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Apelles

Apelles (Greek: Ἀπελλῆς) was a prominent ancient Greek painter from the island of Cos, active during the late 4th century BC, and regarded by classical authors as the greatest artist of his time, excelling all predecessors and successors in technical mastery and graceful charm.^[1] Flourishing around the 112th Olympiad (332–329 BC), he trained under Pamphilus and gained fame through his association with Alexander the Great, serving as the Macedonian king's exclusive court painter and producing portraits that captured the ruler's likeness with unparalleled realism.^[1] None of his original works survive, but ancient descriptions preserve accounts of his innovative techniques, such as daily line-drawing exercises that became proverbial for artistic discipline—"Nulla dies abeat, quin linea ducta supersit"—and his principle of knowing when to withhold the brush to avoid overworking a composition.^[1] Apelles' reputation rested on his ability to imbue paintings with charis (elegant grace), a quality unmatched by contemporaries like Protogenes or Aristides, though he acknowledged their strengths in composition and proportion.^[2] His notable works included the Aphrodite Anadyomene, portraying the goddess emerging from the sea, which was dedicated to Asclepius on Cos before being transferred to Rome by Augustus Caesar; portraits of Alexander wielding thunderbolts and Philip II; and depictions of mythological and historical scenes, such as the procession of the Megabyzi at Ephesus.^[1] Anecdotes highlight his humility and ingenuity: he would eavesdrop on public critiques of his unfinished works, once correcting a sandal strap pointed out by a shoemaker but rebuking the man for further commentary beyond his expertise, coining the phrase "sutor, ne ultra crepidam" (shoemaker, stick to your last).^[3] In a famous rivalry with Protogenes on Rhodes, Apelles painted increasingly fine lines on a foam-flecked panel, outdoing his competitor until the artwork, later owned by Augustus, was destroyed in a palace fire.^[1] One of Apelles' most enduring legacies is the lost allegorical painting Calumny, created in response to false accusations against him during Ptolemy I's rule in Egypt, where he was briefly imprisoned. As described by Lucian in his essay On Slander, the composition features a central scene of Slander—a beautiful yet furious woman—dragging a youth by the hair before a judge with ass's ears (symbolizing folly), guided by Envy and attended by Ignorance, Deceit, and Malice, while a tearful Repentance trails behind and nude Truth approaches from afar.^[4] This work, evoking themes of injustice and the triumph of truth, profoundly influenced Renaissance artists, including Botticelli, who recreated it based on Lucian's vivid ekphrasis. Apelles also authored treatises on painting techniques and colors, though these are lost, and his lifelike portraits reportedly deceived animals and humans alike, such as horses neighing at his rendered steeds.^[3]

Life and Career

Early Life and Education

Apelles was born around 370 BC, likely on the island of Cos in the Aegean Sea, as stated by Pliny the Elder, though other ancient accounts, such as the Suda, place his birthplace in Colophon on the Anatolian mainland.^[5] These conflicting reports reflect the limited biographical details preserved from antiquity, with no definitive information on his family background or early childhood, though his Ionian origins suggest exposure to a vibrant artistic tradition in the region. Apelles received his initial artistic training as an apprentice to Pamphilus, a prominent painter who headed the renowned school at Sicyon, a Dorian city in the Peloponnese widely regarded as the epicenter of Greek painting during the 4th century BC.^[6] Pamphilus revolutionized artistic education by insisting that painters master liberal arts such as arithmetic, geometry, and proportion alongside practical drawing skills, viewing these as essential for achieving precision and harmony in representation.^[7] Apelles paid a substantial fee of one talent annually for this instruction, underscoring the school's prestige and the value placed on its methodical approach.^[8] At Sicyon, Apelles honed his expertise in panel painting, the dominant medium of the era, employing techniques like tempera for detailed color application and encaustic, a wax-based method pioneered by Pamphilus for durable, luminous effects on wood surfaces.^[9] This rigorous curriculum emphasized disciplined practice and theoretical understanding, distinguishing Sicyonian artists through their focus on anatomical accuracy and compositional balance over mere imitation. Following his apprenticeship, Apelles undertook early travels to cultural hubs, broadening his stylistic palette and laying the groundwork for his ascent to prominence as the favored artist of Philip II of Macedon and Alexander the Great.

