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was of an illustrious family, being descended on the father’s side from Justin, nephew to Justinian emperor of Constantinople, and also from the dukes of Athens, Bohemia, and Corinth. His ancestors bad enjoyect very honourable posts in the kingdom of Naples, and had also been viceroys of Sicily, and generals. Some of them had filled very high employments in the republic of Florence, had been ambassadors to several powers of Europe, were related to all the princes of the Morea and adjacent islands, raised to the dignity orcardinal; and had erected several splendid Carthusian monasteries in Florence, Naples, &c. Our author, the son of Neri Acciaioli and Lena Strozzi, was born at Florence in 1428. His first preceptors were James Ammanati, afterwards cardinal of Pavia, and Leonard d'Arezzo. He afterwards studied Greek under Argyropilus, and became one of the first Greek scholars of his time. He was one of the celebrated literary parties at which Lorenzo de Me.lici presided. Excelling in rhetoric, philosophy, and mathematics, he would have attained a very high rank in the republic of letters, if his weak state of health, and the part he took in the affairs of his country, had not interrupted his studies. He filled several employments in the state, and gave universal satisfaction. In 1475 he was gonfalonier, or ensign of the republic, and died in 1478 at Milan, when on his way to Paris as ambassador from the Florentines. This circumstance was a subject of the sincerest grief to the Florentines, who well knew how to appreciate the virtues of their fellow-citizens, and omitted no opportunity of inciting the patriotism of the living, by the honours they bestowed on the memory of the dead. A sumptuous funeral was decreed to his remains, which were brought to Florence for that purpose. Lorenzo de Medici and three other eminent citizens were appointed curators of his children, and the daughters had considerable portions assigned them from the public treasury. The celebrated Angelo Politian wrote his epitaph, and Christopher Landino pronounced the funeral oration. His works are: 1. “Expositio super libros Ethicorum Aristotelis, in novam traductionem Argyropili,” Florence, 1478, fol. 2. “In Aristotelis libros octp Politicorum commentarii,” Venice, 1566, 8vo. 3. In the Latin translation of Plutarch, he translated the lives of Alcibiades and Demetrius, and added to the same collection those of Hannibal and Scipio from his own pen, with a life of Charlemagne. 4. “The Latin history of Florence, by Leonard d'Arezzo, translated into Italian,” Venice, 1473, fol. and often reprinted. He left some other works, orations, letters, and miscellanies, both in prose and verse, which have not been committed to the press.

, son to Marcellus, of the same family with the former Acciaioli, was a native of Florence, first educated to the bar, where he presided in quality of senator, but afterwards acquired a prodigious stock of general learning and science. He took a journey to Padua, and became so distinguished as a disputant in scholastic knowledge, that the Venetian nobility crowded to hear him. Nor did he acquire less reputation in Florence in 1565, where he disputed publicly for several days before a great concourse of learned men. He left only the following work, “Multa doctissimorum problematum monumenta, magno studio et ingenio elucubrata.” He is mentioned with great honour by Francis Bocchi, in his Elogia of the most celebrated Florentine writers.

, an eminent lawyer and historian of the fifteenth century, and the first of that ancient Tuscan family who acquired a name for literary talents, was born at Arezzo, in 1415. His father was Michel Accolti, a civilian of Florence, and his mother a daughter of Roselli of Arezzo, also a lawyer. After a classical education, he studied the civil law, and was made professor at Florence, where his opinions acquired him much popularity. The Florentines, after conferring on him the rights of citizenship, chose him in 1459 to be secretary of the republic, in the room of Poggius, which office he retained until his death in 1466. The account of his transactions in public affairs are preserved in four books, with a great collection of his letters to foreign princes, which evince his sagacity as a statesman, and his politeness as a writer. He married Laura Frederigi, the daughter of a lawyer and patrician of Florence, by whom he had a numerous family, of whom Bernard and Peter will be noticed hereafter. His memory is said to have been so retentive, that on one occasion, after hearing the Hungarian ambassador pronounce a Latin address to the magistrates of Florence, he repeated the whole word for word. His inclination for the Study of history made him relax in the profession of the law, and produced: 1. “De bello a Christianis contra Barbaros gesto, pro Christi sepulchre et Judaea recuperandis, libri quatuor,” Venice, 1532, 4to, and reprinted at Basle, Venice, and Florence, the latter edition with notes by Thomas Dempster, 1623, 4to, and at Groninguen, by Henry Hoffnider, 1731, 8vo. It was also translated into Italian, by Francis Baldelli, and printed at Venice, 1549, 8vo. Yves Duchat of Troyes in Champagne, translated it into French and Greek, and printed it at Paris, 1620, 8vo. This is a work of considerable historical credit, and in the succeeding century, served as a guide to TorquatoTasso, in his immortal poem, the Gerusalemme liberata. It was dedicated to Piero de Medici, and not to Cosmo, as Moreri asserts. Paulo Cortesi, a severe censor, allows that it is a work of great industry, and that it throws considerable light on a very difficult subject. A more recent critic objects to the purity of his style, and the length of the speeches he puts in the mouths of his principal personages. 2. “De praestantia virorum sui aevi,” Parma, 1689, or 1692, the tendency of which is to prove that the moderns are not inferior to the ancients. It appeared originally in the Bibliotheque of Magliabechi, and has been often reprinted since, particularly at Coburg, in 1735, in the first volume of John Gerard Meuschen’s “Vitae summorum dignitate et eruditione virorum.”

, a satirical poet of the same family with the preceding, was born at Naples, Sept. 3, 1644, and educated at the university of Pisa, where the celebrated Luca Terenzi was his tutor. He visited, when young, the different courts of Italy, and was beloved for his talents and accomplishments. He received from the duke Ferdinand Charles of Mantua, the title of marquis, and gentleman of his chamber. He was also member of the academy of Florence, of De la Crnsca, and many other learned societies. He succeeded the famous Redi as professor of the Tuscan language in the academy of Florence, and was likewise professor of chivalry in that of the nobles, in which science his lectures, which he illustrated with apposite passages from ancient and modern history, were highly esteemed. These were never printed, but manuscript copies are preserved in several of the libraries of Florence. His only prose work, a collection of religious pieces, was published at Florence, 1706, small 4to, under the title “Prose sacre.” His poetry consists of: 1. “Sonnets and other lyric pieces,” and among them, a collection of Odes or Canzoni, dedicated to Louis XIV, and magnificently printed at Florence, 1693. 2. Some “Dramas,” one of which “Le Gare dell' Amore etdelP Amicitia,” Florence, 1679, 12mo, is so rare as to be unnoticed by any historian of Italian literature. 3. “Five Satires,” on which his fame chiefly rests; very prolix, but written in an elegant style; and as to satire, just and temperate, except where he treats of the fair sex. He died at Florence, after a tedious illness, June 22, 1708.

, professor of the belles lettres, and chancellor of the republic of Florence, was born in 1464, He was a very accomplished scholar in the Greek and Latin languages. Varchi, in one of his lectures, pronounces him the most eloquent man of his time. He died in 1521, in consequence of a fall from his horse. In 1518, he published a Latin translation of Dioscorides “De Materia Medica,” with a commentary. About the end of it he mentions a treatise, “De mensuris, ponderibus, et coloribus,” which he had prepared for publication, but which has not yet appeared. Mazzuchelli speaks largely of him in his “Italian Writers;” and more copious notice is taken of him by the canon Baudini, in his. “Collectio Vetcrum Monumentorum.” The translation of Dioscorides, which he dedicated to pope Leo X. procured him so much reputation, that he was called the Dioscorides of Florence.

, the son of the preceding, was born in 1513, or, as some say, 1511, and died at Florence in 1579. In his youth, he carried arms in defence of the liberties of his country, and afterwards devoted his time to study. For thirty years he taught rhetoric in the university of Florence, and enjoyed the friendship of the most celebrated of his contemporaries, Annibal Caro, Varchi, Flaminio, and the cardinals Bembo and Contarini. His chief work, which forms a continuation of Guicciardini, is the history of his own time, entitled “Deir Istoria de' suoi tempi,” from 1536 to 1574. Florence, 1583, fol. This is a most scarce edition, and more valued than that of Venice, 1587, 3 vols. 4to. The abbé Lenglet du Fresnoy, Bayle, and particularly Thuanus, who has derived much assistance from this work, speak highly of his correctness as a historian. He had the best materials, and among others, some memoirs furnished by the grand duke of Tuscany, Cosmo I. who advised him to the undertaking. He is said to have written funeral orations on the grand duke, on Charles V. and the emperor Ferdinand; but we know only of his oration on the grand duchess, Jane of Austria, which was translated from Latin into Italian, and published at Florence in 1579, 4to. In 1567 he published “Lettera a Giorgio Vasari sopra gli antichi Pittori nominati da Plinio,” 4to. This letter, oa the ancient painters mentioned by Pliny, which is rather a treatise on painting, is inserted by Vasari in the second volume of his lives of the painters. Vasari speaks of him as an enlightened amateur of the fine arts, and one whose advice was of much importance to him when he was employed at Florence in the palace of the grand duke.

, son of the preceding, born in 1533, was so distinguished for his studies, as to obtain, when very young, the professorship of rhetoric which his father held in the university of Florence. So our authority; but there seems to be some mistake in this date, as he could not be very young when he succeeded his father as professor of rhetoric, if his father filled that chair for the space of thirty years. He was, however, a member of the academy of Florence, and published his father’s history. His own works are, 1. An Italian translation of “Demetrius Phalereus” on eloquence, which he left in manuscript, and which was not published until 1738, by Antony Francis Gori, who prefixed a long account of the life and writings of the translator; 2. Two Lectures on the “Education of the Florentine Nobility,” printed in the “Prose Fiorentine,” vol. IV. He also translated Plutarch’s Morals, not yet published, but much commended by Ammirato and others. There are two copies in the Laurentian library; Adrian died in 1604.

, a sculptor and architect of Florence, was born in 1460, and was first distinguished for the beauty of his inlaid work, which he applied to articles of furniture, and with which he ornamented the stalls in the choir of the church of St. Maria-Novelle. He also executed the carved wooden work on the organ of the same church, and on the altar of de la Nunziata. Having been led to the study of architecture, he came to Rome to devote his attention to it, but did not give up the practice of carving, and soon had a favourable opportunity to exercise both. When Leo X. travelled in Italy, all the cities through which he passed wished to receive him with honour, and Baccio gave designs for many of the triumphal arches ordered to be erected. On his return to his country, his workshop became a sort of academy to which amateurs, artists, and strangers resorted. Raphael, then very young, and Michael Angelo are said to have been of these parties. By this means Baccio acquired great reputation, and was employed on many splendid buildings in Florence. Conjointly with Cronaca, he executed the decorations of the grand saloon of the palace, and the beautiful staircase leading to it. But his best work is to be seen in the Bartolini palace and garden. Here he shewed the first specimen of square windows surmounted by pediments, and doors ornamented by columns, a mode which although followed generally since, was much ridiculed by his countrymen as an innovation. In other palaces he executed some beautiful ornaments in wood. He preserved his vigour and reputation to a great age, dying in 1543, in his eightythird year. He left three sons, one of whom, Giuliano, inherited his skill in architecture, but designed more than he executed.

, an eminent Italian poet, was born of a noble family at Florence, in 1475, and passed the early part of his life in habits of friendship with Bernardo and Cosimo Rucellai, Trissino, and other scholars who had devoted themselves more particularly to the study of classical literature. Of the satires and lyric poems of Alamanni, several were produced under the pontificate of LeoX. In the year 1516, he married Alessandra Serristori, a lady of great beauty, by whom he had a numerous offspring. The rank and talents of Alamanni recommended him to the notice and friendship of the cardinal Julio de Medici, who, during the latter part of the pontificate of Leo X. governed on the behalf of that pontiff the city of Florence. The rigid restrictions imposed by the cardinal on the inhabitants, by which they were, among other marks of subordination, prohibited from carrying arms under severe penalties, excited the indignation of many of the younger citizens of noble families, who could ill brook the loss of their independence; and among the rest, of Alamanni, who, forgetting the friend in the patriot, not only joined in a conspiracy against the cardinal, immediately after the death of Leo X. but is said to have undertaken to assassinate him with his own hand. His associates were Zanobio Buondelmonti, Jacopa da Diaceto, Antonio Brueioli, and several other persons of distinguished talents, who appear to have been desirous of restoring the ancient liberty of the republic, without sufficiently reflecting on the mode by which it was to be accomplished. The designs of the conspirators, however, were discovered, and Alamanni was under the necessity of saving himself by flight. After many adventures and vicissitudes, in the course of which he returned to Florence, and took an active part in the commotions that agitated his country, he finally withdrew to France, where he met with a kind and honourable reception from Francis I. who was a great admirer of Italian poetry, and not only conferred on him the order of St. Michael, but employed him in many important missions.

Alamanni left two sons, who shared in the good fortune due to his talents and reputation. Baptist was almoner to queen Catherine de Medicis, afterwards king’s counsellor, abbot of Belle-ville, bishop of Bazas, and afterwards of Macon; he died in 1581. Nicholas, the other son, was a knight of St. Michael, captain of the royal guards, and master of the palace. Two other persons of the name of Louis Alamanni, likewise natives of Florence, were distinguished in the republic of letters. One was a colonel in the French service, and in 1591 consul of the academy of Florence. Salvino Salvini speaks of him in “Fastes Consulaires.” The other lived about the same time, and was a member of the same academy. He wrote three Latin eclogues in the “Carmina illustrium Poetarum Italorum,” and a funeral oration in the collection of “Florentine Prose,” vol. IV. He was the grandson of Ludovico Alemanni, one of the five brothers of the celebrated poet.

, an Italian lawyer, the sort of Alberic Rosiati of Bergamo, one of the most learned men of his time, was born at Arezzo, near Florence, in the fourteenth century. He studied under the celebrated Baldi, and made a rapid progress in philosophy, law, history, &c. He afterwards became an advocate at Arezzo, but went to Florence in 1349. Here his learning, talents, and integrity, procured him one of those titles which were frequently bestowed at that time on men of celebrity. He was called doctor solids veritatis. By the republic of Florence he was entrusted to negociate several very important affairs, particularly with the Bolognese in 1558; and as the recompense of his services, he was ennobled. He died at Florence in 1376, leaving three sons; two eminent in, the church, and one as a lawyer. His works are principally “Commentaries on the Digest,” on “some books of the Civil Code,” and consultations, much praised by Bartholi. His father, mentioned above, wrote on the sixth book of the Decretals, a work much esteemed and often reprinted, and a Dictionary of Law, with other professional treatises.

, an eminent Italian artist, and one of the earliest scholars that appeared in the revival of letters, was of a noble and very ancient family at Florence, but was born at Venice in the end of the fourteenth, or beginning of the fifteenth century. Various authors have given 1398, 1400, and 1404, as the date of his birth. In his youth he was remarkable for his agility, strength, and skill in bodily exercises, and an unquenchable thirst of knowledge possessed him from his earliest years. In the learned languages he made a speedy and uncommon proficiency. At the age of twenty, he first distinguished himself by his Latin comedy entitled “Philodoxius,” copies of which he distributed among his friends, as the work of Lepidus, an ancient poet. The literati were completely deceived, and bestowed the highest applauses on a piece which they conceived to be a precious remnant of antiquity. It was written by him during the confinement of sickness, occasioned by too close an application to study, and appeared first about the year 1425, when the rage for ancient manuscripts was at its height, and Lepidus for a while took his rank with Plautus and Terence. Even in the following century, the younger Aldus Manutius having met with it in manuscript, and alike ignorant of its former appearance, and the purpose it was intended to serve, printed it at Lucca, 1588, as a precious remnant of antiquity. Alberti took orders afterwards in order to have leisure to prosecute his studies. In 1447 he was a canon of the metropolitan church of Florence, and abb of St. Savino, or of St. Ermete of Pisa. Although he became known to the world as a scholar, a painter, a sculptor, and an architect, it is to his works of architecture that he owes his principal fame. He may be regarded as one of the restorers of that art, of which he understood both the theory and practice, and which he improved by his labours as well as his writings. Succeeding to Brunelleschi, he introduced more graceful forms in the art; but some consider him notwithstanding as inferior to that celebrated architect. Alberti studied very carefully the remains of ancient architecture, which he measured himself at Rome and other parts of Italy, and has left many excellent specimens of his talents. At Florence, he completed the Pitti palace, and built that of Ruccellai, and the chapel of the same family in the church of St. Pancras; the facade of the church of Santa Maria Novella, and the choir of the church of Nunziata. Being invited to Rome by Nicholas V. he was employed on the aqueduct of PAqua Vergine, and to raise the fountain, of Trevi; but this having since been reconstructed by Clement XII. from the designs of Nicholas Salvi, no traces of Alberti’s work remain. At Mantua, he constructed several buildings, by order of Louis of Gonzaga, of which the most distinguished are the churches of St. Sebastian, and that of St. Andrew: the latter, from the grandeur and beauty of its proportions, is esteemed a model for ecclesiastical structures. But his principal work is generally acknowledged to be the church of St. Francis at Rimini.

, an ecclesiastic of Florence, and an able antiquary, flourished in the beginning of the sixteenth century. He published, 1. “De mirabilibus novae etveteris urbis Romae,” a work divided into three books, and dedicated to pope Julius II. Rome, 1505, 4to; reprinted 1510, 1515, 1519, and 1520; and although more able works have been published on the same subject since, this of Albertini still enjoys its reputation. 2. “Tractatus brevis de laudibus Florentias et Saonse,” written in 1509, and added to the third edition of the preceding. 3. In Italian, “Memoriale di molte Statue, e Picture sono mellinclita Cipta di Florentia per mano di Sculptori, et Pictori excellenti moderni, ed antiqui.” Florence, 1510, 4to.

was a native of Florence, and for some time a professor of law at Pisa. Oa his return to his own country, he involved himself in the prevailing political contests; and having taken a part in opposition to the house of Medici, he was banished, and deprived of all his property. Paul III. however, received him at Rome, and appointed him advocate of the treasury and apostolic chamber. He died in 1558, aged 58, leaving several works on jurisprudence, which are enumerated by Mazzuchelli. He was the father of Hypolitus Aldobrandini, who reached the papal chair, and assumed the name of Clement VIII.

, a native of Florence, who flourished in the fourteenth century, and died Sept. 30, 1327, was a physician of great eminence in his time, and practised principally at Sienna, whither the jealousy of his colleagues at Bologna, where he first studied, had obliged him to retire. He wrote notes on Avicenna and Galen, and on some parts of Hippocrates. The abbe Lami gives an article to his memory in his “Notices literaires,” published in 1748; and he is celebrated also in Lucques’s edition of the Eloges of illustrious Tuscans, vol. I.

, a very celebrated lithotomist, of Florence, was born Sept. 17, 1669, and died Sept. 24, 1713, of an accident while shooting, his piece having burst, which carried off his left hand. He applied himself chiefly to operations for the stone, which he frequently performed with great success, particularly in the case of one of his patients, pope Clement XI. He published “Lithotomia, overo del cavar la Pietra,” Firenza, 1707, fol. This discovers a great knowledge of the art he professed, and the cures recorded are undeniable proofs of his ability. His opinion, in this work, is that the stone is seldom or never formed in the bladder, but that it falls into it from the kidneys, or some neighbouring part, and that it grows there by several incrustations.

, an Italian poet of the fifteenth century, whose writings do not justify that honourable name, was according to Crescimbini, a native of Florence, his name Christopher; but on account of his merit, he received a poetic crown, and the surname of Aitissimo. Le Quadrio, however, thinks that this was his family name, s that his Christian name was Angel, and that he was a priest. He was one of the most admired improvisatori of his time, and his verses are said to have been often collected and published. He was living in 1514. Of his poems we have only a translation of the first book of the famous romance, “I Riali di Francia,” Venice, 1534, 4to, enough to prove that he was a very indifferent poet.

, a celebrated architect and sculptor, was born at Florence in 1511, and was at first the scholar of Baccio Bandinelli, and then of Sansovino at Venice; but on his return to his own country, he studied with much enthusiasm the sculptures of Michael Angelo in the chapel of St. Laurence. His first works are at Pisa; for Florence he executed a Leda, and about the same time, for Naples, the three figures, large as life, on the tomb of the poet Sannazarius. Meeting with some unpleasant circumstances here, he returned to Venice, and made the colossal Neptune, which is in St. Mark’s place. At Padua he made another colossal statue, of Hercules, which is still in the Montava palace, and has been engraved. He then went to Rome to study the antique, and pope Julius III. employed him in works of sculpture in the capitol. Some time after, in conjunction withVasari, he erected the tomb of cardinal de Monti, which added very considerably to his fame. Besides these, he executed a great number of works for Rome, Florence, and other places. The porticoes of the court of the palace Pitti are by him, as well as the bridge of the Trinity, one of the finest structures that have been raised since the revival of the arts, the facade of the Roman college, and the palace Rupsoli on the Corso. This architect composed a large work, entitled “La Cita,” comprising designs for all the public edifices necessary to a great city. This book, after having passed successively through several hands, was presented some time in the eighteenth century to prince Ferdinand of Tuscany, and it is now among the collection of designs in the gallery of Florence, after having been long inquired after, and supposed to be lost. After the death of his wife, he devoted the greater part of his wealth to pious purposes, and died himself in 1592. His wife, Laura Battiferri, an Italian lady of distinguished genius and learning, was the daughter of John. Antony Battiferri, and was born at Urbino in 1513. She spent her whole life in the study of philosophy and polite literature, and is esteemed one of the best Italian poets of the sixteenth century. The principal merit of her poems, “L'Opere Toscane,” 1560, consists in a noble elevation, their being filled with excellent morals, and their breathing a spirit of piety. The academy of Intronati, at Sienna, chose her one of their members. She died in November 1589, at seventy-six years of age.

Marcellus Marcini being chosen pope in 1555, under the name of Marcellus II. Ammirato, who knew that Nicolao Majorano, bishop of Molfetta, a city near Barri, had been formerly a friend of the pope’s, persuaded him to go to Rome, and congratulate him upon his election, with a view, by attending the bishop in his journey, to procure some place under the nephews of that pope; but, as they were preparing for this journey, the death of Marcellus put a stop to their intended scheme, and destroyed their hopes; upon which Ammirato retired to a country-seat of his father’s, where he applied himself closely to his studies. At last he was determined to return to Naples, in order to engage again in the study of the law, and to take his degrees in it; his relish for this profession was not in the least increased, but he thought the title he might procure would be of advantage to him. He had not, however, been six months at Naples, before he grew weary of it, and entered successively into the service of several noblemen as secretary. Upon his return to Lucca, he was appointed by this city to go and present a petition to pope Pius IV. in their favour, which office he discharged with success. Upon his return to Lucca, he was appointed by the city of Naples to settle there, and write the history of that kingdom; but the cold reception he met with from the governors who had sent for him, disgusted him so much, that he left the city with a resolution to return no more, and although they repented afterwards of their neglect of him, and used all possible means to bring him back, he continued inflexible. He then went to Rome, where he procured a great many friends; and, having travelled over part of Italy, visited Florence, where he resolved to settle, being engaged by the kind reception which the Grand Duke gave to men of letters. He was appointed to write the history of Florence, and received many instances of that prince’s bounty, which he increased after this publication, by presenting him with a canonry in the cathedral of Florence. This easy situation now gave him an opportunity of applying himself more vigorously to his studies, and writing the greatest part of his works. He died at Florence the 30th of January, 1601, in the 69th year of his age. His works are as follow: 1. “Arguments,” in Italian verse, of the cantos of Ariosto’s Orlando Furioso, which were first published in the edition of that poem at Venice, in 1548, in 4to. 2. “II Decalione dialogo del poeta,” Naples, 1560, 8vo. 3. “Istorie Florentine dopo la fondatione di Fierenze insino all' anno 1574,” printed at Florence, 1600, in 2 vols. folio. 4. “Discorsi sopra Cornelio Tacito,” Florence, 1598, 4to. 5. “Delle famiglie nobili Napolitane,” part I. at Florence, 1580, in folio; part II. at Florence, 1651, folio. 6. “Discorsi delle famiglie Paladina et PAntoglietta,” Florence, 1605, in 4to. 7. “Albero et storia della famiglia de conte Guidi, coll' agiunte de Scipione Ammirato Giovane,” Florence, 1640 and 1650. 8. “Delle famiglie Florentine,” Florence, 1615, folio. 9. “Vescovi de Fiesoli di Volterra, e d‘Arezzo, con l’aggiiinta di Scipione Ammirato il Giovane,” Florence, 1637, 4to. 10. “Opuscoli varii,” Florence, 1583, in 8vo. 11. “Rime varie,” printed in a collection of poems by different authors. Venice, 1553, in 8vo. 12. “Poesi Spirituali,” Venice, 1634, in 4to, 13. “Annotazioni sopra la seconde parte de Sonetti di Bernardino Rota fatti in morte di Porzia Capece sua moglia,” Naples, 1560, in 4to. He left a manuscript life of himself, which is said to have been deposited in the library of the hospital of St. Mary. He made his secretary, Dei Bianco, his heir, on condition of taking his name, who accordingly called himself Scipio Ammirato the younger. He was editor of some of his benefactor’s works, particularly of his history of Florence, a performance of great accuracy and credit.

, a peripatetic philosopher, of the fifteenth century, and a native of Trebizond, was at first in great esteem at the court of the emperor David his master, and signalized himself by writing in favour of the Greeks against the decisions of the council of Florence; but at last forfeited, by his apostacy, all the reputation he had gained. He was one of those who accompanied the emperor Davicl to Constantinople, whither that prince was carried by order of Mahomet II. after the reduction of Trebizond, in 1461, and there, seduced by the promises of the Sultan, he renounced the Christian religion, and embraced Mahometism, together with his children, one of which, under the name of Mehemet-Beg, translated many hooks of the Christians into Arabic, by the order of Mahomet II. That prince honoured Amyrutzes with considerable employments in the seraglio, and used sometimes to-discourse with him and his son about points of learning and religion. By the manner Allatius expresses himself, it would appear that this philosopher had borne the employ^ ment of protovestiarius in the court of the emperor of Trebizond, but this emperor was not the first prince that shewed a particular value for Amyrutzes, as he had been greatly esteemed at the court of Constantinople long before. He was one of the learned men, with whom the emperor John Paleologus advised about his journey into Italy, and he attended him in that journey. Of his death we haveno account, and Bayle seems to think there were two of the name.

, or more properly Andrea Pisano, an eminent sculptor and architect, was born at Pisa in 1270, at a time when Arnolfo di Lapo, John de Pisa, and others, following the designs of Cimabue and Giotto, had renounced the Gothic style, and were introducing those purer models, which promised a revolution in architecture, sculpture, and painting. Andrea, entering into their ideas, had some peculiar circumstances in his favour, as at that time his countrymen, who were powerful at sea, traded with Greece, and brought thence ancient statues, bas-reliefs, and valuable marbles, which they employed in the ornament or construction of their public edifices, particularly the cathedral and the Campo Santo. By studying these, Andrea acquired a portion of that taste which was afterwards so conspicuous in Donatelio, Brunelleschi, and Ghiberti. His first attempts were so favourably received, that he was invited to Florence to execute, from the designs of Giotto, the sculptures on the facade of St. Marie del Fiore, the most magnificent edifice of that time. He began with the statue of Boniface VIII. the protector of the Florentines, which he followed by those of St. Peter, St. Paul, and other saints. In 1586, when it was determined to repair this facade upon a more modern plan, these were all removed, and when that design was not approved of, they were put up in the church and in other places, and some were deposited in the Poggio imperiale, a country-house belonging to the grand dukes of Tuscany. There was also a Madona and two angels in the church of the Misericordia, which are said to have been executed by Andrea at the same time. On the death of Arnolfo di Lapo, the republic of Florence employed Andrea in all the great works constructing in their territories. As an engineer, he built the fortifications round Florence, and the strong castle of Scarperia. During more peaceable times, he employed himself in making figures in bronze; and the Florentines, who were ambitious of rivalling the magnificence of the ancients in their temples, employed him to execute the sculpture of the gates of the baptistery, from designs by Giotto. These gates were accordingly covered with basreliefs, representing the whole history of John the Baptist. The composition is excellent, and the attitudes of the figures natural and expressive, although with some degree of stiffness, but the minute parts are executed with great skill. These gates, which were begun in 1331, were finished, polished, and gilt in eight years, and at first were placed at the principal entrance, but they were afterwards removed to one of the side entrances, where they now are, and the admirable gates of Laurent Ghiberti substituted in their room. Andrea also executed in bronze the tabernacle of San Giovanni, the has reliefs, and statues belonging to the campanile of St. Marie del Fiore, and many others. At Venice, his works are, the sculpture oa the façade of the church of St. Mark; the model of the baptistery of Pistoia, executed in 1337; and the tomb of Cino d'Angibolgi; and he was employed in many fortifications by Gaultier de Brienne, duke of Athens, during his usurpation at Florence; but Andrea did not suffer by the duke’s disgrace in 1343; and the Florentines, who looked only to his merit, admitted him a citizen of Florence, where he died in 1345, and was buried in St. Marie del Fiore. His son Nino, also a sculptor of considerable note, erected a monument to his memory.

