solitary quotation of Erotian, in Tepθρον.

6. The philologist of Aspendus, who was buried at Ephesus, as shown by an inscription discovered on his tomb, erected by his brother.

rus.

7. Philosophers.-1. A follower of Democritus, and a native of Cyzicus, as may be inferred from Diogenes Laert. in Democrit. ix. 38; and, according to Pliny, a writer on magic. 2. The Epicurean, called KηTo-Tuρavvos, the king of the garden, which was the name of the place at Athens frequented by Epicurus, whose life and doctrines seem to have made the subject of the forty volumes of Apollodo3. The Peripatetic to whom, says Fabricius, was perhaps written the letter of Lynceus, quoted by Athenæus, ix. c. 14. 4. The Pythagorean and arithmetician mentioned by Athen. x. p. 458, and for which Apollodotus is wrongly written in Plutarch, ii. p. 1094, Xyl.; and a similar mistake, says Fabricius, is in Clemens Alexandr. Strom. ii. p. 417, with regard to the follower of Democritus. 5. The friend of Socrates, but of manner so rough that he was called the madman, and who, to show his respect for his poor teacher, or ridicule of costly burials, brought Socrates a dress of the finest wool, in which he was to die after drinking the cup of hemlock, as we learn from Ælian, V. H. i. 16. 6. The Stoic, whose treatise on Ethics is mentioned by Diogenes Laertius, and a fragment of one on Physics preserved by Stobæus. On the latter work Theon, a Stoic of Alexandria, wrote a book, as stated by Suidas. He is called Epos by Diogenes Laertius, but Syllus by Cicero, de N. D. i. 34, which would lead to Anλus; for, like Plato, he was probably no friend of the fair sex.

8. Rhetoricians.-The first of these taught Augustus Cæsar the science of oratory at Apollonia, and is said by Lucian in Macrob. ss. 23, to have lived to the age of eighty-two; the second is reproached by S. Nilus, in Epist. i. 75, having relapsed into Paganism after he had been converted to Christianity.

APOLLODORUS of CASSANDREA. According to Polyænus, vi. 7, 6, he was originally a hater of tyrants, but afterwards became himself a most cruel one. Being a leading man in the state, he obtained a decree for the expulsion of Lachares, for having formed an alliance with Antiochus, with the view of betraying the city into his hands. He opposed likewise, most strenuously, the grant of a body-guard to Theodotus, and assisted Eurydice in

restoring her countryman to liberty. At a subsequent period he was tried himself for aiming at sovereign power; when he not only assumed himself the black dress of a criminal, but clothed his wife and children in a similar garb, and threw himself on the mercy of his judges, who, out of pity for the innocent, acquitted even the guilty. Scarcely, however, was he set at liberty than he seized upon the reins of government, through the aid of the very troops of Eurydice, which had been previously withdrawn from the citadel, and settled at Pellene; and, to show either his ingratitude, or notions of strict justice, he punished severely the very parties who had acquitted him. Like Catiline, he is said to have murdered a youth called Callimeles, and, with the assistance of his cook, to have served up some of the limbs before his fellow-conspirators; to whom, after they had pledged the wine-cup, where human blood was mixed with the juice of the grape, he showed the remainder of the boy's body, and thus reacted the scene of the banquet of Thyestes. His cruelties, however, seem to have only led to his more certain destruction. The pirate-leader, Aminias, at the instigation of Antigonus, formed an alliance with Apollodorus, and the better to lull all suspicion of treachery, sent food and wine to Cassandrea, during the siege of ten months which that place sustained against the army of Antigonus. Deceived by the pretended absence of the enemy, the troops of Apollodorus kept a less strict guard than usual. In the mean while, Aminias prepared his scaling-ladders of the height of the walls, and placed about 2000 troops under a hill not far from the town. Finding, after a time, that only a few soldiers at day-break lined the ramparts, Aminias bade ten pirates, under the command of Melotas, to creep up to a place between two towers, and raising the ladders, to give a signal to the rest to rush from their hiding-place; who after scaling the walls made themselves masters of the town, and freed it from the tyranny of Apollodorus.

