and the sac was exposed and ready to burst. The surgeon who had been attending refused to operate, and dissuaded the patient from incurring any risk; but Anel resolved to try his remedy. After applying a tourniquet he made an incision above the sac without involving it, dissected down to the trunk of the artery, which lay, unusually, below the (median) nerve, separated it with great care, and holding it with a hook applied the ligature "as near as possible to the tumour." On loosing the tourniquet a small muscular arterial branch bled, and he was obliged at once to tighten the tourniquet again, and to tie the artery a second time a little higher up. Next morning the pulse could be felt at the wrist, and Anel felt confident of success, because "nature had in a single night made a new route for the blood." The patient went on well; the first ligature came away on the 28th day, the second on the 30th, and, ultimately, the aneurism completely disappeared.

This operation was certainly a great improvement in the treatment of aneurisms; and it might have been made a step to the Hunterian operation, which is justly regarded as the greatest work in scientific surgery since the time of Paré. Before Anel's time aneurisms had been treated either by amputation of the limb or by tying the artery both above and below the aneurism, and removing the sac. Guillemeau alone was in the habit of applying only the upper ligature before the removal of the sac. Anel proved, by the result of his operation, both that the aneurismal sac need not be cut out, and that it would not continue to be distended by blood although the artery below it remained open. But he did not discern the importance of his own work; he saw no advantage in the operation except that it was less difficult and less painful, and that the scar remaining after it was so small that it did not, like that left by the old operation, hinder the extension of the arm. Hence, while he devotes nearly three hundred pages to maintain his credit for the treatment of fistula lachrymalis, he employs but a few on this; and, to all appearance, would never have published the case if he had not been taunted by a rival with having talked about an operation for aneurism when he had only put a ligature upon a little artery. He does not appear to have ever repeated the operation; and among

the same year John Hunter performed his operation, tying the artery far above the sac, and by the correctness of the principles on which he supported it, established the plan now almost uniformly adopted. [HUNTER, JOHN.]

Anel's first occasion of employing his treatment of fistula lachrymalis was presented in the Abbé Fieschi, nephew of the cardinal archbishop of Genoa. In examining his eyes Anel saw pus issue from the puncta lachrymalia, and at once conceived the plan of introducing substances through those apertures into the diseased sac. He soon invented the probe and syringe, still known by his name, and his plan of treatment was adopted by all the best surgeons of the time. It was a very important improvement on the old plan of opening the sac in all cases by the knife or cautery; and though it has since fallen almost into disuse, Anel must always merit the highest praise both for his ingenuity, and for the clear knowledge which he gained of the pathology of all the diseases of the lachrymal apparatus.

The following are Anel's published works: - 1. "L'Art de succer les Plaies sans se servir de la Bouche d'un Homme," Amsterdam, 1707, &c. 12mo. He maintains in this, that none but simple wounds of fleshy parts, and some penetrating wounds of the chest, should be treated by suction; and that the plan, adopted as it was in his time by quacks and camp-followers in all cases, was very injurious. He describes an instrument, something like a great "artificial leech," for sucking wounds, and adds to the treatise a "Discours pour prouver qu'il est possible de prévenir certaines Maladies Vénériennes par un Spécifique;" but he conceals what his supposed specific was. 2. "Observation singulière sur la Fistule lacrimale," Genoa, 1713, 4to., containing the account of his first cases of fistula. 3. "Nouvelle Méthode pour guérir les Fistules lacrimales," Turin, 1713, 4to. This is a collection of papers, and contains, besides the last mentioned essay, I. "Nouvelle et très exacte Description anatomique du Conduit lacrimal," a tolerably accurate account of the parts concerned in his operation. II. " Informazione fatta dal Chirurgo Francesco Signorotti Monsu' Domenico Anel" a sharp attack upon Anel's operation by a Genoa surgeon, who seems to have been jealous of his reputa

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whom he was afterwards in constant intercourse none attempted it. After his death it was almost forgotten. Haller just alludes to it; Sprengel describes it briefly and erroneously; Portal, the chief historian of surgery, does not mention it. Every surgeon continued to pursue the old practice till June, 1785, when Desault applied a single ligature just above a popliteal aneurism, and left the The patient died; and in December in

tiques de la Critique del Signor F. Signorotti," consisting of letters to and from nearly twenty physicians and persons of celebrity, whose opinions Anel requested on his treatment of the fistula, and who all wrote very complimentary answers. 4. "Suite de la nouvelle Méthode .. ou Discours apologétique," Turin, 1714, 4to., containing a still larger series of letters of the same kind, and a laborious defence of the originality and utility of his

Eloquenza pratica legale nelle RR. Scuole speciali di Milano," on opening his course as professor of eloquence in 1809; and in 1817 a "Prospetto delle Lezioni e degli Esercizi pratici delle Scuole di Procedura giudiziaria e del Processo notarile," on being appointed to the university of Pavia. Anelli also wrote numerous comedies, which were performed at the theatre of La Scala at Milan between 1799 and 1817, most of which contain satirical allusions to contemporary events and individuals. (Tipaldo, Biografia degli Italiani Illustri del Secolo XVIII. e dei Contemporanei.) A. V.

