ABSTRACT
Renaissance mythographers did valuable work in synthesizing what had been written about Apollo. The second is the frenzy associated with mysticism or priesthood, which emanates from Dionysus; while the third is prophetic frenzy, which comes from Apollo, and the fourth is love, which comes from Aphrodite. This iconologically based interpretation is first attested in panegyrics, and then in actual emblems, with the royal crown being depicted as a crown of rays. But it is replaced in the metaphorical heavens by the true mystical Sun, Christ, sometimes depicted by Renaissance painters in the guise of Apollo. Though the mystical sun only rose to prominence as the mythical sun declined, in a paradox that left its mark on all poetic interpretations of Apollo, the concept of Deus Pictor. This acquisition of knowledge is painful before striking poets Apollo himself suffered a pang as hot as death is chill' and shriekd at the moment of his epiphany, Hyperion III, final lines.