, or more properly Andrea Del Sarto, so called from his father’s trade, that of a tailor, but whose family name was Venucci, was born at Florence in 1488, and at first instructed in his art by Barile, a mean painter, with whom he spent three years, at the end of which Barile placed him with Peter Cosimo, then accounted one of the best painters in Italy. Under him, he made astonishing proficiency, and his abilities began to be acknowledged, but Cosimo' s morose temper obliged him to leave him, and seek instruction in the works of other artists. As he had, while with Cosimo, employed himself in designing after Vinci, Raphael, and Buonaroti, to whose works he had access at Florence, he persisted in the same practice, formed an admirable taste, and excelled his young rivals at home or abroad, in correctness, colouring, and knowledge of his art. Having contracted a friendship with Francesco Bigio, they determined to live together, and painted a great many works in the churches and convents of Florence, jointly, but Andrea’s reputation began to predominate, and seemed fixed by his representation of the preaching of St. John, executed for the Carmelites at Florence. Some time after this, he went to Rome to study the models of art in that city, but it is thought he did not remain there long enough to reap all the benefit which he might. The excellence of his pencil, and his power of imitation, were remarkably displayed in the copy he made of Leo X. between cardinal Medici and cardinal Rom, the head and hands by Raphael, and the draperies by Julio Romano. The imitation was so exact, that Julio, after the most minute inspection, and being told that it was a copy, could not distinguish it from the original. His superior talents might have raised him to opulence, if his imprudence had not reduced him to shame and poverty. The French king, Francis I. who was extremely partial to his works, invited him to his court, defrayed the expences of his journey, and made him many valuable presents. For a portrait, only, of the Dauphin, an infant, he received tjjree hundred crowns of gold, and he painted many other pictures for the court and nobility, for which he was liberally rewarded. While employed on a picture of St. Jerome, for the queen dowager, he received letters from his wife, soliciting his return to Florence, and, to indulge her, of whom he was excessively fond, he asked, and obtained a few months absence. It was on this occasion that the king, confiding in his integrity, made him several princely presents, and intrusted him with large sums of money to purchase statues, paintings, &c.; but Andrea instead of executing his commission, squandered away not only his own, but the money intrusted to him, became poor, and despised, and at last died of the plague, in his forty-second year, abandoned by his wife, and by all those friends who had partaken of his extravagance. His principal works were at Florence, but there were formerly specimens in many of the palaces and churches of Italy and France. All the biographers and critics of painters, except perhaps Baldinucci, have been lavish in their praises of Andrea. Mr. Fuseli, in his much improved edition of Pilkington, observes, that, on comparing the merits of his works, they seem to have obtained their full share of justice. As a Tuscan, says that judicious critic, the suavity of his tone, and facility of practice, contrast more strikingly with the general austerity and elaborate pedantry of that school, and gain-him greater praise than they would, had he been a Bolognese or Lombard. It cannot, however, be denied, that his sweetness sometimes borders on insipidity; the modesty, or rather pusillanimity of his character, checked the full exertion of his powers; his faults are of the negative kind, and defects rather than, blemishes. He had no notions of nature beyond the model, and concentrated all female beauty in his Lucrezia (his wife), and if it be true that he sacrificed his fortune and Francis I. to her charms, she must at least have equalled in form and feature his celebrated Madonna del Sacco; hence it was not unnatural that the proportions of Albert Durer should attract him more than those of Michael Angelo. His design and his conceptions, which seldom rose above the sphere of common or domestic life, kept pace with each other; here his observation was acute, and his ear open to every whisper of social intercourse or emotion. The great peculiarity, perhaps the great prerogative, of Andrea appears to be that parallelism of composition, which distinguishes the best of his historical works, seemingly as natural, obvious, and easy, as inimitable. In solemn effects, in alternate balance of action and repose, he excels all the moderns, and if he was often unable to conceive the actors themselves, he gives them probability and importance, by place and posture. Of costume he was ignorant, but none ever excelled, and few approached him in breadth, form, and style of that drapery which ought to distinguish solemn, grave, or religious subjects.

, da Fiesole, so called from the place where he was born, in 1387. He was at first the disciple of Giottino, but afterwards became a Dominican friar, and in that station was as much admired for his piety as his painting. His devout manner procured him the name of Angelico, or the angelic painter, and it is said that he never took up his pencil without a prayer, and had his eyes filled with tears when representing the sufferings of our Saviour. Nicholas V. employed him in his chapel, to paint historical subjects on a large scale, and prevailed on him soon after to decorate several books with miniature paintings. Although there are in his best paintings considerable defects, yet he was a most skilful instructor, and his amiable temper procured him many scholars. He always painted religious subjects; and it is given as a proof of his extraordinary humility, that he refused the Archbishopric of Florence when tendered to him by Nicholas V. as the reward of his talents. With respect to the objections made to his pictures, we are farther told, that he purposely left some great fault in them, lest his self-love might be too much flattered by the praises that would have been bestowed; a practice, however absurd in an artist, not unsuitable to monkish ideas of mortification. He died in 1443.

He now endeavoured to console himself by cultivating his poetical talent, an employment which had been long interrupted, and resumed his poem on the chase, for which he had collected a great many notes and observations in the East and in France. In 1546, the inhabitants of Reggio chosd‘ him public professor of Greek and Latm, with a handsome allowance, and the rights of citizenship. In this office he continued about three years, after which the grand duke, Cosmo I. invited him to be professor of the belles lettres at Pisa. After filling this chair for seventeen years, he exchanged it for that of moral and political science, and lectured on Aristotle’s two celebrated treatises on these subjects. Such was his attachment to that university, and to the grand duke, that during the war of Sienna, when Cosmo was obliged to suspend payment of the professors’ salaries, Angelio pawned his furniture and books, that he might be enabled to remain at his post, while his brethren fled. And when the Siennese army, commanded by Peter’ Strozzi, approached Pisa, which had no troops for its defence, our professor put arms into the hands of the students of the university, trained and disciplined them, and with their assistance defended the city until the grand dukewas able to send them assistance. in 1575, the cardinal Ferdinand de Medicis, who was afterwards grand duke, took Angelio to Rome with him, settled a large pension on him, and by other princely marks of favour, induced him to reside there, and encouraged him to complete a poem, which he had begun thirty years before, on the conquest of Syria and Palestine by the Christians. Angelio caused all his poems to be reprinted at Rome in 1585, and dedicated to this cardinal, who rewarded him by a present of two thousand florins of gold. When he became grand duke, Angelio followed him to Florence, and there at Jength published his “Syrias.” He was now enriched by other pensions, and was enabled to pass his declining years, mostly at Pisa, in opulence and ease. He died Feb. 29, 1596, in his seventy-ninth year, and was interred in the Campo Santo, with great pomp; and a funeral oration was read in the academy of Florence, and, what was still a higher honour, as he was not a member, in that of Delia Crusca.

Angelio’s published works are, 1. Three “Funeral Orations,” in Latin, one on Henry II. of Frtmce, read at Florence in 1559, the second on the grand duke Cosmo, at Pisa in 1574, and the third on the grand duke Ferdinand, his liberal patron, at Florence, 1587. 2. “De ordine legendi scriptores Historise Romanae,” twice printed separately, and inserted in Grotius “De studiis instituendis.” 3. “Poemata varia, diligenter ab ipso recognita,” Rome, 1585, 4to. This collection, the greater part of which had been printed separately, contains the poem on which his reputation is chiefly founded, the “Cynegeticon,” or the Chase, in six books; and the “Syrias,” in twelve books, on the same subject as Tasso’s “Jerusalem delivered.” 4. “De privatorum publicorumque urbis Romae eversoribus epistola,” Florence, 1589, 4to, printed since in the 4th volume of the “Thesaurus antiquitatum Romanarum.” 5. “Poesie Toscane,” published with a translation of the CEdipus of Sophocles, Florence, 1589, 8vo. 6. Letters in Latin and Italian in various collections. 7. “Memoirs of his life,” written by himself, and published by Salvini in the “Fasti Consolari” of the academy of Florence, and abridged in the present article.

, author of several pieces relating to the history of literature, was born the 14th of October 1675, at Lecce, the capital of Otranto in the kingdom of Naples, of one of the noblest and most considerable families in that city. He began his studies at Lecce, and at seventeen years of age went to finish them at Naples, where he applied very closely to the Greek language and geometry. He went afterwards to Macerata, where he was admitted LL. D. His desire of improvement; induced him also to travel into France and Spain, where he acquired great reputation. Several academies of Italy were ambitious of procuring him as a member, in consequence of which we find his name not only amongst those of the Transformati and Spioni of Lecce, but also in that of the Investiganti of Naples, in the academy of Florence, and in that of the Arcadians at Rome, into the last of which he was admitted the 8th of August 1698. $Ie went into orders very early, and was afterwards canon aftd grand penitentiary of the church of Lecce, vicar general of Viesti, Gallipoli, and Gragnano, first chaplain of the troops of the kingdom of Naples and of the pope, auditor of M. Nicholas Negroni, and afterwards of the cardinal his uncle. Whilst Philip V. of Spain was master of the kingdom of Naples, he was honoured with the title of principal historiographer, which had likewise been given him when he was in France, by Louis XIV.; and he afterwards became secretary to the duke of Gravina. He died at Lecce the 9th of August 1719, and was interred in the cathedral of that city; or, according to another authority, Aug. 7, 1718. His works are, 1. “Dissertazione intorna alia patria di Ennio,” Rome, 1701, Florence in the title, but really at Naples, 1712. In this he endeavours to prove that Ennius was born at Rudia, two miles from Lecce, and not Rudia near Tarento. 2. “Vita di rnonsignor Roberto Caracciolo vescovo d' Aquino e di Lecce, 1703.” 3. “Delia vita di Scipione Ammiralo, patrizio Leccese, libri tre,” Lecce, 1706. 4. “Vita di Antonio Caraccio da Nardo.” 5. “Vita di Andrea Peschiulli da Corigliano.” These two are not printed separately, but in a collection entitled “Vite de' Letterati Salentini.” 6. “Vita di Giacomo Antonio Ferrari,” Lecce, 1715. 7. “Vita di Giorgio Baglivo,” Leccese. 8. “Lettera discorsiva al March. Giovani GioSeffo Orsi, dove si tratto dell' origine e progressi de signori accademici Spioni, e delle varie loro lodevoli applicazioni,” Lecce, 1705, 8vo. 9. “Discorso historico, in cui si tratta dell' origine e delle fondazione della citta di Lecce e d'Alcune migliori e piu principal! notizie di essa,” Lecce, 1705. 10. “Le Vite de letterati Salentini, parte I.” The Lives of the learned men of Terra d'Otranto, part I. Florence in the title, but really Naples, 1710. The second part was published at Naples, 1713, in 4to. 11. “Orazione funebre recitata in occasione della morte dell' imperadore Giuseppe nel vescoval domo di Gallipoli,” Naples, 1716. 12. “Scritto istorico legale sopra le ragioni della suspension! del' interdetto locale generale della chiefa di Lecce e sua diocesi,” Rome, 1716. 13. “Tre lettere legale.” These three letters were written in defence of the right of the church of Lecce. 14. He wrote likewise several poems, particularly seven sonnets, which are published in the second part of the “Rimo scelte del sign. Bartolommeo Lippi,” printed at Lucca, 1719.

, one of the most celebrated Italian poets of the sixteenth century, was born about 1517, at Sutri in Tuscany, of very poor parents. After receiving such education as he could afford, he came to Rome and engaged himself as a corrector of the press; but an intrigue with his master’s wife, in which he was detected, obliged him to leave Rome^with a little money and a few cloaths, of which he was stripped by robbers. He then begged his way to Vienna, and there got immediate employment from Franceschi, the bookseller; and, while with him, wrote his translation of Ovid, and some of his original works. He then returned to Rome, which his reputation as a poet had reached, but his misfortunes also followed him; and after having lived for some time on the sale of his cloaths and books, he died partly of hunger, and partly of a disease contracted by his imprudent conduct, in an inn near Torre de Nona. The exact date of his death is not known, but it appears by a letter addressed to him by Annibai Caro, that he was alive in 1564. His translation of the Metamorphoses still enjoys a high reputation in Italy, and Varchi and some other critics chuse to prefer it to the original. This is exaggerated praise, but undoubtedly the poetry and style are easy and elegant; although from the many liberties he has taken with the text, it ought rather to be called an imitation than a translation. The editions have been numerous, but the best is that of the Giunti, Venice, 1584, 4to, with engravings by Franco, and notes and arguments by Orologi and Turchi. He also began the Æneid, but one book only was printed, 1564, 4to; soon after which period it is supposed he died. His other works are: 1. “Œdipo,” a tragedy, partly original and partly from Sophocles. It had great success in representation, and was played in a magnificent temporary theatre built for the purpose by Palladio in 1565. 2. “Canzoni,” addressed to the dukes of Florence and Ferrara. 3. “Poetical arguments for all the cantos of Orlando Furioso.” 4. Four “Capitoli,” or satires, printed in various collections of that description. It appears by these last that he was gay and thoughtless in the midst of all his misfortunes.

, St. archbishop of Florence, was born in that city in 1389, and became a dominican, and afterwards superior of a numerous society, who devoted themselves to a life of austerity. He appeared to advantage at the council of Florence, where he was appointed to dispute with the Greeks. In 1446, he was, with much reluctance on his side, promoted to be archbishop of Florence, and from the moment of his installation is said to have shewn a bright example of all the virtues ascribed to the bishops of the primitive ages. He practised great temperance, preserved a simplicity of garb and manner, shunned honours, and distinguished himself by zeal and charity, particularly during the plague and famine with which Florence was visited in 1448; and died, much lamented, in 1459. Cosmo de Medicis bestowed his confidence on him; pope Eugene IV. wished he might die in his arms; Pius II. assisted at his funeral, and Adrian VI. enrolled him in the number of the saints, in 1523. His studies had been chiefly directed to ecclesiastical history and theology, and his principal works are, 1. “Historiarum opus seu Chronica libri viginti quatuor,” Venice, 1480; Nuremberg, 1484; Basil, 1491, Z vols. fol. 2. “Summa theologise moralis,” Venice, 4 vols. 4to, often reprinted, and in the edition of Venice, 1582, entitled “Juris Pontificii et Caesarsei summa.” Mamachi published an edition, in 1751, at Venice, 4 vols. 4to, with prolix notes. This work is still consulted. 3. “Summula confessionis,” Venice, 1473, one of the earliest printed books.

was of Arezzo in Tuscany, and has been enumerated among the learned men of the fifteenth century. He is praised by Poggius, which Bayle chooses to suspect was done merely because Aretino was an enemy of Philelphus, whom Poggius hated. Philelphus, on the other hand, represents Aretino in a very unfavourable light. He is allowed, however, to have been a good Greek and Latin scholar, and to have given some translations from the former. He was also a pretty good poet, and wrote prose comedies, of which Albert de Eyb has inserted some fragments in his “Margarita Poetica.” But what Bayle considers as the most evident proof of his talents, is, that on the death of Leonard Aretin, in 1443, he was chosen to succeed him in the office of secretary of the republic of Florence. The year of his death is not known.

, an Italian printer, and one of the most learned and laborious editors of his time, was born at Bologna about the end of the year 1685. His family, then one of the most ancient in that city, was originally of Florence. After having begun his studies at Bologna, he went to Florence, and became acquainted with many of the literati of that city, particularly the celebrated Magliabechi. From Florence he went to Lucca, and then to Leghorn, where he meant to embark for France, but the death of one of his uncles rendered it necessary for him to return to his own country. He first projected an edition of the works, already in print, or in manuscript, of Ulysses Aldrovandi, with additions, notes, and corrections, and engaged several learned persons to assist him, but death having removed the greater part of them in a few years, he was obliged to give up the undertaking. He then published a collection of the poems of Carlantonio Bedori, a Bolognese gentleman, at Bologna, 1715, 4to. Two years after, having been elected one of the magistrates of that city, known by the title of the tribunes of the people, when he came to resign his office, he made an eloquent address on the duties of the office, which his successors ordered to be registered among their acts. His next and most important undertaking was an edition of that immense historical collection, entitled “Scriptores Rerum Italicarum.” The learned Muratori having imparted to him the design he had conceived of collecting and publishing the ancient Italian historians, acknowledged at the same time that he had been obliged to abandon the plan from the impossibility of finding a press adequate to such an extensive undertaking, the art of printing, once so highly cultivated in Italy, having now greatly degenerated. Argellati being of opinion that Milan was the only place where a trial might be made with effect, to revive useful printing, immediately went thither, and communicated Muratori’s plan to count Charles Archinto, the patron of letters, and his own particular patron. Archinto formed a society of noblemen of Milan, called the Palatine Society, who undertook to defray the expence of the edition, sixteen of the members subscribing four thousand crowns each. Argellati then took every necessary step to establish a printing-office suited to this liberal patronage, and the “Scriptores Rerum Italicarum” was the first work printed, in which Argellati bore a considerable part, collecting and furnishing Muratori with most of the manuscripts, notices, and dedications of the first volumes. He superintended at the same time, the printing of other works, particularly an edition of Sigonius, 1738/6 vols. fol. The emperor Charles VI. to whom it was dedicated, and who had repaid him for the dedication of the first volume of the Italian historians, by the title of imperial secretary, and a pension of three hundred crowns, now doubled this pension. Argellati continued to publish, with incredible labour and dispatch, various editions of works of importance, as “Opere inedite di Ludovico Castelvetro,” 1727, 4to. “Grazioli, De antiquis Mediolani aedificiis,” 1736, fol. “Thesaurus novus veterum Inscriptionum,” by Muratori, 1739, fol. But we are more particularly indebted to him for, 1. “Bibliotheca scriptorum Mediolanensium,” Milan, 1745, 2 vols. fol. 2. “Biblioteca de' Volgarizzatori Italiani,” Milan, 5 vols. 4to, 1767, besides which he contributed a great number of essays and letters to various collections. He died at Milan Jan. 5, 1755, after having had the misfortune to lose his son, the subject of the following article.

, a native of Florence, where he was born in 1582, and died in 1662, was appointed by pope Urban VIII. canon of the cathedral. He wrote a great many books, among which are, 1. “The Rhetoric of Aristotle,” divided into fifty-six lessons; 2. “A translation of the Poetic” of the same author; 3. “Four Academical discourses,” on pleasure, laughter, spirit, and honour. 4. “A life of St. Francis.” 5. Some pious writings, particularly a “Treatise on vocal and mental Prayer.” His father, Nicholas Arrighetti, died at Florence in 1639, and was a man of learning, and skilled in mathematics. There was also a Jesuit of the same name, who published “The theory of Fire,” in 1750, 4to; and died at Sienna in 1767.

, generally known in Italy by the name of Father Paul of Florence, was born in that city in 1419. He entered early in life into the religious order of the Servites, that is, the Servants of the Blessed Virgin, instituted first in 1223, in Tuscany, by some Florentine merchants. To great piety he is said to have added a portion of learning, not very common in his time, and Marsilius Ficinus compared his eloquence to the charms of Orpheus. He was intimate with the most learned men of his time, and was often present at the Platonic academy which met in the palace of Lorenzo de Medici. He contributed much to the extent of his order in Piedmont, Savoy, and Switzerland, and became provincial in Tuscany. He died at Florence, in May 1499. His works were, 1. “Vita beati Joachimi,” inserted in Bollandus’s Acts of the Saints. 2. “Quadragesimale de reditu peccatoris ad Deum,” Milan, 1479, 4to. 3. “Breviarium totius juris canonici,” Milan, 1478, 1479, fol. Memmingen, 1486, Basil. 1487, 4to. 4. “Expositio in Psalmos prenitentiales,” Milan, 1479, 4 to. 5. “De origine ordinis Servorum beatae Marias dialogus.” This work, which was written in 1456, and dedicated to Peter de Medici, the son of Cosmo and the father of Lorenzo, was not printed until 1727, Parma, 4to, and Lami published a second edition, more correct, at Florence in 1741, 8vo, with a Life of the author. Attavanti left ajso many works in manuscript.

, of Verceil in Italy, lived under the government of Cosmo de Medicis, grand duke of Florence, whose piety and magnificence he celebrated in a poem in elegiac verse, consisting of two books. It was printed in the 12th volume of Lami’s “Delicice Eruditorum.” The late edition of the Dictioiinaire Historiqtie gives the following brief notices of others of this name: Jerome Avogadro, a patron of learning and learned men, who first edited the works of Vitruvius. Nestor-Denis Avogadro, a native of Novaro, who published a Lexicon, of which an edition was printed at Venice in 1488^ fol. To the subsequent editions were added some treatises by the same author, on the eight parts of speech, on prosody, &c. —Peter Avogadro, who lived at Verona about 1490, He wrote Literary Memoirs of the illustrious mqii of his country tin Essay on the origin of Mont-de-Piete in Italy, and another “De Origine gentis Rizzonae.” The marquis Maffei speaks in high praise of this author in his “Verona Illustrata.”

Mr. Baker was a constant and useful attendant at the meetings of the royal and antiquary societies, and in both was frequently chosen one of the council. He was peculiarly attentive to all the new improvements which were made in natural science, and very solicitous for the prosecution of them. Several of his communications are printed in the Philosophical Transactions and, besides the papers written by himself, he was the means, by his extensive correspondence, of conveying to the society the intelligence and observations of other inquisitive and philosophical men. His correspondence was not confined to his own country. To him we are obliged for a true history of the coccus polonicus, transmitted by Dr. Wolfe. It is to Mr. Baker’s communications that we owe the larger alpine strawberry, of late so much cultivated and approved of in England. The seeds of it were sent in a letter from professor Bruns of Turin to our philosopher, who gave them to several of his friends^ by whose care they furnished an abundant increase. The seeds likewise of the true rhubarb, or rheum palmatum, now to be met with in almost every garden in this country, were first transmitted to Mr. Baker by Dr. Mounsey, physician to the empress of Russia. These, like the former, were distributed to his various acquaintance, and some of the seeds vegetated very kindly. It is apprehended that all the plants of the rhubarb now in Great Britain were propagated from this source. Two or three of Mr. Baker’s papers, which relate to antiquities, may be found in the Philosophical Transactions. The society for the encouragement of arts, manufactures, and commerce, is under singular obligations to our worthy naturalist. As he was one of the earliest members of it, so he contributed in no small degree to its rise and establishment. At its first institution, he officiated for some time gratis, as secretary. He was many years chairman ^of the committee of accounts and he took an active part in the general deliberations of the society. In his attendance he was almost unfailing, and there were few questions of any moment upon which he did not deliver his opinion. Though, fronl the lowness of his voice, his manner of speaking was not powerful, it was clear, sensible, and convincing; what he said, being usually much to the purpose, and always proceeding from the best intentions, had often the good effect of contributing to bring the society to rational determinations, when many of the members seemed to have lost themselves in the intricacies of debate. He drew up a short account of the original of this society, and of the concern he himself had in forming it; which was read before the society of antiquaries, and would be a pleasing present to the public. Mr*. Baker was a poetical writer in the early part of his life. His “Invocation of Health” got abroad without his knowledge; but was reprinted by himself in his “Original Poems, serious and humourous,” Part the first, 8vo, 1725. The second part came out iri 1726. He was the author, likewise, of “The Universe^ a poem, intended to restrain the pride of man,” which has been several times reprinted. His account of the water polype, which was originally published in the Philosophical Transactions, was afterwards enlarged into a separate treatise, and hath gone through several editions. In 1728 he began, and for five years conducted the “Universal Spectator,” a periodical paper, under the assumed name of Henry Stonecastle a selection of these papers was afterwards printed in 4 vols. 12mo. In 1737 he published “Medulla Poetarum Romanorum,” 2 vols. 8vo, a selection from the Roman poets, with translations. But his principal publications are, “The Microscope made easy,” and “Employment for the Microscope.” The first of these, which was originally published in 1742, or 1743, has gone through six editions. The second edition of the other, which, to say the least of it, is equally pleasing and instructive, appearedin 1764. These treatises, and especially the latter, contain the most curious and important of the observations and experiments which Mr. Baker either laid before the royal society, or published separately. It has been said of Mr. Baker, “that he was a philosopher in little things.” If it was intended by this language to lessen his reputation, there is no propriety in the stricture. He was an intelligent, upright and benevolent man, much respected by those who knew him best. His friends were the friends of science and virtue and it will always be remembered by his contemporaries, that no one was more ready than himself to assist those with whom he was conversant in their various researches and endeavours for the advancement of knowledge and the benefit of society. His eldest son, David Erskine Baker, was a young man of genius and learning, and, like his father, a philosopher, an antiquary, and a poet. Being very partial to mathematical and geometrical studies, the duke of Montague, then master of the ordnance, placed him in the drawing-room in the Tower, to qualify him for the royal engineers. In a letter to Dr. Doddridge, dated 1747, his father speaks of him in these terms: “He has been somewhat forwarder than boys usually are, from a constant conversation with men. At twelve years old he had translated the whole twenty-four books of Telemachus from the French before he was fifteen, he translated from the Italian, and published, a treatise on physic, of Dr. Cocchi, of Florence, concerning the diet and doctrines of Pythagoras and last year, before he was seventeen, he likewise published a treatise of sir Isaac Newton’s Metaphysics, compared with those of Dr. Leibnitz, from the French of M. Voltaire. He is a pretty good master of the Latin, understands some Greek, is reckoned no bad mathematician for his years, and knows a great deal of natural history, both from reading and observation, so that, by the grace of God, I hope he will become a virtuous and useful man.” In another letter he mentions a singular commission given to his son, that of making drawings of all the machines, designs, and operations employed in the grand fire- works to be exhibited on occasion of the peace of 1748. It is to be regretted, however, that his father’s expectations were disappointed by a reverse of conduct in this son, occasioned by his turn for dramatic performances, and his marrying the daughter of a Mr. Clendon, a clerical empiric, who had, like himself, a similar turn. In consequence of this unhappy taste, he repeatedly engaged with the lowest strolling companies, in spite of every effort of his father to reclaim him. The public was, however, indebted to him for “The Companion to the Playhouse,” 1764, 2 vols. 12mo; a work which, though imperfect, had considerable merit, and shewed that he possessed a very extensive knowledge of our dramatic authors and which has since (under the title of “Biographia Dramatica”) been considerably improved, first in 1782, by the late Mr. Isaac Reed, 2 vols. 8vo, and more recently, in 1812, enlarged and improved by Mr. Stephen Jones, so as to form 4 vols. 8vo. He died Feb. 16, 1767. Mr. Baker’s other son, Henry, followed the profession of a lawyer, and occasionally appeared as a poet and miscellaneous writer. In 1756 he published te Essays Pastoral and Elegiac,“2 vols. 8vo, and left ready for the press an arranged collection of all the statutes relating to bankruptcy, with cases, precedents, &c. entitled” The Clerk to the Commission," a work which is supposed to have been published under another title in 1768.

, of Florence, an useful biographer of the academy of la Crusca, was born in 1624. Having acquired great knowledge in painting and sculpture, and made many discoveries by studying the works of the best masters, he was qualified to gratify cardinal Leopold of Tuscany, who desired to have a complete history of painters. Baldinucci remounted as far as to Cimabue, the restorer of painting among the moderns and he designed to come down to the painters of the last age inclusive. He only lived to execute part of his plan, which was published in his life-time, in 3 vols. After his death (in 1696), three more appeared, and a new edition of the whole in ^1731. The work, without being free from errors, is a valuable addition to Vasari. He published also, in Italian, a “Treatise on Engraving, and the lives of the principal Engravers,” 1686, 4to.

