Florence, his "Chi cerca trova ; " and during the succeeding three years as many different operas in other Italian theatres. The success of these induced him to revisit Rome, where he regained some portion of his former popularity as a writer for the stage. At length, tired of this occupation, and feeling himself unable to contend with his younger and more eminent competitors, he sought a retreat in the church; and in 1791 was appointed the successor of Casali, as maestro di capella in the church of San Giovanni Laterano. He now applied himself chiefly to composition for the church, and supplied it with several masses and motets; of the latter, his "Laudate Pueri," and "Laudate Jerusalem," for a full orchestra, are the most celebrated. He died in 1797. Anfossi was a ready writer, having produced between the years 1769 and 1792 forty-five operas; but these evince rather facility of combination than fertility of invention. He was one of the large class of musicians whose merit chiefly consists in the power of working up again the materials of others; who leave the art precisely where they found it; and whose compositions rather resemble the flitting and vanishing shadows of the magic lantern than those works of art which claim and receive permanent admiration. His contemporaries Piccini, Sacchini, and Paisiello survive, but Anfossi is forgotten. (Fetis, Biographie Universelle des Musiciens; Burney, History of Music; Anfossi, Opere varie.) E. T. ANFOSSO, JA'COPO, a celebrated Italian gem-engraver of Pavia, of the sixteenth century. Though little known, he appears to have been an artist of great ability. He was in favour with two popes, Pius V. and Gregory XIII., which we learn from the following epitaph preserved in the "Lettere Pittoriche:""Jacobo Anfosso Ticinensi, in crystallis adfabre formandis, præciosisque lapillis cælandis, veris a falsis dignoscendis, clarissimo; Princip. ob solers ingenium, integritatemque, Pio V. Greg. XIII. Romanis Pontificib. grato. Vixit ann. lxxx. Cælum extulit, cœlum abstulit, cœlum accipit. Tiberius Cævlius ex testamento P. C. Ann. Sal. M.D.LXXXV." (Bottari, Raccolta di Lettere sulla Pittura, &c.) R. N. W. ANGARA'NO, IL CONTE OTTAVIA'NO, a Venetian nobleman who distinguished himself for his ability as a painter about the middle of the seventeenth century. In the church of San Daniele, at Venice, there is an altar-piece of the adoration of the shepherds by Angarano, which was substituted for one by Domenico Tintoretto: it has been engraved by Count Angarano himself. (Descrizione di tutte le Pubbliche Pitture della Citta di Venezia, &c.; Heineken, Dictionnaire des Artistes, &c.; Brulliot, Dictionnaire des Monogrammes, &c.) R. N. W. ANGE, FRANÇOIS DE L', a good his torical painter, born at Annecy in Savoy in 1675. He was first instructed by his maternal grandfather, André Chevil, and afterwards by G. M. Crespi; he studied also the works of Albano. L'Ange spent eight years in Turin, where he was much employed by the nobility of that place; he had the prince of Carignano for his pupil. In 1706 he moved to Bologna, where he entered into the order of San Filippo Neri, and spent the remainder of his life there. He died a member of the Academy of Bologna in 1756, aged eighty-one. L'Ange excelled in small religious pieces; his pictures are well coloured and well drawn. (Crespi, Felsina Pittrice, &c.; Lanzi, Storia Pittorica, &c.) R. N. W. ANGE, ROCCA. [Rocca.] ANGE DE SAINT JOSEPH, a monk of the order of Barefooted Carmelites, was born at Toulouse in the year 1636. His real name was Joseph Labrosse, but on entering his order he assumed the name of Ange de Saint Joseph, by which he is more generally known. He went to Rome in 1662, and studied Arabic in the convent of Saint Pancrase under father Celestinus a S. Liduvina, brother of the celebrated J. Golius. On the 12th of November, 1663, he quitted Rome for the East in company with three other Carmelites, and arrived at Smyrna on the 5th of May, 1664, and at Ispahan on the 4th of November following. Here Ange de Saint Joseph applied himself to the study of Persian under father Baltazard, a Portuguese Carmelite, and in a few months qualified himself to preach in that language. He spent upwards of ten years in Persia and Arabia, and was prior first of Ispahan and afterwards of Basrah. This latter city having been captured by the Turks, it became necessary that the missionaries should obtain permission from its new masters to continue their labours there. For this purpose Ange was