extending in the form of a crescent, for upwards of 50 leagues in the neighborhood of the Great Bahama bank, and amongst the Bahamas; in N. lat. 24° to 25° 30, and W. lon. 77° to 78° 20. The passages through them are dangerous. Attempts have been made to colonize the principal Andros island. In 1788, 200 inhabitants, including slaves, were settled there. It has the privilege of sending one member to the house of assembly of the Bahamas. The approach to it is very difficult, for various reasons.

Androscoggin, or AMERISCOGGIN; a river which forms the outlet of Umbagog lake, and has the first part of its course in the eastern part of New Hampshire. After entering the state of Maine, it flows first in an easterly, and afterwards in a southerly direction, and joins the Kennebec at Merry-meeting bay, 6 miles above Bath, and 18 miles above the entrance of the river into the ocean. Its whole course is about 150 miles in length.

ANELLO, Thomas. (See Masaniello.) ANEMOMETER; an instrument contrived to measure the strength and velocity of the wind.

ANEMONE, Wind-flower, in botany; a genus of the polygamia order, and polyandria class, ranking, in the natural method, under the 26th order, multisiliqua. It has its name from the Greek avepos, (the wind), because it is supposed not to open unless the wind blows. Linnæus enumerates 21 species: those valuable on account of their beauty are the following: 1, anemone apennina, a native of Britain, growing in the woods; 2, anemone coronaria; 3, anemone hortensis; both natives of the Levant, particularly of the Archipelago islands, where the borders of the fields are covered with them; 4, anemone nemorosa, growing wild in the woods, in many parts of Britain, where it flowers in April and May. Prof. Candole (De Cand. Syst. vol. i. 188) enumerates 45 species of anemone.

ANEMOSCOPE; every contrivance which indicates the direction of the wind. The vane upon towers and roofs is the simplest of all anemoscopes. There are

also some, where the vane turns a moveable spindle, which descends through the roof to the chamber where the observation is to be made. On the ceiling of this apartment a compass-card is fixed, and, whilst the wind turns the vane together with the spindle, an index, fixed below, points out the direction of the wind on the card. Some are so made as, even in the absence of the observer, to note down

the changes of the wind. Among the most perfect of this kind, is that of prof. Moscati, and of the cav. Marsilio Landriani.

ANEURISM; the swelling of an artery, or the dilatation and expansion of some part of an artery. This is the true aneurism. There is also a spurious kind of aneurism, when the rupture or puncture of an artery is followed by an extravasation of blood in the cellular membrane. If the external membrane of the artery is injured, and the internal membrane protrudes through, and forms a sac, it is called mixed aneurism. Lastly, there is the varicose aneurism, the tumor of the artery, when, in bleeding, the vein has been entirely cut through, and at the same time the upper side of an artery beneath has been perforated, so that its blood is pressed into the vein. The genuine aneurisms arise partly from the too violent motion of the blood, partly from a preternatural debility of the membranes of the artery, which is sometimes constitutional. They are, therefore, more frequent in the great branches of the arteries; in particular, in the vicinity of the heart, in the arch of the aorta, and in the extremities, for instance, in the ham and at the ribs, where the arteries are exposed to frequent injuries by stretching, violent bodily exertions, thrusts, falls and contusions. They may, however, be occasioned also, especially the internal ones, by diseases, violent ebullitions of the blood, by the use of ardent spirits, by vehement passions and emotions, particularly by anger: in such cases, the arteries may be ruptured, and sudden death produced. The external aneurisms are either healed by continued pressure on the swelling, or by an operation, in which the artery is laid bare, and tied above the swelling, so as to prevent the flow of the blood into the sac of the aneurism, which contracts by degrees. Sometimes the ligature is applied both above and below the aneurism.