APOLLODORUS. There were two artists of this name:

1. A painter of Athens, who flourished in the 93d Olympiad, or about the year 409 B. c. Pliny, notwithstanding his previous high eulogium on Polygnotus, who he says was the first artist that gave ease and grace to his figures, asserts that Apollodorus was the first who contributed to the glory of painting, and that before

decoration, shining out from the barbarous sculptures of the time of the christian emperor, by which they are surrounded. The principal court was of ample extent, surrounded on three of its sides with colonnades of marble, and paved with slabs of the same material. The side which faced the arch was occupied by a splendid basilica, called the Ulpian from the prenomen of the emperor, and statues were erected by him on pedestals around the area in honour, not only of illustrious men of former periods, but of the distinguished statesmen, warriors, poets, artists, and philosophers of his own time. The basilica consisted of a nave 83 feet wide and two aisles on each side, forming a total aggregate width of about 180 feet between the walls, and probably five or six hundred feet in length. The shafts of the columns were of granite 30 feet high, and the bases, capitals, and entablatures, of white marble; the pavement was laid with slabs of pavonnazzo, gialloantico, and light-veined marble: and the roof is mentioned by Pausanias as remarkable for being covered with brass. On the other side of the basilica was an area somewhat smaller than that previously described, having on either side a library, the one for Grecian, the other for Latin manuscripts. There were also magnificent porticoes, a superb temple to the emperor, his equestrian statue, and the celebrated marble column encircled by its spiral band of sculpture, which winds from the base to the capital, illustrating the principal events of the Dacian war by the representation of fortresses erected, stormed, and taken, the conflicts of hostile bodies of warriors, the passage of rapid rivers, the allocutions of the emperor to his army, and triumphant processions after victory. This majestic pillar is constructed of solid marble blocks of gigantic dimensions, the spiral staircase in the centre being cut out of the mass. The total height from the pavement to the top of the pedestal above the capital is 125 feet, and was surmounted by a statue of the emperor holding in his hand a globe, in which, it was supposed, his ashes were deposited for ancient writers state, that this column served at once for his monument and tomb. Its altitude also was intended, according to the inscription which still exists, to mark the height of the soil, which it was necessary to remove in order to afford space for the forum between the Capitoline and Quirinal hills. The remaining fragments of these build

:

ings, the representations on medals, and the descriptions of ancient writers, can give only a faint idea of the majestic splendour of this series of edifices, which excited the wonder and admiration of the ancients. Ammianus Marcellinus states, that Constantius was so struck with the beauty of the equestrian statue of Trajan, that he expressed his determination to have a similar one executed for himself. Ormisdas, the Persian, who stood near the prince, observed, in allusion to the forum, "First build as splendid a stable to receive your horse, and you may then hope to possess as fine an animal to occupy it." No monument is more famous in history than the gigantic bridge by which Apollodorus, at the command of Trajan, spanned the broad and rapid Danube.

The narrowest part of this impetuous torrent was chosen, yet even here the banks were 4770 Roman feet apart. There were twenty piers of stone, 150 feet high and 60 wide. The modern historians, who quote Dion Cassius, are in doubt whether the arches were of stone or wood. As a military bridge they may have been of the latter; but the other works of the Romans, and the point made by Trajan's successor to destroy this work, which would have been so easy to accomplish had the arches been of wood, induce the supposition that they were of solid construction.

Success seems to have rendered Apollodorus impatient of criticism, for being one day with Trajan to whom he was explaining some designs, Hadrian, who was present, offered a remark so displeasing to the architect, that he bade the prince go and paint his pumpkins, and not interfere in matters which he did not understand. This bitter sarcasm was in allusion to a favourite style of fruitpainting upon which Hadrian occupied much of his time. This ill-timed and unbecoming reproof was not forgotten by the prince, who had not the greatness of mind to imitate Alexander in his disregard of a similar taunt, which had escaped the proud spirit of Apelles. When he succeeded to the empire, he at first employed Apollodorus in some important works, but he soon sent him into banishment upon the plea of peculation or some other improper transaction, which it appears probable had no other foundation than the malice of the emperor. Hadrian was not only an admirer of architecture, but was ambitious to prove that he was capable of conceiving and executing a magnificent building. He determined

