Page:Cyclopedia of painters and paintings - Volume I.djvu/121

 in a grave, which they have dug, the body of Atala, whose hands, joined upon her breast, hold a cross. Salon, 1808; acquired in 1818, with Endymion and the Deluge, for 50,000 fr. Engraved by Roger; R. U. Massard.—Réveil, i. 5.

ATALANTA AND MELEAGER, Rubens, Madrid Museum; canvas, H. 5 ft. 1 in. × 8 ft. 6 in. Atalanta and Meleager participating in the chase of the Calydonian boar; background a woody landscape. Collection of Philip IV.—Madrazo, Cat. Madrid Mus.

ATALANTA'S RACE, Edward J. Poynter. Atalanta, when her father desired her to marry, made it a condition that each of her suitors should contend with her in a footrace, to be put to death in case she conquered him. Milanion, who had received three golden apples from Venus, dropped them one after the other, and as Atalanta stopped to pick them up, won the race. Academy, 1876. Engraved by F. Joubert.

ATHENA (Minerva), pictures. See Antiphilus, Cleanthes, Fabullus.

ATHENION, Greek painter, of Maronea in Thrace, pupil of Glaucion of Corinth. Said by Pliny (xxxv. 40 [134]) to have been compared to Nicias and even preferred to him by some. He was more sombre in his colouring than Nicias, yet more pleasing. Among his works were, at Eleusis a Phylarchus, and at Athens a Synzenicon (family group); Ulysses Detecting Achilles in Female Costume; and Groom Leading a Horse, which contributed more to his fame than any other of his pictures. Pliny adds that if Athenion had not died young, no one would have been comparable to him.—Brunn, ii. 294.

ATHENS, SCHOOL OF. See School of Athens.

March of Attila, Raphael, Stanza d'Eliodoro, Vatican.

ATTILA, MARCH OF, Raphael, Stanza d'Eliodoro, Vatican; fresco. Attila, King of the Huns, marching with his savage hordes towards Rome, is met by SS. Peter and Paul, patrons of the holy city, who appear in the clouds, sword in hand; this so terrifies Attila (on the black horse in the middle) that he submits to the terms of Leo I. (portrait of Leo X.), who is on a white horse at the left, surrounded by his retinue. Painted in 1540; in allusion to the expulsion of the