forty-five stadia to the temple. The priestess, moved by their filial love, prayed to the goddess to grant them what was best for mortals. The brothers went to sleep in the temple and never rose again. Herodotus, who tells the story (i. 31), makes Solon relate it to Crœsus, as a proof that it is better for mortals to die than to live. Callet won the grand prix de Rome in 1764 with his picture, which represents the brothers dragging the chariot to the temple.
By Carl von Stetten, William Schaus, New York; canvas, H. 5 ft. × 6 ft. 6 in. Represents the brothers lying in the sleep of death in the temple at the foot of the statue of Hera; near them is the altar of the goddess, covered with flowers; in background, people entering the temple exhibit astonishment at the sight. Salon, 1884. Subject treated also by Primaticcio in the Château de Fontainebleau.
CLEON, Greek painter, about 300 B.C.;
noted for his picture of Cadmus. Pliny,
xxxv. 40.
CLEOPATRA BEFORE CÆSAR, Jean
Léon Gérôme, D. O. Mills, New York; canvas,
figures half life-size. Scene: Palace of
the Ptolemies in Alexandria. Cleopatra,
determined to gain the favour of Cæsar,
caused herself to be carried into his apartment
concealed in a bale of cloth, which
Apollodorus, her attendant, bore as a present
to him (Dion Cas., xlii. 35; Plut., Cæsar,
xlix.). She is represented standing, amid
the folds of cloth from which she has just
emerged, glancing at Cæsar, who is writing
at a table. Apollodorus kneels behind her,
and several secretaries, writing in background,
look around curiously. Photogravure
in Art Treasures of America. Engraved
by J. C. Armytage in Art Journal
(1877), 12.—Larousse, iv. 431.
CLEOPATRA ON THE CYDNUS, William
Etty, Lord Taunton, London. Cleopatra,
as Venus, attended by maids habited
as Nereids and Graces, and by boys as
Cupids, sailing along the River Cydnus in a
magnificent galley, as described by Plutarch.
Royal Academy, 1821; sold for 200
guineas to Sir Francis Freeling, at whose
sale bought by Mr. Farrer the dealer, who
disposed of it to Mr. Labouchere for 1,000
guineas.—Gilchrist, Life, 93; Art Union
(1849), 116.
By Henri Pierre Picou, private gallery, San Francisco; canvas. Antony and Cleopatra, surrounded by attendants, in a superb galley, sailing down the Cydnus. Salon, 1848; exhibited in New York in 1875. Engraved by Gautier.
CLEOPATRA, DEATH OF, Jean François
Gigoux, Luxembourg Museum, Paris;
canvas, H. 3 ft. 9 in. × 6 ft. 5 in. Salon,
1850.
By Guido Reni, Palazzo Pitti, Florence; canvas, H. 3 ft. 10 in. × 3 ft. 1 in. Cleopatra, three-fourths length, putting the asp to her bosom. Painted about 1640. In Guido's third manner. Engraved by N. Le Mire; L. M. Faentino. Repetitions in Madrid, Barcelona, and Nancy Museums, in the Balbi and Durazzo Galleries, Genoa, and in Windsor Castle and private collections in England.—Wicar, i. Part 5; Gal. du Pal. Pitti, i. Pl. 66; Lavice, 68.
By Alex. Turchi, Louvre; canvas, H. 8 ft. 3 in. × 8 ft. 9 in. In foreground, at left, Mark Antony, whom two soldiers have carried into the tomb where Cleopatra has taken refuge, is expiring upon a couch; in the background the queen, sustained by two women, puts the asp to her breast; three other attendants grieving.—Villot, Cat. Louvre; Filhol, i. Pl. 31.
By Paolo Veronese, Munich Gallery; canvas, H. 3 ft. 7 in. × 2 ft. 10 in. Natural size, seen to knees.
By Guercino, Palazzo Brignole Sale, Genoa. Lying on a couch, nude to waist, and the rest of the body covered with a white drapery, except the feet. One hand looses its hold of the asp which it had placed on her bosom, the other falls helplessly at her side.—Burckhardt, 770; Lavice, 91.
By Hans Makart, Stuttgart Gallery; can-
