assistance of Lord Bolingbroke, Mr. Pulteney, and other leading members of the opposition; but the papers by Amhurst are allowed to display ability and spirit, and to have contributed materially to the reputation of the publication. He was arrested, or rather surrendered himself on hearing that a warrant was issued against him, in consequence of the publication in the "Craftsman" of July 2. 1737, of an ironical letter in the name of Colley Cibber, which was written to ridicule the act which had been recently passed for the licensing of plays, and in which Cibber was made to propose himself to the lord chamberlain as superintendent of the old plays, which, it was urged, stood as much in need of correction as the new ones. In support of this position several passages were cited from Shakspere and other poets relating to kings, queens, princes, and ministers of state, which the writer asserted were unfit to be brought on the stage. The offence imputed to Amhurst in reference to this letter was, that he was "suspected to be the author of a paper suspected to be a libel;" but as proofs were wanting, it was proposed to release him on bail, which he refused to procure. He was consequently remanded into custody; but the ministry at length dropped the prosecution, and set Amhurst at liberty, leaving the question as to his obligation to give bail undecided.

The political services of Amhurst were overlooked by the party to which he had devoted himself, when, early in the year 1742, they came into office; and his early death, which took place at Twickenham, on the 27th of April in that year, is attributed, in a great measure, to the effect of this neglect. Davies, in his review of Lord Chesterfield's "Characters," p. 42-44., has some severe remarks upon this subject. Amhurst was, he observes, "the able associate of Bolingbroke and Pulteney, in writing the celebrated weekly paper called 'The Craftsman.' His abilities were unquestionable: he had almost as much wit, learning, and various knowledge as his two partners; and when those great masters chose not to appear in public themselves, he supplied their places so well, that his essays were often ascribed to them." Yet, notwithstanding these services, Pulteney, who could easily have given him a comfortable income, left him unprovided for, and, it is added, "he died, it is supp supposed, of a broken heart, and was buried at the charge of his honest printer, Richard Francklin." Ralph, in his "Case of Authors, by Profession or Trade, stated," p. 32., expresses himself inlike manner; and Kippis, while he considers that Amhurst was probably one of those imprudent and extravagant men whose irregularities, in spite of their talents, bring them into general disesteem and neglect, does not attempt to excuse the ingratitude of his employers.

Besides the works above mentioned, Amhurst published the following: - 8. " An Epistle from the Princess Sobieski to the Chevalier de St. George," 8vo. 1719. 9. “A Letter from a Student in Grub Street to a Reverend High Priest and Head of a College in Oxford (Dr. Delaune), containing an account of a malicious design to blacken him and several of his friends; to which are added four scurrilous epigrams upon one Dr. Crassus (Dr. Thompson)," 8vo. 1720. 10. "An Epistle (with a petition in it) to Sir John Blount, Bart., one of the Directors of the South Sea Company." This poem, which was published in 1720, and forms a pamphlet of fifteen printed pages, satirizes the usual style of dedications to great men, written for the sake of obtaining money or preferment, touches on the effects of the South Sea scheme, and petitions for leave to subscribe at the next opportunity, in order that the author might thereby make a fortune. 11. “Poems on several Occasions," dedicated to Dr. Delaune, 8vo. 1720. These were reprinted in 1723, with the addition of "The Test of Love." 12. "The British General; a Poem sacred to the Memory of His Grace John, Duke of Marlborough," 8vo. pp. 35, with a dedication to William, Earl Cadogan. "The Conspiracy," inscribed to Earl Cadogan, folio, 1723. 14. "Miscellanies," on a variety of subjects, sacred and profane. These, which were principally written at the university, are, according to Cibber's account, partly originals and partly paraphrases, imitations, and translations; and they consist of tales, epigrams, epistles, love-verses, elegies, and satires; beginning with a beautiful paraphrase on the Mosaic account of the creation, and ending with a humorous tale upon the discovery of the instrument called a bottle-screw. 15. "Strephon's Revenge: a satire on the Oxford Toasts." 16. "An Argument against Excises, in several Essays lately published in The Craftsman,' and now collected together;" and, 17. A "Second Part" of the same. These pamphlets, which were published in 1733, bear the fictitious name of Caleb D'Anvers, which was also used in "The Craftsman; " but they are attributed to Amhurst in the catalogue of the British Museum library. 18. On the same authority may be added a pamphlet called "The Twickenham Hotch-Potch," or "a Sequel to the Beggar's Opera," published in 1728, under the same name. 19. An advertisement appeared at the end of the reprint of "Terræ Filius," announcing the intended publication of the following work by the same author, but the writer is not aware whether it ever made its appearance : "Essays on the Vices and Follies of the Times; consisting of select papers, formerly published in Pasquin and the London Journal; in which several castrations are restored, and several interpolations are retrenched, which were omitted and added, without the author's knowledge in their first publication; of which some account shall be given in a general preface." (Wilson's History of Merchant Taylors' School; Cibber's Lives of the Poets of Great Britain and Ireland, v. 335-338.; Kippis's Biographia Britannica; Chalmers's Biographical Dictionary.) J. T. S.

