i. It was perhaps when on his way to Alexandria that Apelles visited Rhodes to see Protogenes. Finding him absent from his studio the visitor, says Pliny (xxxv. 30) and tho next day the cobbler proceeded to 1 criticise the leg, whereupon tho artist bade him stick to his last. From this arose tho saying "Ne sutor ultra crepidom " (Let not the shoemaker go beyond his last). Once, too, when Alexander the Great attempted to j criticise one of his pictures, Apt-lies advised him to be silcut,as the colour-boys were laugh- ing at him. Apelles was uusuqwssed in dili- gence, and never allowed a day to pass with- out its accomplished task. Ho carried his art to tho highest degree of excellence, surpass- ing all who hail preceded him. Ionic elegance and charm were blended in his stylo wifh Apollo and Daphn, ft. Albtni, Louvrt. drew with a brush upon a panel a line so fine that Protogenes, when he saw it, knew that only Apelles could have done it Draw- ing a still finer line, ho went away again, and Apelles on his return divided the two with one even more subtile. Seeing this, Proto- genes owned himself conquered and went to seek his guest Apelles shamed the Khodians into recognizing the merits of his great rival by offering an immense sum for his pictures, and said that he himself ex- celled him in one thing, viz., that he knew when to stay his hand. Among other anec- dotes of him told by Pliny (L c.) is that of the cobbler who detected a fault in a shoe of one of his figures. Apellcs corrected it, Doric severity and correctness, and it is tho | universal testimony of ancient writers that his best work exhibited an indefinable grace | of conception and refinement of tnte and feel- ing such as that of no other painter ever hail. APOLLO AND DAPHNE, Fr. Albani, Louvre ; copper, H. OJ in. x 1 ft. 2 in. Daphne closely pursued by Apollo, flies toward her father, tho river Peneus ; above, Cupid, in a cloud. Daphne was changed into a laurel as Apollo was about to seize her. Villot, Louvre; Filhol, v. PL 338; Lamlon, Must-e, x. PL f>C. By Ant I'ollajttolo, National Gallery, Lon- don ; wood, H. 11 in. x 7J in. Daphne in the embrace of the god, who has just caught
