Khwaresmian, in the fortress of Hazarasp, he maintained a poetical warfare, by means of verses fastened to arrows, with his old rival Rasheedi, then a partizan of Atsiz, and an inmate of the beleaguered castle. But the captivity of Sandjar, who in the latter part of his reign was taken prisoner in a rash expedition against the Turkomans of the Levant, gave a different impulse to his muse; and the poem, entitled, The Tears of Khorasan, in which, addressing Ahmed, the ruler of Samarkand, he laments the misfortunes of his patron, and the desolation of his native country, has been unanimously considered one of the most beautiful productions in the Persian language. After the death of Sandjar, Anwari still continued at the court of his successors; but envy of his poetical merits, and the long favour he had enjoyed under Sandjar, had raised him up enemies; and his unfortunate propensity for astrological predictions gave them an opportunity of ruining his credit. He had foretold that from a certain conjunction of the planets, in A. H. 581, (a. D. 1185,) would result a hurricane, which would overthrow mountains, and devastate the whole of Asia; a prophecy which some authors consider to have been amply fulfilled by the commencement in that year of the conquests of Zenghiz-Khan: its failure, however, in a literal sense drew on him not only the merciless satire of his contemporaries, but the displeasure of the reigning sultan, Togrul Ebn Arslan-Shah (the last of the Seljookians), who rebuked him as an impostor with such severity, that Anwari, unable to support both the incessant attacks made on him, and the loss of court favour, withdrew from the royal residence of Merv, and took refuge at Balkh, where, however, fresh persecutions awaited him and it was only on making a solemn and public renunciation of astrology that he was permitted by the inhabitants to fix his residence in their city, under the patronage of the cadi Amad-ed-deen, who pitied and sheltered him. He survived for six years the overthrow of the Seljoo kian power by the Khwaresmians, and died peaceably at Balkh, A. H. 597, A. D. 1200, apparently in extreme old age, as the siege of Hazarasp (above referred to) by Sandjar, at which date he appears to have been firmly established in favour, is placed by historians A. D. 1138, sixty-two years before his death. The reputation of Anwari, as a poet of the first rank, has been ratified by the concurring judgment : of his contemporaries and of succeeding ages: as a writer of ghazels, or odes, he is perhaps inferior to Hafez; but the eulogistic pieces, which constitute the greater part of his works, are unequalled and unapproached throughout the range of oriental verse: and to him is ascribed by the unimpeachable testimony of his opponent Rasheedi, the merit of having been the first who purified Persian poetry from the indelicacy which before his time too often disfigured it. (D'Herbelot.) Besides his poems, he is said to have been the author of numerous treatises on judicial astrology and alchymy. An excellent translation of the Tears of Khorasan into English verse by Captain Kirkpatrick, accompanied by the Persian text, is given in the Asiatic Miscellany, i. 286; and another of his poems has been rendered into German by M. de Chèzy, (Fundgruben des Orients, i. 86.) The life of Anwari is given by Dewlet-Shah Samarkandi, in his Lives of the Persian Poets. He was ANYSIS, king of Egypt. blind at his accession to the throne. He was driven from it by Sabacos, king of Ethiopia. Larcher places the commencement of his reign about 1012 B. c. (Biog. Univ.) ANYTE of EPIDAURUS, as Fulvius Ursinus inferred from Pausanias, x. 38, or of Tegea, as Holstein was led to infer from an epigram, is known only, as one of the poetesses of Greece, by twenty-three of her Epigrams to be found in the Greek Anthology. Of the events of her life nothing is known; for the Anyte mentioned by Pausanias belongs to the period of fabulous history; and of her age, only thus much, that according to Tatian, p. 114, her statue was sculptured by Euthycrates and Cephisodemus, who flourished (says Pliny) about Ol. 120. ANYTUS, best known as one of the accusers of Socrates, was the son of Anthemion, by trade a currier, but of a wealthy family, and one that had taken an active and distinguished part in public affairs. According to Diodorus Sic. (xiii. 64) he was appointed to the command of a fleet of thirty sail sent by the Athenians to the succour of Pylos, when besieged by the Lacedemonians, (Ol. 92); but prevented by the severity of the weather from doubling Cape Malia, he returned to Athens, and was tried for betraying the interests of the state; when, to avoid a verdict of guilty, he tampered with the judges, and