norance and Suspicion, who stand by his side. Calumny advances in the form of a beautiful female, her countenance and demeanor exhibiting an air of fury and hatred; in one hand she holds the torch of discord, and with the other, she drags by the hair a youth personifying Innocence, who, with eyes raised to heaven, seems to implore succor of the gods. She is preceded by Envy, a figure with a pallid visage and emaciated form, who appears to be the leader of the band. Calumny is also attended by two other figures who seem to excite and animate her, and whose deceitful looks discover them to be Intrigue and Treachery. At last follows Repentance clothed in black, and covered with confusion at the discovery of Truth in the distance, environed with celestial light."

This sketch has been regarded as one of the most ingenious examples of allegorical painting which the history of the art affords. Raffaelle made a drawing from Lucian's description, which was for. merly in the collection of the Duke of Modena, and was afterwards transferred to the French Museum.

Professor Tölken, of Berlin, has shown that this Apelles was not the great cotemporary of Alexander, for the persons mentioned in connection with the story, lived more than a hundred years after the death of Alexander-or about the 144th Olympiad. This reconciles many contradictory statements with regard to Apelles, both by ancient and modern

writers. See Spooner's Dictionary of Painters, Engravers, Sculptors, and Architects.

SIR GODFREY KNELLER.

Soon after Kneller's arrival in England, he painted the portrait of the Duke of Monmouth, who was so much pleased with it that he persuaded the king, his father (Charles II.) to have his portrait painted by the new artist. The King had promised the Duke of York his portrait, to be painted by Sir Peter Lely, and unwilling to go through the ceremony of a double sitting, he proposed that both artists should paint him at the same time. Lely, as the king's painter, took the light and station he liked; but Kneller took the next best he could find, and went to work with so much expedition, that he had nearly finished his portrait, when Lely had only laid in his dead coloring. This novelty pleased, and Lely himself had the candor to acknowledge his merit. Kneller immediately found himself in the possession of great reputation and abundant employment, and the immense number of portraits he executed, proves the stability of his reputation. He was equally patronized by Kings Charles, James, and William, and he had the honor of painting ten sovereigns. His best friend was King William, for whom he painted the beauties of Hampton Court, and by whom he was knighted in 1692, and presented with a gold chain and medal, worth £300. In the latter part of this reign, he painted the portraits

of the members of the famous Kit-cat Club, fortytwo in number, and the several portraits now in the gallery of the Admirals. He lived to paint the portrait of George I., who made him a Baronet. He died in 1723. His body lay in state, and he was buried at his country-seat at Wilton; a monument was erected to his memory in Westminster Abbey.

KNELLER AND JAMES II.

It was while sitting to this artist, that James the Second manifested a most surprising instance of coolness and shrewdness united. Kneller was painting his portrait as a present to Pepys, when suddenly intelligence arrived of the landing of the Prince of Orange. The artist was confounded, and laid down his brush. "Go on, Kneller," said the king, betraying no outward emotion; "I wish not to disappoint my friend Pepys."

KNELLER'S COMPLIMENT TO LOUIS XIV.

When Kneller painted the portrait of Louis XIV., the monarch asked him what mark of his esteem would be most agreeable to him; whereupon he modestly answered that he should feel honored if his Majesty would bestow a quarter of an hour upon him, that he might execute a drawing of his face for himself. The request was granted. Kneller painted Dryden in his own hair, in plain dra pery, holding a laurel, and made him a present of the work; to which the poet responded in an epistle

containing encomiums such as few painters de

serve.

"Such are thy pictures, Kneller! such thy skill,
That nature seems obedient to thy will,

Comes out and meets thy pencil in the draught,

Lives there, and wants but words to speak the thought,"

KNELLER'S WIT.

The servants of his neighbor, Dr. Radcliffe, abused the liberty of a private entrance to the painter's garden, and plucked his flowers. Kneller sent him word that he must shut the door up; whereupon the doctor peevishly replied, "Tell him he may do any thing with it but paint it." "Never mind what he says," retorted Sir Godfrey; "I can take anything from him but physic." He once overheard a low fellow cursing himself. "God damn you, indeed!" exclaimed the artist in wonder; "God may damn the Duke of Marlborough, and perhaps Sir Godfrey Kneller; but do you think he will ever take the trouble of damning such a scoundrel as you?" To his tailor, who proposed his son for a pupil, he said, "Dost thou think, man, I can make thy son a painter? No, God Almighty only makes painters." He gave a reason for preferring portraiture to historical painting, which forms an admirable bon-mot, for its shrewdness, truthfulness, and ingenuity. "Painters of history," said he, "make the dead live, and do not begin to live till

they are dead. I paint the living, and they make me live!"

KNELLER'S KNOWLEDGE OF PHYSIOGNOMY.

In a conversation concerning the legitimacy of the unfortunate son of James II., some doubts having been expressed by an Oxford Doctor, Kneller exclaimed, with much warmth, " His father and mother have sat to me about thirty-six times apiece, and I know every line and bit of their faces. Mein Gott! I could paint King James now by memory.

I

say the child is so like both, that there is not a feature of his face but what belongs either to father or mother; this I am sure of, and cannot be mistaken; nay, the nails of his fingers are his mother's, the queen that was. Doctor, you may be out in your letters, but I cannot be out in my lines."

KNELLER AS A JUSTICE OF THE PEACE.

Sir Godfrey acted as a justice of the peace at Wilton, and his sense of justice induced him always to decide rather by equity than law. His judg ments, too, were often accompanied with so much humor, as caused the greatest merriment among his acquaintance. Thus, he dismissed a poor soldier who had stolen a piece of meat, and fined the butcher for purposely tempting him to commit the crime. Hence Pope wrote the following lines:

"I think Sir Godfrey should decide the suit, Who sent the thief (that stole the cash) away, And punished him that put it in his way."