ANFOSSI, Pasquale, was born at Naples, in 1729, played on the violin in the music schools of Naples, and studied composition under Sacchini and Piccini. The latter had a great friendship for him, and procured him, in 1771, his first employment, in the theatre delle dame at Rome. Though he met with no success, Piccini procured him, in the following year, a second engagement, in which he was also unsuccessful. In a third engagement, the year afterwards, A. was more fortunate. The Persecuted Unknown was performed, in

1773, with great applause, as were also La Finta Giardiniera and Il Geloso di Cimento some time afterwards. On the other hand, the Olimpiade, in 1776, entirely failed, and the mortification of the author, on this occasion, induced him to leave Rome. He travelled through Italy, and, about 1780, went to France. He performed in the royal academy the Persecuted Unknown; but this lovely and delicate music did not meet with the reception which it deserved. From France A. went to London, where, in 1783, he was director of music at the Italian theatre. In 1787, he returned to Rome, where he brought out several pieces, the success of which made him forget his disappointments, and gained him a reputation which he enjoyed until his death, in 1795. A. frequently reminds us of Sacchini and Piccini, after whom he formed his style; but his taste, expression and style of progression and resolution are extraordinary. Several of his finales are models in their kind. His fertility proves that he composed with ease. Of his works, we may also mention the Avaro, Il Curioso Indiscreto and IViaggiatori Felici, which rank among the best comic operas. He has also composed several oratorios and psalms, written mostly by Metastasio.

ANGEL (from the Greek ȧyyɛλos, a messenger). Under the articles Demon and Demonology is shown in what way the idea of angels was introduced into Christianity; here we shall only explain how this idea was further developed. Under the name of angels is understood a kind of good spirits, having a near connexion and communication with men. In the Jewish theology, they were divided into different classes and ranks. These have been most accurately described by the author of the Heavenly Hierarchy, ascribed to Dionysius the Areopagite. He forms them into three classes, each containing as many subdivisions. According to the majority of writers, they were created long before the visible world; according to others, at the same time as the heaven and earth, when God commanded the light to be, and his spirit moved over the waters. Their office is to serve the Deity, whose agents they are in effecting his good purposes, as the tutelary spirits of whole nations and kingdoms, as the heralds of his commands, as the guardians of particular individuals, and the directors of particular events. They were supposed to be spirits with ethereal bodies. This conception of them was established

as a doctrine of the church by the council of Nice (in 787), but is at variance with the decision of the Lateran council of 1215, which makes them immaterial beings. Those who regard the body merely as an incumbrance, or prison of the soul, and conceive a very exalted idea of pure spirits, hold angels to be such spirits, and explain their visible appearance by supposing that they have the power of assuming at will bodily forms and a human shape. Those who consider it no imperfection for a spirit to exist in a body, maintain that angels have bodies. As finite beings, they must have some place where they reside. The ancients easily found a habitation for them in their heaven, which was conceived to be a vast azure hall, where God dwelt with his angels; but we, who have very different ideas of heaven and the universe, can only suppose that, if they still operate on human things, they dwell invisibly with and about us. As to their names, the Catholic church receives only three as sanctioned by the Scriptures, Michael, Gabriel and Raphael. Among the heresies of Aldebert, condemned by a Catholic council, at Rome, under pope Zachary, 704, he was accused of invoking angels by unknown names, such as Uriel, Raguel, Simiel, &c. It was expressly declared that these were not names of angels, but of evil spirits. The later Catholics, however, have not changed their views in this respect, and the Catholic Sonnenberg has, after the example of Milton and Klopstock, not only mentioned other angels, but invented names for them. Swedenborg gives in his works a classification and detailed description of the angels. It is known that his followers believe in the constant influence of angels and the spirits of the deceased.

ANGEL; a gold coin formerly current in England, so named from having the representation of an angel upon it. It weighed four pennyweights, and was twenty-three carats and a half fine. It had different values in different reigns; but is now only an imaginary sum, or money of account, implying 10 shillings.