was the first to introduce the practice of bribery, as remarked by Diodorus and Plutarch (i. p. 200 B.) on the authority probably of Aristotle, quoted by Harpocration in Δεκαζειν. He subsequently took part with Thrasybulus in the expulsion of the thirty tyrants, as stated by Lysias and Isocrates, and with Cephalus in restoring the democratic form of government, as may be inferred from comparing Andocides with Dinarchus. He is likewise introduced as one of the speakers in the Meno of Plato, where he is represented as being on friendly terms with Socrates, and the decided opponent of their common enemies-the sophists, with whom Athens then abounded. From the knowledge of this fact, Freret, in his Dissertation inserted in the Mémoires de l'Académie des Inscriptions, t. 47, is led to infer that Anytus had no hand in the condemnation of Socrates, despite all that is said to the contrary in the Apology of Plato; which he conceives to be either the spurious production of some Platonic philosopher, or else the wilful perversion of facts by Plato himself, who is here, as elsewhere, at variance with the more faithful author of the Memoirs of Socrates, where no similar charge is brought against Anytus. The ingenious academician, however, seems to have forgotten that he, who has been once even a bosom friend, may become the bitterest of foes, especially when a man's self-love has been wounded, as it was in the case of Anytus. For it was only after Socrates had begun to have some influence over Alcibiades, that the latter treated with marked insolence the individual, whose love was something more than Platonic; and it is only fair to infer, that Anytus would readily lay hold of any pretext to render Socrates obnoxious to the cannibal mob of Athens, already sufficiently irritated by his refusal to condemn the unfortunate officers, who neglected, after the naval victory at Arginusæ, to pick up the dead bodies of their countrymen; nor less exasperated, by finding that Theramenes and Critias, two friends of Socrates, had played the most conspicuous part amongst the thirty tyrants; by whom Anytus was driven from Athens, and thus led to join Thrasybulus in restoring to the people their former liberty. It may, however, be fairly conceded to Freret, that all the stories told by Diogenes Laertius, Ælian, Plutarch, and Themistius, of Anytus being banished, and considered, like the parricide Orestes, an outcast in society, and denied the rights of fire, water, and converse with man, and of his eventually hanging himself in despair, or of being stoned to death by some admirers of Socrates at Heraclea, are a tissue of fables; for which not the smallest ground is furnished by the contemporary historians of their murdered master; one of whom distinctly mentions Melitus, as an accuser of Socrates, and thus confirms, at least in part, the tradition, which it is the object of Freret to disprove. AOUST, (the marquis Jean-Marie d', born 1740, died 1812,) was a violent partizan of the French revolution. He was a member of the assembly of the statesgeneral, and of the national convention, voting for the death of Louis XVI.; and after the 18th Brumaire, was named by Buonaparte mayor of Quincy, where his property was situated. (Suppl. Biog. Univ.) AOUST, (Eustache d',) eldest son of the preceding, was born in 1763. He rose to the rank of general of division in the revolutionary army, and commanded in Spain, when he suffered a defeat in 1793. On returning to Paris, he was accused of treason and incapacity, and condemned to death, and executed in 1794. (Suppl. Biog. Univ.) APACZAI, Apatzai Tsere (John,) a man of remarkable learning in the seventeenth century; was born in the village of Apatza in Transylvania. He was educated at Utrecht, and returning to his native land, taught geography, natural philosophy, and astronomy, in the university of Weissenburg; but having declared himself in favour of the philosophy of Descartes, and for certain doctrines of the presbyterians, he was obliged to leave it. He died in 1659. wrote-Dissertatio continens Introductionem ad Philosophiam Sacram. Utrecht, 1650. Magyar Encyclopediat, &c. Utrecht, 1653. Magyar Logica. Weissenburg, 1656. Oratio de Studio Sapientiæ. Utrecht, 1655. Dissertatio de Politia Ecclesiastica. Clausenburg, 1658. (Biog. Univ.) APAFFI. See ABAFFI. He APAME, daughter of Artabazus, satrap of Bactriana, wife to Seleucus, one of Alexander's generals, who gave her name to several towns, particularly to Apamea in Syria. APAMEENSIS, (Johannes,) a Syriac monk, who took his cognomen from the city of Apamea in Colo-Syria, and was a member of one of the numerous monasteries which, in his day, were built on the banks of the Orontes. He appears to have lived during