ANELLO, TOMMASO. [TOLEDO, DON PEDRO DE.]

ANE'RIO, FELICE, a celebrated composer of the Roman school, was born at Rome about 1560. Here he studied under the great Pierluigi da Palestrina and his colleague Nanini, and after being the musical instructor in the English college at Rome, he went into the service of Cardinal Aldobrandini. On the death of Palestrina, his patron had sufficient interest to procure for Anerio the office which had been expressly created for the celebrated father of the Roman school of music in consequence of his being married, and therefore incapacitated from holding the situation of maestro di capella, to which certain ecclesiastical duties are attached. The influence of Cardinal Aldobrandini obtained the unwilling signatures of the Collegio dei Cappellani Cantori Apostolici, who would have preferred a member of their own body, in the event of the office being continued. But the election thus reluctantly made by the members of the college was confirmed by Pope Clement VIII. With Anerio the office ceased. Like his illustrious predecessor, he wrote both sacred and secular music. Many of his sacred compositions are said by Adami to exist in the Pope's chapel, and a set of his Madrigals was reprinted at Antwerp in 1599, as well as a collection of his Canzonets at Frankfort in 1610. One of these only (for his compositions are little known in England), which will be found in "The Vocal Schools of Italy," is a madrigal of singular beauty, as graceful in melody as it is skilful in combination. (Baini, Vita di Palestrina; Adami, Osservazioni per ben regulare il Coro de i Cantori della Capella Pontificale; Taylor, Vocal Schools of Italy.) E. T.

ANERIO, GIOVANNI FRANCESCO, brother of Felice Anerio, was born at Rome about 1567. He was for some time maestro di capella to Sigismund III., king of Poland, and afterwards held the same office in the cathedral at Verona. Thence he was invited to Rome, where he presided over the choir at the church of La Madonna dei Monti, and lastly became maestro di capella in that of San Giovanni Laterano. The year of his death is not known. His published works "Recreatione Musica," Venice, 1611.

are

"Teatro armonico spirituale de Madrigale, a 5, 6, e 7 Voc." Rome, 1619. The "Selectæ Cantiones of Constantini," published at Rome in 1614, also contain some of his compositions. (Walther, Musikalische Bibliothek.) E. T.

ANES. [GILIANEZ.]

ANE'SI, PAULO, a Florentine landscape and architectural painter of the middle of the eighteenth century. He lived much at Rome, where there are several of his works, consisting of views of ruins and the vicinity of Rome. Anesi's works are sometimes mistaken for those of J. P. Pannini. He was the master of Francesco Zuccharelli. Heineken mentions an etching of a landscape with figures by Anesi. (Lanzi, Storia Pittorica, &c.) R. N. W.

A'NEURIN, a Welsh poet of the sixth century, some of whose productions are still extant, was the son of Caw ab Geraint, lord of Cwm Cawlwyd, a chieftain of the Gododins or Ottadins, a name which denotes in Welsh "the inhabitants of a region bordering on the coverts." In the Welsh pedigrees, twenty-four sons of Caw ab Geraint are enumerated; and in those lists which contain the name of Aneurin, that of Gildas does not occur; while in those which contain the name of Gildas, that of Aneurin does not occur, a circumstance which, in conjunction with others, has led to the supposition that Aneurin and Gildas were the same individual. The early history of Britain still extant under the name of Gildas is supposed, by the most recent editor of the work, Mr. Stevenson, to be the production of Gildas Badonicus, a distinct individual from Gildas Albanius the son of Caw. The particulars, however, which are related of the life of Gildas Albanius by his biographer Caradoc of Llancarvan, are wholly different from those recorded of Aneurin, except in the article of parentage. [GILDAS.] The Gododins, who inhabited a portion of the north of England and south of Scotland, between the wall of Septimius Severus and the wall of Antoninus Pius, were totally defeated by their Saxon invaders, it is supposed about the year 540, in a battle fought at a place called Cattraeth, on the coast of Northumberland, or, according to some, on the east coast of Yorkshire. Of three hundred and sixty-three of their chieftains who were present under the command of Urien of Reged, four only escaped with life, of whom Aneurin was one. He was held in close imprisonment till released by Cenau, the son of the bard Llywarch Hen, an event which Aneurin thus commemorates :

"From the power of the sword (noble was the succour),

From the cruel prison-house of earth he released me;

From the place of death, from the cheerless region, He, Cenau, son of Llywarch, magnanimous and brave.'