ANGELO BUONAROTTI, Michael; of the ancient family of the counts of Canosa; born, 1474, at Caprese or Chiusi; one of the most distinguished names in the history of modern art, eminent alike in painting, sculpture and architecture, and, withal, no mean poet. He was also an expert fencer. A. was one of those favorites of nature, who combine in their single persons the excellences of many

highly-gifted men. Domenico Ghirlandaio was his first master in the art of drawing. Before he had been with him two years, in the academy of arts established by Lorenzo de' Medici, he studied statuary under Bertoldo, and, in his 16th year, copied the head of a satyr in marble, to the admiration of all connoisseurs. He attracted no less attention as a painter, and received the honorable commission (together with the great Leonardo da Vinci) of decorating the senate-hall at Florence with historical designs. For this purpose, he sketched that renowned, though not completely preserved cartoon, which represents a scene from the Pisan war, and is praised by critics as one of his most perfect creations. Meanwhile, pope Julius II had invited him to Rome, and intrusted him with the charge of erecting his sepulchral monument. Twice this labor was interrupted-once by the offended pride of A., and then by the envy of contemporary artists. Bramante and Juliano da San Gallo, in particular, persuaded the pope to have the dome of the Sistine chapel painted by Michael A. Knowing that he had not yet attempted any thing in fresco, they hoped that the imperfect execution of this task would alienate the favor of the pope from him. A. declined the commission, but the pope would not be refused, and, in the short space of 20 months, the artist finished the work, which was admired by all connoisseurs, and of which Fernow says rightly, that it displays, perhaps, more than any other of his productions, all the sublimity of his original genius. The cappella Sistina is certainly the grandest ensemble of art. Its perfection is owing chiefly to Michael Angelo's divine paintings. (See Sistine Chapel.) A. was about to proceed with the monument of Julius, when this pope died. His successor, Leo, sent A. to Florence to erect the front of the Laurentian library. Leo, however, shortly after died, and his successor, Adrian VI, employed A. to make the statues for the monument of Julius; particularly the renowned statue of Moses, and the Christ, which was afterwards placed at Rome, in the church della Minerva. Clement VII, who next ascended the pontifical chair, recalled A. to Rome, and charged him with the finishing of the new sacristy and the Laurentian library at Florence. In the first, the monuments of the Medici are by him; e. g., the figures of Day and Night. Tumultuous times followed, after the lapse of which, he was employed to paint the Last Judgment in the Sistine chapel.

The artist, now 60 years old, unwillingly commenced a work which might endanger his fame. Naturally inclined to deep and earnest thought; preferring the sublime conceptions of Dante to all other poetry; having, by a constant study of anatomy, investigated the most secret mechanism of the muscles, and conscious of his own power, he endeavored, in this work, to strike out a new path, and to surpass his predecessors, particularly Luca Signoretti, by a display of terrible power. The picture is grand, nay, gigantic, like the mind which created it. It represents Christ in the act of judging, or, rather, at the moment of condemning. Martyrs are seen, who show to the Judge of the living and dead the instruments of their torture; souls ascend to the choirs of angels hovering above; the condemned strive to break loose from the grasp of the devils; there the evil spirits burst into shouts of triumph at the sight of their prey; the lost, who are dragged down, endeavor to cling to the good, who remain in Christ's kingdom; the gulf of eternal damnation is seen opening; Jesus Christ and his mother are seen surrounded by the apostles, who place a crown on his head, and by a multitude of saints, while angels above carry in triumph the symbols of his passion; and, lower down, another company of angels sound the trumpets intended to awaken the dead from their tombs, and call them to judgment. All this, and a vast deal more, is executed in the awful style of Dante. With these scenes of fear and despair, of judgment and of heavenly beatitude, a wall of great height and breadth is filled, and every where is displayed the most profound study, the richest experience, and the lofty spirit of a master. The effect of this picture resembles that of the sublimest passages of Dante, particularly in connexion with the large images of the prophets, who, like warning and stern heralds of the last judgment, look down from the ceiling upon the spectator, resembling beings of another world, rather than images made by the hand of man. Whilst this picture of the Last Judgment shows the human figure in all its attitudes and foreshortenings, and gives us the expression of astonishment, of pain, of despair, through all their degrees, it may be considered as an inexhaustible treasure for the study of the arts. last considerable works in painting were two large pictures the Conversion of St. Paul, and the Crucifixion of St. Peter, in the Pauline chapel. In sculpture, he

