PEOSERPINE palace, which is enlivened only by the pale smoke of an incense-burner and a few rays of cold, bluish, earthly light, which have penetrated the subterranean gloom. Athe- neeura, Aug., 1875, 220 ; April, 1882, 482. PKOSERPINE, RAPE OF, William Ettij. Sold for 1,000 guineas at Gillot sale, 1872. Gilchrist, Life, ii. 95. By Rembrandt, Berlin Museum ; wood, H. 2 ft. 9 in. X 2 ft. G in. Pluto, in a Roman chariot drawn by three rearing horses, has one arm around Proserpine, who struggles ; three of her companions, who seize her gar- ments, are overthrown. Painted about 1(!32. Formerly attributed to Jan Joris van Vliet. -Vosmaer, 42G ; Meyer, Museeu, 305. By Rubens, Blenheim Palace ; canvas, H. 6 ft. 8 in. x 13 ft. Pluto, on his car drawn by four spirited brown horses, is carrying off the struggling nymph, despite the efforts of her attendants, among whom are Minerva, Venus, and Diana, to hold her back ; above, two cupids, and on the ocean two naked uereids. One of the capital works of the master. Etched by Soutman. Same sub- ject, Madrid Museum. Waageu, Treasures, iii. 133 ; Smith, ii. 241. PROTAIS, PAUL ALEXANDRE, borii in Paris, Oct. 17, 182G. Battle paint- er, pupil of D e s - moulins. Accompa- nied General Bos- quet in the Crimean campaign, and later made the campaign in Italy with Gen- eral Ladmirault. Medals: 3d class, 1863, 1864, 1865, 1878 Officer, 1877. Works Capture of a Battery of the Green Mamelou, Death of Colonel Brancion (1857) ; Capture of Green Mamelon, Last Thought (1859) ; General Cler's Brigade on Road to Magenta, Passage of the Sesia, Female Sentinel (1861); Morning before Attack, Evening after Battle (1863) ; Turn of the Trenches (1864) ; End L. of Honour, 1865 ; Battle of Inkerman, of the Halt, Passage of the Mincio, Burial in the Crimea, Conquerors returning to Camp (1865), Comte de La Valette ; Wound- ed Soldier, Bivouac (1866) ; General Halt, Evening Prayer on Shipboard (1868) ; Cut- ting a Road (1869); Marching, Night of Sol- ferino (1870), Comte de La Valette ; Prison- ers near Metz, Separation (1872) ; Rest (1873), Comte Carl de Mercy -Argeuteau ; On the Watch, Metz (1874) ; French Guards and Swiss Guards (1875) ; The Colour-Guard, A Staff (1876) ; Crossing a River in August, 1870 (1877); The Flag and the Army (1881); At Dawn (1882) ; Marching (1883) ; Recou- uoissance, Passage of the Ford (1884); Out- post, Chasseurs on Foot (1885) ; Battalion 1876. Square, 1815 (1886), Belher, ii. 318 ; Ham- erton, French Painters, 36 ; Claretie, Pein- tres (1874), 150 ; Quarterly Rev., i. 255 ; Art Journal, x. 189. PROTOGENES, one of the most famous of Greek painters, born in Caunus, Caria ; resided chiefly in Rhodes, but painted much at Athens ; best period, 332-300 B.C. Until his fiftieth year he supported himself by painting ships, then decorated with fanciful devices ; but his reputation was established by Apelle*, who visited Rhodes and made its people recognize his merits (Pliny, xxxv. 36). The Rhodians became so proud of his works that when Demetrius Poliorcetes was besieging their city they sent a herald to beg him to spare the picture of lalysus or Jalysus, which Protogenes was then paint- ing in the suburbs (Pint. Demet., 22). Pliny tells a similar story (xxxv. 36 [105]), but makes the lalysua a finished picture, and represents Protogenes as at work on his Satyr in Repose, known as the Anapauome- nos (see also Suidas, v., and Aulus Gellius, xv. 3). The lalysus, on which the artist spent seven years, was seen at Rhodes by 479