, Baldi, or Baldius, a native of Florence, in the seventeenth century, was a very eminent physician and medical writer. He was reader on medicine in the university of Rome, where he held a canon’s place, and acquired the first reputation throughout Italy. His great ambition was to be physician to pope Innocent X. which he had no sooner obtained than he contracted a distemper which proved fatal a few months after his promotion. None of his biographers give the date of his death (probably about 164. ), but all attribute it to the luxurious change in the mode of living at court. He published many works which bear a high character, and among others: 1. “Praelectio de Contagione pestifera,” Rome, 1631, 4to. 2. “Disquisitio iatrophysica de Aere,” Rome, 1637, 4to, 3. “De loco affecto in pleuritide disceptationes,” Paris, 1640, 8vo Rome, 1643, &c.

, a native of Florence, and a Dominican of Fiesoli, and doctor of divinity, gained the esteem and friendship of Ferdinand I. grand duke of Tuscany, and was sent by him into France during the troubles, that he might give an account of them. Being at Lyons 1593, Peter Barnere, a young man of twentyseven, consulted him upon the horrid design of assassinating Henry IV. Banchi, zealous for France and the royal family, directly mentioned it to a lord of the court, pointed out the young man to him, and entreated him to ride off, with all possible speed, to acquaint the king with the danger which threatened him. The nobleman, going to Melun for that purpose, met Barriere, who had just entered the palace to perpetrate his crime. He was arrested, and being put to the torture, confessed all. The king, to reward Banchi, appointed him bishop of Angouleme, but he either resigned it 1608, in favour of Anthony de la Rochefoucauld, or declined it with the reserve of a moderate pension. He appears to have passed the rest of his life at Paris, in the convent of St. James; he was living in 1622, and was a great benefactor to that convent, among other things, by finishing the beautiful Salle des Artes at his own expence he was also very liberal to the convent at Fiesoli. His works are, “Histoire prodigieuse du Parricide de Barriere,” 1594, 8vo. “Apologie contre les Jug-emeus temeraires de ceux, qui out pense conserver la Religion Catholiqtie en faisant assassiuer les tres Chretiens Rois de France,” Paris, 1596, 8vo. “Le Rosaire spirituel de la sacree Vierge Marie,” &c. Paris, 1610, 12mo. Pere Banchi justifies himself in this work againsl some historians who had accused him of abusing Peter Barriere’s confession. He never confessed that young man, and the detestable project was only discovered to him by way of consultation.

, an Italian writer, was born in 1728, the last branch of a noble and ancient family in Tuscany. He rendered himself eminent in the literary and political world, and filled some situations of importance; and among others, more connected with his favourite pursuits, he was director of the once magnificent gallery of Florence, of which he wrote “Saggio Historico,” &c. “An historical essay concerning the Gallery,” vol. I. and II. 1779, 8vo, and which, we believe, was continued in more volumes, but we find these only noticed in the Monthly Review, vol. LXII. He wrote also the eloges of many eminent characters, a “life of Dante,” which is much esteemed, some “academical dissertations,” and other works without his name. He died July 31, 1808. His mind was a library open to all his friends, and his heart a hospitable asylum for the unhappy. He was learned without pedantry, pious without superstition, benevolent without ostentation, the friend of virtue wherever he found it, and his death, it is added, was as placid and calm as his life had been.

, professor of eloquence in the university of Padua, was a native a of Candia, where he was born in 1553, and whence he was brought in his infancy to Gubio in the duchy of Urbino. He was in the society of Jesuits for some time, but quitted them upon their refusing him permission to publish a commentary on the banquet of Plato. He was fond of critical controversy, and maintained a dispute with the academy della Crusca of Florence, publishing a treatise against their Italian dictionary, under the title of “Anti-Crusca.” He had likewise another contest with the same academy with respect to Tasso, whose defence he undertook, and published two pieces on this subject. In one of these he compares Tasso to Virgil, and Ariosto to Homer, in some particulars giving Tasso the preference to these two ancients: in the other he answers the critical censures which had been made against this author. He published also some discourses upon the Pastor Fido of Guajini. These pieces were in Italian; but he has left a greater number of works in Latin, among which are, 1. “Commentarii in 6 lib. priores Virgilii.” 2. “ Commentarii in Aristotelis poeticarn et lib. Rhetor.” 3. “Cominentarii in Sullustium.” 4. “Platonis Poetica ex dialogis collecta.” 5. “Dispensatio de Baronii annalibus.” 6. “Disputatio de historia.” 7. “Disputatio de auxiliis.” 8. “Orationes 75.” 9. “Decades tres in Platonis Timeeum;” all collected in 5 vols. fol. Venice, 1622. He died the J 2t'i of February 1625. He was undoubtedly a man of extensive learning, but loquacious and prolix.

, a celebrated poet of Florence, who died in 1542, aged eighty-nine, was one of the first who, following Lorenzo de Medici and Politian, contributed essentially to the advancement of Italian poetry. The greater part of his poems turn upon divine love. His “Canzone dell' Amor celeste e divino” was in great esteem, as containing, what now is thought its chief defect, the sublime ideas of the philosophy of Plato, on love. This work was printed at Florence in 1519, in 8vo, with other poetical pieces of the same author. There had already been an edition of his works, at Florence, in folio, 1500, which is extremely scarce. Another performance of his is entitled, “Commento di Hieronimo Benivieni, cittadino Florentine, sopra a piu sue Canzone e Sonnetti deilo amore e della belleza divina,” &c. printed at Florence in 1500, in folio: an edition much prized by the curious. Benivieni, not less estimable for the purity of his manners than for the extent of his talents, was intimately connected with the celebrated John Pico de Mirandola, and made it his request to be interred in the same grave with him, which was granted.

, called by some writers Berna or Bernia, was one of the most celebrated Italian poets of the sixteenth century. He was born about the conclusion of the fifteenth, at Lamporecchio, in that part of Tuscany called Val-di-Nievole, of a noble but impoverished family of Florence. In his nineteenth year he went to Koine, to his relation cardinal Bibiena, who according to his own account, did him neither good nor harm. He was then obliged to take the office of secretary to Giberti, bishop of Verona, who was datary to pope Leo X. On this he assumed the ecclesiastical habit, in hopes of sharing some of that prelate’s patronage, but the mean and dull employment of his office of secretary, and for which he was ill paid, was very unsuitable to his disposition. There was at Rome what he liked better, a society or academy of young ecclesiastics as gay as himself, and lovers of wit and poetry like himself, who, no doubt in order to point out their taste for wine, and their thoughtless habits, were called Vignajuoli, vinedressers. To this belonged Mauro, Casa, Firenzuola, Capilupij and many others. In their meetings they laughed at every thing, and made verses and witticisms on the most grave and solemn subjects. The compositions Berni contributed on these occasions, were so superior to the others, that verses composed in the same style began to be called “La poesia Bernesca.”

Berni was at Rome in 1527, when it was plundered by the army of the constable of Bourbon, and lost all he possessed. He then travelled with his patron Giberti to Verona, Venice, and Padua, but being tired of the service, and having no longer any hopes of adding to a canonry in the church of Florence, which he had possessed some years, he retired to that city with a view to a life of independence and moderation. Here an acquaintance which he unhappily formed with two great men proved fatal to him, Alexander de Medici, duke of Florence, and the young cardinal Hippolito de Medici, each of whom is supposed to have contended with the other, which should first destroy his rival by poison. One of them is said to have been desirous of employing Berni in this detestable project, and he having refused his assistance, fell a victim to the revenge of his patron, by a death of similar treachery. The cardinal certainly died in 1535, and, according to all historians, by poison. The death of Berni is fixed on July 26, 1536, from which long interval it has been thought improbable that the duke Alexander would have caused him to be poisoned, for not having concurred in the destruction of a rival who had been dead probably a year; but there is nothing in the character of Alexander to make us think he would scruple at this additional crime, and that for a very good reason, to get rid of one who was privy to his desiga upon the cardinal.

, an Italian antiquary of the last century, was born of a noble family, at Mereto inthe Frioul, March 13, 1676, and after studying at Venice, was ordained a priest in 1700. The same year he became canon -coadjutor of the patriarchal church of Aquileia, and soon after titular. He had already acquired a decided taste for the study of antiquities, and was in a country abounding with objects to gratify it, most of which, however, had been greatly neglected, and even destroyed by the ignorant inhabitants, who converted every remains of antiquity in stone to the common purposes of building. To prevent this for the future, Bertoli formed a society of men of learning and similar taste, who began with purchasing every valuable relic they could find, and placed the collection in the portico of the canons’ house, where it soon became an object of curiosity, not only to travellers, but to the Aquileians themselves. At the same time he copied, or caused to be copied, all the monuments in the town, and in the whole province, and entered into an extensive correspondence with many eminent characters, particularly Fontanini, to whom he liberally communicated his discoveries, in hopes they might be useful to that learned prelate; but he having deceased in 1736, Bertoli resolved to take upon himself what he had expected from him, and was encouraged in this design by Muratori and Apostolo Zeno. Accordingly he began to publish a series of memoirs and dissertations on subjects of antiquity, which he wrote at his native place, Mereto, where he resided for such periods as his official duties at Aquileia permitted. In 1747 he was elected a member of the Columbarian society of Florence, and next year of that of Cortona, and died a few years afterwards, but the date is not ascertained in either of our authorities. His principal publication is entitled “Le Aritichita di Aquileja profane e sacre,” Venice 1739, fol. He had made preparations for a second and third volume, but did not live to complete them. Several of his letters and dissertations relative to this work, and to various subjects of antiquity, are printed in Calogera’s valuable collection, vols. XXVI. XXXIII. XLIII. XLVII. XLVIII. &c. others are inserted in the Memoirs of the Columbarian Society of Florence, and in similar collections.

Bessarion’s writings are numerous. Almost all those on theological subjects remain in manuscript, except some that are inserted in the acts of the council of Florence, in vol. XIII. of Labbe’s collection, and in vol. IX. of Hardouin’s. Complete catalogues of his philosophical treatises, discourses, an,d letters, may be consulted inFabricius’sBibl. Grace, and in Body. His most celebrated works were his Latin translations of Xenophon’s Memorabilia, and Aristotle’s Metaphysics, and his treatise “Contra calumniatorem Platonis.” That calumniator was George of Trebisond, and Bessarion composed the work during the heat of the violent contest supported about the middle of the fifteenth century, between the followers of Plato and those of Aristotle, of wHich Boivin wrote the history in the second volume of the Academy of Belles Lettres. Gemistus Pletho, an enthusiastic admirer of Plato, wrote a small tract in which he attacked the Peripatetic philosophy with virulent invective. Three learned Greeks of the age, Gennadius, George of Trebisond, and Theodore Gaza, had taken up their pens in vindication of Aristotle. Bessarion endeavoured to reconcile the parties by shewing that Plato and Aristotle were not so far removed from each other in opinion as was usually thought and having a great respect for these two sages, he rebuked, in strong terms, the inconsiderate zeal of young Apostoiius, who, without understanding the question, had written a violent and unreasonable declamation against Aristotle. George, however, far from following the example of this moderation, published, in Latin, under the title of “Comparatio Platonis et Aristotelis,” a long dissertation, in which he endeavoured to demonstrate the vast superiority of Aristotle, and inveighed, with great violence, against Plato and his followers. Bessarion then wrote the treatise above-mentioned against this calumniator of Plato, in which he endeavours to prove that the doctrine of Plato is conformable to that of the Scriptures, and that his morals were as pure and irreproachable as his doctrine. Having thus defended Plato, he attacks George of Trebisond, proving that he had mistaken the sense of a great many passages, and that he had no right to give his opinion of a philosopher whose works he did not understand. Of this book there have been three editions, all of which are scarce the first was printed at Rome in 1469, and the others at Venice by Aldus, 1503 and 1516.

, an elegant Italian poet of the last century, was born at Verona, July 16, 1732, and began his studies at the Jesuits’ college at Brescia, but was obliged, by bad health, to return home to complete them. The work on which his reputation chiefly rests is his poem on the silk- worm, “Del baco da seta, canti IV. con annotaziom,” Verona, 1756, 4to, in which he contrives to be original on a subject that had been amply treated in the sixteenth century, in the “La Sereide” of Tesauro. He dedicated this poem to the marquis Spolverini, the author of a didactic poem on the cultivation of rice, “La cold vazi one del Riso.” His poetical efforts were all directed to the object of his more serious labours, agriculture. His bust is in the hall of the academy of agriculture at Verona, of which he was the founder, and among other academies, he was a member of the Georgophiles of Florence. He wrote another poem, “Le Cascine,” with notes, but it does not appear to have been printed. He died at Verona in 1788.

, an Italian scholar of the last century, was born at Prato in Tuscany, Nov. 18, 1685. He had but just finished his education at Florence, when he was admitted a member of the academy of the Apatisti, and two years after, of that of Florence, nor was he more than twenty when he became known to and associated with the principal literati of that city. He went afterwards to Pisa, and studied philosophy and mathematics under Alexander Marchetti, the translator of Lucretius, and there he received the degree of doctor of laws, and the order of priesthood. There also the bishop of Prato appointed him to give public lectures on the works of the fathers, in the course of which he became particularly attached to those of St. Bernard and the bishop of Pistoia gave him the living of St. Peter at Ajolo, where he made himself very popular. Such also was his literary fame, that besides the academies we have mentioned, he was admitted a member of the Inlecundi of Prato, the Innominati of Bra in Piedmont, of the Rinvigoriti of Foligno, the Arcadians of Rome, the Columbarian society, and the della Crusca. His life was exemplary, his character loyal and ingenuous, although somewhat reserved. He loved retirement, yet was of a placid humour, and enjoyed effusions of wit but in his latter years he fell into a state of melancholy, aggravated by bodily disorder, which terminated in his death Feb. 17, 1749. His two most considerable works, were, 1. “De‘ gran duchi di Toscana della real casa de’ Medici,” Venice, 1741, fol. an account of the ancient sovereigns of Florence, as patrons of literature and the arts, but containing little new matter. 2. “Della satira Italiana, trattato,” Massa, 1714, 4to. Florence, 1729, 4to a critical work highly esteemed in Italy. To the second edition the author has annexed an Kalian dissertation, on the hypocrisy of men of letters, in which he exposes what would be called in this country the arts of puffing, which his biographer remarks, have made very gieat progress since his time. 3. “La Cantica de Cantici di Salomone tradotta in versi Toscani con annotazioni,” Venice, 1735. Various other small pieces of criticism, bibliography, &c. from his pen are inserted in the academical collections, particularly “Prose Fiorentine,” Venice, 1754, 4to.

, a celebrated Italian scholar of the last century, was born at Florence, Aug. 14, 1674. After finishing his studies, he taught a school, which produced Bottari, the prelate, and some other eminent men. The grand duke Cosmo III. having given him some benefices, he took priest’s orders, and the degree of doctor in the university of Florence, and spent several years in preaching, particularly in the cathedral church of St. Laurence. The chapter, in 1713, appointed him keeper of the Mediceo-Laurentian library, and to this office he was re-elected in 1725, 1729, and 1739, but he could not, with all his endeavours, prevail on the chapter to grant it him for life. While here, however, he began a new course of studies, learned Greek, Hebrew, and other oriental languages, and applied himself particularly to the Tuscan here also he found a very useful patron in Nicolas Panciatichi, a very opulent Florentine nobleman, who received him into his house, where he remained eleven years, and made him his children’s tutor, his librarian, secretary, archivist, &c. and amply rewarded him for his services in all thi’se departments. He was also appointed apostolic prothonotary, synodal examiner at Florence and Fiesola, and reviser of cases of conscience in these dioceses. At length, in 174-1, the grand duke of his own accord made him royal librarian of the Laurentian library, and in 1745, gave him a canonry of St. Laurence. In his place as librarian, he was of essential service to men of letters, and was engaged in many literary undertakings which were interrupted by his death, May 4, 1756. He left a very capital collection of rare editions and manuscripts, which the grand duke purchased and divided between the Laurentian and Magliabechian libraries. Biscioni during his life-time was a man of great reputation, and many writers have spoken highly in his praise. He published very little that could be called original, his writings consisting principally of the notes, commentaries, prefaces, letters, and dissertations, with which he enriched the works of others such as the preface and notes to his edition of the “Prose di Dante Alighieri e di Gio. Boccaccio,” Florence, 1713 1723, 4to his notes on “Menzini’s Satires” his preface and notes on the “Riposo” of Raphael Borghini, Florence, 1730, 4to, &c. &c. The only work he published not of this description, was a vindication of the first edition of the “Canti Carnascialeschi,” against a reprint of that work by the abbé Bracci, entitled “Parere sopra la seconda edizione de' Canti Carnascialeschi e in difesa della prima edizione,” &c. Florence, 1750, 8vo. He had begun the catalogue of the Mediceo- Laurentian library, of which the first volume, containing the oriental manuscripts, was magnificently printed at Florence, 1752, folio, and the rest continued by the canon Giulanelli, many years after, who added the Greek Mss. Biscioni left many notes, critical remarks, &c. on books, a history of the Panciatichi family, and of his own family, and some satires on those who had so long prevented him from being perpetual keeper of the Laurentian library, an injury he seems never to have forgotten.

, one of the most eminent Italian poets and scholars, and one of the revivers of literature in Europe, was born in 1313. His father was a merchant of Florence, when to be a merchant was the first of situations, and his family was originally of Certaldo, a village about twenty miles from Florence, which accounts for Boccaccio always adding to his name the words “da Certaldo.” He was not, therefore, the son of a peasant, as reported by some biographers, but it cannot be denied that he was the fruit of an illicit connection which his father formed at Paris, where he happened to be on commercial 'business, and where this son was born, and it appears, likewise, that his father was not very rich. Being, however, brought early to Florence, his education commenced there, and he is said to hav e evinced a decided attachment to poetry before he was ten years old, about which time his father placed him in a merchant’s counting-house, to learn- arithmetic and book-keeping, that he might be the sooner enabled to provide for him among his connections. Some years after, this merchant took him to Paris, where he went to set up in business, and for six years, during which Boccaccio resided in his house, endeavoured to reconcile him to trade; but finding after every experiment, either by persuasion or constraint, that this was impossible, he at length sent him home to his father.

While at Certaldo, he was not forgot. The high character he had already attained induced the republic of Florence to send him on two embassies to pope Urban V. which he accomplished to their satisfaction, but after his return to Certaldo, he experienced a long illness, which left a great degree of langour and dejection. Recovering, however, from this, he took upon him an employment peculiarly gratifying to him in every respect. He had always been a great admirer of Dante, had often copied his works, and inew them almost by heart . The Florentines, who had persecuted and banished that celebrated poet, were now disposed to make some reparation, by instituting, by a decree of the senate, a professorship for lectures on his poems, and Boccaccio was appointed to this new chair. How much he was delighted in an employment, not only highly honourable, but congenial to his habits, may easily be conceived. The pains he took, however, retarded his recovery from his late illness, and the death of Petrarch, of which he was at this time informed, appears tohave'hastened his own. He became more and more weak, and did not survive his illustrious friend and master above a year, dying at Certaldo, Dec. 21, 1375. He was buried there in the church of St. James and St. Philip, and the following inscription, written by himself, was engraven on his tomb

The predominant passion of Boccaccio, in youth, was the love of pleasure tempered by that of study; as he advanced in age, study became his sole delight. He had no ambition either for rank or fortune. The public employments confided to him came unasked, and when he could lay them down, he did so. He was equally averse to any domestic employments which were likely to take up much of his time, and would accept of no private tutorships, which so often eventually promote a man’s interest. His character was frank and open, but not without a degree of pride, which, however, particularly when he was in low circumstances, kept him from mean compliances. With respect to his talents, it is eviuent that he had always made a false estimate of them he had the fullest confidence in his poetical powers, yet nothing he wrote in verse rises above mediocrity, and many of his prose Italian writings desefve no higher praise. He is superior and inimitable only in his tales, on which he did not pride himself, nor indeed set any value. He fell into the same error with his master Petrarch in supposing that his serious Latin works would be the source of his fame, which he owes entirely to his Tales, as Petrarch owes his to his love-verses. All his Latin writings are crude and hasty. * In them, says Paul Cortesius, “he labours with thought, and struggles to give it utterance but his sentiments find no adequate vehicle, and the lustre of his native talents is obscured by the depraved taste of the times.” In his youth, he was flattered as having obtained the second place in poetry, his admiration for Dante not permitting him to aspire to the first, and the sonnets of Petrarch were not yet known. It is to his honour, however, that as soon us he saw the latter, he threw into the fire the greater part of his lyric compositions, sonnets, canzoni, &e. and seems to have determined to apply himself entirely to the perfection of Italian prose, in which it must be confessed he has succeeded admirably. As a recent event has rendered some of Boccaccio’s writings an object, of research among collectors, we shall enter somewhat more fully than is usual into a detail of their editions. Among his Latin works, we have, 1. “De genealogia Deorum lib. XV. De montium, sylvarum, lucuum, fluviorum, stagnorum, et marium nominibus, liber.” These two were first printed together in folio without date, but supposed to be at Venice, and. anterior to 1472, in which year appeared the second edition, at Venice, with that date. The third was published at the same place in 1473, and followed by others at Reggio, Vincenza, Venice, Paris, and Basle, which last, in 1532, is accompanied with notes and supplements. This account of the genealogy of the Gods, or the heathen mythology, must have been the fruit of immense reading, and as no information on the subject existed then, a high value was placed on it, although it has been since superseded by more recent and accurate works. He has been very unjustly accused of quoting authors no where else to be found, as if he had invented their names, but it is surely more reasonable to think they might be known in his days, although their memory has since perished, or that he might have been himself deceived. This same work, translated into Italian by Joseph Betussi, has gone through twelve or thirteen edi-. tions, the first, of Venice, 1547, 4to. There are -also two French translations, the first anonymous, Paris, 1498, fol. and 1531, also in fol. the second by Claude Wittard, Paris, 1578, 8vo. The lesser book, or Dictionary of the names of mountains, forests, &c. was also translated into Italian by Niccolo Liburnio, and printed in 4to. without date or place, but there is a second edition at Florence, 1598, 8vo. 2. “De casibus Virorum et Foeminarum illustrium libri IX.” Paris, 1535, 1544, fol. and at Vincenza the same year translated into Italian by Betussi, Venice, 1545, 8vo, and often reprinted. But there must have been an edition long previous to the oldest of these, as we find it translated into English in 1494, by John Lydgate, monk of Edmundsbury, at the commandment of Humphrey duke of Gloucester, under the title of “John Boccace of the Fall of Princes and Princesses .” It has likewise been translated and often reprinted in French, Spanish, and German. The first of the Spanish translations is dated Seville, 1495, and the first of the French was printed at Bruges in 1476, folio, then at Paris, 1483, at Lyons the same year, and again at Paris in 1494, 1515, folio, and 1578, 8vo. 3. “De claris Mulieribus.” The first edition of this is without place or date, in the black letter the second is that of Ulm, 1473, fol. followed by those of Louvain and Berne from 1484 to 1539. Of this work the Italians have two translations, one by Vincent Bagli, a Florentine, Venice, 1506, 4to; the other by Betussi, who prefixed a life of Boccaccio, Venice, 1545, and 1547, 8vo. The first edition of the Spanish translation is dated Seville, 1528, fol. That of the German translation is dated Augsburgh, 1471, and was followed by one at Ulm, 1473, 4to. The French have two translations, the oldest 1493, fol. 4. “Eclogae,” sixteen in number, and printed with those of Virgil, Calphurnius, &c. Florence, 1504, 8vo. They are also inserted in the “Bucolicorum auctorcs,” Basil, 1546, 8vo. Like Petrarch, he introduces the events of his time in these eclogues, with the principal personages under fictitious names, but he has furnished us with a key to these in a letter to P. Martin de Signa, his confessor, of which Manni has givdn an extract in his history of the Decameron. His Italian works in verse are, 5. “La Teseide,” the first attempt at an epic in Italian, and written in the ottava rima, or heroic verse, of which Boccaccio is considered as the inventor; printed at Ferrara, 1475, fol. Venice, 1528, 4to, and translated into French, 1597, 12mo. 6. “Amorosa visione,” Milan, 1520 and 1521, 4to, and with grammatical observations and an apology for Boccaccio by Claricio d'Lmola, Venice, 1531, 8vo. This singular poem is divided into fifty cantos or chapters, which contain five triumphs, namely those of wisdom, glory, riches, love, and fortune, written in the terza rima, with a curious contrivance, gratifying to the bad taste of the times, by which the initial letters of each stanza are made to compose an acrostic in praise of the princess Mary, whom elsewhere he celebrates under the name of Fiammetta. 7. “II Filastrato,” a poetical romance in heroic verse, the hero of which is young Troilus, the son of Priam, and the subject, his amours with Chryseis, whom the poet does not make the daughter of Chryses, but of Calchas. Of this there are four editions Bologna, 1498, 4to, Milan, 1499, 4to, Venice 1501 and 1528, 4to. 8. “Nimfale Fiesolano.” It is thought that in this poem Boccaccio has concealed, under the disguise of a pastoral fiction, an amorous adventure which happened in his time in the environs of Florence. The first edition is in 4to. without place or date; the second is of Venice 1477, and was followed by many others at Venice and Florence, and one recently of Paris, 1778, 12mo. It was translated into French by Anthony Guercin du Crest, and printed at Lyons, 1556, 16mo. 9. “Rime,” or miscellaneous poems. We have noticed that he burned the greater part of his minor poems, but those which were dispersed in manuscript in various hands, have been often collected, and the publication of them announced. M. Baldelli, who has since, in 1806, published a good life of Boccaccio, collected all of these poems he could find, and printed them at Leghorn, 1802, 8vo.