A.'s

246

executed the Descent of Christ from the Cross, four figures of one piece of marble. It is reported of his Cupid in marble, that it was a more perfect copy of another Cupid, which he had buried in the ground, after having broken off one of its arms, in order that it might pass for an antique. This perfect Cupid is as large as life. A's statue of Bacchus was thought, by Raphael, to possess equal perfection with the masterpieces of Phidias and Praxiteles. As late as 1546, A. was obliged to undertake the continuation of the building of St. Peter's. He corrected its plan, for which he chose the form of the Grecian cross, and reduced to order the confusion occasioned by the various plans which had been successively pursued in the course of its construction. But he did not live long enough to see his plan executed, in which many alterations were made after his death. Besides this, he undertook the building of the Campidoglio (Capitol) of the Farnese palace, and of many other edifices. His style in architecture is distinguished by grandeur and boldness, and, in his ornaments, the untamed character of his imagination frequently appears, preferring the uncommon to the simple and elegant. His poems, which he considered merely as pastimes, contain, likewise, convincing proofs of his great genius. They are published in several collections, but have also appeared singly. One of the greatest historians of our time has suggested, that a king of Italy, such as Machiavelli wished him, and every reflecting Italian must wish him, in order to unite that unhappy country, ought to be a man like Michael Angelo ardent, severe, firm and bold. Michael A., though of a lofty spirit, was not haughty; he is said to have been in the habit of giving models for the images of saints to the engravers in wood, and the dealers in pictures and casts. His prose works, consisting of lectures, speeches, ciccolate, that is, humorous academical discourses, are to be found in the collection of the Prose fiorentine, and his letters in Bottari's Lettere pittoriche. (See the Vita di Michelangelo B., scritta da Ascanio Condivi, suo Discepolo; Rome, 1553, 4; Florence, 1746, fol., with addit.; the last edition, Pisa, 1823, with comments by the cav. de Rossi.)

ANGELONI, Luigi, count, from Frosinone, lived at Paris respected as a scholar, where he published, in 1818, in 2 vols., Dell' Italia, uscente del Settembre del 1818. Ragionamenti IV, dedicati alla Italica Nazione. His pamphlet, published in May,

1814, in favor of the union of Italy, was favorably received by the king of Prussia, whilst, in Milan, the bookseller Stella was arrested for selling it. He displays a dislike, not only towards Austria, but towards every foreign government of his native country. This representation of its former and present civil, social and intellectual condition is very interesting. The account of the disappointment of the Lombard embassy, sent to the allied sove reigns, at Paris, 1814, to obtain the prom ised independence, is entirely new. Lord Castlereagh called the promises, which had been made to the Italians in the earlier manifestos, opere d' imbecillità.

ANGERSTEIN, John Julius, was born at St. Petersburg in 1735, and went to England under the patronage of the late Andrew Thompson, with whom he con tinued in partnership upwards of 50 years. A. first proposed a reward of 2000l. from the fund at Lloyd's to the inventor of the life-boats. His celebrated collection of paintings has been purchased since his death by the English government, at the expense of 60,000l., as the nucleus of a national gallery. Mr. A. died at Woodlands, Blackheath, January 22, 1822, aged 91.

ANGERSTEIN GALLERY. (See National Gallery.)

ANGLE; the inclination of two lines: 1, of two straight lines. Angles are measured by arcs of a circle, the centre of which is the point where both the sides of the angle meet, the vertex, as it is called in geometry. Every circle, large or small, is divided into 360 degrees, each degree into 60 minutes, each minute into 60 seconds. It is, therefore, clear, that the size of the angle has nothing to do with the length of the lines, because only their inclination is measured. An angle of 6 degrees, 2 minutes and 3 seconds is written thus: 6° 23". Angles are divided into right angles, equal to 90°, four of which are equal to the whole circle; obtuse angles, those greater than 90°; and acute angles, those which are less. 2. There are, also, spherical angles and solid angles; the former formed by arcs, the latter by planes.-Whole sciences are based on the theory of angles, e. g., trigonometry. The calculations of the astronomer, and the measuring of distant objects, depend on the science of triangles, which, in fact, is nothing else but the science of angles. The ancients were acquainted with the theory of angles. In fact, geometry, and, one might almost say, mathematics began with the science of angles.

