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