therefore to erect a double temple to Venus and Rome on the Via Sacra, near the Coliseum. The edifice consisted of two cellas, at the ends of which were placed two large niches, back to back, to receive the statues of the divinities. On either side of the cellas were ample colonnades, and at each end noble ten columned porticoes of the Corinthian order, the columns being of fluted Parian marble sixty feet high. The sacred precinct, which was 550 feet long, by 350 feet wide, was adorned with statues and honorary columns, and enclosed with granite peristyles in which the worshippers might be protected from the heat or rain, and which were approached from the lower level of the Via Sacra by spacious flights of steps. The whole edifice was decorated with a magnificence and richness of ornament, that must have been most imposing. In fact, the emperor was so much pleased with the result, that he forwarded drawings of the temple to Apollodorus in his exile, with the view to humble the architect by the consciousness that a grand edifice could be erected without his assistance. Adversity however had not softened the proud spirit of Apollodorus, nor taught him the danger of wounding the pride of an emperor. He wrote in reply, that the temple was defective in height, and the lowness of the basement did not allow the introduction of the machines for the amphitheatre, which should be there prepared and thence introduced unexpectedly into the area. He also remarked that the statues of the goddesses were disproportionally large, for if they rose up from their thrones they would crush their heads against the ceilings. These remarks sunk deeply into the mind of the disappointed emperor-architect, who had hoped to have extorted some expressions of praise from the mortified exile, and he consequently sent orders for his immediate execution.

If we compare the works executed during the reigns of Trajan and Hadrian, who were certainly greater patrons of the fine arts than any of their predecessors since Augustus, we shall observe that in those buildings executed by the former, especially those which were designed by Apollodorus, greater purity of ornament and elegance of proportion prevailed, but in those directed by Hadrian greater magnificence of conception and profusion of decoration: in fact, as he united the characters of architect and sovereign, he was restrained by no consi

deration of expense. Hence arises the question, whether it were better for the arts to have a judicious prince, guided by the counsels and talents of an able artist as Trajan by Apollodorus; or a prince, however ardent in his admiration for art, who undertakes to be the artist, like Hadrian. The productions and the untimely death of Apollodorus decide the question; and in fact, reason must tell us that those artists who are protected by a liberal and enlightened prince like Trajan, are more likely to be stimulated in their conceptions by an independence of spirit, an enthusiastic love of art, and a generous ambition, than those who are obliged to study with submissive awe the peculiar tastes and notions of a patron like Hadrian, for he conceives himself qualified not only to judge but to direct the invention of the artist. Such was the state of architecture during the reigns of these emperors, Trajan and Hadrian, an epoch the most prosperous for architecture since the time of Augustus. A ray of its glory descended upon some of the monuments of Antoninus Pius, of which the Corinthian temple in the Campo Vaccino, erected to Antoninus and Faustina, is an exquisite example: but the palmy days of the art were passed, and a rapid decline in taste rendered each successive erection a wider and more glaring departure from the elegance and purity of taste, which so particularly distinguished the productions of the brilliant and the refined genius of Apollodorus. (Canina Descrizione Storica del Foro Romano. L'Architettura Antica [Romana] descritta e dimostrata coi Monumentí, tomo settimo. Burgess, Antiquities of Rome. Caristie, Plan et Coupe d'une Partie du Forum Romain et des Monumens sur la Voie Sacrée. Taylor and Cresy, Architectural Antiquities of Rome.)

APOLLONIDES. History has preserved the memory of six persons of this name:-1. The tragic writer of an unknown period, a few of whose fragments have been preserved by Stobæus and Clemens Alexandrinus. 2. The Stoic philosopher, and the friend of Cato of Utica. 3 and 4. Two epigrammatists, of Smyrna and Nicæa, the former of whom is thought to have lived in the time of Augustus, and the latter in that of Adrian. To the Smyrnean, Schoell, in Histoire de la Litté rature Grecque, iv. p. 48, would attribute the Commentary on the Eλλot of Timon, which Diogenes Laertius, ix. 109, says was dedicated to Tiberius Cæsar, while, in iii. p,181, he assigns it, on the autho

rity of Diogenes, to the Nicæan. 5. He who was called Hor - Apius, probably from his being a priest of Horus and Apis in Egypt, wrote on the religious rites of his country, and on the fruitless labours of its kings, in a work under the title of Semenouthi, as we learn from Eudocia, in Violet. p. 49, who probably obtained her information from Theophilus of Antioch, ii. f. 85, who makes mention likewise of an Apollonius, in iii. f. 127, whom Fabricius would identify with Apollonides.