Of his Italian works in prose, we may notice, 10. “Il Filocopo, owero amorosa fatica, &c.” a romance written by our author when very young, defective in interest, and altogether so in style, when compared with what he wrote afterwards. The first edition of this romance is without place or date the others, which are all rare, are those of Venice, 1472, Florence, 1472, Milan 1476 and 1478, all in fol. Venice, 1514, 4to, and often reprinted during the same century, and twice translated into French, Paris, 1542, fol. &c. 11. “L'Ammorosa Fiammetta,” another romance not much more valuable than the preceding. Fiammetta, as we have already noticed, is the princess Mary of whom he was enamoured, and Pamphile, whose absence she is made deeply to regret, was himself. Whether this was a real or a poetical amour is not very clear. The romance was first published without date or place, in 4to, but is supposed to have appeared at Padua, with a Latin title, and, at the end of the volume, the date of 1472; the second, which has not the place, is dated 1480, 4to, and was followed by others in the sixteenth century at Florence, Venice, &c. and a French and Spanish translation, often reprinted. 12. “L'Urbano,” Florence, 1598, 8vo, translated into French under the title “Urbain le Mescogneu,” Lyons, without date, 4to, black letter, was a piece which Boccaccio is said to have written to divert his melancholy for the death of his friend Petrarch, but Mazzuchelli and other critics consider it as spurious. 13. “Ameto, or Nimfale d'Ameto,” written with a mixture of prose and verse, is supposed to relate to a real adventure concealed under a poetical allegory. It has gone through a great number of editions, Rome and Venice, 1478, 4to; Trevisa, 1479, 4to Venice, 1503, fol. Rome, 1520, 4to; Florence, 1521, 8vo. 14. “II Corbaccio, o sia Laberinto d'Amore,” a very bitter and indecent satire on a female who had given him some offence after his return to Florence. In spite of the licentiousness of this work, the style has recommended it to the curious, but we doubt whether this was the cause of its passing through so many editions: Florence, 1487, 4to, Venice, 1516, 24mo, &c. &c. and a valuable edition, Paris, 1569, 8vo, by Corbinelli, with a preface and notes. Belleforest translated it into French, Paris, 1571, 1573, and there was a second translation or imitation, by Premont, entitled “Songe de Boccace, ou de Labyrinthe d' Amour,” Paris, 1699, &c. in which the editor has abridged so much, and added so much, that it can scarcely be called Boccaccio’s work. 15. “Origine Vitaet costumi di Dante Alighieri,” Rome, 1544, 8vo, Florence, 1576, 8vo. lit this life of Dante we have many anecdotes not elsewhere to be found, but the author upon, the whole inclines too much to the romantic to attend sufficiently to the strict veracity of the biographer yet the purity of the style recommends it, and the affection and sincerity with which he praises Dante, form, perhaps, a curiosity, from one who had the ambition to be placed so near him. This is naturally connected with 16. “Commento sopra la Commedia di Dante Alighieri,” a valuable work, not only for style, but for the many difficult passages of Dante which are admirably illustrated, although it must be confessed they are at the same time intermixed with much matter that has very little connection with the text. It was an abridgement of the lectures which he gave at Florence, when attacked with the disorder which shortened his days, and was not printed until th;e last century. It extends only to the 17th chapter of the Inferno, and forms the two last volumes of the edition of Boccaccio’s prose works (with the exception of the Decameron) published at Naples (with the false title of Florence), in 1724, 5 vols. 8vo. Lastly, we come to his 17. “II Decamerone,” the work on which his fame is permanently established, and which, of all works, it is difficult to characterize in few words. The assertion, that the greater part of the hundred novels which it contains are taken from the ancient French writers of tales, only shows that those who maintain this opinion are not acquainted either with these writers, or with the Decamerone, of which, at most, ten of the stories only are imitated from the French Fabliaux, or taken from the same remote sources, and it is equally unjust to consider them merely as a collection of amorous and licentious stories. The greater part of the poets, indeed, who have stolen from him have stolen only what is of this obnoxious description, and therefore easily brought a reproach on the whole. Boccaccio, in this work, depicts, as on a vast canvass, men of all conditions, all characters and all ages and events of every kind, comic and serious. He exhibits models of every species of eloquence, and carries the purity and elegance of the Italian language to a degree of perfection unknown before his time. Perhaps few works of the kind have ever been so popular. For more than three centuries it has gone through repeated editions, of which an hundred at least may be mentioned, and his biographer very properly asks, what criticism can stand against this fact

In order to appreciate these editions, it is necessary to advert to the fate of this extraordinary work in the press. For about a century, it was circulated in manuscript, and liberties of every kind were taken at every transcription. At length it was printed for the first time, as has been supposed, in 1470, and run through various editions to the end of the fifteenth, and for more than sixty years of the sixteenth century. During this period it was prohibited by the popqs Paul IV. and Pius IV. who were in this respect more scrupulous than their twenty-five or twenty-six predecessors in the papal chair. Two grand dukes of Tuscany, Cosmo I. and Francis I. applied one after the other to two other popes, Pius V. and Gregory XIII. in consequence of which the academicians were employed to reform the Decameron important corrections were made, and many passages suppressed, and in this state various editions were permitted to be printed. But with respect to the ancient editions, it is now necessary to observe that there are two opinions, which we shall state, without attempting to reconcile. We have already noticed that the first edition has been supposed to have been printed in 1470, without a date but on the other hand, it is contended that the edition of 1471, by Valdarfer, is not only the first with a date (which those who maintain the existence of the edition of 1470 are disposed to allow), but that in fact there was no previous edition. Those who are of this latter opinion very naturally ask their antagonists to produce the edition of 1470, or an edition without date that can be supposed of that period. In England it is certain that no such edition is known but the French bibliographers seem to be of a different opinion. Ginguene 1 to whom we are indebted for the greater part of this life of Boccaccio, who has written the literary history of Italy, and is considered in France, we apprehend justly, as their first critic and bibliographer in Italian literature this writer speaks of the first edition without a date in the following terms “Elle est sans date et sans nom de lieu ni d'imprimeur, in-fol. en caracteres inegaux et mal formes.” (Hist. Litt. d'ltalie, vol. III. p. 129). It remains, therefore, for the reader to determine whether this is the language of a man who has seen the book, and describes what he has seen; and if this be decided in the affirmative, the existence of the edition is proved, as far as his authority goes. But it must be confessed Ginguene goes no fa ther. He says nothing of any library which possesses this treasure, nor of its supposed value but when he comes to speak of Valdarfer’s edition of 1471, he informs us that it- has been valued by bibliomaniacs (bibliomanes) at 3000 francs, or 125l. And this brings us to notice the copy of this edition recently sold from the duke of Roxburgh’s library, to the marquis of Blandford, for the immense (and with respect to the value of books, the unprecedented) sum of Two Thousand Two Hundred And Sixty Pounds. In the catalogue of this library, it is stated that “no other perfect copy is yet known to exist, after all the fruitless researches of more than three hundred years;” but, notwithstanding this, we find that the French bibliographers set a value on the edition, as if copies, however rare, were still occasionally to be found. We cannot suppose that the French booksellers or collectors would fix a price-current on an article which had not been seen, for three hundred years, still less that our authority is speaking of imperfect copies, the value of which can only be estimated by the quantum of imperfection. It remains also to be noticed that the French bibliographers speak precisely with the same familiarity of the Junti edition of Florence, 1527, 4to, which they value at 600 francs, or 25l. and which sold at the Roxburgh sale for 29 1. no great advance upon the French price. They certainly speak both of this edition, and of the 1471, as of rare occurrence, but by no means hint that the latter is of that extreme rarity imputed to it in this country .

The third edition,of Mantua, 1472, fol. Salviati thinks the best of all the early editions, the scarcity of which may now be accounted for by the following extraordinary fact. As soon as they appeared, and became generally read, the monks who felt that much of the satire was directed against them, issued their anathemas and prohibitions and in 1497, Savonarola excited the abhorrence of the Florentines to such a degree, that they collected all the Decamerons, Dantes, and Petrarchs they could find, and burnt them together the last day of the carnival. It is of importance to notice that, of the edition of 1527, a very well executed counterfeit was printed at Venice in 1729, with the date of Florence 1527 at the end. The next valuable edition is that corrected by the academicians of Florence, by order of the grand duke, and with the approbation of pope Gregory XIII. and published at Florence by the Junti, 1573, 4to. Longuerue observes that it is a curious thing to see at the head of this edition a privilege of Gregory XIII. who says, that in this he follows the steps of Pius V. his predecessor of blessed memory, and which threatens with severe punishments, all those who shall dare to give any disturbance to those booksellers to whom this privilege is granted. There is also a decree of the inquisition in favour of this edition. The edition of Salviati, which was also subjected to reform, Venice, 1584, 4to, maybe consulted with the preceding for the sake of the curious corrections and amendments introduced; and perhaps the reader may discover a great difference in the purity of the style between the original and the reformed part. With respect to the translations of the Decameron, they are too numerous, and in general too unimportant, for a particular detail. Every nation has its Decameron, but as the purpose of the translators was mere amusement, they seem to have been little anxious about the author’s reputation. The English editions particularly have conveyed his Tales in a most vulgar and ungraceful style. They were first translated in 1566, by "William Paynter, and have been often reprinted since in various forms the best, we think, was an edition in two volumes, Loud. 1804, 8vo, in which the editor has taken much pains in repressing the licentiousness of our author, and has omitted entirely those tales which could not be rendered proper for general perusal. In a critical view, however, the work must be allowed to be the production of a great genius. The generality of the beaux esprits in. Italy agree that the Decameron is the best book in their language, at least in point of style. It is surely very remarkable that Boccaccio should' carry a barbarous language to its perfection all at once a language left entirely to the people, and which had orly a small part of its rust rubbed off by the immortal Dante.

, one of the most voluminous writers of Florence, was born in that city in 1548. His education was superintended by his paternal uncle, under whose care he made great progress in learning, and acquired the esteem of Laurence Salviati, the Maecenas of his age. He died at Florence in 1618, leaving a great many works in Latin and Tuscan, among which are “Elogia virorurn Florentinorum,” 1604, 1607, 4to, and other biographical, historical, and literary works, of which a list may he seen in our authority.

, regius professor and director of the academy of surgery, veteran associate of the academy of sciences of Paris, and member of the imperial academy of Florence, was born at Paris April 10, 1728. His father, who was also a surgeon, destined him for the same profession, which had long been followed by the branches of his family, but began with giving him the ordinary course of a learned education that he might acquire the languages in which the most celebrated anatomists of former ages wrote, and some of those principles of philosophy which are the foundation of all sciences and arts. Young Bordenave’s proficiency fully answered his father’s expectations, and he soon fdled the distinguished situations already mentioned, and contributed many valuable papers to the Memoirs of the academy of surgery, on extraordinary cases which occurred in his practice: the treatment of gunshot wounds, and anatomical subjects. He also in 1757 made some experiments to illustrate Haller’s opinion on the difference between sensible or irritable parts, and wrote a work in defence of that celebrated anatomist’s opinion on the formation of the bones, against that of Duhamel. He also, in 1768, translated Haller’s Elements of Physiology for the use of his students, but he had previously, in 1756, published a new work on the same subject, admired for precision of method. Bordenave had long wished for a place in the academy of sciences, and in 1774 was elected a veteran associate. This title, it seems, indicates that the party has been chosen contrary to the statutes, and that the academy did not choose him of their own will; but for this he was not to blame, as such an election was totally contrary to his wish. In a short time, however, the academicians were reconciled, and Bordenave enriched their memoirs with some important papers. Bordenave also became echevin, or sheriff, of Paris, an office never before conferred on a surgeon, but. which he filled in a manner highly creditable, and directed his attention, as a magistrate, chiefly to the health of the city. On the birth of Louis XVII. he was honoured with the ribbon of the order of St. Michael, in consideration of his talents and services, but did not long enjoy this honour, being seized with an apoplexy, which after eight days proved fatal, March 12, 1782. Besides the works already noticed, he published, “Dissertations sur les Antiseptiques,” 1769, 8vo; and “Memoires sur le danger des Caustiques pour la cure radicale des Hernies,” 1774.

, was born at Florence in 1515 of a noble family, and became a Benedictine monk in 1531. He was one of the persons appointed to correct the Decameron of Boccace, by order of the council of Trent, and performed this curious task for the edition of Florence, 1573, 8vo. But the best known of his works, and which did him the most honour, is that entitled, “Discovsi di M. Vincenzo Borghini,” printed at Florence 1584 and 1585, in 2 vols. 4to, and reprinted at the same place in 1755, with annotations. In these dissertations he treats of the origin of Florence, and of several interesting particulars of its history, of its families, of its coins, &c. Borghini died in 1680, after having refused, through humility, the archbishopric of Pisa, which was offered to him some time before his death. His only promotion was that of prior of the hospital of St. Maria degh Innocenti in Florence. Another writer of the same name [IlAFAELLO Borghini], was author of several comedies, and of a tract on painting and sculpture, in some estimation, under the title of “Riposo della Pittura, e della Scukura,” published at Florence in 1584, 8vo.

, of a noble family of Florence, in the fifteenth century, was surnamed Lippus, on account of the loss of his sight, which did not, however, prevent his becoming a scholar of much reputation, and an orator, musician, and poet. His fame procured him an invitation from Matthias Corvinus, king of Hungary, to teach oratory, which he accepted, and taught at the university of fiada. After returning to Florence, he took the habit of the friars of St. Augustin, was made priest some time after, and preached to numerous auditories. He died of the plague at Rome, in 1497. Wonders are told of his powers of extempore versification, and he is classed among the first of the improvisator!. As to his preaching, Bosso says that those who heard him might fancy they listened to a Plato, an Aristotle, and a Theopfcrastus; he is yet more extravagant in noticing his extempore effusions. The circumstance, says he, which placed him above all other poets, is, that the verses they compose with so much labour, he composed and sang impromptu, displaying all the perfections of memory, style, and genius. At Verona, on one occasion, before a numerous assemblage of persons of rank, he took up his lyre, and handled every subject proposed in verse of every measure, and being asked to exert his improvisitation on the illustrious men of Verona, without a moment’s consideration or hesitation, he sang the praises, in beautiful poetry, of Catullus, Cornelius Nepos, and Pliny the elder; nay, he delivered in the same extempore manner all the subjects in Pliny’s thirty-seven books of natural historj r without omitting any one circumstance worthy of notice. Whatever credit may be given to these prodigies, his works prove him to have been a man of real learning. The principal of these are: 1. “Libri duo paradoxorum Chris ­tianorum,” Basil, 1498, Rome, 1531, Basil, 1543, and Cologn, 157,3. 2. “Dialogus de humanae vitae conditione et toleranda corporis aegritudine,” Basil, 1493, and 1543, and Vienna, 1541. 3. “De ratione scribendi Epistolas,” Basil, 1498, 1549, Cologn, 1573. Among his manuscripts, which are very numerous, Fabricius mentions one “de laudibus musicae.” Julius Niger mentions also some works of his on the laws commentaries on St. Paul’s epistles, and the Bible histories, in heroic verse, but, whether printed, does not appear.

, a laborious Italian writer, was born at Florence towards the conclusion of the fifteenth century. Having meddled in 1522 in the plot formed by some Florentine citizens against cardinal Julius de Medicis, afterwards pope Ciement VII. he was obliged to expatriate himself, and withdrew into France. The Medici being driven out of Florence in 1527, this revolution brought him back to his country, where the liberty with which he chose to speak against the monks and priests, raised a suspicion of his being attached to the opinions of Luther. He was put into prison, and would not have escaped an ignominious death but for the kind offices of his friends; who procured a mitigation of his punishment to an exile of two years. He then retired to Venice with his brothers, who were printers and booksellers, and employed their presses in printing the greater part of his works, of which the most known and the most in request, is the, whole Bible translated into Italian, with annotations and remarks, which was put by the papists in the number of heretical books of the first class; but the protestants held it in such high esteem that it passed through several editions. The most ample and the most scarce is that of Venice, 1546 and 1548, 3 vols. folio. Brucioli pretends to have made his translation from the Hebrew text: but the truth is, that, being but moderately versed in that language, he made use of the Latin version of Pagnini. His other works are, 1. Italian translations of the natural history of Pliny, and several pieces of Aristotle and Cicero. 2. Editions of Petrarch and Bocace, with notes. 3. “Dialogues,” Venice, 1526, folio. The year of his death is not known; but it is certain that he was still alive in 1554.

, a very eminent scholar and historian, derived his name of Aretine, or Aretino, from Arezzo, in which city he was born in the year 1370, of parents sufficiently wealthy to bestow on him a good education. In his early youth he was incited to a love of letters by an extraordinary accident. A body of French troops, who were marching to Naples to assist Louis of Anjou in maintaining his claim to trie sovereignty of that kingdom, at the solicitation of the partizans of a faction which had been banished from Arezzo, made an unexpected attack upon that city; and, after committing a great slaughter, carried away many of the inhabitants into captivity; and, among the rest, the family of Bruni. Leonardo being confined in a chamber in which hung a portrait of Petrarch, by daily contemplating the lineaments of that illustrious scholar, conceived so strong a desire to signalize himself by literary acquirements, that immediately upon his enlargement he repaired to Florence, where he prosecuted his studies with unremitting diligence, under the direction of John of Ravenna, and Manuel Chrysoloras. During his residence at Florence, he contracted a strict intimacy with the celebrated Poggio Bracciolini, and the latter being afterwards informed by Leonardo that he wished to procure a presentation to some place of honour or emolument in the Roman chancery, took every opportunity of recommending him. In consequence of this, pope Innocent VII. invited him to Rome, where he arrived March 24, 1405, but was at first disappointed in his hopes, the place at which he aspired being intended for another candidate, Jacopo d'Angelo. Fortunately, however, the pope having received certain letters from the duke of Berry, determined to assign to each of the competitors the task of drawing up an answer to them, and the compositions being compared, the prize was unanimously adjudged to Leonardo, who was instantly advanced to the dignity of apostolic secretary, and by this victory considerably increased his reputation, as his competitor was a man of very considerable talents. (See Angelo, James.) In 1410 Leonardo was elected chancellor of the city of Florence, but finding it attended with more labour than profit, resigned it in 1411, and entered into the service of pope John XXII. and soon after went to Arezzo, where he married a young lady of considerable distinction in that city. He was thought by his contemporaries rather too attentive to the minutiae of economy, and having married a lady who loved dress and ornaments, was somewhat disappointed. In a letter to his friend Poggio, after giving an account of his marriage expences, he adds, “In short, I have in one night consummated my marriage, and consumed my patrimony.” In 1415 he accompanied pope John XXIII. to the council of Constance, and this pope having been there deposed, Leonardo returned to Florence, where he was chosen secretary to the republic, and was employed in several political affairs of importance. He died in thebeginning of 1444, and was interred with the most solemn magnificence in the church of Santa Croce, with the following inscription, which is still legible, but not worthy of the object:

It is said, that the history of Florence, composed by our Bruto, and printed at Lyons in 1562, under the title 46 Florentine Historian, Libri octo priores,“is not favourable to the house of Medicis; and that it greatly displeased the duke of Florence, on which it was so far suppressed, that few copies are now to be met with. He published also” De Origine Venetiarum,“Leyden, 1560, 8vo, and” Epistolse," Berlin, 1690, 8vo.

To this little circumstance Michel Angelo, who was now between fifteen and sixteen years old, owed the patronage of Lorenzo, who adopted him into his. family, provided him with a room, and eVery accommodation in the palace, treated him as his own son, and introduced him to men of rank and genius. Among others he formed an intimacy with Politiano, who resided under the same roof, and soon became warmly attached to his interests. At his recommendation he executed a basso-relievo in marble, the subject of which was the battle of the Centaurs, of which it is sufficient praise, that it stood approved in the riper judgment of Michel Angelo himself, who, although not indulgent to his own productions, did not hesitate on seeing it, even in the decline of life, to express his regret that he had not entirely devoted himself to sculpture. In 1492, death deprived him of the patronage of Lorenzo, which, however, was in some measure continued to him by Lorenzo’s successor, a man of corrupt and vitiated taste, of whose discrimination in merit we have this notable proof that he boasted of two extraordinary persons in his house, Michel Angelo, and a Spanish footman who could out -run u horse. Michel Angelo, however, prosecuted his studies, and produced some fine specimens of art, until the tranquillity of Florence was disturbed by the haughty and pusillanimous conduct of his patron, Piero de Medici, when he thought proper to retire to Bologna to avoid the impending evils. Here he was invited into the house of Aldovrandi, a Bolognese gentleman, and one of the sixteen constituting the government, and during his stay executed two statues in marble for the church of St. Domenico. After remaining with this hospitable friend somewhat more than a year, the affairs of Florence being tranquillized, he returned home to his father’s house, pursued his profession, and produced a statue of a sleeping Cupid, that advanced his reputation, but not without the aid of some trick. He was advised by a friend to stain the marble so as to give it the appearance of an antique, and in this state it was sent to Rome to an agent who pretended to have dug it up in a vineyard, and sold to cardinal St. Giorgio for two hundred ducats. What rendered this imposition unnecessary to Michel Angelo' s fame, was, that on the discovery of the real artist, he received the most flattering praises, and was invited to Rome, as the proper theatre for the exercise of his talents. At Rome he made several statues, which placed him in an enviable rank among his contemporaries, and a cartoon of St. Francis receiving the stigmata, painted in distemper for St. Pietro in Montorio; and while he executed these commissions both with credit and profit to himself, he was also indefatigable by observation and study to improve and elevate his style.

On the promotion of Pietro Soderini, to the rank of perpetual gonfaloniere, or chief magistrate of Florence, Michel Angelo was advised to return thither, as Soderini had the reputation of an encourages of genius, and he introduced himself to his patronage by a colossal statue of David, a figure in bronze, name unknown, and a groupe of David and Goliath. At the same time, that he might not entirely neglect the practice of painting, he painted a holy family for one Angelo Dorii, concerning which Vasari relates the following anecdote. When the picture was finished, it was sent home with a note requesting the payment of seventy ducats: Angelo Doni did not expect such a charge, and told the messenger he would give forty, which he thought sufficient: Michel Angelo immediately sent back the servant, and demanded his picture, or an hundred ducats: Angelo Doni, not liking to part with it, returned the messenger, agreeing to pay the original sum, but Michel Angelo, indignant at being haggled with, then doubled his first demand, and Angelo Doni, still wishing to possess the picture, acceded, rather than try any further experiment to abate his price.

, an Italian poet, was better known under this name than by that of Dominico, which was his true one. Authors differ concerning his country and the time of his birth. The opinion most followed is that he was born at Florence about 1380. As to the epocha of his death, it seems more certain: he died at Rome in 1448. This poet was a barber at Florence, and his shop the common rendezvous of all the literati of that town. His poems, which mostly consist of sonnets, and often very freely written, are of the comic and burlesque species; but so truly original, that some poets who came after him have endeavoured to imitate him by composing verses alia Burcbiellesca. They are however full of obscurities and aenigmas. Some writers have taken the pains to make comments on them, and, among others, le Doni; but the commentary is scarcely less obscure than the text. Burchiello nevertheless holds a distinguished place among the Italian poets of the satirical class. He may be censurable for not having had sufficient respect for good manners; but the licence of this poetical barber was much in the general taste of the times. The best editions of his poems are those of Florence, 1552 and 1568, 3vo. His sonnets were printed for the first time at Venice, 1475, 4to.

, an eminent botanist and physician, was born at Arezzo, in the district of Florence, in 1519. He was educated under Luke Ghinus, superintendant of the public garden at Pisa, where he appears to have acquired his taste for botanical pursuits. There also he was appointed first professor of physic and botany in the university, and afterwards first physician to pope Clement VIII. a promotion which required his residence at Home, where he died in 1603. He described, says Dr. Pulteney, with exquisite skill, the plants of his own country, and left an herbarium of 768 species. He extended Gesner’s idea, and commenced the period of systematic arrangement. In his “Libri XVI de Plantis,” published in 1583, at Florence, he has arranged upwards of 800 plants into classes, founded, after the general division of the trees from herbs, on characters drawn from the fruit particularly, from the number of the capsules and cells; the number, shape, and disposition of the seeds; and from the situation of the corculum, radicle, or eye of t]ie seed, which he raised to great estimation. The orders, or subdivisions, are formed on still more various relations. On the other hand, the biographer of Linnceus remarks, that, though his genius was inventive, his knowledge of botany was neither original nor universal. He missed both leisure and opportunity. Clusius had discovered more fresh plants than he ever was acquainted with. His herbal did not contain nine hundred species, a fact fully proved by the Florentine botanist Micheli, who had it in his possession. A provision of this kind was too small to give a comprehensive view of botany, and the knowledge which Ca?salpinus acquired of the internal structure of plants was too defective to point out the most perfect order. He was only directed by the fruit, and mostly by that part on which tlui shoots or germins repose. This system had its defects, but it brought CiEsalpinus much nearer to the truth, and he discovered more real similarities, more natural classes, than all the botanists who preceded, and many who followed him. His speculations in anatomy are still more ingenious. He describes very clearly the circulation of the blood through the heart, and was acquainted with the uses of the valves. Douglas thinks him entitled to equal praise with Harvey, who only completed what he had nearly achieved. He clearly, Douglas says, describes the contraction and dilatation of the heart, which is shewn from the following passage from his fourth book “Question um Peripateticarum.” “The lungs,” he says, “drawing the warm blood through a vein (the pulmonary artery) like the arteries, out of the right ventricle of the heart, and returning it by an anastomosis to the venal artery (the pulmonary vein) which goes to the left ventricle of the heart, the cool air being in the mean time let in through the canals of the aspera arteria, which are extended along the venal artery, but do not communicate with it by inosculations, as Galen imagined, cools it only by touching. To this circulation of the blood out of the right ventricle of the heart through the lungs into its left ventricle, what appears upon dissection answers very well: for there are two vessels which end in the right ventricle, and two in the left: but one only carries the blood in, the other sends it out, the membranes being contrived for that purpose.” His works on the practice of medicine have also their portion of merit. “Questionum Medicarum Libri ii.;” “De Facultatibus Medicamentorum Libri duo,” Venet. 1593, 4to; “Speculum Artis Medicae Hippocraticae, exhibens dignoscendos curandosque morbos, in quo multa visuntur, quae a prjcclarissimis medicis intacta relicta erant,” Lyons, 1601-2-3, 3 vols. 8vo.

This artist engraved in several styles; the first of which was an imitation of his master Canta Gallina. He afterwards worked altogether with the graver; but without success. His next style was the mixture of the point and the graver, with coarse broad hatchings in the shadows. But his best manner, is that which appears to have been executed with the greatest freedom, by which he has- expressed, as we may say, with a single stroke, variety of character, and correctness of design. He is said to have been the first who used hard varnish in etching, which has been found much superior to that which was before adopted. The fertility of invention, and the vast variety, found in the works of this excellent artist, are astonishing. It could Jiarclly have been supposed possible to combine so great a number of figures together as he has done, and to vary the attitudes, without forced contrast, so that all of them, whether single figures or groupes, may be easily distinguished from each other, even in the masses of shadow; more especially when it is considered that they are often exceedingly minute. On a cursory view of some of his most admired pieces, the whole appears confused, and without harmony; but a careful examination discovers the richness, the beauty, the taste, and the judgment which are bestowed on the disposition of the figures, the management of the groupes, and the variety and propriety of the attitudes. The works of this master are very numerous and various. In representation of all the varieties of human life, from beggars and peasants to knights and nobles, he excelled; characterising all with the nicest touches of nature. Of his subjects, many are of the most painful and shocking kind, such as public executions, the miseries of war, and the like; many are grotesque and fanciful, and exhibit a strong imagination. Among his most admired prints, Strutt enumerates: “The Murder of the InnocentSjJ' of which that engraved at Florence is most rare; a fine impression of it being found with difficulty;” The Marriage of Cana in Galilee,“from Paolo Veronese;” The Passion of Christ,“the first impressions of which are very scarce” St. John in the island of Palma;“” The Temptation of St. Anthony;“”The Punishments,“exhibiting the execution of several criminals;” The Miseries of War;“” The great Pair of Florence;“The little Fair,” otherwise called “The Players at Benti,” one of the scarcest of Callot’s prints;“” The Tilting, or the New Street at Nancy;“The Garden of Nancy;” “View of the Pont Neuf;” “View of the Louvre;” and “Four Landscapes.”

, an eminent physician and surgeon, the son of Florence Camper, a minister of the reformed church, was born at Leyden May 11, 1722, and was first taught design and painting, which enabled him in his future studies to draw his anatomical preparations. He afterwards studied medicine under Boerhaave, and the other eminent professors of Leyden, and in 1746 took his degree of M. D. In 1748, he attended the hospitals and anatomical lectures in London, and afterwards at Paris. In 1749, he was appointed professor of philosophy, medicine, and surgery at Franeker; and in 1755 taught these sciences at Amsterdam, which he quitted in 1761. After two years’ residence at his country-house in Friesland, he was appointed professor of medicine, surgery, anatomy, and botany at Groningen, where he resided until June 1773, when he settled at Franeker, in order to superintend the education of his sons* In 1762, he had been appointed a representative in the assembly of the province of Friesland; but in 1787, he was nominated one of the council of state, and was therefore obliged to reside at the Hague, where he died in April 1789, in the sixty- seventh year of his age. The immediate cause of his death was a pleurisy, but his eulogist seems to attribute it remotely to his patriotic exertions, and the grief which oppressed him when he saw the independence of his country attacked. Whichever account be true, he was lamented as a learned and ingenious promoter of science, and an ornament to his country. He was at the time of his death a member of the royal society of London, and of the academies of Petersburg!), Berlin, Edinburgh (the college of physicians), Gottingen, Manchester, Haerlem, Rotterdam, &c. and other learned societies in various parts of Europe.

, another eminent artist, was born in 1492, at Caravaggio jn the Milanese; from a labourer he became an assistant of Raphael in the works of the Vatican, and acquired supreme celebrity for unrivalled felicity in imitating the antique basso-relievos with a power little, if at all, inferior to that of the ancients themselves. These admirable works he executed in chiaroscuro. He was the inventor of a style which rose and perished with him. His design was without manner, compact, correct. He had the art of transposing himself into the times of which he represented the transactions, the costume, and rites: nothing modern swims on his works. Koine once abounded in friezes, facades, supraportas, painted by him and jVIaturino of Florence his companion, of which, to the irreparable detriment of the art, scarcely a fragment remains, if we except the Fable of Niobe, left in ruins by time and the rage of barbarians. This, one of his most classic labours, once decorated the outside of the Maschera d'Oro. All the compensation we have for these losses are the prints of Cherubino Albevti, and Henry Golzius, who engraved his Gods, the Niobe, and the Brennus; beside the etchings of Santes Bartoli and Gallestruzzi.