despatched to Constantinople in April, 1678, in order to obtain the requisite credentials from the Grand Signior through the intervention of M. de Nointel, the French ambassador to the Ottoman Porte. He succeeded in his mission, but was shortly afterwards summoned to Rome by Pope Innocent XI., where he arrived in November, 1679. In 1680 he proceeded to Paris in order to superintend, with the greater convenience, the printing of his "Gazophylacium Linguæ Persarum," but was interrupted in his labours by being appointed visitor-general of the missions in Holland. On the termination of this visitation he was despatched as missionary to England, but being obliged to quit England about the time of the abdication of James II., he retired to Ireland, where he spent several years. On his recall to France he was made prior of the convent of Perpig nan, and provincial in 1697, on the 29th of December in which year he died. His works are 66 1. Pharmacopoea Per sica ex Idiomate Persico in Latinum conversa; Opus Missionariis, Mercatoribus, cæterisque Regionum Orientalium Lustratoribus necessarium. Accedunt in Fine Specimen notarum in Pharmacopœam Persicam," Paris, 1681, 8vo. This work has been attributed to one Matthieu Saint Joseph, but it appears without foundation. Prefixed is a preface, in which the author professes to point out blunders in the Persian Gospels, and the Latin version of them by Dr. Samuel Clarke, inserted in Walton's Polyglott." To this attack Dr. Thomas Hyde replied in a piece entitled, "Castigatio in Angelum a S. Josepho," subjoined to his "Tractatus Alberti Bobovii de Turcarum Liturgiâ," Oxford, 1690. The author of the article 66 "Hyde" in the " Biographia Britannica," gives the following history of this transaction: "Our author (Hyde), out of zeal for his colleagues, wrote a letter to this monk, in which he expostulated the matter, and showed him his mistakes, without receiving any answer; at length, in 1688, he came over to England, went to Oxford, and procured himself to be introduced to Dr. Walton without letting him know who he was, though afterwards he owned his name to be La Brosse, and that he had come over to justify what he had advanced. After a short dispute (with Dr. Hyde) which was managed in Latin, he began of a sudden to speak the Persian language, in which, to his great surprise, he found Dr. Hyde more ready than himself, so that, not being able to maintain his criticisms, he promised to come another time, and either defend them better or retract them, which, however, he did not perform; and this induced Dr. Hyde to make the dispute public. In his reproof, he first states the Carmelite's objections, then shows them to be very weak and trifling, springing from his own ignorance in the true idiom of the Persian tongue, which rendered him incapable of comprehending with how much accuracy and elegance that version was made." 2. 66 family name was François Raffard, was a friar This ANGEL, a name given by professor J. F. Christ in his " Dictionary of Monograms," without any apparent reason, to the engraver who, from using by way of designation a caltrop or crowsfoot on some of his prints, has been called the master with the crowsfoot (le maître à la chausse-trappe). instrument above the initials G. A. is found upon some prints of ancient edifices. Mariette, and Brulliot in his "6 Dictionary of Monograms," suppose Tribolo to have been the engraver of these prints, as tribolo is the Italian name for the caltrop or chausse-trappe. Tribolo's name was Niccolo Pericoli; he was an architect and a sculptor, but Vasari, in his notice of him, says nothing about his ever having engraved, although he mentions his carving in wood. The letters G. A., however, do not appear to have much to do with the names Niccolo Pericoli. This mark is said also to be found with the initials G. P. R. N. W. ANGEL, CHRISTOPHER. [ANGELUS, CHRISTOPHER.] ANGEL or AʼNGELI, R. MEIR BEN ABRAHAM ( Gazophylacium Linguæ Persarum, triplici Linguarum clavi Italicæ, Latina, Gallicæ, nec non specialibus Præceptis ejus-N), was chief Rabbi of the synagogue dem Linguæ reseratum ("Treasury of the Persian Language "), Amsterdam, 1684, fol. 3. He had also prepared for press a history of Persia, but the work was destroyed by fire in the house of the Spanish ambassador in London. 