APOLLONIDES, (Añoλλwvidηs,) a native of the island of Cos, and a physician at the court of Persia, who fell in love with Amytis, the daughter of Xerxes, and, under pretence of curing her of a dangerous illness, persuaded her to gratify his sinful passion. For this he was given up by the king Artaxerxes Longimanus into the hands of her mother Amistris, who tortured him in prison during two months, and at last ordered him to be buried alive as soon as Amytis died, about Ol. 80, B. c. 460. (Ctesias, De Reb. Pers. § 42, ed. Baehr.) In order to lessen in some degree the guilt of Apollonides, it should be mentioned that Amytis was a woman of most abandoned character, who, even during the life of her husband Megabyzus, had been convicted of adultery, and after his death carried on her licentious amours without control (Ctesias, loco cit., and § 28 and 30). She is probably the same person who is called Anutis (Avovris) by Dinon (De Reb. Pers. apud Athen. Deipnosoph. lib. xiii. § 89, p. 609), and said to have been καλλιστη των εν τη Ασια γυναικων και ακολαστοτατη, "the most beautiful woman in Asia, and the most profligate." There seems to be no reasonable ground for doubting (as some persons have done) the truth of Ctesias's statement.

APOLLONIDES, a physician of Cyprus, of the Methodic sect, the pupil of Olympicus and tutor of Julianus, about the end of the first century, A. D. (Galen. Meth. Med. lib.i. c.7, pp. 53, 54, ed. Kühn.) A surgeon of the same name is mentioned by Artemidorus (Oneirocrit. lib. iii. cap. 3); and Aëtius quotes a prescription of Apolloniades, which may possibly be a corruption of the same name. (Tetrab. ii. Serm. iv. cap. 48.) It should, however, be noticed, that in the passages of Galen referred to above, it is doubtful whether the true reading is

Απολλωνίδου or Απολλωνιου.

APOLLONIO. The works of three painters of this name are recorded: 49

VOL. II.

1. Andrea Tafi, who flourished in the early part of the thirteenth century, called Greco Maestro Apollonio del Tafi, of whom Lanzi gives the following account. He was the pupil of Apollonius, a Greek artist, and assisted him in the church of St. John, in some pieces of Mosaic, from scriptural history, which, according to Vasari, are without invention or design; but he improved as he proceeded, for the last part of the work was better than the beginning. Baldinucci has asserted that he was a disciple of Cimabue; but Lanzi observes, "Cimabue is not named in these works, nor in what Tafi afterwards executed without assistance; and as he was old when Cimabue began to teach, I cannot conceive how he can be reckoned the scholar of the latter, or a branch of that root.' (Lanzi, Stor. Pitt. i. 22.)

2. Agostino, di S. Angelo in Vado, a painter of the Roman school in the middle of the sixteenth century. He was the nephew and heir to Luzio Dolce, and removed and settled in Castel Durante, now called Urbania, in the state of Urbino, where he executed works both in stucco and in oils, particularly at San Francesco. He succeeded both to the practice and the property of his maternal uncle. (Lanzi, Stor. Pitt. ii. 165.)

3. Jacopo da Bassano, (1584-1654,) a painter of the Venetian school, grandson, and the ablest disciple of Jacopo da Ponte, called Bassano. His style is that of his master, and his works are only distinguishable from those of Bassano, by a less vigorous tone, a less animated touch, and an inferiority in the delicacy of his contours. Some of his best works consist of a Magdalen, in the Dome at Bassano, and a San Francesco at the Reformati; but his most celebrated work is the titular and various other saints at the church of San Sebastiano, the principal subject of which represents the martyrdom of that saint. Melchiori states his age to have been sixty-eight. (Lanzi, Stor. Pitt. iii. 130.)

APOLLONIS, a lady of Cyzicus, wife of Attalus, king of Pergamus, celebrated chiefly for the filial piety of her sons. Verses made upon her are given by Jacob, in the Exercitationes in Script. Vet. Lips. 1797, vol. ii.

APOLLONIUS, a courtier and general of Antiochus Epiphanes, who committed great cruelties in Judæa, but was defeated and put to death by Judas Maccabæus. Another Apollonius was defeated by

Jonathan.

E