Patronage and Major Commissions

Apelles rose to prominence in the late 4th century BCE through his appointment as court painter to Philip II of Macedon, likely around the time of the king's consolidation of power following the Battle of Chaeronea in 338 BCE.^[10] After Philip's assassination in 336 BCE, Apelles transitioned seamlessly into the service of his successor, Alexander the Great, becoming the principal artist of the Macedonian court.^[10] This patronage secured Apelles' position as one of the era's leading painters, with access to royal resources and subjects that elevated his reputation across the Greek world.^[11] Alexander demonstrated exceptional favor toward Apelles by issuing an edict that prohibited any other artist from painting his portrait, thereby granting Apelles the exclusive privilege to capture the king's likeness.^[12] The king frequently visited Apelles' studio during work sessions, where he would offer opinions on the paintings despite his lack of technical knowledge; Apelles, known for his tact, once gently suggested that Alexander remain silent to avoid eliciting laughter from the color-grinders.^[12] Among Apelles' major commissions under Alexander was a large-scale panel depicting the king wielding a thunderbolt, created for public display in the Temple of Artemis at Ephesus and commissioned at the substantial fee of 20 talents of gold.^[13] This work, intended as a divine portrayal likening Alexander to Zeus, exemplified the artist's role in crafting royal iconography for civic and religious contexts.^[13] Apelles also executed multiple portraits of Philip II, further solidifying his status within the Macedonian court before and after the dynastic shift.^[14] Apelles' interactions with other court figures were equally noteworthy, particularly the celebrated anecdote involving Alexander's favored concubine, Pancaspe. Alexander commissioned Apelles to paint her in the nude, admiring her exceptional beauty; during the process, the artist developed romantic feelings for her, which the perceptive king noticed and generously resolved by presenting Pancaspe to Apelles as a gift.^[15] This episode, recorded by Pliny the Elder, underscores the intimate trust and liberality that defined Apelles' relationship with Alexander, blending professional duty with personal favor.^[15]

Later Years and Rivalry

Following Alexander the Great's death in 323 BC, Apelles continued his career as an itinerant artist, traveling across the eastern Mediterranean and seeking new patrons among the Diadochi, the successors to Alexander's empire. His journeys took him to Rhodes around this period, where he sought out the renowned painter Protogenes, whose reputation rivaled his own. Pliny the Elder recounts a famous anecdote illustrating their friendly competition and mutual respect during this visit. Apelles arrived at Protogenes' studio to find the artist absent, so he requested a panel and drew a single, exquisitely thin line in color. Upon Protogenes' return, he recognized Apelles' handiwork and responded by drawing an even finer line in a different color precisely along the center of the first. The next day, Apelles returned and added a third line of superior delicacy, bisecting the previous two without touching them, declaring that a fourth would be impossible without spoiling the composition. Protogenes conceded defeat, praising Apelles' superior subtlety. This panel, bearing the three lines, was preserved in Rhodes' temple of Minerva and protected during the siege by Demetrius Poliorcetes in 305 BC.^[16] Apelles' travels also led him to Egypt, where a storm drove his ship to Alexandria, bringing him into the orbit of Ptolemy I Soter, one of Alexander's former generals and now ruler of the newly established Ptolemaic kingdom. Despite prior tensions from their time in Alexander's court, Ptolemy received Apelles hospitably and commissioned portrait work from him, highlighting the artist's enduring prestige among Hellenistic rulers. Pliny notes Apelles' exceptional skill in capturing facial likenesses during this episode, demonstrated when rivals tricked him into a royal dinner; indignant, Apelles sketched a lifelike charcoal portrait of the steward on the wall, which Ptolemy immediately recognized.^[14] Apelles maintained activity in Asia Minor, producing works for local patrons. He appears to have returned to his native Cos toward the end of his life, where he died in the early third century BC while engaged in painting a second version of his Aphrodite, left unfinished; later artists deemed themselves unworthy to complete it. No ancient sources specify the cause or exact date of his death, but Pliny emphasizes that the work's partial completion enhanced its allure.^[14]^[17] Apelles achieved considerable financial success through his royal commissions, commanding high prices that reflected his status as antiquity's premier painter; Pliny records one panel fetching 20 talents, an extraordinary sum equivalent to a skilled laborer's lifetime earnings. This wealth enabled him to maintain multiple workshops and employ slaves trained in artistic techniques, a practice inferred from the scale of operations among elite Greek painters of the era. Such enslaved assistants supported production in his studios across regions like Cos and Ephesus, underscoring the economic underpinnings of his prolific output.^[14]^[18]