Besides the many pictures which the grand duke and the Pecori family possess of this master, a few are dispersed through private collections at Florence. Excellent are his “Trinity” in the church of St. Croce, his “St. Albert” in that of S. Maria Maggiore, and the “Martyrdom of Stephen” at the Sisters of Monte Domini, which Pietro da Cortona ranked with the principal pictures of Florence. *' St. Anthony converting a Heretic,“at Cortona, is considered as superior to any other pencil at Cortona. His” St. Peter healing the Cripple,“in the Vatican at Rome, Andrea Sacchi placed next the” Transfiguration“of Raphael, and the” St. Jerom“of Domenichino; but this master-piece, by the humidity of the place, the bad priming, and the brutality of the cleaner, is entirely destroyed. Its merit procured him the-” title of Cavaliere. Another work of his, the fresco of the dome in S. Maria Maggiore, still remains: in this, by some error in perspective, he appeared inferior to himself; it displeased, and he was not suffered to correct it, notwithstanding his eager supplications; but had this perished, and the picture in the Vatican survived, the fame of Cigoli would rest on a firmer basis, and the assertions of Baldinucci deserve more credit. It is supposed that chagrin at not succeeding in painting the dome, hastened his death, which happened in 1613. He also engraved a few plates in a slight, neat stylej which, however, evinces the hand of the master. Strutt mentions his engraving of “Mary Magdalen washing the feet of Christ,” as containing heads of great beauty.

, an artist who from the place of his nativity was called Pontormo, had great natural ingenuity, and was in his earliest works admired by Raphael and Michel Angelo. He had had a few lessons from Lionardo da Vinci; after him from Albertinelli made some progress under Pier di Cosimo; and finished by entering the school of Andrea del Sarto, whose jealousy and ungenerous treatment, from a scholar, soon turned him into a rival. With such talents he became the victim of inconstancy, roaming from style to style. The Certosa of Florence exhibits specimens of the three different manners commonly ascribed to him. The first is correct in design, vigorous in colour, and approaches the style of Andrea del Sarto. The second, with good drawing combines a languid tone, and became the model of Bronzino and the subsequent epoch. The third is a downright imitation of Albert Durer, aod at present can only be found in some histories from the Passion in the cloister of that monastery, which are neither more nor less than copies from the prints of Albert. To these, perhaps, a fourth manner might be added, if the frescos of the General Deluge and Universal Judgment, on which he spent eleven years in S. Lorenzo, and his last work, had not been whitewashed, with the tacit acquiescence of all contemporary artists. In this labour he strove to emulate Michel Angelo, and to exemplify, like him, anatomic skill, which was then becoming the favourite pursuit of Florentine art. He died in 1558, aged sixty-five.

Her “Letters” are written in a style so pure and elegant, that Sienna has pretended to rival Florence in the production of classical language. Girolamo Gigli, a learned man of Sienna, who published a fine edition of St. Catherine’s Letters in 1707, had a design of subjoining a vocabulary of words and expressions peculiar to her, but in this attempt took so many liberties with the language and academy of Florence, that his “Vocabolario Cateriniano” was stopt by an order from pope Innocent XII. the author banished, his work burnt by the hands of the hangman, and his name struck out of the list of the Florentine academicians, as guilty, says a late Italian historian, not only of leze-grammar, but of leze-majesty. The vocabulary, however, was afterwards published, without a date, 4to, and with the fictitious name of Manille.

, an Italian scholar of the thirteenth century, was born of one of the most illustrious and powerful families in Florence. He was a zealous Ghibelin, and became more so by marrying the daughter of Farinara Uherti, then at the head of that faction. Curso Donati, chief of the Guelphs, a man in much credit then at Florence, and the bitter personal enemy of Guido, formed a plan to assassinate him, and although Guido got notice of this, and made preparations for defence, he saved his life only by flight. The state of Florence, tired with such disgraceful dissentions, banished the chiefs of both parties. Guido was sent to Sarzana, or Serezano, where the bad air affecting his health, he obtained leave to return to Florence, and died there in 1300, of the disorder he had contracted in his exile. His father, Cavalcante de' Cavalcanti, passed for an Epicurean philosopher, and an atheist, and was therefore placed by Dante, in his Inferno, among that class of the condemned. The son, however, although likewise a philosopher, appears not to have belonged to the same sect. On one occasion, when the attempt was made to assassinate him, he made a pilgrimage to St. James of Galicia: but of this, whatever might be the motive, love was the consequence, for at Toulouse he met with his Mandetta, a lady whom he has made the subject of his love verses. His poems, elegant, correct, and occasionally tinged with a tender melancholy, consist of sonnets and canzones, and compose the sixth book of the collection of ancient Italian poets, printed by the Giuuti, 1527, 8vo, a rare book. His “Canzone d'Amore” was often printed with the comments of his countrymen, particularly at Florence, 1568, 8vo; Venice, 1585, 4to; and Sienna, 1602, 8vo.

, a celebrated sculptor and engraver of Florence, was born in 1500, and intended to be trained to music but, at fifteen years of age, bound himself, contrary to his father’s inclinations, apprentice to a jeweller and goldsmith, under whom he made such a progress, as presently to rival the most skilful in the business. He had also a turn for other arts: and in particular an early taste for drawing and designing, which he afterwards cultivated. Nor did he neglect music, but must have excelled in some degree in it; for, assisting at a concert before Clement VII. that pope took him into his service, in the double capacity of goldsmith and musician. He applied himself also to seal-engraving; learned to make curious damaskeenings of steel and silver on Turkish daggers, &c. and was very ingenious in medals and rings. But Cellini excelled in arms, as well as in arts; and Clement VII. valued him as much for his bravery as for his skill in his profession. When the duke of Bourbon laid siege to Rome, and the city was taken and plundered, the pope committed the castle of St. Angelo to Cellini; who defended it like a man bred to arms, and did not suffer it to surrender but by c?.pitulation. Meanwhile, Cellini was one of those great wits, wh'o may truly be said to have bordered upon madness; he was of a desultory, capricious, unequal humour, which involved him perpetually in adventures that often threatened to prove fatal to him. He travelled among the cities of Italy, but chiefly resided at Rome where he was sometimes in favour with the great, and sometimes out. He consorted with all the first artists in their several ways, with Michael Angelo, Julio Romano, &c. Finding himself at length upon ill terms in Italy, he formed a resolution of going to France; and, passing from Rome through Florence, Bologna, and Venice, he arrived at Padua, where he was most kindly received by, and made some stay with, the famous Pietro Bembo. From Padua he travelled through Swisserland, visited Geneva in his way to Lyons, and, after resting a few days in this last city, arrived safe at Paris. He met with a gracious reception from Francis I. who would have taken him into his service; but, conceiving a dislike to France from a sudden illness he fell into there, he returned to Italy. He was scarcely arrived, when, being accused of having robbed the castle of St. Angelo of a great treasure at the time that Rome was sacked by the Spaniards, he was arrested and sent prisoner thither. When set at liberty, after many hardships and difficulties, he entered into the service of the French king, and set out with the cardinal of Ferrara for Paris: where when they arrived, being highly disgusted at the cardinal’s proposing what he thought an inconsiderable salary, he abruptly undertook a pilgrimage to Jerusalem. He was, however, pursued and brought back to the king, who settled a handsome salary upon him, assigned him a house to work in at Paris, and granted him shortly after a naturalization. But here, getting as usual into scrapes and quarrels, and particularly having offended madame d'Estampes, the king’s mistress, he was exposed to endless troubles and persecutions; with which at length being wearied out, he obtained the king’s permission to return to Italy, and went to Florence; where he was kindly received by Cosmo de Medici, the grand duke, and engaged himself in his service. Here again, disgusted with some of the duke’s servants (for he could not accommodate himself to, or agree with, any body), he took a trip to Venice, where he was greatly caressed by Titian, Sansovino, and other ingenious artists; but, after a short stay, returned to Florence, and resumed his business. He died in 1570. His life was translated into English by Dr. Nugent, and published in 1771, 2 vols. 8vo, with this title: “The Life of Benevenuto Cellini, a Florentine artist; containing a variety of curious and interesting particulars relative to painting, sculpture, and architecture, and the history of his own time.” The original, written in the Tuscan language, lay in manuscript above a century and a half. Though it was read with the greatest pleasure by the learned of Italy, no man was hardy enough, during this long period, to introduce to the world a book, in which the successors of St. Peter were handled so roughly; a narrative, where artists and sovereign princes, cardinals and courtezans, ministers of state and mechanics, are treated with equal impartiality. At length, in 1730, an enterprising Neapolitan, encouraged by Dr. Antonio Cocchi, one of the politest scholars in Europe, published it in one vol. 4to, but it soon was prohibited, and became scarce. According to his own account, Cellini was at once a man of pleasure and a slave to superstition; a despiser of vulgar notions, and a believer in magical incantations; a fighter of duels, and a composer of divine sonnets; an ardent lover of truth, and a retailer of visionary fancies; an admirer of papal power, and a hater of popes; art offender against the laws, with a strong reliance on divine providence. Such heterogeneous mixtures, however, generally form an amusing book, and Cellini’s life is amusing and interesting in a very high degree. It must not, however, be omitted, that Cellini published two treatises on the subject of his art, “Duo trattati, uno intorno alle oito principal! arti dell* oreficiera, Paltro in materia dell* arte della scoltura,” &c. 1568, 4to.

, a native of Athens, of the fifteenth century, and the scholar of Theodore Gaza, was one of those Greeks who about the time of the taking of Constantinople went into the west. At the invitation of Lorenzo de Medici, he became professor of the Greek language at Florence in 1479; where he had for his rival Angelus Politianus, to whom Laurence had committed the tuition of one of his sons. After the death of Laurence, Chalcondyles was invited to Milan by Lewis Sfortia; which invitation he accepted, either because he was tired of contending with Politian, or because he was hurt with Politian’s acknowledged superiority in Latin learning. Such is the usually-received account, which rests only on the authority of Paul Jovius, who was always hostile to the character of Politian; but Mr. Roscoe in his life of Lorenzo has proved that the story is without foundation. At Milan, however, Chalcondyles taught Greek a long time with great reputation; and did not die before 1510, when there is reason to think he was above 80 years of age. Among the learned Greeks whom pope Nicolas V. sent to Rome to translate the Greek authors into Latin, Chalcondyles was one; from which we may collect, that he probably travelled into the west before the taking of Constantinople in 1453, since Nicolas died in 1455. He published a grammar, of which we shall presently take notice; and under his inspection and care was first published at Florence, in 1499, the Greek Lexicon of Suidas. Pierius Valerianus, in his book “De infelicitate literatorum,” says, that Chalcondyles, though a deserving man in his moral as well as literary character, led nevertheless a very unhappy life; and reckons perpetual banishment from his country among the chief of his misfortunes. Others have mentioned domestic evils that have attended him. The particulars of his life are very imperfectly given. Dr. Hody has probably collected all that now can be found, but he has merely given the notices from various authors, without attempting a regular narrative. Some have thought that he was at one time a printer, and that he printed the folio Homer of Florence, which goes by his name, and which was executed in 1488; but this report no doubt arose from the care he took in correcting the press, as the printers’ names are given in that rare edition. The “domestic evils” above alluded to have a better foundation, as he was unhappy in his wife, whose chastity was suspected, and in his sons: Theophilus, the eldest, who taught Greek at Paris, was assassinated in the streets in a riotous squabble; and two others, Saleucus and Basil, both of promising talents, died young.

, author of a very useful Biographical Dictionary, was descended from the ancient and noble family of the Calfopedi of Florence, which removed into France under Francis I. At the revocation of the edict of Nantz, Samuel de Chaufepié, the representative of the family, and pfotestant minister at Couhé in Poitou, was obliged to take refuge in Friesland, where he died pastor of the church of Leuwarden in 1704. He had ten children by his wife Maria Marbœuf de la Rimbaudiere, of whom the subject of the present article was the youngest, and born at Leuwarden, Nov. 9, 1702. He was educated partly at Franeker, under professor Andala, as appears by his maintaining an academical thesis before that professor, in 1718, on “Innate Ideas,” and probably about the same time, a second on “The punishment of the Cross,” which was afterwards published in a collection by Gerdes, in 1734. After being admitted into the ministry, he preached for some time at Flushing, then at Delft, and lastly at Amsterdam, where he was pastor of the Walloon church, and where he died, highly respected for piety and learning, and much lamented, July 3, 1786. He was not more diligent in the discharge of his professional functions, than attached to studious researches, which he pursued throughout the whole of his long life. In 1736 he published, “Lettres sur divers sujets importans de la Religion,” 12mo, and in 1746 prefixed a life or historical eulogium to the sermons of John Brutel de la Riviere. In 1756 he published three sermons, intended to prove the truth of the Christian religion from the present state of the Jews; and wrote an account of the life and writings of our celebrated poet Pope, which was prefixed to a French translation of his works, printed at Amsterdam in 1758. He also translated from the Dutch an abridgement, in question and answer, of the history of his country; and from the English, part of Shuckford’s works, with additions, and several volumes of the “Universal History,” which he improved very considerably, particularly in the history of Venice. This labour, however, he discontinued in 1771, and does not appear after that to have published any thing of consequence, confining himself to his pastoral duties, if we except his “Life of Servetus,” which in 1771 was translated into English, by James Yair, minister of the Scots church at Campvere, and published at London, 8vo. The chief object of it seems to be to vindicate Calvin from the reproaches usually thrown upon him for the share he had in the prosecution of Servetus; but some will probably think that he has at least been equally successful in throwing new and not very favourable light on the conduct and principles of Servetus.

, the principal of those learned men who brought the Greek language and literature into the West, was born at Constantinople, as it is supposed, about 1355. He was of considerable rank, and descended from so ancient a family that his ancestors are said to have removed with Constantine from Rome to Byzantium. He was sent ambassador to the sovereigns of Europe by the emperor John Palseologus in 1387, to solicit assistance against the Turks, and was here in England in the reign of Richard II. In an epistle which he wrote at Rome to the emperor, containing a comparison of ancient and modern Rome, he says that he was two years before at London with his retinue. When he had finished this embassy in somewhat more than three years, he returned to Constantinople; but afterwards, whether through fear of the Turks, or for the sake of propagating the Greek learning, left it again, and came back into Italy about 1396, by invitation from the city of Florence, with the promise of a salary, to open a school there for the Greek language. With this he complied, and taught there for three years, and had Leonard Aretin for his scholar. From Florence he went to Milan, at the command of his emperor, who was come into Italy, and resided in that city; and while he was here, Galeazzo, duke of Milan, prevailed with him to accept the Greek professorship in the university of Pavia, which had lately been founded by his father. This he held till the death of Galeazzo, and then removed to Venice on account of the wars which immediately followed. Between 1406 and 1409 he went to Rome upon an invitation from Leonard Aretin, who had formerly been his scholar, but was then secretary to pope Gregory XII. In this city his talents and virtues procured him the honour of being sent, in 1413, into Germany by pope Martin V. as ambassador to the emperor Sigismund, along with cardinal Zarabella, in order to fix upon a place for holding a general council; and Chrysoloras and the cardinal fixed upon Constance. Afterwards he returned to his own emperor at Constantinople, by whom he was sent ambassador with others as representatives of the Greek church, to the council of Constance; but a few days after the opening of the council he died, April 15, 1415. He was buried at Constance and a handsome monument was erected over him, with an inscription upon it by Peter Paul Vergerio. His scholar Poggio also honoured his memory with an elegant epitaph, and a volume of eulogies upon him lately existed in the monastery at Camaldoli, justly due to one who contributed so essentially to revive Grecian literature, which had lain dormant in the West for seven hundred years. Emanuel had a nephew, John Chrysoloras, who likewise taught Greek in Italy, and died in 1425. Emanuel’s. Greek Grammar was published soon after the invention of printing, and there are a great many editions from 1480 to 1550, 4to and 8vo, almost all of which are very scarce.

, another renowned painter, was born at Florence in 1240, and was the first who revived the art of painting in Italy. Being descended of a noble family, and of sprightly parts, he was sent to school to study the belles lettres, but he generally betrayed his natural bias by drawing figures upon paper, or on his books. The fine arts having been extinct in Italy, ever since the irruption of the barbarians, the senate of Florence had sent at that time for painters out of Greece. Cimabue was their first disciple, and used to elope from school and pass whole days in viewing their work. His father, therefore, agreed with these Greeks to take him under their care, and he soon surpassed them both in design and colouring. Though he wanted the art of managing his lights and shadows, was but little acquainted with the rules of perspective, and in other particulars but indifferently accomplished, yet the foundation which he laid for future improvement, entitled him to the name of the “father of the first age, or infancy of modern painting.”

Cirnabue painted, according to the custom of those times, in fresco and in distemper; the art of painting in oii being not then discovered. He painted a great many pieces at Florence, some of which are yet remaining: but, as his fame began to spread, he was sent for to many remote places, and among the rest to Asceci, a city of Umbria, and the birth-place of St. Francis. There in the lower church, in company with those Greek painters, he painted some of the cieling and the sides of the church, with the stories of the lives of our Saviour and St. Francis; in all which he so far outdid his coadjutors that he resolved to paint by himself, and undertook the upper church in fresco. Being returned to Florence, he painted for the church of Sancta Maria Novella, where he first went to school, a jpiece of our Lady, which was the largest picture that had been seen in those days, and is still to be seen in good preservation. It then excited so much wonder, that it was carried from Ciinabue’s house to the church with trumpets before it, and in solemn processibn and he was highly rewarded and honoured by the city for it. There is a tradition, that while Cimabue was employed on this piece in a garden he had near the gate of St. Peter, Charles of Anjou, king of Naples, came through Florence, where, being received with all possible demonstrations of respect, the magistrates, among other entertainments, carried him to see this piece. And because nobody had yet seen it, all the gentry of Florence waited upon him thither, and with such extraordinary rejoicings, that the name of the place was changed to Borgo Allegri, that is, the Merry Suburb which name it long retained.

, a physician at Florence, where he was born in 1625, had not only great skill in his profession, but very extensive literary knowlege, and few men were better acquainted with books of rarity and curiosity. He was a member of the academy of Apatisti at Florence, and of the academy of Parma, and of other learned societies. But he had, unfortunately, the art of creating enemies by the severity of his censures and personal remarks; and having taken some liberties of this kind in his “Biblioteca volante” with Dr. Moniglia, first physician to Cosmo III. he was sent to prison, and released only on condition of retracting what he had so imprudently advanced. After this, he quitted the dominions of the grand duke, and having travelled over most part of Italy, settled at Loretto, where he practised physic, and where he died in 1706. In 1677 he published the first two parts of his “Biblioteca volante,” or fugitive library; a curious and useful collection of remarks and information respecting rare books, in which he was assisted by the learned Magliabechi, who was his intimate friend. The third, fourth, and fifth parts he published at Naples about the year 1686. The whole was reprinted, with additions by Sancassani, at Venice, 4 vols. 4to, 1734—1747. He had a design of publishing an account of Tuscan authors, which we are sorry to find was prevented by his poverty and want of encouragement. The only other publication we know of Cinelli’s, was a new edition, with improvements, of “Bocchi’s Curiosities of Florence,” 1677, 8vo.

, of Florence, professor of physic at Pisa, afterwards of surgery and anatomy at Florence, was born there in 1693, and died in 1758, at the age of sixty-two. In the course of his travels he became the intimate friend of Newton, Boerhaave, and Dr. Mead. The emperor made him his antiquary. He was esteemed both for his theoretical and practical knowledge. He wrote: 1. “Grsecorum Chirurgici Libri; Sorani unus de Fracturarum signis, Oribasii duo de Fractis, et Luxatis, ex Collectione Nicetse, Florent.” 1754, fol. 2. “O ratio de Usu Artis Anatomicse, Florent.” 1736, 4to. 3. “Medicinae laudatio in Gymnasio Pisis habita,” 1727, 4to, spoken on opening a course of lectures at Pisa, where he had been appointed professor, prior to his returning to Florence. 4. “Del vitto Pythagorico,” Flor. 1743, and 1750, 8vo. It has been several times reprinted, and in 1762 translated into English. He wrote also “On the Baths at Pisa, and Sopra Asclepiadea.” This was published by his son, Raymond Cocchi, who succeeded his father as professor of anatomy, and physician to the public hospital at Florence.

, an ancient Italian poet and philosopher, was born at Stignano in Pescia, in 1330, His father, who was in the army, being involved in the troubles of his country, was obliged to retire to Bologna, where Coluccio was educated, or rather where he taught himself for some time without % master. It appears indeed from a letter which he wrote to Bernardo cli Moglo, that he did not apply himself to the cultivation of polite literature till he was arrived at man’s estate, and that it was then he went to Bologna? and attended the public lectures of the father of the above Bernardo. By his own father’s request, he afterwards studied law, but on his death quitted that profession for eloquence and poetry. It is not stated when he left Bologna, nor when he was permitted to return to Florence; but in 1363, in his thirty-eighth year, we find him the colleague of Francis Bruin, as apostolical secretary to pope Urban V, and it is probable that he quitted this employment when Urban went to France. He quitted at the same time the ecclesiastical habit, and married a lady by whom he had ten children. His reputation for knowledge and eloquence procured him the greatest offers from popes, emperors, and kings; but his love for his native country made him prefer, to the most brilliant prospects, the office of chancellor of the republic of Florence, which was conferred on him in 1375, and which he filled very honourably for thirty years. The letters he wrote appeared so striking to John Galeas Visconti, then at war with the republic, that he declared one letter of Coluccio’s to be more mischievous to his cause than the efforts of a thousand Florentine knights.

, of Ripa Transona, the most obscure of modern artists, though a biographer of some celebrity, owes that and a place here to his connexion with Michael Angelo, whose life he published in 1553. If we believe Vasari, his imbecility was at least equal to his assiduity in study and desire of excelling, which were extreme. No work of his exists in painting or in sculpture. Hence Gori, the modern editor of his book, is at a loss to decide on his claim to either, though from the qualities of the writer, and the familiarity of M. Angelo, he surmises that Condivi must have had merit as an artist. From the last no conclusion can be formed; the attachment of M. Angelo, seldom founded in congeniality, was the attachment of the strong to the weak, it was protection; it extended to Antonio Mini of Florence, another obscure scholar of his, to Giuliano Bugiardini, to Jacopo L'Indaco: all men unable to penetrate the grand motives of his art, and more astonished at the excrescences of his learning in design, than elevated by his genius. Condivi intended to publish a system of rules and precepts on design, dictated by Michael Angelo, a work, if ever he did compose it, now perhaps irretrievably lost; from that, had destiny granted it to us, we might probably have formed a better notion of his powers as an artist, than we can from a biographic account, of which simplicity and truth constitute the principal merit. Condivi published this life, consisting of fifty pages, under the title “Vita de Michelagnolo Buonarroti, raccolta per Ascanio Condivi da la Ilipa Transone. In Roma appresso Antonio Blado Stampatore Canierale nel M. D. LIII. alii XVI. di Luglio.” According to Beyero, in his “Memoriae Historico-criticae, lib. rariorum,” this is one of the scarcest books in Europe. In 1746, Gori republished it in folio, and as it was originally published ten years before the death of Michael Angelo, continued it to that period. Gori’s work is a small folio, printed at Florence, 1746.

, bishop of Bath and Wells, was born of an ancient family at Dunkeld, in Scotland, in 1593, and was educated at Westminster school, whence in 1613 he was elected to Trinity college, Cambridge, where he took his degrees in arts, and was chosen Greek professor, and university orator. In 1632 he was made treasurer of the cathedral of Wells, and was also canon residentiary, prebendary of Taunton, and had a living in Somersetshire. In 1637 he was admitted to the degree of D. D. and, as reported, was made dean of St. Burian, in Cornwall, but this seems doubtful. In the beginning of the rebellion, Dr. Crighton’s loyalty endangered his person and property, and to save the former he joined the king’s troops at Oxford. But from this place he was obliged afterwards to escape into Cornwall, in the dress of a day-labourer, and contrived to go to Charles II. abroad, who employed him as his chaplain, and bestowed on him the deanery of Wells, of which he took possession at the restoration. In 1670 he was promoted to the bishopric of Bath and Wells, which he held until his death Nov. 21, 1672. He was accounted a man of much learning, and in the discharge of his duty as a preacher, reproved the vices of the court with great boldness and plainness. His only publication was a translation from Greek into Latin, of Sylvester Syguropolus’s history of the council of Florence, Hague, 1660, fol. which was animadverted upon by Leo Allatius, to whom the bishop wrote an answer. Wood says he has some sermons in print. His son, who was chanter of Wells, published a volume of Sermons in 1720.

, or more properly Peter Ricci, an Italian scholar, whose memory Mr. Roscoe has rescued from the misrepresentations of his biographers, was descended from the noble family of the Ricci, of Florence, and, when young, was instructed by, and obtained the friendship of Politian. He afterwards became an associate in the literary and convivial meetings at the palace of the Medici at Florence, and after the death of Lorenzo still continued to enjoy the society of Picus and Politian till the death of these distinguished scholars, in 1494. After this it is probable that he quitted his native place, and took an active part in the political commotions which soon occurred, as he frequently refers in his writings to the labours and misfortunes which he sustained, and avows his determination to return to his literary studies. Some part of his time he appears to have passed at Naples, and at Ferrara. He died, according to Negri, about the close of the fifteenth century, at the age of thirty-nine years; but his writings refer to many events beyond that period; and his dedication of his treatise “De Poetis Latinis” to Cosmo de Pazzi, is dated in 1505, which period, it is probable, he did not long survive. His death was the issue of a long sickness, on which he wrote a beautiful and pathetic Latin ode, from which we learn that he resigned himself to his untimely fate, at the same time asserting his claim to the esteem of posterity from the integrity of his life and conduct. The principal work of Crinitus, “De Honesta Disciplina,” as well as his treatise on the Latin poets, before mentioned, Paris, 1520, fol. demonstrates the extent of his learning, and the accuracy of his critical taste. His poetry, all of which is in the Latin language, is also entitled to commendation, and is frequently introduced by Mr. Roscoe, as illustrating the public transactions of the times in which he lived.

, an historical painter, was born at Florence in 1595, and was the elder brother and first instructor of Vincent Dandini, the uncle of Pietro. This master had successively studied as a disciple with Curradi, Passignano, and Christofane Allori from whom he acquired a very pleasing but fugitive manner of colouring. He was extremely correct in his drawing, and finished his pictures highly. His best altar-piece is at Ancona, and several other noble altar-pieces in the churches of Florence are of his hand one, which is in the chapel l'Annonciata, is particularly admired. He died in 165S.

, an illustrious Italian poet, descended from one of the first families of Florence, of the name of Caccia Guida. Alighieri was the surname of the maternal line, natives of Ferrara, so called from a golden wing which the family bore on their arms. He was born in 1265, a little after the return of the Guelfs or pope’s faction, who had been exiled from their native country in consequence of the defeat at Monte Aperte. The superiority of his genius appeared early, and if we may credit his biographer Boccaccio, his amorous disposition appeared almost as soon. His passion for the lady whom he has celebrated in his poem by the name of Beatrice, is said to have commenced at nine years of age. She was the daughter of Eoleo Portinari, a noble citizen of Florence. His passion seems to have been of the platonic kind, according to the account he gives of it in his “Vita Nuova,” one of his earliest productions. The lady died at the age of twenty-six and Dante, affected by the afflicting event, fell into a profound melancholy, to cure which his friends recommended matrimony. Dante took their advice, but was unfortunate in choosing a lady of a termagant temper, from whom he found it necessary to separate, but not until they had lived miserably for a considerable time, during which she bore him several children. Either at this period, or after the death of his first mistress, he seems by his own account to have fallen into a profligate course of life, from which he was rescued by the prayers of his mistress, now a saint, who prevailed on the spirit of Virgil to attend him through the infernal regions. It is not easy to reduce this account to matter of fact, nor is it very clear indeed whether his reigning vice was profligacy, or ambition of worldly honours. It is certain, however, that he possessed this ambition, and had reason to repent of it.