4. "It is also reported that he had translated into the Persian language certain portions of the "Summa" of Thomas Aquinas, but no particulars appear to be known respecting this MS. (Martialis a S. Joanne Baptista, Bibliotheca Scriptorum Carmelitarum Excalceatorum; Niceron, Hommes Illustres, xxix. 26-30.; Cosmas de Villiers a S. Stephano, Bibliotheca Carmelitana; Biographie Toulousaine.) J. W. J. ANGE DE SAINTE-ROSALIE, whose of Belgrade (Alba Græca) in the beginning of the seventeenth century. He is the author of -1. "Masoreth Habberith" ("The Delivery of the Covenant, Ezek. 28. 37."), in which seven hundred "Masoroth," or marginal notes to the Bible by the ancient Rabbis are explained in alphabetical order, and illustrated from the Talmud and other Jewish authorities. This work was printed at Cracow by Aaron ben Isaac Prostitz, A. M. 5379 (A. D. 1619), in small folio. 2. "Masoreth Habberith Haggadol" ("The Delivery of the Great Covenant "), which is on the same subject as the first named work, and in which sixteen hundred and fifty of the Masoretic notes are explained according to the order of the books of the Bible. The work is divided into two parts, of which the first embraces the Pentateuch only, and the other the prophetical books, together with the five Megilloth. It was printed in Mantua at the office of R. Judah ben Samuel, A. M. 5382 (A. D. 1622), in folio. De Rossi calls them interesting works. The author died at Sapheth in Galilee, in the early part of the same century. (Wolfius, Biblioth. Hebr. i. 745. iii. 667.; Bartoloccius, Biblioth. Mag. Rabb. iv. 15.; De Rossi, Dizion. Storic. degl. Autor. Ebr. i. 53.) C. P. H. A'NGELA OF BRE'SCIA, or A'NGELA MERI'CI, foundress of the order of Ursulines, was born at Desenzano, on the lake of Garda, in 1511, of parents who, according to some accounts, were noble, according to others, poor artizans. She was early left to the care of an uncle, who permitted her and an elder sister to follow the bent of their inclinations, which led them to a life of constant prayer and mortification. Not satisfied with the austerities which they practised, they resolved to flee from the world, and seek a hermitage; a plan which they would have carried into effect had not their uncle pursued and brought them back. Her sister dying soon after, Angela entered the order of Franciscans, and, in obedience to an impulse felt within her, made a pilgrimage to the Holy Land. On her return, instigated, as the Jesuits tell us, by celestial visions, she founded a new order of nuns, at Brescia, in 1537, and, though only twenty-six years of age, she was elected the first superior. It would have been called by her own name, but for her suggestion that it should be placed under the patronage of St. Ursula. According to the original statutes, the nuns were not to be secluded from the world, but to remain with their parents, and occupy themselves with visiting the sick and instructing the young; but provision was made that this rule might be altered in case of necessity. This was soon done, and the Ursulines quickly became regular cloistered nuns. The new order flourished so much, that in less than a hundred years after its foundation there were no less than three hundred and fifty convents in France alone, where, indeed, the Ursulines were far more popular than in Italy. Angela of Brescia died three years only after she had founded the order, on the 21st March, 1540. (Helyot, Histoire des Ordres Monastiques, iv. 150-154.; D'Emillianne, Short History of Monastical Orders, p. 247–249. ; Moreri, Grand Dict. Hist. (edit. Drouet), i. 46.) J. W. ANGELERIO. [ANGELIERI.] A'NGELI, the family of the, was descended from Constantine Angelus, of Philadelphia, in Asia Minor. We know little about Constantine, but he must have belonged to a distinguished and noble family because the Emperor Alexis I. Comnenus gave him his daughter Theodora in marriage. Three emperors of Constantinople, several nominal emperors or despots of Thessalonica, one empress of Germany, and several other empresses and queens were of the house of the Angeli. A/NGELI or D'ANGELI. There have been several Italian artists of this name; of some of the more obscure, however, comparatively little is known. The name is sometimes written d'Angelo and de Angelis, but | the latter is probably originally merely a latinized form of d'Angeli, although there are two or more artists whose name is written only in the last form, which is likewise the case with the second form d'Angelo. [ANGELO, ANGELIS.] FILIPPO D'ANGELI, called FILIPPO NAPOLITANO, a clever landscape and battle painter, was born at Rome, according to Baglione, towards the end of the sixteenth century, but was called Napolitano from the