the sixth century, as far at least as can be gathered from the inci APA dental mention made of him by various writers of his own country. He has sometimes been mistaken for Chrysostom by European authors, from the circumstance of both writers being mentioned in Syriac by their common name of John. He appears to have written On the Passions; On the Government of the Soul; On Perfection; Epistles; and three volumes (a somewhat indefinite term when speaking of MSS.) on other subjects. APCHON, (Cl. Marc Ant. d', 17231783,) changed the profession of a soldier for the church, and was bishop of Dijon, and archbishop of Auch. He is known as the author of Instructions Pastorales. APEL, (John, 1476—1536,) a contemporary of Luther, was a professor at Wittemberg, and a supporter of the Reformation. Having married a nun, while he was canon of Wurzburg, he was arrested by the bishop, and was indebted to the imperial troops for his release. He then retired to Nuremburg, his native place, of which he was appointed syndic, as also counsellor to the elector of Brandenberg. He wrote-1. A Defence of his Marriage, addressed to the bishop of Wurzburg, Defensio Johannis Apelli pro suo Conjugio, cum Præf. Lutheri. Wittemb. 1523, 4to. 2. Methodica Logices Ratio ad Jurisprudentiam accommodata. Norimb. 1535, 4to. 3. Dialogus Isagog. in Inst. Justiniani, first printed at the end of Ulr. Fabricii Processus Judiciarius. Bas. 1542, 4to. In this work (p. 168), Apel gives an account of a manuscript treatise on Roman law, which has been since printed, and is known by the different titles of Brachylogus and Summa Novellarum. Saxius (Onomast. ii. p. 537) treats Apel's statement of his discovery of the manuscript as a fiction, and considers him the real author of the work. The arguments by which Saxius attempted to support this opinion were refuted by A. W. Cramer (Dispunct. Jur. Civ. p. 94), and Weis (Progr. de Et. Brachyl.Marb. 1808); and the question is now clearly established by the researches of Savigny, who has discovered manuscripts of the thirteenth century containing this work. According to Savigny, the Brachylogus was compiled in Lombardy, about the beginning of the twelfth century, and, as he conjectures, by Irnerius. (Savigny, Gesch. des Röm. Rechts im Mittelalter, vol. ii. c. 14). APEL, (Johann August, 1771-1816,) a German lawyer, but better known as 37 APE the author of numerous novels, tales, legends, and other ephemeral productions, in prose and verse. tales-Der Freischutz, was the foundaOne of his tion of the drama which was once so extremely popular. The German critics praised him only for the elegance and correctness of his style. He wrote some dramas in imitation of the Greek, which led him into a controversy with Hermann, on Greek metres. brother, Friedrich August Ferdinand, His elder was also an author. APELLES, (about 332 B. c.,) the most illustrious painter among the ancients, was born, according to some authors, in the isle of Cos, but by others is said to have been a native of Ephesus or Colophon, and was the son of Pithius, and the brother of Ctesiochus. He is also variously stated to have been the pupil of Ephorus of Ephesus, and of Pamphilus of Amphipolis, in Macedonia. If he were instructed by the latter, it seems likely that Apelles was of an exalted family, since it was Pamphilus who obtained the ordinance that the art of painting should not be practised, throughout Greece, by slaves, and should only be studied by persons of education and distinction. In all probability, as stated by M. la Salle, in the Biographie Universelle, Ephorus gave him his first lessons in the art, and Pamphilus was his second master. He omitted nothing that might enable him to reach perfection in his art. He visited all the most celebrated schools; amongst others, that of Sicyon, which then enjoyed a high reputation. Apelles combined in himself all the excellences of the artists that had preceded him, and is generally supposed to have carried the art of painting to the highest attainable perfection. composition, design, and colouring, but He not only excelled in he possessed an unbounded invention, was select and beautiful in his proportions and contours; and above all, his figures were always distinguished by a grace that was considered to have almost proceeded from inspiration. No painter ever applied to the study of his art with more persevering assiduity. He never allowed a day to pass without practising some branch of it, whence arose verb, Nulla dies sine lined. The cities of Greece, of the Archipelago, of Asia, and of Egypt, possessed some of his most admirable works. His extraordinary genius, and his general accomplishments, secured him the patronage of Alexander the Great, whose portrait