AMICI, TOMMA'SO, an old Italian sculptor of the fifteenth century. In 1495 he made, together with F. Mabila de Mazo, the altar of San Niccolo in the cathedral of Cremona, which we learn from the following inscription upon the two lateral columns on each side of the altar: - "мессCLXXXXV, Tho. Amico et F. Mabila de Mazo fecit."

Malvasia mentions an ANTONIO FEDERICO AMICI, a painter of Bologna, and the scholar of Cesare Gennari. (Cicognara, Storia della Scultura; Malvasia, Felsina Pittrice.)

R. N. W.

AMICO, ANTONINO, a Sicilian priest, and official historiographer to Philip IV. of Spain, died in 1641, having published several historical works of some value, and leaving many others in manuscript. His printed works are the following: -1. "Sacræ Domûs Templi, sive Militum Templariorum, Notitiæ et Tabularia." Palermo, 1636, fol. 2. "Dissertatio de Urbis Syracusarum Archiepiscopatu." Naples, 1640, 4to.; and in the "Thesaurus Antiquitatum Siciliæ," tom. ii. Leyden, 1723. 3. "Series Ammiratorum Siciliæ." Palermo, 1640, 4to. 4. "De Messanensis Prioratûs Militum Sancti Joannis Origine." Palermo, 1640. 5. A history of the Sicilian viceroys, written in Spanish, and entitled "Chronologia de los Virreyes que han governado el Regno de Sicilia." Palermo, 1640, 1687, 4to.

AMICO, BARTolomme'o, a native of southern Italy, was born in 1562, became a Jesuit, was a professor and prefect of studies in the university of Naples, and died there in 1649. His principal work was an elaborate commentary on Aristotle, “ In Universam Aristotelis Philosophiam Notæ et Disputationes," in seven volumes folio, published successively at Naples from 1623 to 1648. Other works of his, in philosophy, divinity, and casuistry, are enumerated by Mazzuchelli.

AMICO, BERNARDI'NO, a native of Gallipoli, in the kingdom of Naples, was prior of the Franciscans at Jerusalem in 1596. He published a description of sacred buildings in the holy city, "Trattato delle Piante e Immagini de' Sacri Edificj in Gierusalemme." Rome, 1609; Florence, with engravings by Callot, 1620, small folio.

AMI'CO, FILIPPO, born at Milazzo in Sicily in 1654, published "Riflessioni sulla Città di Milazzo." Catania, 1700, 4to.

AMICO, FRANCESCO, an Italian Jesuit, was born at Cosenza in 1578; and, after having been professor of theology at Aquila, at Naples, and at Gratz in Styria, was made

prefect of studies at Vienna. He died at Gratz in 1651. He is the author of a scholastic "Cursus Theologiæ," printed, in nine volumes folio, at various places, from 1630 to 1650; reprinted also at Douay in eight volumes, and at Antwerp in nine volumes, 1650.

AMI'CO, STEFANO, of Palermo, a monk of Monte Casino, died in 1662. He published, under the anagrammatic name of Fanesto Musica, a volume of Latin poems, called "Sacra Lyra." Palermo, 1650, 12mo. (Mazzuchelli, Scrittori d' Italia; Coronelli, Biblioteca Universale, iii. 231.) W. S.