circumstance of his being brought up at Naples, whither he was taken by his father when he was very young. He is, according to Heineken, the same person as Teodoro Filippo di Liagno, who executed a set of twelve or thirteen etchings of military costume, to which he put his name in full. Filippo was instructed in painting by his father, who, says Baglione, was painter to Sixtus V., but he does not mention his name; he was in the employment of the Cardinal Evangelista Pallotta at Naples. Filippo remained at Naples until his father's death, when he returned to Rome; and, after distinguishing himself by some excellent landscapes he painted of Tivoli and the neighbourhood of Rome, and some frescoes in the former Palazzo Bentivogli on Monte Cavallo, he visited Florence, where he remained some years, much noticed by the Duke Cosimo II. He was considered at Florence the best landscape painter of his time, and he was one of the first painters who made landscape a principal study. His landscapes are highly finished, the aërial perspective is well expressed, and he generally embellished them with many small well-executed figures. His battle-pieces are also carefully painted, but his pictures are scarce. He died in Rome, according to Baglione, in the prime of life, (4.) Manuel, called Emperor of Thessalonica. (4.) Anna, married Guillaume de Villehardouin, prince of Achaia and the Morea. (5.) Michael, bastard, despot of Epirus. Michael or Manuel, a bastard, despot of Epirus and Etolia, died about 1267. (5.) Helena, married Manfred, king of Sicily. W. P. during the pontificate of Urban VIII. (1623 -1644). In Pilkington's Dictionary of Painters, he is said to have been instructed by a Flemish battle and landscape painter, nicknamed Mozzo by the Italians [ZEKERBETILN, VINCENZ], and to have died in Rome, in 1640, aged forty. It is very doubtful if the subject of this notice was the same person as Filippo di Liagno or Felipe de Liaño, who was, according to Palomino and Bermudez, a native of Madrid, and died there in 1625 at an advanced age. Liaño was distinguished as a portrait painter in small, and was called el pequeño Ticiano, or the little Titian: it is probable that he spent some time in Italy. [LIAÑO.] The portrait of Cardinal Francisco Ximenes, engraved in 1604, and marked P. Angelus pinx., is, according to Heineken, also by Filippo d'Angeli. His portrait is in the Florentine collection of painters' portraits. He GIULIO CE'SARE ANGELI, an historical painter, was born at Perugia about 1570. was the scholar of Annibal Caracci, but he painted little in the style of the Bolognese painters: his drawing, especially of the naked figure, was inferior; his draperies were in a somewhat better style; but he excelled in imagination and in colouring. He executed many works in his native place, Perugia, some of which were extensive: the frescoes of the Oratorio di Sant' Agostino are considered his best. Stefano Amadei and Cesare Franchi were his scholars. He died about 1630. GIUSEPPE ANGELI, a Venetian painter, born about 1715, was the scholar of Piazzetta, and a successful imitator of his style. He painted cabinet pictures, and some altarpieces; there are several of the latter at Venice and Padua. His heads have considerable expression, and his extremities are well drawn. He died at an advanced age at the end of the eighteenth century. There were also a Giovanni, a Jacopo Pieri, a Niccolo, and a Secondo d'Angeli; all apparently of different families, but little more is known of them than that they practised either as painters or engravers. GIOVANNI Was a painter who lived about the end of the seventeenth or the beginning of the eighteenth century. Some of his pieces have been engraved. R. Dupuis, B. Baron, and Du Bosc engraved three prints after him from pictures illustrating the life of Charles I. of England. One of the prints after him is marked, Joh. de Angelis pinx. JACOPO PIERI was a sculptor and architect of Siena, who lived in the beginning of the fifteenth century. NICCOLO was an engraver of Florence, and lived about the middle of the seventeenth century: he was the pupil of Remigio Cantagallina. SECONDO was an engraver of Naples, and was one of those selected to engrave the paintings of Herculaneum, published in Naples in 1757, 1760, and 1762. (Baglione, Vite de' Pittori, &c.; Pascoli, Vite de' Pittori, &c.; Zanetti, Della Pittura Veneziana, &c.; Lanzi, Storia Pittorica, &c.; Heineken, Dictionnaire des Artistes, &c.; Bermudez, Diccionario Historico, &c.; Brulliot, Dictionnaire