He had already conceived notions of military glory, and had distinguished himself by his bravery in an action where the Florentines obtained a signal victory at Arezzo. This, joined with his acknowledged learning, prepared the way for his advancement to the first honours of the state. Italy, at that time, was distracted between the factions of the Guelfs, or partizans of the pope, and the Ghibellines, who adhered to the emperor. After many revolutions, the Gnelfs had got the superiority in Florence; and in 130O Dante, with several colleagues, was elected prior, the first executive office in the republic of Florence, and from this he is said to have dated all his misfortunes. Although the faction of the Ghibellines seemed totally extinct, an uninterrupted flow of ten years prosperity was attended with consequences more fatal to the Guelfs than all their past misfortunes. The two noble families of the Cherchi and Donati had been engaged in a quarrel of old standing, and now had recourse to arms, in consequence of a dispute between two branches of the family of Cancelieri, of Pistoia. The rival factions had distinguished themselves by the names of the blacks and the whites, i. e. the Neri and the Bianchi. Donati, from an old attachment to the part of the Cancelieri, called the blacks, joined their faction, which immediately determined the Cherchi to join the whites; and in order to put an end to the quarrel, Dante and his colleagues, ordered the heads of the opposite factions t remove from Pistoia to Florence, the consequence of which was, that all the noble families of Florence ranged themselves with the one or the other, and even the lower order of the citizens became partizans. At last, at a secret meeting of the blacks, Carso Donati proposed to apply to pope Boniface VIII. to terminate these intestine broils, by sending Charles of Valois of the blood royal of France. The whites, having learned this, assembled in arms, and clamoured loudly against the project, and Dante was so dissatisfied with it, that from that moment it is probable he took a decided part against the black faction.

The very high estimation in which this work was held in, Florence appears from a very singular institution. The republic of Florence, in 1373, assigned a public stipend to a person appointed to read lectures on the poem of Dante. Boccaccio was the first person engaged in this office; but his death happening two years after his appointment, his comment extended only to the first seventeen cantos of the “Inferno.” Another very terrible instance of their veneration for their native bard is told by the author of the “Memoires de Petrarque.” Ceno de Ascoli, a celebrated physician and astrologer, had the boldness to write parodies on the poem of Dante. This drew on him the animadversion of the inquisition. Charles, duke of Calabria, thought to protect him, but in vain. The bishop of Aversa, his chancellor, declared it was highly impious to entertain a sorcerer as a physician, and Ascoli was accordingly burnt at Florence, about three years after the death of the poet whom he had maligned.

, was born in 1596, of a noble family, originally of Florence, and entered himself of the Minims. Cardinal Richelieu, who became acquainted with him during his retirement at Avignon, was so struck with his modesty and learning, that he gave him the bishopric of Itiez, in which diocese he did much good. From the see of Uiez he was translated to that of Autun, and died in 1664, at the age of sixty-eight. He published, 1. “A History of the Minims,” 4to.' 2. “The Life of queen Joan, foundress of the Annonciades,” 8vo. 3. “The Life of cardinal de Berulle,” in Latin, 8vo. 4. “The History of the Cardinals,” in Latin, 1660, 2 vols. folio, &c. His Latin works are more tolerable in regard to style than those in French, the diction of which is become obsolete.

, an eminent antiquary and medallist, was born at Entzesfield in Austria, Jan. 13, 1737, and in 1751 entered the order of the Jesuits at Vienna, with whom he studied philosophy, mathematics, divinity, and the learned languages. His skill in medals, which appeared very early, induced his superiors to give him the place of keeper of their cabinet of medals and coins. In 1772, he was sent to Rome, where Leopold II. grand duke of Florence, employed him to arrange his collection, and on his return in 1774, he was appointed director of the imperial cabinet of medals at Vienna, and professor of antiquities. In 1775 he published his first valuable work, under the title of “Nummi veteres anecdoti ex museis Csesareo Vindobonensi, Florentine magni Ducis Etruriw, Granelliaho nunc Ceesareo, aliisque,” Vienna, 4to, in which he arranges the various articles according to the new system which he had formed, and which promises to be advantageous from its simplicity, although it has some trifling inconveniencies. This was followed by his “Catalogus Musei Caesarei Vindobonensis Nummorum veterum,” Vienna, 1779, 2 vols. fol. This has only eight plates, containing such articles as had never been published, or were not noticed in his preceding work. In 1786 he published “Sylloge nnmmorum veterum anecdotorum thesauri Cbb­sarei,” Vienna, 4to, and “Descriptip nuinmorum Antiochae Syriae, sive specimen artis criticse numerariff,” ibid. In 1787 he published, in German, a small elementary work on coins for the use of schools, but which has been thought better adapted to give young persons a taste for the science than to initiate them in it. This was followed, in 1788, by his “Explanation of the Gems” in the Imperial collection, a very magnificent book. In 1792 he published the first volume of his great work on numismati­<:al history, entitled “Doctrina munmorum veterum,” and the eighth and last volume in 1798; the excellent method and style of this work, and the vast erudition displayed, place aim at the head of modern writers on this subject, and have occasioned the remark that he is the Linnæus of his science. This very eminent antiquary died May 16, 1798.

He left Italy soon after his pupil, without understanding the language of that country, which made his journey less advantageous as well as pleasant to him. It is said that when he was at Venice, he met Bernard Ocricularius of Florence, who had written Latin history in the manner of Sallust Erasmus desired a conversation with him, and addressed him in Latin: but the Florentine obstinately refused to speak any thingexcept Italian; which Erasmus not understanding, they separated without edification on either part. Why Erasmus should not understand Italian, it is. not difficult to conceive; but it is somewhat singular that he should be ignorant of French, which was in a great measure the case, though he had spent so much time in that country. In his way from Italy to England, he passed first to Curia, then to Constance, and so through the Martian forest by Brisgau to Strasburgh, and from thence by the Rhine to Holland; whence, after making some little stay at Antwerp and Louvain, he took shipping for England. Some of his friends and patrons, whom he visited as he came along, made him great offers, and wished him to settle among them; but his heart was at this time entirely fixed upon spending the remainder of his days in England, not only upon account of his former connections and friendships, which were very dear to him, bxit the great hopes that had lately been held out to him, of ample preferment, provided he would settle there. Henry VII. died in April 1509; and Henry VIII. his son and successor, was Erasmus’s professed friend and patron, and had for some time held a correspondence with him by letters. That prince was no sooner upon the throne, than Montjoy wrote to Erasmus to hasten him into England, promising him great things on the part of the king, and of Warham archbishop of Canterbury, though indeed he had no particular commission to that end from either the one or the other. More, and some other friends, wrote him also letters to the same purpose. But he had no sooner arrived in the beginning of 1510, than he perceived that liis expectations had been raised too high, and began secretly to wish that he had not quitted Rome. However, he took no notice of the disappointment, but pursued his studies with his usual assiduity. At his 'arrival in England he lodged with More; and while he was there, to divert himself and his friend, he wrote, within the compass of a week, “-Encomium Moriae,” or “The praise of Folly,” a copy of which was sent to France, and printed there, but with abundance of faults; yet it became so popular, that in a few months it went through seven editions. The general design of this ludicrous piece is to shew, that there are fools in all stations, and more particularly to expose the errors and follies of the court of Rome, not sparing the pope himself; so that he was never after regarded as a true son of that church. It was highly acceptable to persons of quality, but as highly offensive to dissolute monks, who disapproved especially of the Commentary which Lystrius wrote upon it, and which is printed with it, because it unveiled several things from whose obscurity they drew much profit. Soon after he came to England he published a translation of the Hecuba of Euripides into Latin verse; and, adding some poems to it, dedicated it to archbishop Warham. The prelate received the dedication courteously, yet made the poet only a small present. As he was returning from Lambeth, his friend Grocyn, who had accompanied him, asked, “what present he had received” Erasmus replied, laughing, “A very considerable sum” which Grocyn would not believe. Having told him what it was, Grocyn observed, that the prelate was rich and generous enough to have made him a much handsomer present; but certainly suspected that he had presented to him a book already dedicated elsewhere. Erasmus asked, “how such a suspicion could enter his head” “Because,” said Grocyn, “such hungry scholars as you, who stroll about the world, and dedicate books to noblemen, are apt to be guilty of such tricks.”

, a native of Antwerp, and secretary to the duke of Florence, was born at Antwerp in 1584, of protestant parents, said to be of the same family with Peter the Hermit, so celebrated in the history of the crusades. In his youth Scaliger had a great esteem for him, and recommended him in the strongest terms to Casaubon; who procured him employment, and endeavoured to get him into Mr. de Montaterre’s family, in quality of preceptor, and was likely to have succeeded, when Eremita found means to ingratiate himself with Mr. de Vic, who was going ambassador into Switzerland. In the course of their intimacy De Vic, a man of great bigotry, and fired with a zeal for making converts, soon won over Eremita, by means of a conference with a Portuguese monk; and fre became a Roman catholic, which gave Casaubon great uneasiness. Eremita, however, still retained a veneration for Scaliger, and, after his death, defended him against Scioppius, who in his answer, speaks with very little respect of Eremita, and informs us that after being at Rome in 1606, he disappeared for some time after, as it was supposed at first from poverty, but it afterwards was discovered that he had retired to Sienna, where he made his court to archbishop Ascanio Piccolomini, who recommended him to Silvio Piccolomini, great chamberlain to the great duke of Florence. By this means he obtained a pension from that prince, as a reward for a panegyric written on the nuptials of the great duke with Magdalen of Austria, and published in 1608, and at his earnest request he was sent into Germany with the deputy, to acquaint the several princes of the empire with the death of the great duke’s father. At his return to Florence, he affected to be profoundly skilled in allairs of government; and promised a commentary which should exceed whatever had been written upon Tacitus. As he looked upon the history of our Saviour as fabulous, so he took a delight in exclaiming against the inquisitors and the clergy; and had many tales ready upon these occasions, all which he could set off to advantage.

Such is the character which Scioppius has given of Eremita; which is in part confirmed by some particulars related by Casaubon. He died at Leghorn in 1613. Grsevius published at Utrecht, in 1701, an octavo volume of his “Opera varia;” among which were “Aulicae vitae ac civilis, libri iv.” all taken from a manuscript in the duke of Florence’s library, communicated by Magliabecchi to Gracvius, who, in a preface, has endeavoured to refute the slanders of Scioppius. The four books, “De Aulica vita ac civili,” are written with great purity and elegance of style, and abound with curious knowledge, which makes them entertaining as well as useful. Bayle mentions two other works of our author, which, he says, deserve to be read: “Epistolica relatio de itinere Germanico, quod legatione magni Etruriae ducis ad Rodolphum II. imperatorem Germanise anno 1609 peractum fuit;” and his epistle “De Helveticorum, Rhetorum, Sedonensium situ, republica, & moribus.” His Latin poems were inserted in the second volume of “Deliciac poetarum Belgicorum.”

, a German divine and philologer, was born at Nuremberg March 24, 1663. After studying at Altorf, where, in 1684, he took his degree of master of arts, and received the poetic crown, he went to Jena, and, as adjunct of the faculty of philosophy, taught the classics with great reputation. He afterwards travelled through Germany and Holland, and on his return assisted his father, who was pastor of the fauxbourg of Wehrd in Nuremberg. Having carried on a correspondence with the most eminent scholars of his time, and now acquired reputation by his works, he was invited by the celebrated Magliabechi to become librarian to the grand duke of Florence; and among other advantages, he was promised the unmolested exercise of his religion, which was the protestant; and he would probably have accepted so liberal an offer, if he had not at the same time,been appointed inspector of the schools at Altorf, on which charge he entered in 1691. Four years afterwards he was recalled to Nuremberg, as deacon of the church of St. Mary, and professor of eloquence, poetry, history, and the Greek languages in the college of St. Giles, to which office, in 1705, was added that of pastor of St. Clare. But these offices do not appear to have been profitable, if, as we are told, he found himself in such circumstances as to be obliged to sell a good part of his valuable and curious library. Here, however, he seems to have remained until his death, Sept. 24, 1722. Some of his philological dissertations were printed in 1700, in the “Syntagma secundnm dissertationum Philologicarum,” Rotterdam, 8vo. His “Epigenes sive commentarius in fragmenta Orphica” was published at Nuremberg in 1702, 4to. He also published a new edition, Utrecht, 1689, of the “Orphei Argonautica, hymni, et de lapidibus Poema,” with notes; and an edition of “Matthei Devarii de particulis Grrecae Linguae, liber singularis,” Amst. 1700, 12 mo. He translated into German Allix on the Truth of the Christian Religion, and on the coming of the Messiah; and count Marsigli’s Letter on Mineral Phosphorus. He wrote a life of himself, which was prefixed to some of his sermons printed after his decease.

St. Evremond was a kind of epicurean philosopher; but though his speculative morality was too lax, yet in his general conduct he appears to have acted like a man of probity. He preserved his health and his chearfulness to a very great age. In one of his letters to Ninon de TEnclos he says, “At eighty-eight years of age, I eat oysters every morning. I dine heartily, and sup tolerably. Heroes are celebrated for less merit than mine.” He was at length afflicted with a strangury, which was attended with great pain, and by which he was much weakened. Bayle tells us, in one of his letters, that it was publicly known, that St. Evremond used no assistance of minister or priest to prepare him for death; and that it was said, that the envoy from the court of Florence sent to him an ecclesiastic, who, asking him whether he would be reconciled, received for answer, “With all my heart: I would fain be reconciled to my stomach, which no longer performs in usual functions.” Bayle also says, “I have seen verses, which he wrote fifteen days before his death; and his only regret was, that he was reduced to boiled meats, and could no longer digest partridges and pheasants.” He died on the 9th of Sept. 1703, aged ninety years, five months, and twenty days. Des Maizeaux says, “He preserved, to the very last, a lively imagination, a solid judgment, and a happy memory. The great and acute pains, which he felt during his sickness, never disturbed his tranquillity. He bore them with a courage and constancy that may be envied by philosophers of the first rate.” The same writer gives the following description of his person: “M. de St. Evremond had blue, lively, and sparkling eyes, a large forehead, thick eye-brows, a handsome mouth, and a sneering physiognomy. Twenty years before his death, a wen grew between his eye-brows, which in time increased to a considerable bigness. He once designed to have it cut oft; but, as it was no ways troublesome to him, and he little regarded that kind of deformity, Dr. Le Fevre advised him to let it alone, lest such an operation should be attended with dangerous symptoms in a man of his age. He would often make merry with himself on account of his wen, his great leather cap, and grey hair, which he chose to wear rather than a periwig .” Des Maizeaux afterwards adds, “His behaviour was civil and engaging, his conversation lively and pleasant, his repartees quick and happy. We find very few that know how to read well. M. de St. Evre-p mond told me one day, that he had not known three in his whole life that could read justly. He had this art in perfection; and, what is altogether as uncommon, he had a very happy way of telling a story.” “His humour was ever gay and merry; which was so far from declining towards the latter end of his life, that it seemed rather to gather fresh strength.” “He was extremely fond of the company of young people, and delighted to hear the stories of their adventures.” “Although he did not pretend to over-rigid morals, yet he had all the qualities of a man of honour. He was just, generous, and grateful; and full of goodness and humanity.”

, a licentiate in theology, and professor of poetry at Leipsic, was born at Zwickau in 1638, and distinguished from his infancy for uncommon talents. In his thirteenth year he wrote a poem on “The Passion,” which was much applauded. He was educated under the celebrated Daumius, who prided himself on the great proficiency of his pupil, and when Feller went to Leipsic, recommended him to the principal literati of that city, who found him deserving of every encouragement. Thomasius, one of them, engaged him as tutor to his children, and enhanced the favour by giving him free access to his curious and valuable library. In 1660 Feller took his master’s degree, and with such display of talents, that he was soon after made professor of poetry, and in 1676 was appointed librarian to the university. On this last preferment, he employed much of his time in arranging the library, published a catalogue of the Mss. in 1686, 12mo, and procured that the library should be open one day in every week for the use of the public. His Latin poetry, which he wrote with great facility, recommended him to the notice and esteem of the emperor, of the electors of Saxony and Brandenburgh, the duke of Florence, and other princes. He also wrote many papers in the “Acta Lipsiensia,” and the freedom of some of his criticisms in one or two instances involved him in a controversy with James Gronovius, Eggelingen, Patin, and others. He was unfortunately killed by a fall from a window, which he had approached in his sleep, being as this would imply, a somnambulist. This happened April 4, 1691. Besides the works already mentioned, he published, 1. “Cygni quasimodo geniti, sanctae vitae virorum celebrium Cygnese (Zwickau) natorum.” 2. “Supplementum ad Rappolti commentarium in Horatium.” 3. “Flores philosophici ex Virgilio collecti,” Leipsic, 1681, 8vo. 4. “Notae in Lotichicii eclogatn de origine domus Saxonicae et Palatinae.”

, a skilful painter, was descended of a good family, and born at Rome in 1634, where, being in. easy circumstances, he pursued his inclination and taste for painting. He was a faithful imitator of Peter da Cortona, whose favourite disciple he was, and to whom he came so near in his ideas, his invention, and his manner of painting, that his cielings particularly are often mistaken, for Cortona’s. Generally, however, Mr. Fuseli says, Ferri has less grace of design, less ease in his actions and draperies, and less compass of mind; but he has more solidity and carefulness of finish than his master. Though he set great prices on his works, he was in continual employ. Pope Alexander VII. had a great esteem for him; and his three successors were no less favourable to him. The great duke sent for him to Florence, and assigned him a large pension to finish the works which Cortona had left imperfect. He entered so well into the spirit of them, and acquitted himself so worthily, that the whole work seems to be of the same hand. The great duke nominated him chief of the school of Florence, in which rank he continued for a long time. Ferri returned to Rome, where he appeared a great architect as well as a good painter. Several palaces and grand altars, as St. John of the Florentines, and that of the Chiesa Nuova, were raised from his designs. He diverted himself more with drawing than painting. He was much importuned for devices, figures for breviaries, and titles of books: several of which have been engraved by Spierre and Bloemart. The pope employed him in making cartoons for the Vatican; and few men have worked in more different ways. The cupola of St. Agnes, in the palace of Navona, was his last work. The chagrin he felt in seeing the angels of Bacici, a Genoese painter, which were directly under it, the force of whose colouring made his appear too weak, is said to have been the cause of his death. One day he told Lazaro Baldi, his companion, that his cupola appeared very different on the scaffold from what it did from below, and that the angels of Bacici gave him great pain; and, falling sick soon after, he died in 1689, at the age of fifty-five.

, a painter of historical subjects, was born at Liege in 1614, and began his studies in Flanders, but at the age of twenty-four he went into Italy to cultivate his talents by a view of the works of the renowned painters of that country. At Rome, he copied the best works of the great masters, and soon acquired a reputation which recommended him to the court of Florence, to which the grand duke invited him, and there employed him in several works, the execution of which acquired for him the esteem of that prince, and the applause of the public. In returning from hence homewards, after an absence of nine years, he went to Paris, where some of his best works were executed. In 1647 he returned to Liege, where he was received with great warmth, and by his subsequent works confirmed the high, opinion which his countrymen had conceived of his merit. He then visited Paris again, was admitted a member of the academy of painting, and appointed professor. Returning home, he became rich enough to build a house at St. Remi, which cost 50,000 florins. He also embraced the clerical profession, and although he knew nothing of Latin, was made a canon of St. Paul, by a dispensation from the pope. But in the midst of wealth, possessed of public and private esteem, and of every other circumstance that could render life comfortable, he was seized with an unaccountable melancholy and dejection of spirits, which incessantly oppressed him, till it occasioned his death in 1675; and many persons believed his disorder to have been occasioned by poison administered to him by the celebrated marchioness de Brinvilliers, with whom he had formed an unfortunate connexion, but for this there appears no proof, and his death seems more reasonably attributed to his disordered mind. He appears indeed to have given way to that selfish jealousy which some have reckoned a system of approaching derangement. When one of his scholars, Carlier, had begun to give extraordinary proofs of excellence in his art, Flameel did every thing he could to discourage him, and actually transferred him to a grinder of colours. Carlier, however, conscious of his abilities, secretly painted “the Martyrdom of St. Denis,” which was placed in the church dedicated to that saint; and Flameel had no sooner seen it, than he threw his pencil into the fire, and never painted more.

, a learned Italian ecclesiastic, was born at Florence in 1713, and went through his principal courses of study in that city, and evinced so much fitness for the office, that his superiors appointed him their librarian. This society, of which he became a member in 1737, was composed of the theologians of Florence, and he made his first public display in some historical and polemical theses respecting what were called the four articles of the clergy of France, agreed upon in 1682; but his subsequent writings have consigned these to oblivion. In 1741 he published a dissertation “de primisFlorentinorum apostolis,” a work much praised by Manni and Lami. The same year appeared another “against the reveries of certain Protestants;” but what procured him more reputation, was his edition of “Virgil,” published at Florence, 1741, 4to. This is a fac-simile of the Codex Mediceus, on which Heinsius had written a learned dissertation, inserted by JBurman in the first volume of his own edition of Virgil. The original manuscript is conceived to be more ancient than the Vatican one. It appears to have formerly belonged to Rodolphus Pius, a cardinal in the time of pope Paul III. who bequeathed it to the Vatican, from which it is supposed to have been fraudulently conveyed to the Medicean.

, of Florence, son of John Peter Fontius, born in 1445, was a historian, an orator, and a grammarian, and in high esteem with Picus Mirandula, Marsilius Ficinus, Jerome Donatus, and all the literati of his age and country. He had the care of collecting books for the library of Matthew Corvinus, king of Hungary at Buda. He wrote a commentary on Persius, printed at Venice in 1491, and some orations, which were republishecl together at Frankfort, in 1621, 8vo; and died in 1513.

, the celebrated astronomer and mathematician, was the son of Vincenzo Galilei, a nobleman of Florence, not less distinguished by his quality and fortune, than conspicuous for his skill and knowledge in music; about some points in which science he maintained a dispute with the famous Zarlinas. His wife brought him this son, Feb. 10, 1564, either at Pisa, or, which is more probable, at Florence. Galileo received an education suitable to his birth, his taste, and his abilities. He went through his studies early, and his father then wished that he should apply himself to medicine;. but having obtained at college some knowledge of mathematics, his genius declared itself decisively for that study. He needed no directions where to begin. Euclid’s Elements were well known to be the best foundation in this science. He therefore set out with studying that work, of which he made himself master without assistance, and proceeded thence to such authors as were in most esteem, ancient and modern. His progress in these sciences was so extraordinary, that in 1589, he was appointed professor of mathematics in the university of Pisa, but being there continually harrasted by the scholastic professors, for opposing some maxims of their favourite Aristotle, he quitted that place at the latter end of 1592, for Padua, whither he was invited very handsomely to accept a similar professorship; soon after which, by the esteem arising from his genius and erudition, he was recommended to the friendship of Tycho Brache. He had already, even long before 1586, written his “Mechanics,” or a treatise of the benefits derived from that science and from its instruments, together with a fragment concerning percussion, the first published by Mersennus, at Paris, in 1G34-, in “Mersenni Opera,” vol. I. and both by Menoless, vol. I. as also his “Balance,” in which, after Archimedes’s problem of the crown, he shewed how to find the proportion of alloy, or mixt metals, and how to make theuaid instrument. These he had read to his pupils soon after his arrival at Padua, in 1593.

, an eminent Italian writer, and a man of extraordinary qualities, was born of mean parents at Florence in 1498, and was brought up a taylor. Such, however, was his industry and capacity, that he acquired a knowledge of languages, and made uncommon progress in the belles lettres. Thuanus says, that he did not understand Latin, but this must be a mistake, as he translated, from Latin into Italian, “The Life of Alphonsus duke of Ferrara,” by Paul Jovius, and a treatise of iion Porzio, “De<OolQribus Oculorum,” at the request of those writers. His knowledge of Greek, however, was probably limited, as he translated the “Hecuba” of Euripides into Italian, from the Latin version. His principal excellence was in his native tongue, and he acquired the highest reputation, by the works he published in it. He was acquainted with all the wits and learned men of Florence; and his merit was universally known. He was chosen a member of the academy there,; and the city made him one of their burgesses. Yet he continued the exercise of his trade as a taylor, to the end of his life; and he tells us, in a letter lo F. Melchior, March 3, 1558, that he devoted workingdays to the careof his body, and Sundays and festivals to the culture of his understanding. The same letter shews his modesty, as hereproaches his friend for giving him honourable titles, which did not agree with the lowness of his condition. He died in 1563.

During his service in the militia, he revolved several subjects for historical composition, and by the variety of them, it does not appear that he had any particular purpose to serve, or preconceived theory to which facts were to bend. Among the subjects he has enumerated, we find the expedition of Charles VIII. of France into Italy the crusade of Richard I. the barons 1 wars against John and Henry III. the history of Edward the Black Prince the lives, with comparisons of Henry V. and the emperor Titus the life of sir Philip Sidney, and that of the marquis of Montrose. These were rejected in their turns, but he dwelt with rather more fondness on the life of sir Walter Raleigh; and when that was discarded, meditated either the history of the Liberty of the Swiss; or that of the republic of Florence under the house of Medicis.

, an eminent painter, sculptor, and architect, was born in 1276, at a village near Florence, of parents who were plain country people. When a boy, he was sent out to keep sheep in the fields; and, having a natural inclination for design, he used to amuse himself with drawing his flock after the life upon sand, in the best manner he could. Cimabue travelling once that way, found him at this work, and thence conceived so good an opinion of his genius for painting, that he prevailed with his father to let him go to Florence, and be brought up under him. He had not applied himself long to designing, before he began to shake off the stiffness of the Grecian masters. He endeavoured to give a finer air to his heads, and more of nature to his colouring, with proper actions to his figures. He attempted likewise to draw after the life, and to express the different passions of the mind; but could not come up to the liveliness of the eyes, the tenderness of the flesh, or the strength of the muscles in naked figures. What he did, however, had not been done in, two centuries before, with any skill equal to his. Giotto’s reputation was so far extended, that pope Benedict IX. sent a gentleman of his court into Tuscany, to bring him a just report of his talents; and withal to bring him a design from each of the Florentine painters, being desirous to have some notion of their skill. When he came to Giotto, he told him of the pope’s intentions, which were to employ him in St. Peter’s church at Rome; and desired him to send some design by him to his holiness. Giotto, who was a pleasant ready man, took a sheet of white paper, and setting his arm close to his hip to keep it steady, he drew with one stroke of his pencil a circle so round and so equal, that “round as Giotto’s O” afterwards became proverbial. Then, presenting it to the gentleman, he told him smiling, that “there was a piece of design, which he might carry to his holiness.” The man replied, “I ask for a design:” Giotto answered, “Go, sir, I tell you his holiness asks nothing else of me.” The pope, who understood something of painting, easily comprehended by this, how much Giotto in strength of design excelled all the other painters of his time; and accordingly sent for him to Rome. Here he painted many pieces, and amongst the rest a ship of Mosaic work, which is over the three gates of the portico, in the entrance to St. Peter’s church, and is known to painters by the name of Giotto’s vessel. Pope Benedict was succeeded by Clement V. who transferred the papal court to Avignon; whither, likewise, Giotto was obliged to go. After some stay there, having perfectly satisfied the pope by many fine specimens of his art, he was largely rewarded, and returned to Florence full of riches and honour in 1316. He was soon invited to Padua, where he painted a new-built chapel very curiously; thence he went to Verona, and then to Ferrara. At the same time the poet Dante, hearing that Giotto was at Ferrara, and being himself then in exile at Ravenna, got him over to Ravenna, where he executed several pieces; and perhaps it might be here that he drew Dante’s picture, though the friendship between the poet and the painter was previous to this. In 1322, he was again invited abroad by Castruccio Castrucani, lord of Luca; and, after that, by Robert king of Naples. Giotto painted much at Naples, and chiefly the chapel, where the king was so pleased with him, that he used very often to go and sit by him while he was at work: for,Giotto was a man of pleasant conversation and wit. One day, it being very hot, the king said to him, “If I were you, Giotto, I would leave off working this hot weather” “and so would I, Sir,” says Giotto, “if I were you.” He returned from Naples to Rome, and from Rome to Florence, leaving monuments of his art in almost every place through which he passed. There is a picture of his in one of the churches of Florence, representing the death of the blessed Virgin, with the apostles about her: the attitudes of which story, Michael Angelo used to say, could not be better designed. Giotto, however, did not confine his genius altogether to painting: he was both a sculptor and architect. In 1327 he formed the design of a magnificent and beautiful monument for Guido Tarlati, bishop of Arezzo, who had been the head of the Ghibeline faction in Tuscany: and in 1334 he undertook the famous tower of Sancta Maria del Fiore; for which work, though it was not finished, he was made a citizen of Florence, and endowed with a considerable yearly pension. His death happened in 1336: and the city of Florence erected a marble statue over his tomb. He had the esteem and friendship of most of the excellent men of the age in which he lived and among the rest, of Dante and Petrarch. He drew, as already noticed, the picture of the former and the latter mentions him in his will, and in one of his familiar epistles.