Artistic Style and Techniques

Innovations in Representation

Apelles advanced the cause of naturalism in ancient Greek painting through his innovative use of subtle light and shadow to model forms, fostering a sense of volumetric depth and lifelike presence without relying on stark outlines. This technique produced illusions of three-dimensionality, as seen in descriptions of his works where painted elements, such as fingers and lightning, appeared to project beyond the picture plane, captivating ancient viewers with their realism.^[13] His approach to chiaroscuro emphasized gradual tonal transitions, enhancing the perceptual realism that distinguished his art from the more linear styles of prior generations. Central to Apelles' representational philosophy was the concept of venustas, or graceful beauty, which harmonized idealized proportions with acute observations from nature to imbue figures with an effortless elegance. Pliny the Elder extolled this quality as Apelles' unique charis, a charm that elevated his compositions above those of rivals, allowing human forms to embody both divine perfection and earthly vitality.^[19] This blend of idealization and verisimilitude not only refined portraiture but also enriched mythological scenes with a poised, harmonious allure. He adeptly integrated symbolic motifs, like thunderbolts signifying divine authority, to layer meaning within these scenes—as in his portrayal of Alexander the Great wielding a thunderbolt, where the emblematic flash conveyed godlike power through vivid, protruding effects.^[13] Pliny highlights Apelles' skill in rendering such elusive phenomena as thunderbolts, transforming abstract symbols into tangible, narrative drivers.^[20]

Precision and Finishing Methods

Apelles was renowned for his meticulous approach to refining paintings, emphasizing precision through daily disciplined practice. He adhered to the principle of nulla dies sine linea—no day without a line—drawing a line each day to maintain and hone his technical skill, a habit that became proverbial for artistic diligence.^[21] A hallmark of his technique was the application of an ultra-thin contour line, known as the "line of Apelles," executed with a fine brush to unify forms seamlessly without visible seams or harsh transitions. This innovation, demonstrated in his famous contest with Protogenes where he drew progressively finer lines atop his rival's, exemplified his unparalleled control and delicacy, allowing subtle optical effects that enhanced depth and cohesion.^[22]^[23] To achieve luminosity and texture, particularly in rendering skin tones and fabrics, Apelles employed a layering method involving thin applications of color over underdrawings, culminating in a translucent black varnish applied as a final glaze. This varnish, termed atramentum by ancient writers, not only protected the surface from dust and age but also intensified the brilliance of underlying colors, creating a radiant, jewel-like quality while subduing excessive brightness for balanced optical harmony.^[24] Apelles critiqued the tendency toward overworking in art, advocating restraint to preserve elegance; he frequently stepped back from his canvas to assess progress objectively and famously advising to "take the hand from the tablet" (manum de tabula) once perfection was attained, a practice that distinguished his refined finishes from more laborious efforts.^[25]

Known Works

Portraits of Alexander the Great

Apelles created several renowned portraits of Alexander the Great, serving as the king's preferred artist and capturing his image in ways that emphasized divine attributes and imperial power. According to Pliny the Elder, Alexander decreed that only Apelles, along with the sculptor Lysippus and the engraver Pyrgoteles, were permitted to depict him, ensuring that Apelles' representations became authoritative models for official imagery, including coinage across the empire.^[14] These portraits often portrayed Alexander with idealized features, such as a youthful face, tousled hair, and an upturned gaze suggesting divine inspiration and connection to the gods, a stylistic choice that reinforced his self-presentation as a semi-divine conqueror.^[17] One of Apelles' most celebrated works was a large panel depicting Alexander as a Zeus-like figure wielding a thunderbolt, commissioned in the 330s BCE for the Temple of Artemis at Ephesus following Alexander's conquest of the region. Pliny describes this portrait, known as the Keraunophoros (Thunderbolt-Bearer), as showing Alexander in a dynamic pose where his fingers and the thunderbolt appear to project beyond the picture plane, with the lightning outshining even Jupiter's, symbolizing Alexander's superhuman triumphs over his foes in a manner evocative of the Gigantomachy myth.^[14] This imagery not only glorified Alexander's military victories but also positioned him as a cosmic ruler akin to the king of the gods, blending historical portraiture with allegorical elements to legitimize his Hellenistic empire. The panel, painted for a fee of twenty talents of gold, was part of the temple's decorative program celebrating the city's liberation and Alexander's patronage.^[17] Apelles also produced multiple portraits of Alexander alongside his father, Philip II, underscoring dynastic continuity and familial legacy within the Macedonian royal line. Pliny notes that the artist painted both figures numerous times, though exact compositions vary in ancient accounts; these works highlighted themes of succession and shared conquest, portraying Philip as the foundational warrior-king and Alexander as his exalted heir.^[14] Such dual representations served propagandistic purposes, reinforcing the Argead dynasty's legitimacy amid Alexander's expansive campaigns. None of Apelles' original paintings survive, but their influence persisted through Roman copies, adaptations, and media like mosaics that echoed his stylistic innovations in light, perspective, and emotional depth. For instance, the famous Alexander Mosaic from Pompeii's House of the Faun (c. 100 BCE), depicting the Battle of Issus, is believed by some scholars to reflect compositional elements from Apelles' battle scenes or portraits, particularly in the dramatic tension and individualized figures that convey narrative intensity.^[26] Roman frescoes, such as those in the House of the Vettii, further adapt Apelles' techniques of illusionistic projection and luminous effects, preserving his legacy in the visual language of imperial portraiture.^[27]