AMICO, MASTRO. [ASPERTINI.] AMICO, RAIMONDO, a Dominican monk, born at the end of the sixteenth century at Noto in Sicily, published "Motetti à 1, 2, 3, 4 Voci: Op. 1ma. e Op. 2da." Messina, 1621. (Gerber, Lexicon der Tonkünstler.)

E. T.

AMICO, VITO MARIA, born at Catania in 1693 of a noble family, entered the Benedictine order in the monastery of S. Nicola delle Arene at Catania, and was afterwards made professor of history in the university of his native town. He applied himself especially to the study of the antiquities and also of the church history of Sicily, and he published, together with Mongitore, a new edition of the "Sicilia Sacra" of Rocco Pirro, with various additions, especially notices of the Benedictine monasteries in Sicily. This edition, which was printed at Venice in 1733, but with the name Palermo, in two volumes folio, having proved very incorrect, Amico republished at Catania in the same year the part which he had contributed to the work, with fresh additions: "Siciliæ Sacræ Libri quarti integra pars secunda, reliquas Abbatiarum Ord. S. Benedicti, quæ in Roccho Pirro desiderantur, Notitias complectens. Auctore G. T. D. P. D. Vito Maria Amico a Catana Benedictino Casinensi. Accessit Supplementum ad Notitiam S. Martini de Scalis, S. Joannis de Eremitis Panormi, et S. Placidi de Colonero Messanensi. Editio secunda correctior, variis Documentis ac Diplomatibus aucta. Catanæ, 1733, fol." Amico wrote next, "Catana illustrata, sive sacra et civilis Urbis Catanæ Historia.

Ca

tanæ, 1741," fol. This was followed by three more volumes, the last of which appeared in 1746. He also published comments and strictures upon the first ten books of Fazello's Chronicle of Sicily: "Fratris Thomæ Fazelli Siculi Prædic. Ord. de Rebus Siculis Decas prima, criticis Animadversionibus atque Auctario abs T. D. D. Vito M. Amico et Statella a Catana Benedictino Casinensi Priore in publica Catanensi Academia Civilis Historiæ Professore, illustrata. Catanæ, 1749." His next work was “Lexicon Topographicum Siculum," 6 vols. 4to. Palermo, 1757. Amico was made prior of his convent in 1733, and abbot in 1747. Charles, king of the Two Sicilies, appointed him historiographer of

AMICO'NI. [AMIGOʻNI.]

AMICUS, DIOMEDES, was a physician of Placentia in Parma in the sixteenth and seventeenth centuries. He has left the following works, founded chiefly on those of Hippocrates, Galen, and the old Latin writers, but containing some original observations : 1. "Tractatus tres exactissimi Primus de Morbis omnibus communibus generatim, Secundus de Peste, Tertius de Variolis, Morbillis, et Scoptulis." Venice, 1599, 4to. The first and third of these were printed together in 1596, with the appendix "De causâ præsentis tempestatis," which is also added to the complete work. 2. " De Morbis Sporadibus." Venice, 1605 and 1607, 4to.; in which he treats, not of those diseases which are now usually called sporadic, and which are examples of affections occurring singly, instead of in the form of epidemics, in which they commonly appear, but of all those which are peculiar to the individual whom they affect; which are proper, and so distinguished from the common diseases which he had discussed in his former treatise. (Mazzuchelli, Scrittori d' Italia; Amicus' Works.)

J. P.

AMIDA'NO, POMPONIO, an Italian painter of the sixteenth century, and a native of Parma. He was one of the most successful scholars of Parmegiano; a painting by him in the church of the Madonna del Quartiere has been mistaken by good judges for a work of his master. According to Lanzi, this is the most beautiful picture in Parma. There are also paintings by Amidano in San Michelino, and in the church of the Trinità. Orlandi says that many of Amidano's works were purchased by Ultramontanists; from which we may infer, that as the name of Amidano is in very few, if in any at all, of the northern catalogues of collections of pictures, the majority of his works that have found their way into these collections are attributed to Parmegiano, of whose works specimens are very numerous in the northern collections. Amidano was

living in 1595. (Orlandi, Abecedario Pittorico; Lanzi, Storia Pittorica, &c.)