, a learned antiquary of Florence, was born in 1691, and died Jan. 21, 17,57, in that city. He was the author of an account of the grand duke’s cabinet, entitled “Museum Florentinum,” Florent. 1731, continued to 11 vols. fol. “Musaeum Etruscum,” 1737, 3 vols, fol. “Musceum Cortonense,” Roma;, 1750, fol. He also published the ancient Inscriptions which are found in the cities of Tuscany; Florence, 1727, 3 vols. fol. and other books on Tuscan antiquities. His “Musaeum Florentinum” contains in vol. I. “Gemma?,' 7 dedicated to Gaston, 100 plates; vol. II. 1732,” Gemmae,“100 plates; vol. III. 1734,” Statuce,“dedicated to Gaston, 100 plates; vols. IV. V. and VI. 1740,” Numismata," dedicated to Francis III. 115 plates. It is divided into three parts one consisting of figures, two of dissertations; sometimes bound in 2 vols. and sometimes in three. In 1748, 50 portraits of the eminent professors of painting were engraved, with no farther explanation than their names, the year in which they were born and died; but this part is frequently wanting, because these portraits may be found in the History of the Painters, 4 vols. with their lives, by Francis Moucke. Vol. VII. is the first volume of the painters, 1752, 55 portraits. Vol. VIII. the second volume of the painters, 1754, 55 portraits. Vol. IX. the third volume of the painters, 1756, 55 portraits. Vol. X. the fourth volume of the painters, 1762, 55 portraits. Vol. XI. contains 100 portraits of painters, which may be found in the abbe Pozzi, and their lives by the abbe Orazis Marrini, Florence, 1764, 2 torn, each, divided into two parts; the whole bound in 1 vol.

, a philosopher and mathematician, was born Oct. 1, 1671, at Cremona, where his father, a branch of a decayed family, carried on the business of ai> embroiderer. His mother, a woman of considerable talents, taught him Latin, and gave him some taste for poetry. Being disposed to a studious life, he cliose the profession of theology, that he might freely indulge his inclination. He entered into the religious order of Camaldolitesj at Raverrna, in 1687, where he was distinguished for his proficiency in the different branches of literature and science, but was much dissatisfied with the Peripatetic philosophy of the schools. He had not been here long before he established an academy of students of his own age, which he called the Certanti, in opposition to another juvenile society called the Concordi. To his philosophical studies he added those of the belles lettres, music, and history. It appears to have been his early ambition to introduce a new system in education, and with that view he obtained the professorship of philosophy at Florence, by the influence of father Caramelli, although not without some opposition from the adherents to the old opinions. He now applied himself to the introduction of the Cartesian philosophy, while, at the same time, he became zealously attached to mathematical studies. The works of the great Torricelli, of our countryman Wallis, and of other celebrated mathematicians, were his favourite companions, and the objects of his familiar intercourse. His first publication was a treatise to resolve the problems of Viviani on the construction of arcs, entitled “Geometrica Demonstnuio Vivianeorum problematum,” Florence, 1609, 4to. He dedicated this work to the grand duke. Cosmo Til. who appointed the author professor of philosophy in the university of Pisa. From this time Grandius pursued the higher branches of mathematics with the stmost ardour, and had the honour of ranking the ablest mathematicians among his friends and correspondents. Of the number may be named the illustrious Newton, Leibnitz, and Bernoulli. His next publications were, “Geometrica dernonslratio theorematum Hugenianorum circa logisticam, seu Logarithmicam lineatn,” 1701, 4to, and “Quadratura circuii et hyperbola3 per infinitas hyperbolas et parabolas geometrice exhibita,” Pisa, 1703, 8vo. He then published “Sejani et Rufini dialogus de Laderchiana historia S. Petri Damiani,” Paris, 1705, awd “Dissertationes Camaldu lenses,” embracing inquiries into the history of the Camaldolites, both which gave so much offence to the community, that he was deposed from the dignity of abbot of St. Michael at Pisa; but the grand duke immediately appointed him his professor of mathematics in the university. He now resolved some curious and difficult problems for the improvement of acoustics, which had been presented to the royal society in Dublin, and having accomplished his objecvt, he transmitted the solutions, by means of the British minister at the court of Florence, to the Royal Society at London. This was published under the title of “Disquisitio geometrica in systema sonorum D. Narcissi (Marsh) archiepiscopi Armachani,” in 1709, when he was chosen a fellow of the royal society. This was followed by his principal work, “De infinitis infinitorum, et infinite parvorum ordinibus disquisitio geometrica,” Pisa, 1710, 4to, and by many other works enumerated by his biographer, few of which appear in the catalogues of the public libraries in this country. Among other subjects he defended Galileo’s doctrine respecting the earth’s motion, and obtained a complete victory over those who opposed it. He was deeply versed in subjects of political economy; and various disputes were referred to his decision respecting the rights of fishery, &c. He was appointed commissioner from the grand duke and the court of Rome jointly, to settle some differences between the inhabitants of Ferrara and Bologna, concerning the works necessary to preserve their territories from the ravages of inundation. For these and other important public services, he was liberally rewarded by his employers. He died at the age of sevejity-two, in July 1742.

, a learned bishop of Amelia, was born in 1536 in the little city called Borgodi-san-Sepulcro in Tuscany. He was educated by cardinal Commendo, who trusted him with the most important affairs, and gave him a rich abbey. After this cardinal’s death, Gratiaiii was secretary to pope Sixtus V. then to cardinal Montalto and Clement VIII. who was partly indebted to him for his elevation to the papal chair, made him bishop of Amelia, sent him to Venice as nuncio, and would have even created him cardinal, but was dissuaded from it by cardinal Aldobraudino, because Gratiani was the duke of Florence’s subject. The air of Venice not agreeing with his health, he retired to Amelia, devoted himself to the duties of a holy bishop, and died there, 1611. He left “Synodal Ordinances;” “The Life of Cardinal Commendo,” 4to, which has been translated into French by M. Flechier; “De Bello Cyprio,” 4to; “De Casibus adversis illustrium virorum sui oevi,” 4to, translated into French by le Pelletier. In 1745, a posthumous work was published at Florence, “De Scriptis invita Minerva ad Aloysium fratrem libri viginti,” 4to.

, an Italian scholar and poet of considerable eminence, was born at Florence March 22, 1503, of a noble family, which can be traced as far as the thirteenth century, but was now decayed, as we find that Grazzini in his youth was brought up as an apothecary. He had, however, studied philosophy and the belles lettres, and from the timetliathe acquired some reputation in the literary world, gave up his medical business. In 1540 he became one of the founders of the academy of Florence, which was first called the academy of the Humides, and each member distinguishing himself by some appellation relative to the water, Grazzini adopting that of Lasca, which signifies a roach. From the first establishment of this academy, he was appointed chancellor, and when, some months after, the grand duke changed its name to that of the academy of Florence, he was chosen overseer, or superintendant, an office which he afterwards filled three times. As the number of members, however, increased, the juniors began to make new regulations without consulting the founders, and a schism broke out, attended with so many unpleasant circumstances, that Grazzini withdrew, and became the founder of a new academy, known still by the name of La Crusca. The object of this society was to polish the Italian language, to fix a standard for it, to point out such authors as might be always models for those who chose to improve their style, to oppose the progress of false taste; and to sift the flour from the bran of literature, crusca signifying bran. Grazzini was well qualified to assist an academy instituted for these purposes. He hail enriched the language with several choice phrases and new modes of expression, and the academicians have very justly ranked him among those authors to whom they have been obliged for examples, in correcting their great vocabulary. In the mean time his growing fame induced his friend Leonard Salviati to endeavour his re-introduction into the academy of Florence, which was successfully accomplished in 1566, twenty years after he had left it; in return for which he procured admission for Salviati among the Cruscanti. Grazzini died at Florence in February 1583. He was a man of unquestionable genius, spirit, and humour, and wrote with great elegance, and although there are some indelicate passages in his poems, which was the vice of the times, he was a man of strict morals, and even, says his biographer, very religious. Many of his works are lost, and among these some prose tales, and many pieces of poetry. There remain, however, twentyone tales, six comedies, a great number of capitoli, or satirical chapters, and various poems, of which the best edition is that of Florence, 1741, 2 vols. 8vo. His Tales or Novels were printed at Paris, 1756, 8vo, from which some copies have been printed in 4to, under the title of London. An excellent French translation of them appeared in 1775, 2 vols. 8vo, in which nine histories wanting in the third evening are said to be inserted from an old French translation in ms. He wrote also “La guerra di Mostri, Poema giocoso,” Florence, 1584, 4to. Grazzini published the 2d book of Berni, Florence, 1555, 8vo; and “Tutti i trionfi, carri, mascherate o canti carnasciaj^schi dal tempo di Lorenzo de Medici a questoanno 1559,” 8vo; 100 pages are frequently wanting in this work, page 297 being pasted upon page 398. These pages contained 51 canzoni, by John Baptist dell Ottomaio, which had been inserted without his consent, and which his brother, by authority from the magistrates, had cancelled. They were printed separately by the author, in a similar size, the year following, and must be added to the mutilated copies; but though they consist of 55 songs instead of 51, those found in the original collection are preferred, as the others have been altered. This collection was reprinted in 1750, 2 vols. 8vo, Cosmopoli; but this impression is not valued.

, the celebrated historian of Italy, was descended of an ancient and noble family at Florence, where he was born March 6, 1482. His father, Peter Guicciardini, an eminent lawyer, bred up his son in his own profession; in which design he sent him, in 1498, to attend the lectures of M. Jacobo Modesti, of Carmignano, who read upon Justinian’s Institutes at Florence, but his son submitted to this resolution with some reluctance. He had an uncle who was archdeacon of the metropolitan church of Florence, and bishop of Cortona; and the prospect of succeeding to these benefices, which yielded near 1500 ducats a year, had Bred the ambition of the nephew. He had hopes of rising from such a foundation through richer preferments by degrees to the highest, that of a cardinal; and the reversion of the uncle’s places might have been easily obtained. But, though his father had five sons, he could not think of placing any of them in the church, where he thought there was great neglect in the discipline. Francis proceeded therefore with vigour in the study of the law, and took his degrees at Pisa, in 1505; but, looking upon the canon law as of little importance, he chose to be doctor of the civil law only. The same year he was appointed a professor of the institutes at Florence, with a competent salary for those times. He was now no more than twenty-three years of age, yet soon established a reputation superior to all the lawyers his contemporaries, and had more business than any of them. In 1506 he married Maria, daughter of Everardo Salviati, by far the greatest man in Florence; and, in 1507, was chosen standing counsellor to several cities of the republic. Two years after he was appointed advocate of the Florentine chapter, a post of great honour and dignity, which had been always filled with the most learned counsellors in the city; and, in 1509, he was elected advocate of the order of Calmaldoli.

The first appearance of Hawkwood in Italy-was in the 1*isan service in 1364; after which period he was every where considered as a most accomplished soldier, and fought, as different occasions presented themselves, in the service of many of the Italian states. In 1387 we find him engaged in a hazardous service in defence of the state of Florence. The earl of Armagnac, the Florentine general, having been lately defeated by Venni, the governor of the Siannese, the victors marched to surprize Hawkwood, and encamped within a mile and a half of him. But this cautious general retreated into the Cremonese, and when by several skirmishes he had amused the enemy, who kept within a mile of him, and thought to force his camp, he sallied out and repulsed them with loss. This success a little discouraged them. Venni is said to have sent Hawkwood a fox in a cage, alluding to his situation; to which Hawkwood returned for answer, “the fox knew how to find his way out.” This he did by retreating to the river Oglio, placing his best horse in the rear till the enemy had crossed the river, on whose opposite bank he placed 400 English archers on horseback. The rear by their assistance crossed the river and followed the rest, who, after fording the Mincio, encamped within ten miles of the Adige. The greatest danger remained here. The enemy had broken down the banks of the river, and let out its waters, swoln by the melting of the snow and mountains to overflow the plains. Hawkwood’s troops, surprized at midnight by the increasing floods, had no resource but immediately to mount their horses, and, leaving all their baggage behind them, marched in the morning slowly through the water, which came up to their horses bellies. By evening, with great difficulty, they gained Baldo, a town in the Paduan. Some of the weaker horses sunk under the fatigue. Many of the foot perished with cold, and struggling against the water; many supported themselves by laying hold on the tails of the stronger horses. Notwithstanding every precaution, many of the cavalry were lost as well as their horses. The pursuers, seeing the country under water, and concluding the whole army had perished, returned back. The historian observes, that it was universally agreed no other general could have got over so many difficulties and dangers, and led back his small army out of the heart of the enemy’s country, with no other loss than that occasioned by the floods, which no precaution could have prevented. One of the most celebrated actions of Hawkwood’s life, says Muratori, was this treat, performed with so much prudence and art, that ! deserves to be paralleled with the most illustrious Roman generals; having, to the disgrace of an enemy infinitely superior in number, and in spite of all obstructions from the rivers, given them the slip, and brought off his army safe to Castel Baldo, on the borders of the Paduan. Sir John Hawkwood, as soon as he found himself among his allies, employed himself in refreshing his troop and watching the enemy’s motions.

Peace being now re-established abroad, the city of Florence was, in 1393, distracted with civil feuds, which were not terminated by the execution and exile of some principal citizens. But at the close of this year they sustained a greater loss in sir John Hawkwood, who died March 6, advanced in years, at his house in the street called PulveYosa, near Florence. His funeral was celebrated with -reat magnificence, and the general lamentation of the whole city. His bier, adorned with gold and jewels, was supported by the first persons of the republic, followed by horses in gilded trappings, banners, and other military ensigns, and the whole body of the citizens. His remains were deposited in the church of St. Repar.ita, where a statue (as Poggio and Rossi call it, though it is well known to be a portrait) of him on horseback was put np by a public decree. If the Florentine historians did not distinguish between a statue and a portrait, no wonder our countryman Stowe talks of an “image as great as a mighty pillar,” erecteci to the memory of sir John Hawkwood at Florence or that Weever, copying him, calls it “a statue.”

Henry Howard, earl of Surrey, was the eldest son of Thomas, the third duke of Norfolk, lord high treasurer of England in the reign of Henry VIII. by Elizabeth, daughter of Edward Stafford, duke of Buckingham. He was born either at his father’s seat at Framlingham, in Suffolk, or in the city of Westminster, and being a child of great hopes, all imaginable care was taken of his education. When he was very young he was companion, at Windsor castle, with Henry Fitzroy, duke of Richmond, natural son to Henry VIII. and afterwards student in Cardinal college, now Christ Church, Oxford. In 1532 he was with the duke of Richmond at Paris, and continued there for some time in the prosecution of his studies, and learning the French language; and upon the death of that duke in July 1536, travelled into Germany, where he resided some time at the emperor’s court, and thence went to Florence, where he fell in love with the fair Geraldine, the great object of his poetical addresses, and in the grand duke’s court published a challenge against all who should dispute her beauty; which challenge being accepted, he came oft victorious. For this approved valour, the duke of Florence made him large offers to stay with him; but he refused them because he intended to defend the honour of his Geraldine in all the chief cities of Italy. But this design of his was diverted by letters sent to him by king Henry VIII. recalling him to England. He left Italy, therefore, where he had cultivated his poetical genius by the reading of the greatest writers of that country, and returned to his own country, where he was considered a one of the first of the English nobility, who adorned his high birth with the advantages of a polite taste and extensive literature. On the first of May, 1540, he was one of the chief of those who justed at Westminster, as a defendant, against sir John Dudley, sir Thomas Seymour, and other challengers, where he behaved himself with admirable courage, and great skill in the use of his arms, and, in 1542, served in the army, of which his father was lieutenant-genera!, and which, in October that year, entered Scotland, and burnt divers villages. In February or March following, he was confined to Windsor castle for eating flesh in Lent, contrary to the king’s proclamation of the 9th of February 1542. In 1544, upon the expedition to Boulogne, in France, he was field-marshal of the English army; and after taking that town, being then knight of the garter, he was in the beginning of September 1545, constituted the king’s lieutenant and captain-general of all his army within the town and country of Boulogne. During his command there in 1546, hearing that a convoy of provisions of the enemy was coming to the fort at Oultreau, he resolved to intercept it; but the Rhingrave, with' four thdusand Lanskinets, together with a considerable number of French under the marshal de Blez, making an obstinate defence, the Englisii were routed, anil sir Edward Poynings, with divers other gentlemen, killed, and the earl of Surrey himself obliged to fly; though it appears by a letter of his to the king, dated January 8, 1545-6, that this advantage cost the enemy a great number of men. But the king was so highly displeased with this ill success, that, from that time he contracted a prejudice against the earl, and, soon after, removed him from his command, appointing the earl of Hertford to succeed him. On this sir William Paget wrote to the earl of Surrey to advise him to procure some eminent post under the earl of Hertford, that he might not be unprovided in the town and field. The earl being desirous, in the mean time, to regain his former favour with the king, skirmished against the French, and routed them; but, soon after, writing over to the king’s council, that as the enemy had cast much larger cannon than had been yet seen, with which they imagined they should soon demolish Boulogne, it deserved consideration, whether the lower town should stand, as not being defensible, the council ordered him to return to England, in order to represent his sentiments more fully upon those points, and the earl of Hertford was immediately sent over in his room. This exasperating the earl of Surrey, occasioned him to let fall some expressions which savoured of revenge, and a dislike of the king, and an hatred of his counsellors; and was, probably, one great cause of his ruin soon after. His father, the duke of Norfolk, had endeavoured to ally himaelf to the earl of Hertford, and to his brother, sir Thomas Seymour, perceiving how much they were in the king’s favour, and how great an interest they were likely to have under the succeeding prince; and therefore he would have engaged his son, being then a widower (having lost his wife Frances, daughter of John earl of Oxford), to marry the earl of Hertford’s daughter, and pressed his daughter, the duchess of Richmond, widow of the king’s natural son, to marry sir Thomas Seymour. But though the earl of Surrey advised his sister to the marriage projected for her, yet he would nol consent to that designed for himself; nor did the proposition about himself take effect. The Seymours could not but perceive the enmity which the earl bore them; and they might well be jealous of the greatness of the Howard family, which was not only too considerable for subjects, of itself, but was raised so high by the dependence of th whole popish party, both at home and abroad, that they were likely to be very dangerous competitors for the chief government of affairs, if the king should die, whose disease was now growing so fast upon him that he could not live many weeks. Nor is it improbable, that they persuaded the king, that, if the earl of Surrey should marry the princess Mary, it might embroil his son’s government, and, perhaps, ruin him. And it was suggested that he had some such high project in his thoughts, both by his continuing unmarried, and by his using the arms of Edward the Confessor, which, of late, he had given in his coat without a diminution. To complete the duke of Norfolk’s and his son’s ruin, his duchess, who had complained of his using her ill, and had been separated from him about four years, turned informer against him. And the earl and his sister, the duchess dowager of Richmond, being upon ill terms together, she discovered all she knew against him; as likewise did one Mrs. Holland, for whom the duke was believed to have had an unlawful affection. But all these discoveries amounted only to some passionate expressions of the son, and some complaints of the father, who thought he was not beloved by the king and his counsellors, and that he was ill used in not being trusted with the secret of affairs. However, all persons being encouraged to bring informations against them, sir Richard Southwel charged the earl of Surrey in some points of an higher nature; which the earl denied, and desired to be admitted, according to the martial law, to fight, in his shirt, with sir Richard. But, that not being granted, he and his father were committed prisoners to the Tower on the 12th of December 1546; and the earl, being a commoner, was brought to his trial in Guildhall, on the 13th of January following, Jbefore the lord chancellor, the lord mayor, and other commissioners; where he defended himself with great skill and address, sometimes denying the accusations, and weakening the credit of the witnesses against him, and sometimes interpreting the words objected to him in a far different sense from what had been represented. For the point of bearing the arms of Edward the Confessor, he justified himself by the authority of the heralds. And when a witness was produced, who pretended to repeat some high words of his lordship’s, by way of discourse, which concerned him nearly, and provoked the witness to return him a braving answer; the qarl left it to the jury to judge whether it was probable that this man should speak thus to him, and he not strike him again. In conclusion, he insisted upon his innocence, but was found guilty, and had sentence of death passed upon him. He was beheaded on Tower-hill on the 19th of January 1546-7; and his body interred in the church of All Hallows Barking, and afterwards removed to Framlingham, in Suffolk.

1664. 41. “Concerning the surrender of Dunkirk, thiit it was done upon good Grounds,” 1664. Besides these original works, he translated several from foreign languages; as, 1. “St. Paul’s late Progress upon Earth about a Divorce betwixt Christ and the Church of Rome, by reason of her dissoluteness and excesses, &c.” 1644. The author of this book published it about 1642, and was forced to fly from Rome on that account. He withdrew in the company, and under the conduct of one, who pretended friendship for him; but who betrayed him at Avignon, where he was first hanged and then burnt. 2. “A Venetian Looking-glass: or, a Letter written very lately from London to Cardinal Barberini at Rome, by a Venetian Clarissimo, touching the present Distempers in England,” 1648. 3. “An exact History of the late Revolutions in Naples, &c.” 1650. 4. “A Letter of Advice from the prime Statesmen- of Florence, how England may come to herself again,” 1659. All these were translated from the Italian. He translated also from the French, “The Nuptials of Peleus and Thetis, &c.” 1654; and fro tn the Spanish, “The Process and Pleadings in the Court of Spain, upon the death of Anthony Ascham, resident for the Parliament of England, &c.” 1651.

, an Italian ecclesiastic, and able philologist, was born at Santa-croce, between Pisa and Florence, Feb. 6, 1697. His father, Benedict Lami, a learned physician, died when he was an infant, but this loss was in a great measure supplied by the care which his mother took of his education. After learning with great facility the elements of Greek, Latin, history, and geography, he was placed at the college of Prato, where he studied so hard as to injure his health. Having recovered this in some degree, he pursued his studies at Pisa, and with such success that in 1718 he was unanimously appointed vice-rector. He was afterwards appointed chaplain to the grand duke of Tuscany, professor of ecclesiastical history in the university of Florence, and keeper of the Ricardi library. He died at Florence, Feb. 6, 1770. He was not more remarkable for learning than for wit. One day at Florence, shewing some Swedish gentlemen the ancient palace of the dukes of Medicis, “There,” said he, “behold the cradle of literature” then, turning to the college of the Jesuits, “and there behold its tomb.” The Jesuits he neither loved nor flattered, and was often engaged in controversies with them. His principal works are, 1. “De recta patrum Nicenorum fide Dissertatio,” Venice, 1730, reprinted with additions at Florence, 1770, 4to. 2. “De recta Christianorum in eo quod mysterium divinse Trinitatis adtinet sententia libri sex,” Florence, 1733, 4to. 3. “De eruditione Ap<~,stolorum liber singularis,” Florence, 173$. A very much enlarged edition of this curious work on the antiquities of the primitive church, was printed in 1766, 4to. 4. “Deliciae eruditorum, seu veterum anecdoton opusculorum collectanea,” Florence, a miscellany published from 1736 to 1769, forming 18 vols. 8vo, in which are many essays from his own pen. 5. “Meursii opera,” Florence, 12 vols. folio. 6. An edition of “Anacreon,” Florence, 1742, 12mo. f. “Memorabilia Italorum eruditione praestantium, quibus vertens sseculum gloriatur,” ibid. 1742, 1748, 2 vols. 8. “Dialogi d'Aniceto Nemesio,” 1742: this was written in defence of his work on the antiquities of the primitive church, in which some of his opponents discovered a tendency towards Socinianism. 9. “Sanctae ecclesiae Florentine monumenta,” Florence, 1758, 3 vols. fol. 10. “Lezioni d'antichita Toscane, e speciaimente dellacittadi Firenze,” ibid. 1766, 2 vols. 4to.

, an Italian scholar, philosopher, and poet, was born at Florence in 1424. After having pursued his elementary studies at Volterra, he was constrained, in obedience to his father, to apply to jurisprudence; but by the favour of Cosmo and Peter de Medici, which he had the happiness to obtain, he was enabled to devote his time to philosophy and polite literature. He became particularly partial to the Platonic philosophy, and was one of the principal ornaments of the academy which Cosmo de Medici had founded. In 1457, he was appointed professor of the belles lettres at Florence, and considerably enlarged the reputation of that seminary. About the same time he was chosen by Peter de Medici to instruct his two sons, Julius, and the afterwards celebrated Lorenzo. Between Landinus and Lorenzo a reciprocal attachment took place; and such was the opinion that the master entertained of the judgment of his pupil, that he is said frequently to have submitted his works to his perusal and correction. Landinus became, in his old age, secretary to the seignory of Florence; but in his sixty-third year, he was relieved from the laborious part of this office, and allowed to retain his title and emoluments. He then retired to a residence at Prato Vecchio, from which his ancestors sprung. There he employed the remainder of his days in study, and died in 1504. He left several Latin poems, some of which have been printed, and some remain in manuscript. His notes on Virgil, Horace, and Dante, are much esteemed. He translated into Italian Pliny’s “-Natural History,” and published some learned dissertations both in Latin and Italian. It is said that he was rewarded for his critical labours on Dante by the donation of a villa, on the hill of Casentino, in the vicinity of Florence, which he enjoyed under the. sanction of a public decree. His edition of Horace was published in 1482. His philosophical opinions appear in his “Disputatipnes Cfuaaldulenses,” a work of which Mr. Roscoe has given an ample account. It was first published without a date; but, according to De Bure, in 1480, folio, and reprinted at Strasburgh in 1508. Landinus’s fame, however, rests chiefly on the advances he made in classical criticism.

, an able Italian antiquary, was born June 13, 1732, at Monte-del-Ceirao, near Macerata, and was educated in the schools of the Jesuits, where he was distinguished for the rapid progress he made in theology, philosophy, rhetoric, and poetry. After being admitted into the order of the Jesuits, he taught rhetoric in various academies in Italy with great success. When the order of the Jesuits was suppressed, he was appointed sub-director of the gallery of Florence, by Peter Leopold, grand duke of Tuscany; and that noble collection was considerably improved and enriched by his care. His first work was a “Guide” to this gallery, which he printed in 1782, and which both in matter and style is far superior to performances of that kind. In 1789 he published his “Essay on the Tuscan Language,” 3 vols. 8vo, which gave him a reputation over all Europe, and was followed by his elaborate “History of Painting m Italy,” the best edition of which is that printed at Bassano, in 1809, 6 vols. 8vo. His next publication, much admired by foreign antiquaries, was his “Dissertations on the Vases commonly called Etruscan.” In 1808 appeared his translation of “Hesiod,” 4to, of which a very high character has been given. He died March 31, 1810, at Florence, a period so recent as to prevent our discovering any more particular memoirs of him than the above.

, an eminent grammarian of Florence, in the thirteenth century, was of a noble family in that city, and during the party contests between the Guelphs and Ghibelins, took part with the former. When the Ghibelins had obtained assistance from Mainfroy, king of-Sicily, the Guelphs sent Bninetto to obtain similar aid from Alphonso king of Castillo; but on his return, hearing that the Ghibelins had defeated his party and got possession of Florence, he fled to France, where he resided several years. At length he was enabled to return to his own country, in which he was appointed to some honourable offices. He died in 1294. The historian Villani attributes to him the merit of having first introduced a degree of refinement among his countrymen, and of having reformed their language, and the general conduct of public affairs. The work which has contributed most to his celebrity, was one which he entitled “Tresor,” and wrote when in France, and in the French language, which he says he chose because it was the most agreeable language and the most common in Europe. This work is a kind of abridgment of the Bible, of Pliny the naturalist, Solinus, and other writers who have treated on different sciences, and may be called an Encyclopaedia of the knowledge of his time. It was translated into Italian about the same period, and this translation only was printed; but there are about a dozen transcripts of the original in the royal library at Paris, and there is a fine ms. of it in the Vatican, bound in crimson velvet, with manuscript notes, by Petrarch. After his return to Florence, Latini wrote his u Tesoretto,“or little treasure, which, however, is not as some have reported, an abridgment of the” Tresor,“but a collection of moral precepts in verse. He also translated into the Italian language part of Cicero” de Inventione.“His greatest honour seems to have been that he was the tutor of Dante, not however in poetry, for his” Tesoretto" affords no ground to consider him as a master of that art.