Mythological and Allegorical Paintings

Apelles' mythological and allegorical paintings, though entirely lost to posterity, are known through vivid literary descriptions in ancient sources, showcasing his ability to imbue divine and symbolic figures with dynamic emotion and graceful movement. These works often featured large-scale panels destined for temples and public spaces, emphasizing themes of beauty, conflict, and moral allegory rather than historical portraiture. Pliny the Elder, in his Natural History, catalogs numerous such compositions by Apelles, highlighting their scale and thematic depth, with many executed on expansive surfaces to suit sacred or civic settings.^[14] Overall, ancient accounts preserve descriptions of approximately 30 works by Apelles, predominantly mythological in nature, underscoring his mastery in depicting the human form intertwined with symbolic narrative.^[17] One of Apelles' most celebrated mythological paintings was Aphrodite Anadyomene, dated around 325 BC, portraying the goddess rising nude from the sea, her hair dripping with water in a gesture of erotic grace and natural vitality. Pliny describes this work as painted in Cos and dedicated to the sanctuary of Asclepius, later transferred to Rome and placed in the Temple of Divus Julius by Augustus; its fame stemmed from the lifelike rendering of water cascading from the figure's tresses, evoking a sense of divine emergence and sensuality.^[14] The painting's composition captured Aphrodite's poised elegance, with the goddess wringing seawater from her hair, a motif that highlighted Apelles' innovative techniques in simulating texture and fluidity.^[17] In a shift to allegorical themes, Apelles created Calumny around 300 BC, a complex moral tableau depicting the vices and virtues of slander as personified figures in a courtroom-like scene. The second-century AD rhetorician Lucian provides the primary description, portraying a judge with ass's ears enthroned, with Ignorance and Assumption whispering in his ears, while Calumny—a beautiful woman—drags an innocent youth by the hair toward judgment, led by Envy and supported by Deceit and Malice; behind, Repentance cries while looking toward the approaching nude Truth, who gazes heavenward.^[27] This work arose from Apelles' personal experience of false accusations during a dispute with Ptolemy I of Egypt, transforming his grievance into a universal allegory of injustice and the triumph of truth.^[28] The composition's intricate interplay of figures conveyed motion and psychological tension, with Calumny's seductive form contrasting Truth's unadorned purity, influencing later Renaissance artists such as Sandro Botticelli in his own Calumny of Apelles.^[29] Apelles also explored themes of victory and strife in his allegorical painting involving War, featuring personified figures of Castor, Pollux, Victory, and Alexander the Great, dated to the late fourth century BC. Pliny recounts this work as including a bound figure of War with hands tied behind its back, positioned alongside Alexander in a triumphal chariot, symbolizing conquest and divine favor through the Dioscuri twins and winged Victory crowning the scene.^[30] Dedicated in Augustus' Forum in Rome, the painting masterfully captured emotional intensity and dynamic motion, with the restrained War embodying subdued conflict amid celebration.^[14] Apelles' precise finishing methods enhanced the figures' expressive power, lending a sense of immediacy to the mythological ensemble.^[17]