he painted the pro several times, and received from the king the exclusive privilege of painting his likeness. Among others of his works was a portrait of Alexander holding a thunderbolt, which Pliny, who had seen it, asserts was so admirable that the hand of the king grasping the thunder seemed to come out of the picture. This production was placed in the temple of Diana at Ephesus; and Plutarch reports that it was a common saying that there were two Alexanders, one invincible, the son of Philip the other inimitable, the work of Apelles. On another occasion the painter, according to Elian, does not appear to have been so fortunate in pleasing his royal master, for the latter was dissatisfied with a portrait of himself on horseback. Apelles caused a horse to be brought, and the animal upon approaching the picture neighed at the sight of it, giving the painter the opportunity of observing, "It would seem that the horse is a better judge of painting than your majesty." The most esteemed work of Apelles was a painting of Venus rising from the sea, wringing her wet hair, called Venus Anadyomene. It was purchased by Augustus from the inhabitants of Cos, where it adorned the sanctuary of Esculapius, at the price of the hundred talents of tribute which they paid to the republic, and he placed it in the temple of Julius Cæsar. This work was not entirely finished at the death of Apelles, and on its removal to Rome the lower part of it was a little defaced, and it is said that in that city there were no painters capable of restoring it. Ovid has celebrated this picture in the following lines: "Si Venerem Cois nunquam pinxisset Apelles, Mersa sub æquoreis illa lateret aquis.' Pliny states that Alexander permitted his favourite mistress Campaspe, whom Apelles had seen in a bath, to sit to him for his Venus; though others assert that the beautiful Phryné was his model. When he painted the portrait of Campaspe he became enamoured of her, and the king permitted him to marry her. The artist was an admirer of beauty, and sought the most exquisite forms to paint from, and it was he who discovered the famous Lais, who, still young and unknown, was drawing water at a fountain. It is said that on one occasion he had found it impossible to depict the foam at the mouth of a horse, and, in despair, dashed a sponge charged with colour against the picture, which, by chance, produced the exact effect he intended. After the death of Alexander he went to the court of Ptolemy, driven to Egypt, it is said, by stress of weather. His enemies hired a buffoon belonging to the king to play a trick upon him, by inviting him to the royal table to supper. The artist was no favourite with Ptolemy, who was highly incensed when he arrived. Apelles said he should not have ventured into his presence without his own invitation, and being required to point out who had bid him come, the artist instantly sketched on the wall, from memory, so faithful a likeness of the buffoon, that the king immediately recognised it, and afterwards loaded Apelles with honours and wealth. His hazardous situation, through the envy of Antiphilus, has already been recorded in the life of that painter. The mind of Apelles appears to have been as noble as his genius was transcendent, the strongest proofs of which are his generous acts towards his brother painter Protogenes. Having gone to Rhodes to visit that artist, whose celebrity had excited his emulation, on his arrival Protogenes was absent. Apelles, without stating his name, contented himself with drawing with a pencil a subject of wonderful precision and purity, and retired. Protogenes returning recognised the hand of Apelles as alone capable of producing so perfect a sketch; but he endeavoured to surpass it, and added a design still more light and exquisite. Apelles came a second time, and seeing the work of Protogenes beside his own, he filled the vacant space which remained with an outline so delicate that the Rhodian paid Apelles every sort of honour. The painter confessed himself beaten, and latter was not behind in acknowledging the great abilities of Protogenes, who, although admired by his countrymen for his genius, was allowed to pine in want, from the lack of purchasers of his works. Apelles demanded what price he put upon his pictures, and the Rhodian having named a very inconsiderable sum, Apelles, indignant at the injustice done to such admirable productions, paid him fifty talents for one picture, announcing publicly that he would make it pass and sell as his own. This liberality was soon followed by the citizens, and Protogenes reaped, afterwards, an ample reward for his labours. The price of fifty talents, however, seems so enormous as to throw an appearance of great