like--;" but, as he
approached his finger to the picture, the fly flew away
(1772)[TN-60]

_Grapes._ Zeuxis (2 _syl._) a Grecian painter, painted some grapes so
well that birds came and pecked at them, thinking them real grapes (B.C.
400).

_A Horse._ Apell[^e]s painted Alexander's horse Bucephalos so true to life
that some mares came up to the canvas neighing, under the supposition
that it was a real animal (about B.C. 334).

_A Man._ Velasquez painted a Spanish admiral so true to life that when
King Felipe IV. entered the studio he mistook the painting for the man,
and began reproving the supposed officer for neglecting his duty in
wasting his time in the studio, when he ought to have been with his
fleet (1590-1660).

_Accidental effects in painting._

Apell[^e]s, being at a loss to paint the foam of Alexander's horse, dashed
his brush at the picture in a fit of annoyance, and did by accident what
his skill had failed to do (about B.C. 334).

The same tale is told of Protog'en[^e]s, who dashed his brush at a
picture, and thus produced "the foam of a dog's mouth," which he had
long been trying in vain to represent (about B.C. 332).

_Painters_ (_Prince of_). Parrhasios and Apell[^e]s are both so called
(fourth century B.C.).

=Painters' Characteristics.=

ANGELO (_Michael_): an iron frame, strongly developed muscles, and an
anatomical display of the human figure. The AEschylos of painters
(1474-1564).

CARRACCI: eclectic artists, who picked out and pieced together parts
taken from Correggio, Raphael, Titian and other great artists. If
Michael Angelo is the AEschylos of artists, and Raphael the Sophocl[^e]s,
the Carracci may be called the Euripid[^e]s of painters. I know not why in
England the name is spelt with only one _r_.

CORREGGIO: known by his wonderful foreshortenings, his magnificent light
and shade. He is, however, very monotonous (1494-1534).

CROME (_John_): an old woman in a red cloak walking up an avenue of
trees (1769-1821).

DAVID: noted for his stiff, dry, pedantic, "highly classic" style,
according to the interpretation of the phrase by the French in the first
Revolution (1748-1825).

DOLCE (_Cario_): famous for his Madonnas, which were all finished with
most extraordinary delicacy (1616-1686).

DOMENICHI'NO: famed for his frescoes, correct in design and fresh in
coloring (1581-1614).

GUIDO: his specialty is a pallid or bluish-complexioned saint, with
saucer or upli