- fant Jesus standing, nude, upon a richly
draped altar, on which are burning candles, lilies, and an open book, is embraced by St. Anthony, who kneels on a stool before it; above, cherubs' heads in clouds, and, at right, an angel, with wings extended and hands raised. Formerly in S. Leonardo, Bologna. Engraved by G. Mitelli; G. Rosaspina.—Pinac. di Bologna, Pl. 37.
An image should appear at this position in the text. To use the entire page scan as a placeholder, edit this page and replace "{{missing image}}" with "{{raw image|Cyclopedia of painters and paintings - Volume I.djvu/95}}". Otherwise, if you are able to provide the image then please do so. For guidance, see Wikisource:Image guidelines and Help:Adding images. |  |
St. Anthony of Padua, and Infant Jesus, Elisabetta Sirani, Bologna Gallery.
ANTIDOTUS, pupil of Euphranor and
master of Nicias, about 350-330 B.C. Belonged
to the Theban-Attic school, so called
because it originated in Thebes and was
transferred, after the decadence of that city,
first to Corinth and then to Athens, always
preserving its original traditions. His works,
among which were a Warrior, a Wrestler, and
a Trumpeter, were severe in style and elaborate
in treatment. Pliny is the only ancient
writer who mentions him.—Pliny,
xxxv. 40 [130]; Brunn, ii. 193.
ANTIGNA, JEAN PIERRE ALEXANDRE,
born in Orléans, France, March 7,
1818, died March 8, 1878. Religious and
genre painter; pupil of Paul Delaroche.
Medals in 1847-48-51-55; Legion of Honour,
1861. Works: Birth of Christ (1841);
Vision of Jacob (1842); Temptation of St.
Anthony (1843); Women Bathing (1845);
Storm (1846), Avignon Museum; Conflagration
(1850); Inundation of the Loire (1852),
Luxembourg Museum; Children Dancing
(1853); The Emperor visiting the Slate-Workers
of Angers during the Inundation
of 1856 (1857), Angers Museum; Scene of
the Civil War, Steep Decline, Noon-day
Sleep (1859); The Mirror in the Woods,
Episode of War in La Vendée (1864), Bordeaux
Museum; Rising Sea, After the Tempest
(1874); Yvonne and Marc, Two Voices
(1875); Women and the Secret (1876);
Game of Strength, Fire of the Fête of St.
John (1877); L'Enfer (1878).—Larousse;
Meyer, Künst. Lex., ii. 103.
ANTIOCHUS, GABINIUS, pupil of Sopolis,
who is referred to by Cicero (Ad. Att., iv.
16) in connection with a lawsuit of 53 B.C.—Brunn,
ii. 305.
ANTIOPE, Correggio, Louvre; wood,
transferred to canvas, H. 6 ft. 1 in. × 4 ft.
A nymph, nude, asleep on blue drapery
spread on the ground in a thicket, with
Cupid sleeping on a lion's skin at her feet;
near her head a satyr (Jupiter?) holding up
the garment he has lifted from her form.
Formerly called "Venus, a sleeping Cupid,
and a Satyr." A masterpiece. Painted
about 1521 (?); in Gonzaga Collection,
Mantua, in 1627; Collection of Charles I.
of England in 1630, when valued at £1,000;
sold to Jabach, and passed to Cardinal
Mazarin and Louis XIV. Engraved by
Godefroy, Basan, Queverdo, Chataigner,
Massard, Blanchard.—Meyer, Correggio,
337, 491; Künst. Lex., i. 437; Musée français,
i.; Landon, Œuvres, viii. Pl. 61;
Musée, iv. Pl. 1; Filhol, vi. Pl. 415.
ANTIPHILUS, pupil of Ctesidemus, latter
half of fourth century B.C. Born in Egypt,
