He also made a portrait of King Antigonus; and as that monarch was blind of one eye, he painted him in profile, in order that what in reality was wanting to the person might rather have the semblance of being wanting to the picture. Among his works, too, there are some figures representing persons at the point of death; but it is not easy to say which of his productions are of the highest order of excellence. His Venus Rising from the Sea, known as the Venus Anadyomene, was consecrated by the late Emperor Augustus in the Temple of his father Cæsar; a work which has been celebrated in certain Greek lines, which, though they have outlived it, have perpetuated its fame. The lower part of the picture having become damaged, no one could be found to repair it; and thus did the very injury which the picture had sustained, redound to the glory of the artist. Time, however, and damp at last effaced the painting, and Nero, in his reign, had it replaced by a copy, painted by the hand of Dorotheus. Apelles also commenced another Venus for the people of Cos, which would have outshone even the former one; but death invidiously prevented its completion, nor could any one be found to complete the work in conformity with the sketches of the outline. He painted also, in the Temple of Diana at Ephesus, Alexander the Great wielding the Thunderbolts, a picture for which he received twenty talents of gold. The fingers have all the appearance of projecting from the surface, and the lightning seems to be darting from the picture. The price paid in golden coin for this picture was ascertained by weight, there being no specific sum agreed upon. He also painted a Procession of the Megabyzus, the priest of Diana at Ephesus; and a Clitus on Horseback, hastening to the combat, his Armor-bearer handing him his helmet at his command. How many times he painted Alexander and Philip, it would be quite superfluous to attempt to enumerate. At Samos, there is a Habron by him, that is greatly admired; at Alexandria, a Gorgosthenes, the Tragedian; and at Rome, a Castor and Pollux, with figures of Victory and Alexander the Great, and an emblematical figure of War with her hands tied behind her, and Alexander seated in a triumphal car; both of which pictures the late Emperor Augustus, with a great degree of moderation and good taste, consecrated in the most frequented parts of his Forum: the Emperor Claudius, however, thought it advisable to efface the head of Alexander in both pictures, and substitute likenesses of his predecessor Augustus. It is by his hand too, it is generally supposed, that the Hercules, with the face averted, now in the Temple of Anna, was painted; a picture in which, one of the greatest difficulties in the art, the face, though hidden, may be said to be seen rather than left to the imagination. He also painted a figure of a naked Hero, a picture in which he has challenged Nature herself.