R. N. W.

AMIENS, BONAVENTURA D', a Capuchin monk of Amiens, who towards the end of the sixteenth century obtained a reputation in Picardy for his pictures of religious subjects. Bonaventura was the master of Quentin Varin, a celebrated painter of Amiens, whom he taught perspective. (Dairé, Tableau Historique des Sciences, &c. de la Province de Picardie; Füssli, Allgemeines Künstler-Lexicon.)

R. N. W.

AMIGA'ZZI, GIOVANNI BATTISTA, a clever Italian painter of Verona, and the scholar of Claudio Ridolfi, whose style he imitated, and whose pictures he copied with

Verona in churches and in private houses. He painted some excellent lunettes on the ceilings in the church della Mesericordia, and in the chapel of the Madonna in the church of San Francesco di Paola. In the church of San Carlo also at Verona there is an excellent copy by Amigazzi, from the picture by Paul Veronese, of Christ supping with Simon the Pharisee, and Mary Magdalen anointing his feet. (Dal Pozzo, Vite de' Pittori Veronesi; Lanzi, Storia Pittorica, &c.) R. N. W.

AMIGO'NI, JACOPO (called also Amiconi), a celebrated Italian painter of the seventeenth century, was born at Venice in 1675. He was a painter of much reputation in his day, in Venice, in Munich, in London, and in Madrid; but according to later critics his merits were not very great. After he had acquired a reputation in Venice, he went to Munich and entered the service of the elector of Bavaria, for whom he painted in the palace at Schleissheim some ceilings in fresco, and other works. In the metropolitan church at Munich there are two altar-pieces by him; and there are others in other churches of Bavaria. After remaining a few years at Munich, Amigoni came in 1729 to London, where he was much patronised. He painted a staircase for Lord Tankerville in his house in St. James's Square, since destroyed, in which were represented the stories of Achilles, Telemachus, and Tiresias. When the work was completed, Amigoni demanded only 90l., the amount he had paid for workmen, scaffoldings, &c., saying that he was otherwise satisfied with the opportunity of showing what he could do. Lord Tankerville, however, presented him with 200l. more. He next painted a staircase at Powishouse, in Great Ormond Street, which he decorated with the story of Holophernes, and dressed the characters in the Roman costume. He painted also a picture of Shakspere and the Muses over the orchestra of the then new theatre at Covent Garden. He was also

much employed in portrait painting; he was paid sixty guineas for a whole-length. The Duke of Lorraine, afterwards emperor of Germany, who was then in London, sat to Amigoni; also the Queen of George II., and three of the princesses. In 1736, he visited Paris, with the celebrated singer Farinelli, and returned again to London. In 1739, he returned to Venice, having amassed 5000l. during his ten years' stay in this country. His best picture at Venice is a Visitation at the PP. di San Filippo. In 1747, he went to Spain, and was appointed court painter to Ferdinand VI.: there are paintings by him at the palace of Aranjuez; at the Oratorio del Salvador, at Madrid; at the theatre of Buenretiro; and at the palace of San

of Amigoni's daughters, both married, were living at Madrid in 1773; one of them, Signora Castellini, painted portraits in crayons.

Walpole makes the following critique upon Amigoni's style: "His manner was a still fainter imitation of that nerveless master Sebastian Ricci, and as void of the glow of life as the Neapolitan Solimena; so little attention do the modern Venetian painters pay to Titian, Tintoret, and Paul Veronese, even in Venice. Amiconi's women are mere chalk, as if he had only painted from ladies who paint themselves. Nor was this his worst defect; his figures are so entirely without expression, that his historical compositions seem to represent a set of actors in a tragedy, ranged in attitudes against the curtain draws up. His Marc Antonys are as free from passion as his Scipios. Yet novelty was propitious to Amiconi, and for a few years he had great business." This may be too severe, but Lanzi is not very much more favourable. He painted also small conversation pieces, in the style of some of the Flemish masters, but of very inferior execution; yet Lanzi prefers these small pictures to his large The musician Farinelli had in his house at Bologna many pictures by Amigoni, in all of which the Farinelli was pourtrayed, either being received, or applauded, or rewarded by some European prince.

ones.