ANGLES; a German nation, which resided in what is now the dukedom of Magdeburg, in Prussia, near the Elbe, and, probably, succeeded to the former seat of the Lombards, when these latter had driven the Cherusci from the northern half of their country. As they never approached the Rhine and the Roman frontiers, we do not find their name mentioned by the Roman authors, who comprehended them, with many others, under the general name of Chauci and Saxons, until the conquest of Britain made them better known as a separate nation. In the 5th century, they joined their powerful northern neighbors, the Saxons, and, under the name of Anglo-Saxons, conquered the country now called England. (See Great Britain.) A part of them remained near the Danish peninsula, where, to the present day, a small tract of land, on the eastern coast of the duchy of Sleswic, bears the name Angeln.

ANGLESEA, OF ANGLESEY (ancient Mona); an island and county of North Wales, in the Irish sea, separated from the main land of Britain by a narrow strait called Menai, over which there has been lately erected a magnificent suspension bridge. (See Menai.) The island is 24 miles long and 17 broad, containing 4 markettowns and 74 parishes. Sq. miles, 402; population, 37,045. The soil is fertile; the chief products are grain and cattle. Of the former, about 100,000 bushels are exported in favorable seasons. It returns 2 members to parliament.

ANGLESEA (Henry William Paget, earl of Uxbridge), marquis of; British general of cavalry, who, after the battle of Waterloo, June 18, 1815, where he lost a leg, was created marquis of Anglesea, on account of the valor he displayed there. He served as a lieutenant-general under Wellington, in Portugal and Spain, where, under the name of Paget, he distinguished himself on several occasions by his skill and courage, and was wounded several times. On his return to England, in August, 1815, the citizens of Litchfield carried him, in triumph, to the town-hall, and presented him with a sword. The marquis has a seat in the British house of lords, and voted, in the trial of the queen, for the bill of condemnation. His unfortunate union with lady Charlotte Wellesley, sister-in-law of Wellington, whom he married after her separation from her husband, is known. He was made lord lieutenant of Ireland, Feb. 1828, and recalled in Jan. 1829. Great honors were paid him by the people of

Ireland on his departure. His successor is the duke of Northumberland.

ANGLING; the art of ensnaring fish with a hook, which has been previously baited with small fish, worms, flies, &c. Among no people has this art attracted so much attention, and nowhere have so many persons of all classes, both clerical and secular, resorted to angling as an amusement, as in England, whose literature is richer than that of any other country in works relating to this sport, both in prose and verse. A similar fond ness for angling exists in the U. States. In both countries, in England and North America, angling is followed by many sportsmen with a kind of passion. In England, it has been thought of sufficient importance to be protected by statute; and a series of acts, from the reign of Edward I to George III, exists, relating to angling and fishing. In the U. States of America, angling, like all other kinds of sport, is free to any body. Several English sportsmen, who have resided for a long period in the U. States, have assured us, that angling affords much better sport in the latter country, on account of its great number of rivers rich in fish, the perfect liberty with which the angler can prosecute his pleasure, and the small number of gentlemen who are at leisure to give their time to it. In this country, ladies do not partake so often in this amusement, as in England. It is said that angling came into repute in the latter country about the period of the reformation, when both the secular and regular clergy, being prohibited by the common law from the amusements of hunting, hawking and fowling, directed their attention to this recreation. The invention of printing aided in drawing attention to this subject, and made known its importance "to cause the helthe of your body, and specyally of your soul," as the first treatise concludes. Wynkin de Worde gave the world, in 1496, a small folio republication of the celebrated Book of St. Albans. It contained, for the first time, a curious tract, entitled the Treatyse of Fyshinge wyth an Angle, embellished with a wood-cut of the angler. This treatise is ascribed to dame Juliana Berners or Barnes, prioress of a nunnery near St. Alban's. "The angler," she observes, "atte the leest, hath his holsom walke and mery at his ease, a swete ayre of the swete sauoure of the meede floures that makyth him hungry; he hereth the melodyous armony of the fowlls, he seeth the yonge swannes, heerons, duckes, cotes