improbability on the story, so far as the amount is con cerned; for, at the lowest computation, it would give upwards of twelve thousand pounds of English money. On his return to Greece, Apelles painted a picture in commemoration of the persecution he had undergone at the hands of his enemies at Alexandria. The composition was an allegorical representation of Calumny, and Lucian gives the following description of it:-" On the right of the picture was seated a person of magisterial authority, to whom the painter had given large ears, like those of Midas, who held forth his hand to Calumny, as if inviting her to approach. He is attended by Ignorance and Suspicion, who are placed by his side. Calumny advanced in the form of a beautiful female, her countenance and demeanour exhibiting an air of fury and hatred; in one hand she held the torch of discord, and with the other dragged by the hair a youth personifying Innocence, who, with eyes raised to heaven, seemed to implore the succour of the gods. She was preceded by Envy, a figure with a pallid visage and an emaciated form, who appeared to be the leader of the band. Calumny was also attended by two other figures, who seemed to excite and animate her, whose deceitful looks discovered them to be Intrigue and Treachery. At last followed Repentance, clothed in black, and covered with confusion at the discovery of Truth in the distance, environed with celestial light." "Such," says Bryan, 66 was the ingenious fiction which indicated the vengeance of Apelles, and which may be regarded as one of the most admirable examples of emblematical painting that the history of the art affords. Raffaelle made a drawing from Lucian's description of this picture, which was formerly in the collection of the duke of Modena, and was afterwards placed in the French Museum." This illustrious painter was accustomed to exhibit his works publicly, and in order to hear the criticisms of his visitors used so to place himself that he might not be seen. On one of these occasions a cobbler found fault with the representation of a slipper, which Apelles accordingly corrected. Emboldened by this acquiescence, the artisan upon his next visit, objected to the drawing of the leg, but the painter coming forward reproved him in the well-known sentence, which has since become proverbial-Ne sutor ultra crepidam. Apelles is said to have put his name to only three of his pictures a Sleeping Venus, Venus Anadyomene, and an Alexander; and never to have used more than four colours-white, yellow, red, and black,-but with such skill and judgment that none of the ancients ever surpassed him in delicacy of colouring, or sublimity of expression. He wrote three volumes on painting, which were still extant in the age of Pliny. He was honourably entitled the Prince of Painters, and painting was itself denominated The Art of Apelles. The date and place of his death are alike unknown. (Bryan's Dict. xviii. Biog. Univ. Fuseli's Lectures.) APELLES, APELLOS, or APELLAS, for the name is thus variously spelt, the author quoted by Athenæus, ix. p. 369, is thought to be the same as the Cyrenian mentioned by Marcianus Heracleot. p. 63, and to whose work on Delphi reference is made by Clemens Alexandr. in Protrept. p. 31. Of some other persons of the same name a list is given by Menage, on Diogen. Laert. p. 342, and by Grotius, on Rom. xvi. 10, but none are connected with any fact of importance; while the Jew Apellas lives only in the verse of Horace. APELLES, a heretic in the second century, was a native of Syria. At Rome he formed an acquaintance, not of the most honourable kind, according to old writers, with a woman called Philumena, who pretended to prophetic inspiration; and afterwards broached a series of extravagant doctrines, which found disciples chiefly in Egypt and Asia. A book, entitled the Prophecies and Revelations of Philumena, was ascribed to him, but much of his history is doubtful. His followers were called Apellites, Apelleians, or Apellicians. APELLICO, a Tean by birth, and an Athenian by adoption, is best known by the zeal with which he collected the works of Aristotle, as we learn from Athenæus, v. p. 214, and by the folly with which he endeavoured to supply defects in the original MS. caused by the damp and worms. According to Posidonius, he was equally slippery in politics and in morals; he either stole himself, or bribed others to steal, the autograph documents preserved in the temple of Ceres in Athens, and from similar sanctuaries in other states whatever was of value in the eye of an antiquarian. To avoid the punishment due to such sacrilege, he at first fled from Athens, but afterwards returned to it, where by paying court to not a few he was improperly |