Amigoni engraved some plates for his amusement, and instructed Joseph Wagner in the art, who engraved many of his pictures. The engravings after Amigoni are very numerous; Heineken mentions 127, amongst which are the following portraits: Pope Benedict XIV., by or for C. N. D. Beauvais; Peter the Great, by J. Wagner; the Empress Anne, and the Empress Elizabeth Petrowna, of Russia, also by J. Wagner; and Queen Caroline of England, by G. Vertue. (Zanetti, Della Pittura Veneziana, &c.; Lanzi, Storia Pittorica, &c.; Heineken, Dictionnaire des Artistes, &c.; Walpole, Anесdotes of Painting in England; Bermudez, Diccionario Historico, &c.)

R. N. W.

AMIGONI, OTTAVIO, an Italian painter of the seventeenth century. He was born at Brescia in 1605, and was the scholar of Antonio Gandino. He painted in oil and in fresco, and executed many works in various churches of Brescia in the style of Paul Veronese. His best were those painted in the church del Carmine in company with Bernardino Gandino. He died in 1661.

(Orlandi, Abecedario Pittorico) R. N. W. AMIK OF BOKHARA, a Persian poet who flourished under the munificent reign of Sultan Sanjar of Persia during the first half of the twelfth century. He was the author of a romance in verse, on the loves of Yusuf and Zulaikha (i. e. of the patriarch Joseph and Potiphar's wife), a favourite theme with the Persian poets. According to Daulatshah,

two different metres. We are not aware that any copy of it is now in existence. Am'ik is said to have excelled more particularly in the composition of elegies, one of which is preserved by Daulatshah. It happened that when the poet was far advanced in age, and blind, Sultan Sanjar was bereaved of a favourite daughter, by name Mahi Mulk (the moon of the empire). The numerous poets who thronged his court presented Sanjar with their effusions of condolence on the occasion; but none of them was deemed worthy of any notice from the king. At last he resolved to send for the aged poet of Bokhara, that he might compose an elegy worthy of the subject. Am'ik at that time was unable to perform the journey, but he sent through his son the following simple lines, which in the king's opinion excelled all the elaborate compositions of the rest, and which, being brief, we may here insert :

"At the season when the rose blossoms in the midst of the garden,

The blooming rose is gone, and hidden in the dust: At the time when the plants drink moisture from the Sapless remains the narcissus in the midst of the

cloud,

parterre."

It may be mentioned that the princess Máhi Mulk died in the season of spring; hence the appropriate allusion in the above lines. The period of Am'ik's death is uncertain; his patron, Sanjar, died, according to Daulatshah, in A. H. 551 (A. D. 1156.) The long reign of this prince is distinguished in the annals of Persia by the number of eminent writers whom he cherished. (Daulatshah's Persian Poets.)

D. F.

AMILCAR. [HAMILCAR.] AMI'N-UD-DI'N OF NAZALABAD, a Persian poet who flourished in the first half of the fifteenth century. Daulatshah does not mention the period either of his birth or death, only he seems to have been dead when the biographer wrote his notice of him. He was a man of wit, and the author of several works in verse, the titles of which may be seen in Daulatshah, or Von Hammer's lives of the Persian poets. It may be proper to observe that Von Hammer calls him "Emíreddín of Mensilabad," probably from his having the title of Amír prefixed to his real name. Still the appellation of Emíreddín would be a novelty in Moslem nomenclature, as Mansilabad would be, with respect to the name of a town or village. We are not aware whether any of the poet's works be yet extant, or brought to Europe. (Daulatshah's Persian Poets.)

D. F.

AMIOT, or AMYOT, JOSEPH, a Jesuit missionary to China, was born at Toulon in 1718. At the close of 1750 he arrived at Macao in company with two Portuguese missionaries, sent also by the Jesuits, and the brethren of that order already established at Peking presented a petition to the reigning