The father of Aneurin fled with his family traeth. Caw ab Geraint and some of his sons settled in Anglesey under a grant from Maelgwn, prince of North Wales ; while Aneurin, with some of his brothers, took refuge, first at the court of King Arthur in South Wales, then in the college founded by Cadog at Llancarvan. It was while he resided here, in all probability, that he became the friend of the bard Taliesin, a circumstance which is commemorated in the poems of each. His death, which is supposed to have taken place about the year 570, was a violent one. It is mentioned in two of the Welsh Triads: in one which commemorates "The Three accursed Blows of the Battle-axe of the Isle of Britain," the first is, "The Blow of Eidyn on the Head of Aneurin."

The most important relic of Aneurin now extant is the piece consisting of more than nine hundred lines, all rhymed, but of irregular lengths, called the "Gododin," which is a fragment of a poem or series of poems commemorating the warriors who fell at the fatal battle of Cattraeth. The genuineness of this Welsh poem of the sixth century was disputed some years ago, but has been vindicated with success by Mr. Sharon Turner. The subject of the composition- the disgraceful defeat of the poet's countrymen in consequence of their having partaken too freely of the mead before joining in battle - is one not likely to have suggested itself to a forger. It abounds with allusions to obscure northern chieftains, for which it is not easy to assign any motive but that of genuineness, while the opportunity of celebrating the praises of King Arthur, the poet's contemporary and patron, is lost, though to a forger of the twelfth century (and of the existence of the poem at least as long ago as that period there are ample proofs) the name of King Arthur would surely have seemed the last to pass over. The "Gododin" was first printed, in the original language only, in the "Myvyrian Archaiology." A complete, but very unsatisfactory, translation of it was given by the Rev. Edward Davies in his "Mythology and Rites of the British Druids," and another is now (March, 1843) promised by Archdeacon Williams. It is an additional proof of its genuineness that the language is difficult and obscure even to the best Welsh scholars. Mr. Davies even asserts that every one previous to himself had mistaken its meaning, and that instead of describing a battle at Cattraeth it chiefly relates to a banquet given by Hengist at Stonehenge, in which the Saxon murdered his British guests; but we believe that no competent judge has adopted Mr. Davies's opinion. A short extract from the "Gododin" was translated by Gray from Evans's "Specimens of the Welsh Bards," but not in his happiest manner. Another poem attributed to Aneurin is printed in the "Myvyrian

y Misoedd" (Verses on the Months"), but there are not the same grounds for believing in its authenticity as in that of the "Gododin." (J. H. Parry, Cambrian Plutarch, p. 21-40.; Owen, afterwards Owen Pughe, Cambrian Biography, p. 8, &c.; CambroBriton [edited by J. H. Parry], i. 91-94.; E. Jones, Relicks of the Welsh Bards, p. 17.; Myvyrian Archaiology of Wales, i. 1-16.; Davies, Mythology and Rites of the British Druids, p. 326-383.; Sharon Turner, A Vindication of the Genuineness of the Ancient British Poems, at the end of his History of the Anglo-Saxons, 5th ed. iii. 536. 589. &c.) T. W..

ANFOSSI, PASQU'ALE, an Italian dramatic composer of some celebrity, was born at Naples in 1736, or, according to Reichhardt's Almanac, in 1729. On his first entry into the conservatorio he intended to study the violin; but a love of composition induced him to abandon his instrument, and to place himself under Piccini, then the most eminent of the Italian dramatic writers. Piccini attached himself strongly to his pupil, and in 1771 procured for him an engagement at the Teatro della Damme, at Rome. His first opera, " I Visionari," was unsuccessful; nor did his second produce any strong impression in his favour. Nevertheless he obtained a third trial, and in 1773 produced "L'Incognita perseguitata," which at once procured him a high degree of reputation. No opera since the time of Piccini's "La buona Figliuola,” created such a sensation at Rome. The talents of Anfossi were industriously exaggerated and praised by all who were envious of Piccini's fame. Anfossi lent himself to this cabal, and repaid the obligations and benefits which his master had conferred on him by ingratitude, as disgraceful to his moral character as his depreciation of Piccini's merits was discreditable to his musical reputation. He, in turn, was soon made to feel the caprice of the Roman public in the failure of his "Olimpiade." Quitting Rome, he wrote for several Italian theatres in succession, and in 1780 went to Paris, where some of his operas had already been translated and performed. The barbarous style of singing to which his compositions were subjected speedily drove him thence; and he proceeded to London, where the direction of the Italian Opera was committed to him. " Anfossi," says Dr. Burney, “visited England at an unfavourable time. Sacchini had preceded him, and the winter following was only rendered memorable at the opera-house by misfortune, disgrace, and bankruptcy. His reputation was rather diminished than increased by his visit to London." In 1783 he went to Germany, and composed for the theatres of Prague and Berlin "Il Trionfo d'Arianna," and "Il Cavaliere per Amore." In 1784 he returned to Italy, and produced, first at