Legacy and Influence

Reputation in Antiquity

Apelles was widely regarded in antiquity as the preeminent painter of his era and beyond, with ancient authors consistently ranking him above all predecessors and successors for his unparalleled grace (charis) and precision in execution. Pliny the Elder, in his Natural History (Book 35.79), declares that Apelles "surpassed all who preceded him and handed down to those who followed the secret of true art," emphasizing his contributions to painting as greater than those of all other artists combined. This esteem stemmed from his ability to imbue works with a subtle elegance and lifelike quality that evoked emotional resonance, qualities that set him apart from earlier masters like Zeuxis, known more for bold realism but lacking Apelles' refined charm.^[19] Lucian of Samosata and Quintilian further amplified this reputation, praising Apelles for achieving a depth of expression that surpassed rivals in conveying human emotion and moral insight. In Institutio Oratoria (12.10.6), Quintilian highlights Apelles' "genius and grace," noting his particular pride in the latter, which allowed him to elevate painting beyond mere accuracy—exemplified by contemporaries like Protogenes—toward a harmonious blend of naturalism and emotional subtlety. Lucian, in his essay On Slander (or Calumniae non temere credendum), lauds Apelles' allegorical painting Calumny for its vivid realism, depicting figures such as Envy, Ignorance, and Truth in a way that masterfully captured the psychological turmoil of injustice, thereby demonstrating his skill in transcending technical prowess to explore profound human experiences.^[31]^[32] The economic value of Apelles' works underscored his prestige, as his paintings commanded extraordinary prices reflective of their perceived perfection. Pliny records that his portrait of Alexander the Great Holding a Thunderbolt fetched 20 talents of gold when placed in the Temple of Artemis at Ephesus, a sum that highlighted the immense demand for his art among rulers and collectors. Similarly, following a near-fatal accusation of conspiracy against Ptolemy I, Apelles received compensation of 100 talents from the king upon his exoneration, further illustrating how his reputation translated into tangible wealth and royal favor.^[13]^[32] Apelles also embodied the ideal artist in ancient lore, mythologized through anecdotes that emphasized his humility, dedication, and ethical use of art. Pliny recounts how Apelles would display his unfinished works publicly and listen incognito to critiques, once correcting a sandal strap pointed out by a shoemaker but rebuking him for overstepping into higher matters—originating the proverb "The cobbler should stick to his last" (sutor ne ultra crepidam). His daily commitment, encapsulated in the maxim "No day without a line" (nulla dies sine linea), exemplified unwavering discipline, while the Calumny painting served as a moral archetype, warning against false accusation and cementing his role as a cultural paragon of artistic integrity.^[12]^[21]^[32]

Impact on Renaissance and Modern Art

During the Renaissance, Apelles was idealized as the epitome of artistic mastery, serving as a model for theorists who emphasized disegno—the intellectual foundation of design—and naturalistic representation in painting. Giorgio Vasari, in his Lives of the Most Excellent Painters, Sculptors, and Architects (1550, revised 1568), frequently invoked Apelles as a benchmark for Renaissance artists, praising his subtlety and grace in works like the portrait of Alexander the Great and comparing Leonardo da Vinci's sfumato technique to Apelles' renowned finishing methods that achieved lifelike subtlety without visible brushstrokes.^[33] Similarly, Leon Battista Alberti in De pictura (1435) referenced Apelles' lost Calumny as an exemplar of narrative clarity and emotional expression, urging painters to emulate his ability to convey complex allegories through balanced composition and natural poses, thereby elevating painting to a liberal art rooted in mathematical precision and observation of nature. This reverence manifested in visual art, most notably in Raphael's School of Athens (1509–1511), a fresco in the Vatican’s Stanza della Segnatura where Raphael inserted a self-portrait as Apelles, positioned among ancient philosophers to symbolize the nobility of painting as an intellectual pursuit akin to philosophy and science. By depicting himself as the ancient master favored by Alexander, Raphael aligned his own High Renaissance ideals of harmony and proportion with Apelles' legendary status, underscoring the revival of classical techniques in service of humanistic themes.^[34] In the 19th century, Jean-Auguste-Dominique Ingres revived Apelles' allegorical legacy in The Apotheosis of Homer (1827), a monumental canvas at the Louvre featuring Apelles among luminaries paying homage to Homer; the composition echoes the moral and symbolic structure of Apelles' Calumny, with figures arrayed in a frieze-like procession to exalt classical virtue over contemporary Romantic excess.^[35] In the 20th century and beyond, Apelles' influence persisted through scholarly reevaluations that critiqued ancient sources like Pliny the Elder for potential biases in elevating Greek painters over others, as explored in analyses of Natural History's selective anecdotes that may reflect Roman cultural preferences rather than objective history.^[36]

