to Wales in consequence of the battle of Cattraeth. 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 cir- | cumstance 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 Archaiology," under the title of "Englynion 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.; Myyrian 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," Il Cavaliere per Amore." In 1784 he returned to Italy, and produced, first at and 66 stage. ANFOSSI. trova ; " and Anfossi was a ready writer, having pro- 15 Vixit ann. lxxx. Cælum extulit, cœlum abstulit, cœlum accipit. ANGARA NO, IL CONTE OTTA- R. N. W. ANGE, FRANÇOIS DE L', a good his 702 ANGE. torical painter, born at Annecy in Savoy in ANGE, ROCCA. [Rocca.] R. N. W. ANGE DE SAINT JOSEPH, a monk of This latter city having been 66 sica ex Idiomate Persico in Latinum conversa; Opus Missionariis, Mercatoribus, cæterisque Regionum Orientalium Lustratoribus necessarium. Accedunt in Fine Specimen notarum in Pharmacopoeam 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 "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." family name was François Raffard, was a friar 66 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). This instrument above the initials G. A. is found upon some prints of ancient edifices. Mariette, and Brulliot in his " 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 A'NGELI, R. MEIR BEN ABRAHAM NON PO 2. "Gazophylacium Linguæ Persarum, triplici Linguarum clavi Italicæ, Latina, Gallicæ, nec non specialibus Præceptis ejus), 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. 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 2. 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. ANGELI 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.] (4.) Manuel, called Emperor of Thessalonica. (4.) Anna, married Villehardouin, prince Guillaume de of Achaia and the (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 CESARE A'NGELI, an historical Fi-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 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. lippo 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. 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, He 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 |