des Monogrammes, &c.) R. N. W. A'NGELI, BONAVENTURA, an Italian writer, was born at Ferrara, of an old and respectable family, probably about the commencement of the second quarter of the sixteenth century. In 1552 he delivered lectures on civil law; and he afterwards, in conjunction with his friend Gianbatista Pigna, founded an academy, which met at Pigna's house, for the cultivation of polite literature, under the name of the Parthian Academy. He was for some time in the employment of the dukes of Ferrara; but in or about 1576 he was compelled to quit that city. Baruffaldi asserts that it was for heresy, adding that he had fallen under the notice of the Inquisition, and had retracted his errors: but Barotti throws very reasonable doubt on the statement, by pointing out that if he had retracted his heresy he could have no motive to leave Ferrara; and that if he still retained it, he would have been obliged in those times to carry it beyond the Alps, instead of going, as he is found to have done, to Ravenna, Rovigo, Parma, and other places in the vicinity of Ferrara. He states himself, that when he was forced to "wander about here and there," he proposed to himself, "in order not to lose his time altogether, to survey and describe the sources of all the rivers in Italy, their courses, and into what seas or larger rivers they fall." When in pursuance of this design he visited Parma, he was solicited by some friends to lay aside his main work for a while, and undertake a history of that city. He boasts in his preface, from which the previous quotations have been made, that the execution of this task occupied him only six months; but, there is ample proof, from the bulk of the work itself, as well as from other circumstances, that it occupied him several years. Nothing is known of him after the publication of this book in the year 1591, and it is probable that he did not long survive it. There can be no doubt that he saw it through the press, and the statement, therefore, that he died in 1576, which was made by Baruffaldi, and adopted by the generally accurate Mazzuchelli, is unfounded. - 5. The works of Angeli are various, but all display much ability: the following are the principal,--1. "Commentariolus in Titulos de Personalibus Servitutibus in Institutionibus," Ferrara, 1552, 8vo.; a treatise on the portions of the Institutes relating to personal servitudes, consisting of an extract from his lectures on that subject, and dedicated to the Cardinal Ippolito d'Este. 2. "De variis ac diversis Jurisconsultorum Nominibus Privilegiisque, ex Legislatorum Commentariis excerptis, Epistola," 4to.; without mention of date or place. 3. "De Die Paradoxum," Modena, 8vo.; without date, an essay on the natural and artificial day, as far as they are connected with legal questions. 4. "De non sepeliendis Mortuis penes Aram," Ferrara, 1565, 8vo.; a treatise "against burying the dead near the altar," which Ginguené in the Biographie Universelle, by the omission of the last two words, has converted into a treatise "against burying the dead.". "Tractatus de Vertigine et Scotomia," Modena, 4to.; without date, a short treatise in twenty pages, on giddiness and dizziness. In an address to the reader by Bono, a celebrated physician of the time, he explains that the reason why an eminent jurisconsult has written so learnedly on a medical subject, is that he unhappily knows the disease by long experience. 6. Gli Ordini e i Modi osservati da' Sommi Pontefici nel donare lo Stocco, &c.," Ferrara, 1557. "The Ceremonies observed by the Popes in giving the Sword and Hat," which they were in the habit of presenting to champions of the church. 7. "Discorso intorno l'Origine de' Cardinali," Ferrara, 1565, 8vo. "A Discourse on the Origin of Cardinals." 8. A short legal treatise, "Continuationum quibus in explicandis Juris Articulis utuntur Interpretes," Modena; without date. 9. “La Descrizione del Po tratta da' Comentarj de Fiumi di Bonaventura Arcangeli Ferrarese," Padua, 1578, 4to. This description of the Po, though it bears the name of Arcangeli, is conjectured, with good reason, by Affò and Barotti, to be the work of Angeli. Affo speaks highly of the merits of the work. 10. "Annotazioni e Dichiarazioni alla Gierusalemme Liberata." These remarks on the 66 Jerusalem Delivered" of Tasso, which were printed with an edition of the poem by Viotti, at Parma, in 1581, 4to., are anonymous, but are attributed by Affò to the pen of Angeli. It would have confirmed his conjecture had |