References

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His art was unrivalled for graceful charm, although other very great painters were his contemporaries."Missing: biography | Show results with:biography
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No readable text found in the HTML.<|control11|><|separator|>
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Apelles and the painting of language | Cairn.info
The main sources for the painting are Pliny (Nat. 35.87, 91), Strabo (14.2.19), and six ecphrastic epigrams—five from the Greek Anthology (AP 16.178-182) and ...
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Apelles - Italian Renaissance Learning Resources
According to Pliny, Apelles flourished in the 112th Olympiad (332BC), and his association with Philip II of Macedon implies that his career began before 336 BC.Missing: apprenticeship Pamphilus
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Apelles, an ancient Greek painter, was considered by many ...
Apelles, an ancient Greek painter, was considered by many, including Pliny, to be the greatest artist in the world. Pliny recorded that Alexander the Great ...Missing: primary | Show results with:primary
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Pliny, Natural History, 35 (a) - Attalus.org
English translation of Pliny the Elder, Natural History, Book 35, 1-100, by H.Rackham. ... When this Ptolemy was King of Egypt, Apelles on a voyage had been ...
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Apelles | Oxford Classical Dictionary
Dec 22, 2015 · He died in Cos while copying his 'Aphrodite', probably early in the 3rd cent. About 30 works are recorded. He showed Alexander mounted and with ...
[20]
Art and Markets in the Greco-Roman World
Mar 21, 2024 · Then, Apelles offered 50 talents for a painting and spread the word that he was going to resell it as his own painting. This signaled to the ...
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[22]
Colors of Conquest: A Regional Survey of Hellenistic Painting
... composition. Pollitt and Ling both point out that the pilasters unevenly divide the panels so that the composition is asymmetrically rendered. Furthermore ...
[23]
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Alexander Mosaic from the House of the Faun, Pompeii - Smarthistory
Though the Greek paintings themselves no longer exist, their influence can be seen in Etruscan and Roman paintings and mosaics, such as this one. Alexander ...
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Apelles: Antiquity's Greatest Painter - TheCollector
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Apelles - in ancient sources @ attalus.org
Apelles - in ancient sources @ attalus.org. This is part of the index of names on the ... Apelles of Colophon - painter, contemporary of Alexander the GreatMissing: birth Strabo
[32]
Calumny of Apelles, by Sandro Botticelli - Uffizi
The composition, to be read from right to left, depicts a king on the throne making an imperious gesture of judgement towards a half-naked man dragged before ...
[33]
PLINY THE ELDER, Natural History | Loeb Classical Library
... Castor and Pollux with Victory and Alexander the Great, and also his figure of War with the Hands Tied behind, with Alexander riding in Triumph in his Chariot.
[34]
https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/renaissance-art-europe-ap/a/raphael-school-of-athens
[35]
Slander, a Warning | Calumniae non temere credendum
Jul 8, 2019 · Showing Slander the way is a man with piercing eyes, but pale, deformed, and shrunken as from long illness; one may easily guess him to be Envy.Missing: Calumny | Show results with:Calumny
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lives of the most eminent painters sculptors & architects
The Project Gutenberg EBook of Lives of the Most Eminent Painters Sculptors and Architects, by Giorgio Vasari This eBook is for the use of anyone anywhere ...
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School of Athens by Raphael (article) - Khan Academy
The School of Athens represents all the greatest mathematicians, philosophers and scientists from classical antiquity gathered together sharing their ideas ...
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Jean-Auguste-Dominique Ingres, Apotheosis of Homer - Smarthistory
Ingres exhibited Apotheosis of Homer (1827) in the annual Salon. His grandest expression of the classical ideal, this nearly seventeen foot long canvas reworks ...
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Truth from fiction: Connoisseurship in Greco-Roman antiquity - jstor
The present article addresses the question of the connoisseur of art in antiquity, a rich but comparatively neglected topic, focusing especially on Greek and ...
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Translating Aphrodite: The Sandal-Binder in Two Roman Contexts
Apr 1, 2024 · The Sandal-Binder Aphrodite, a witty variation on Praxiteles' Aphrodite of Knidos, is one of the most frequently reproduced sculptural types ...<|control11|><|separator|>