, a learned French writer in the eighteenth century, was born at Bazoches, in Beausse, April 13, 1661. He was son of Paul Lenfant, minister at Chatillon, who died at Marbourg, in June 1686. He studied divinity at Saumur, where he lodged at the house of James Cappel, professor of Hebrew, by whom he was always highly esteemed; and afterwards went to Geneva, to continue his studies there. Leaving Geneva towards the end of 1683, he went to Heidelberg, where he was ordained in August, 1684. He discharged the duties of his function there with great reputation as chaplain of the electress dowager of Palatine, and pastor in ordinary to the French church. The descent of the French into the Palatinate, however, obliged him to depart from Heidelberg in 1688. Two letters which he had written against the Jesuits, and which are jnserted at the end of his “Preservatif,” ren r dered it somewhat hazardous to continue at the mercy of a society whose power was then in its plenitude. He left the Palatinate, therefore, in October 1688, with the consent of his church and superiors, and arrived at Berlin in November following. Though the French church of Berlin had already a sufficient number of ministers, the elector Frederic, afterwards king of Prussia, appointed Mr. Lenfant one of them, who began his functions on Easter-day, March the 21st, 1689, and continued them thirty-nine years and four months, and during this time added greatly to his reputation by his writings. His merit was so fully acknowledged, as to be rewarded with every mark of distinction suitable to his profession. He was preacher to the queen of Prussia, Charlotta-Sophia, who was eminent for her sense and extensive knowledge, and after her death he became chaplain to the king of Prussia. He was counsellor of the superior consistory, and member of the French council, which were formed to direct the general affairs of that nation. In 1710 he was chosen a member of the society for propagating the gospel established in England; and March the 2d, 1724, was elected member of the academy of sciences at Berlin. In 1707 he took a journey to Holland and England, where he had the honour to preach before queen Anne; and if he had thought proper to leave his church at Berlin, for which he had a great respect, he might have had a settlement at London, with the rank of chaplain to her majesty. In 1712, he went to Helmstad; in 1715 to Leipsic; and in 1725, to Breslaw, to search for rare books and manuscripts necessary for the histories which he was writing. In those excursions he was honoured with several valuable materials from the electress of Brunswic-Lunebourg, princess Palatine; the princess of Wales, afterwards Caroline queen of Great Britain; the count de Fleming; mons. Daguesseau, chancellor of France; and a great number of learned men, both protestants and papists, among the latter of whom was the abbé Bignon. It is not certain whether he first formed thedesign of the “Bibliotheque Germanique,” which began in 1720; or whether it was suggested to him by one of the society of learned men, which took the name of Anonymous; but they ordinarily met at his house, and he was a frequent contributor to that journal. When the king of Poland was at Berlin, in the end of May and beginning of June 1728, Mr. Lenfant, we are told, dreamt that he was ordered to preach. He excused himself that he was not prepared; and not knowing what subject he should pitch upon, was directed to preach upon these words, Isaiah XxxtiiL 1. “Set thine house in order, for thou shalt die, and not live.” He related this dream to some of his friends, and although not a credulous man, it is thought to have made some impression on him, for he applied with additional vigour to finish his “History of the War of the Hussites and the Council of Basil.” On Sunday July the 25tn following, he had preached in his turn at his church; but on Thursday, July the 29th, he had a slight attack of the palsy, which was followed by one more violent, of which he died on the 7th of the next month, in his sixtyeighthyear. He was interred at Berlin, at the foot of the pulpit of the French church, where he ordinarily preached since 1715, when his Prussian majesty appointed particular ministers to every church, which before were served by the same ministers in their turns. His stature was a little below the common height. His eye was very lively anil penetrating. He did not talk much, but always well. Whenever any dispute arose in conversation, he spoke without any heat; a proper and delicate irony was the only weapon he made use of on such occasions. He loved company, and passed but few days without seeing some of his friends. He was a sincere friend, and remarkable for a disinterested and generous disposition. In preaching, his voice was good; his pronunciation distinct and varied; his style clear, grave, and elegant without affectation; and he entered into the true sense of a text with great force. His publications were numerous in divinity, ecclesiastical history, criticism, and polite literature. Those which are held in the highest estimation, are his Histories of the Councils of Pisa, Constance, and Basil, each in 2 vols. 4to. These are written with great ability and impartiality, and they abound with interesting facts and curious researches. Lenfant, in conjunction with M. Beausobre, published “The New Testament, translated from the original Greek into French,” in 2 vols. 4to, with notes, and a general preface, or introduction to the reading of the Holy Scriptures, useful for students in divinity. He is known also by his “De iuquirenda Veritate,” which is a translation of Malebranche’s “Search after Truth” “The History of Pope Joan” “Poggiana or, the life, character,- opinions, c. of Poggio the Florentine, with the History of the Republic of Florence,” and the abovementioned “History of the Wars of the Hussites,” Utrecht, 1731, 2 vols. in 4to, dedicated by his widow to the prince royal of Prussia. This was the last work in which our author was engaged. He had revised the copy of the first volume, and was reading over that of the second, when he was seized with the apoplexy. But for this it appears to have been his intention to continue his History to about 1460. To this History is added monsieur Beausobre’s “Dissertation upon the Adamites of Bohemia.”

The warlike disposition of Selim. the reigning Turkish emperor, excited great alarms in Europe, and gave occasion to Leo to attempt a revival of the ancient crusades, by means of an alliance between all Christian princes; he probably hoped, by this show of zeal for the Christian cause, that he should recover some of his lost credit as head of the church. He had, likewise, another object in view, viz. that of recruiting his finances, by the contributions which his emissaries levied upon the devotees in different countries. By the death of Maximilian in 1519, a competition for the imperial crown between Charles V. and Francis 1. took place. Leo was decidedly against the claims of both the rival candidates, and attempted to raise a competitor in one of the German princes, but he was unable to resist the fortune of Charles. At this period he incurred a very severe domestic misfortune in the death of his nephew Lorenzo, who left an infant daughter, afterwards the celebrated Catherine de Medicis, the queen and regent of France. The death of Lorenzo led to the immediate annexation of the duchy of Urbino, with its dependencies, to the Roman see, and to the appointment of Julius, Leo’s cousin, to the supreme direction of the state of Florence. The issue of his contest with Luther will occur hereafter in our account of that reformer. It may here, however, be noticed that Leo conferred on Henry VIII. of England, the title of “Defender of the Faith,” for his appearance on the side of the church as a controversial writer. The tranquil state of Italy, at this period, allowed the pope to indulge his taste for magnificence in shows and spectacles. His private hours were chiefly devoted to indolence, or to amusements, frequently of a kind little suited to the dignity of his high station. He was not, however, so much absorbed in them as to neglect the aggrandizement of his family and see. Several cities and districts in the vicinity of the papal territories, and to which the church had claims, had been seized by powerful citizens, or military adventurers; some of these the pope summoned to his court to answer for their conduct; which not being able to do, he caused them to be put to death. Having next set his heart on the possession of the territory of Ferrara, he had recourse to treachery, and is thought to have even meditated the assassination of the duke, but his plot being discovered by the treachery of one whom he had bribed, he was disappointed in his plans. Another of his designs was the expulsion of the French from Italy,* and he had made some progress in this when he was seized with an illness which put an end to his life in a few days. He died Dec. 1, 1521, in the forty-sixth year of his age.

, an eminent historical painter, was born at Florence, probably about the beginning of the fifteenth century, as he was a scholar of, and of course nearly contemporary with, Massaccio. At the age of sixteen, being entered a noviciate in the convent of Carmelites at Florence, he had there an opportunity of seeing that extraordinary artist at work upon the astonishing frescoes with which he adorned the chapel of Brancacci, in the church there; and being eager to embrace the art, such was his success, that after the death of his master, it was said by common consent, that the soul of Massaccio still abode with Fra. Filippo. He now forsook the habit of his convent, and devoted himself entirely to painting; but his studies were for a time disturbed by his being unfortunately taken, while out on a party of pleasure, by some Moors, and carried prisoner to Barbary; where he remained in slavery eighteen months. But having drawn, with a piece of charcoal, the portrait of his master upon a wall, the latter was so affected by the novelty of the performance, and its exact resemblance, that, after exacting a few more specimens of his art, he generously restored him to his liberty. On his return home he painted some works for Alphonso, king of Calabria. He employed himself also in Padua; but it was in his native city of Florence that his principal works were performed. He was employed by the grand duke Cosmo di Medici, who presented his pictures to his friends; and one to pope Eugenius IV. He was also employed to adorn the palaces of the republic, the churches, and many of the houses of the principal citizens; among whom his talents were held in high estimation. He was the first of the Florentine painters who attempted to design figures as large as life, and the first who remarkably diversified the draperies, and who gave his figures the air of antiques. It is to be lamented that such a man should at last perish by the consequences of a guilty amour he indulged in at Spoleto; where he was employed at the cathedral to paint the chapel of the blessed virgin. This is differently told by different writers, some saying that he seduced a nun who sat to him for a model of the virgin, and others that the object of his passion was a married woman. In either case, it is certain that he was poisoned by the relations of the lady whose favours he was supposed to enjoy. Lorenzo di Medici erected a marble tomb in the cathedral to his memory, which Politian adorned with a Latin epitaph. His son Lippi Filippo, was renowned for excellent imitations of architectural ornaments. He died in 1505, at the age of forty-five. There was also a Florentine painter, Lorenzo Lippi, born in 1606, and likewise a great musician and a poet. In the latter character he published “II Malmantile racquistato,” which is considered as a classical work in the Tuscan language. He died in 1664.

, a celebrated political writer and historian, was born of a good family, at Florence, in 1469. He first distinguished himself as a dramatic writer, but his comedies are not formed on the purest morals, nor are the verses by which he gained some reputation about the same time, entitled to much praise. Soon after he had entered public life, either from the love of liberty, or a spirit of faction, he displayed a restless and turbulent disposition, which not only diminished the respect due to his abilities, but frequently endangered his personal safety. He involved himself in the conspiracy of Capponi and Boscoli, in consequence of which he was put to the torture, but endured it without uttering any confession, and was set at liberty by Leo X. against whose house that conspiracy had been formed. Immediately after the death of Leo, he entered into another plot to expel the cardinal de Medici from Florence. Afterwards, however, he was raised to hitjh honours in the state, and became secretary to the republic of Florence, the 'duties of which office he performed with great fidelity. He was likewise employed in embassies to king Lewis XII. of France; to the emperor Maximilian; to the college of cardinals; to the pope, Julius II., and to other Italian princes. Notwithstanding the revenues which must have accrued to him in these important situations, it would appear that the love of money had no influence on his mind, as he died in extreme poverty in June 1527. Besides his plays, his chief works are, 1. “The Golden Ass,” in imitation of Lucian and Apuleius 2. “Discourses on the first Decade of Livy” 3. “A History of Florence” 4. “The Life of Castruccio Castracani;” 5. “A Treatise on the Military Art;” 6. “A Treatise on the Emigration of the Northern Nations;” 7. Another entitled “Del Principe,” the Prince. This famous treatise, which was first published in 1515, and intended as a sequel to his discourses on the first decade of Livy, has created very discordant opinions between critics of apparently equal skill and judgment, some having considered him as the friend of truth, liberty, and virtue, and others as the advocate of fraud and tyranny. Most generally “the Prince” has been viewed in the latter light, all its maxims and counsels being directed to the maintenance of power, however acquired, and by any means; and one reason for this opinion is perhaps natural enough, namely, its being dedicated to a nephew of pope Leo X. printed at Rome, re*published in other Italian cities, and long read with attention, and even applause, without censure or reply. On the other hand it has been thought impossible that Machiavel, who was born under a republic, who was employed as one of its secretaries, who performed so many important embassies, and who in his conversation always dwelt on the glorious actions of Brutus and Cassius, should have formed such a system against the liberty and happiness of mankind. Hence it has frequently been urged on his behalf, that it was not his intention to suggest wise and faithlul counsels, but to represent in the darkest colours the schemes of a tyrant, and thereby excite odium against him. Even lord Bacon seems to be of this opinion. The historian of Leo considers his conduct in a different point of view; and indeed all idea of his being ironical in this work is dissipated by the fact, mentioned by Mr. Roscoe, that “many of the most exceptionable doctrines in” The Prince,“are also to be found in his” Discourses,“where it cannot be pretended that he had any indirect purpose in view; and in the latter he has in some instances referred to the former for the further elucidation of his opinions. In popular opinion” The Prince“has affixed to his name a lasting stigma; and Machiavelism has long been a received appellation for perfidious and infamous politics. Of the historical writings of Machiavel, the” Life of Castruccio Castracani“is considered as partaking too much of the character of a romance; but his” History of Florence," comprising the events of that republic, between 1205 and 1494, which was written while the author sustained the office of historiographer of the republic, although not always accurate in point of fact, may upon the whole be read with both pleasure and advantage. It has been of late years discovered tnat the diary of the most important events in Italy from 1492 to 1512, published by the Giunti in 1568, under the name of Biagio Buonaccorsi, is in fact a part of the notes of Machiavel, which he had intended for a continuation of his history; but which, after his death, remained in the hands of his friend Buonaccorsi. - This is a circumstance of which we were not aware when we drew up the account of this author under the name Esperiente.

, one of the most celebrated, and certainly one of the most extraordinary men of his time, was born at Florence, Oct. 28 or 29, 1633. His parents, who were of low rank, are said to have been satisfied when they got him into the service of a man who sold fruit and herbs. He had never learned to read, and yet was perpetually poring over the leaves of old books, that were used as waste paper in his master’s shop. A bookseller who lived in the neighbourhood, and who had often observed this, and knew the boy could not read, asked him one day, “what he meant by staring so much on printed paper?” He said, “that he did not know how it was, but that he loved it; that he was very uneasy in the business he was in, and should be the happiest creature in the world, if he could live with him, who had always so many books about him.” The bookseller, pleased with his answer, consented to take him, if his master was willing to part with him. Young Magliabechi thanked him with tears in his eyes, and having obtained his master’s leave, went directly to his new employment, which he had not followed long before he could find any book that was asked for, as ready as the bookseller himself. This account of his early life, which Mr. Spence received from a gentleman of Florence, who was well acquainted with Magliabechi and his family, differs considerably from that given by Niceron, Tiraboschi, and Fabroni. From the latter, indeed, we learn that he was placed as an apprentice to a goldsmith, after he had been taught the principles of drawing, and he had a brother that was educated to the law, and made a considerable figure in that profession. His father died while he was an infant, but Fabroni makes no mention of his poverty. It seems agreed, however, that after he had learned to read, that became his sole employment, but he never applied himself to any particular study. He read every book almost indifferently, as they happened to come into his hands, with a surprizing quickness; and yet such was his prodigious memory, that he not only retained the sense of what he read, but often all the words, and the very manner of spelling them, if there was any thing peculiar of that kind in any author.

, a very learned scholar, was born at Florence, June 5, 1396, of an illustrious family that had fallen into decay. After a course of philosophical, theological and mathematical studies, he became, in the Greek language, the pupil of Camaldoli, who then taught that language at Florence, and not of Chrysoloras, as Vossius, and Hody, if we mis-take not, have reported. Manetti then lectured on philosophy in that city to a numerous auditory. He was afterwards employed by the state in various negociatious; and became successively governor of Pescia, Pistoria, and Scarperia, and commissary of the army along with Bernardetto de Medicis. He filled also several offices in the government of Florence, and rendered his own country many important services. When at Rome in 1452, at the coronation of the emperor Frederick, pope Nicholas V. bestowed on him the honour of knighthood. His talents and services, however, excited the envy of some of the families of Florence, and even the favour he acquired with the princes at whose courts he had been employed as ambassador, was considered as a crime; and a heavy fine being imposed on him, he found it necessary to leave his country, and take refuge in Rome, where pope Nicholas V. made him one of his secretaries, with a handsome salary, besides the perquisites of his place. He remained in the same office under the succeeding popes Calixtus III. and Pius II. which last made him librarian of the Vatican. Manetti at length left Rome to reside with Alphonsus, king of Naples, who had a great esteem for him, and gave him an annuity of 900 golden crowns. He did not, however, enjoy this situation long, dying Oct. 26, 1459, in his sixty-third year. He was an excellent scholar in Latin, Greek, and Hebrew, which at that time was little known in Italy, and employed twenty-two years on those languages. He kept three domestics, two of whom were Greeks, and the third a Syrian, who knew Hebrew, and whom he ordered always to speak to him in their respective languages. He was the author of a great many works, most of which remain in manuscript in the Laurentian Library. Those published were, 1. “De dignitate et excellentia hominis,” Basle, 1532, 8vo. 2. “Vita Petrarchae.” This life of Petrarch is inserted in Tommasini’s “Petrarcha redivivus.” 3. “Oratio ad regem Alphonsum in nuptiis filii sui.” This, which was spoken in 1445, was printed by Marquard Freher, in 1611, 4to, along with three other orations, addressed to Alphonsus on the peace, to the emperor Frederic on his coronation, and to pope Nicholas V. Other works have been attributed to him, as a “History of Pistoria,” and the lives of Dante, Boccacio, and Nicholas V,; but we find no particular account of them.

In 1742 he published “Historical Illustrations of the Decamerone of Boccaccio,” 4to, in which he proves that the greatest part of Boccaccio’s tales were real facts, which occurred in his life. A work of this kind could not fail to be amusing, nor in that country, instructing; and indeed this has been thought one of the best of Manni’s publications. His more elaborate work, connected with the history of Florence and Tuscany, is his “Historical Observations on the Seals of the lower age.” “Osservazioni istoriche sopra isigilli antichi de' secoli bassi,” published in 1749, and originally consisting of 18 vols. 4to, but afterwards extended to thirty. It exhibits the most valuable records of all the illustrious persons who acted a conspicuous part in the vicissitudes of Florence and other great cities of Tuscany. It also elucidates the origin and progress of all the mints of those cities. In 1755 he published his “Method of studying the History of Florence,” which is an account of all the authorities and sources of Florentine history, both printed and manuscript, in which he affirms that the best limited history of Florence is that yet unpublished of the chevalier Francis Settimanni, who wrote on the period which intervened between the accession of the house of Medici, in 1532, and its extinction, in 1737. The only other works he published respecting Florence and its antiquities, were, his “Historical notices concerning the amphitheatre at Florence,” published in 1746; and his “Inquiries into the ancient Thermae of Florence,” published in 1751.

, one of those learned Greeks who retired into Italy after the Turks had taken Constantinople, where he was born. It is said that it was not his zeal for the Christian religion, but the fear of slavery, which made him abandon his country; but if, according to Tiraboschi, he was brought into Italy in his infancy, this insinuation may be spared. He studied Greek and Latin at Venice, and philosophy at Padua; but for a subsistence was obliged to embrace the profession of arms, and served in the troop of horse under Nicholas Rhalla, a Spartan general. Rejoined the two professions of letters and arms, and would be no less a poet than a soldier: and, as he suspected that it would not be thought any extraordinary thing in him to be able to write Greek verses, he applied himself diligently to the study of Latin poetry, and acquired a good deal of reputation by his success in it. His Latin poems consist of four books of epigrams, and as many of hymns, which were published at Florence in 1197, 4to. He bad begun a poem on the education of a prince, which he did not finish: as much of it, however, as was found among his papers was published along with his epigrams and hymns; and this whole collection has passed through several editions. He appears to have had a poetical mistress, whom he frequently courts under the name of Neraea; but he married Alexandra Scala, a Florentine lady of high accomplishments, and had Politian for his rival, which may account for the contempt with which Politian speaks of his poetry. The critics are divided about his poems, some praising them highly, while others, as the two Scaligers, find great fault with them. Erasmus says, in his “Ciceronianus,” that the poems of Marullus would have been tolerable, if they had savoured less of Paganism: “Marulli pauca legi, tolerabilia si minus haberent paganitatis.” He created himself many enemies by censuring too freely the ancient Latin authors, for which he was equally freely censured by Floridus Sabinns and Politian. The learned men of that time usually rose to fame by translation; but this he despised, either as too mean or too hazardous a task. Varillas, in his “Anecdotes of Florence,” asserts, that Lorenzo de Medici conjured Marullus, by letters still extant, to translate Plutarch’s moral works; but that Marullus had such an aversion to that kind of drudgery, which obliged him, as he said, to become a slave to the sentiments of another, that it was impossible for him to get to the end of the first page. He lost his life in 1499, or 1500, as he was attempting to pass the river Csecina, which runs by Volaterra, in Tuscany. Perceiving that his horse had plunged with his fore feet in such a manner that he could not disengage them again, he fell into a passion, and gave him the spur: but both his horse and himself fell; and, as his leg was engaged under the horse’s belly, there needed but little water to stifle him. Pierius Valerianus, who relates these circumstances, observes, that this poet blasphemed terribly just before his death, and immediately upon his fall discharged a thousand reproaches and curses against heaven. His impiety seems unquestionable; and it is imputed to this turn of mind, that he so much admired Lucretius. He gave a new edition of his poem, which is censured in “Joseph Scaliger’s notes upon Catullus:” and he endeavoured to imitate him. He used to say, that “the rest of the poets were only to be read, but that Virgil and Lucretius were to be got by heart.” Hody, however, has collected a great many honourable testimonies to his merit, from the writings of able and learned critics at or near his time, while be has been equally undervalued by more modern writers.

His dedications, says Mr. Gifford, are principally characterised by gratitude and humility, without a single trait of that gross and servile adulation which distinguishes and disgraces the addresses of some of his contemporaries. That he did not conceal his misery, his editors appear inclined to reckon among his faults; he bore it, however, without impatience, and we only hear of it when it is’ relieved. Poverty made him no flatterer, and, what is still more rare, no maligner of the great: nor is one symptom of envy manifested in any part of his compositions. His principles of patriotism appear irreprehensible: the extravagant and slavish doctrines which are found in the dramas of his great contemporaries make no part of his creed, in which the warmest loyalty is skilfully combined with just and rational ideas of political freedom. But the great distinction of Massinger, is the uniform respect with which he treats religion and its ministers, in an age when it was found necessary to add regulation to regulation, to stop the growth of impiety on the stage. No priests are introduced by him, “to set on some quantity of barren spectators” to laugh at their licentious follies; the sacred name is not lightly invoked, nor daringly sported with; nor is Scripture profaned by buffoon allusions lavishly put into the mouths of fools and women. Compared with the other dramatic writers of his age, he appears more natural in his characters, and more poetical in his diction, than Jonson or Cartwnght, more elevated and nervous than Fletcher, the only writers who can be supposed to contest his pre-eminence. He ranks, therefore, in the opinion of the ablest recent critics, immediately under Shakspeare. It must be confessed, says Dr. Ferriar, in his “Essay on the Writings of Massinger,” that in comedy he falls considerably beneath Shakspeare; his wit is less brilliant, and his ridicule less delicate and various; but he affords a specimen of elegant comedy (“The Great Duke of Florence”), of which there is no archetype in his great predecessor. In tragedy Massinger is rather eloquent than pathetic: yet he is often as majestic, and generally more elegant, than his master; he is as powerful a ruler of the understanding, as Shakspeare is of the passions; with the disadvantage of succeeding that matchless poet, there is still much original beauty in his works; and the most extensive acquaintance with poetry will hardly diminish the pleasure of a reader and admirer of Massinger.

, usually called Maximus Tyrius, to distinguish him from several other Maximuses of antiquity, though chiefly distinguished by his eloquence, has obtained some degree of celebrity as a philosopher. According to Suidas, he lived under Commodus; according to Eusebius and Syncellus, under Antoninus Pius, in the second century; perhaps he flourished under Antoninus, and reached the time of Commodus, in both whose reigns he is said to have made a journey to Rome, but spent his life chiefly in Greece. We have extant of Maximu> Tyrius forty-one “Dissertations, upon various arguments;” a manuscript copy of which was first brought out of Greece into Italy by Janus Lascaris, and presented to Lorenzo de Medici. From this copy a Latin translation was made, and published by Cosmus Paccius, archbishop of Florence, in 1519. The work was then published in Greek by Henry Stephens, in 1557 in Greek and Latin by Daniel Heinsius, in 1607 byJ. Davies, of Cambridge, in 1703; by Markland in 1740, 4to; and by Reiske, in 1774, 8vo. The French have two good translations by Formey, 1764, and by Dounous, 1802. Isaac Casaubon, in the epistle dedicatory of his “Commentaries upon Persius,” calls Maximus Tyrius “mellitissimus Platonicorum;” and Peter Petit (in his “Misc. Observat.” lib. i. c. 20.) represents him as “auctorem imprimis elegantem in Philosophia, ac disertum.” He has spoken a good deal of himself in his thirtyseventh dissertation, and seemingly in a style of panegyric. Upon this account his editor Davies has accused him of vanity, but Fabricius has defended him by observing, that Davies did not sufficiently attend to Maximus’s purpose in speaking thus of himself; “which was,” he says, “not at all with a view of praising himself, but to encourage and promote the practice of those lessons in philosophy, which they heard from him with so much applause.” These dissertations are for the most part written upon Platonic principles, but sometimes lean towards scepticism.

, a celebrated citizen of Florence, born in that city iii 1389, was the eldest son of John de Metlici, the founder of his illustrious family. 4i The maxims,“says Mr. Roscoe,” which, m iformly pursued, raised the house of Medici to the splendour which it afterwards enjoyed, are to be found in the charge given by this venerable old man on his death-bed to his two sons “I feel,” said John de Medici, “that I have lived the time prescribed me. I die content; leaving you, my sons, in affluence and in health, and in such a station, that while you follow my example, you may live in your native place honoured and respected. Nothing affords me more pleasure than the reflection that my conduct has not given offence to any one; but that, on the contrary, I have endeavoured to serve all persons to the best of my abilities. I advise you to do the same. With respect to the honours of the state, if you would live with security, accept only such as are bestowed on you by the laws, and the favour of your fellow-citizens; for it is the exercise of that power which is obtained by violence, and not of that which is voluntarily conferred, that occasions hatred and violence.” At the death of this venerable man, in 1428, Cosmo had already obtained distinction both in the political and commercial world. In 1414, when the pope, John XXIII., was summoned to attend the council of Constance, he chose to be accompanied by Cosmo de Medici, among other men of eminence, whose high characters might countenance his cause. On the death of his father, Cosmo succeeded to the influence possessed by him as head of that powerful family, which rendered him the first citizen of the state, though without any superiority of rank or title, and his conduct being marked by urbanity and generosity to all ranks, he acquired numerous and zealous partizans. Such was the influence of his family, that while the citizens of Florence fancied they lived under a pure republic, the Medici generally assumed to themselves the first offices of the state, or nominated such persons as they esteemed fit for those employments. Cosmo exerted this influence with great prudence and moderation; yet, owing to the discontent of the Florentines, with the bad success of the war against Lucca, a party arose, led on by Rinaldo de' Albizi, which, in 1433, after filling the magistracies with their own adherents, seized the person of Cosmo, and committed him to prison, and he was afterwards banished to Padua for ten years, and several other members and friends of the Medici family underwent a similar punishment. He was received with marked respect by the Venetian government, and took up his abode in the city of Venice. Within a year of his retreat, Rinaldo was himself obliged to quit Florence; and Cosmo being recalled, he returned amidst the acclamations of his fellow-subjects. Some victims were offered to his future security, and the gonfaloniere who had pronounced his sentence, with a few others of that party, were put to death. Measures were now taken to restrict the choice of magistrates to the partizans of the Medici, and alliances were formed with the neighbouring powers for the avowed purpose of supporting and perpetuating the system by which Florence was from that time to be governed. The manner in which Cosmo employed his authority, has conferred upon his memory the greatest honour. From this time his life was an almost uninterrupted series of prosperity. The tranquillity enjoyed by the republic, and the satisfaction and peace of mind which he experienced in the esteem and confidence of his fellow-citizens, enabled him to indulge his natural propensity to the promotion of science, and the patronage and encouragement of learned men. The richest private citizen in Europe, he surpassed almost all sovereign princes in the munificence with which he patronized literature and the fine arts. He assembled around him some of the most learned men of the age, who had begun to cultivate the Grecian language and philosophy. He established, at Florence, an academy expressly for the elucidation of the Platonic philosophy, at the head of which he placed the celebrated Marsilius Ficinus. He collected from all parts by means of foreign correspondences, manuscripts of the Greek, Latin, and Oriental languages, which formed the foundation of the Laurentian library nor was he less liberal in the encouragement of the fine arts. During the retirement of his latter days, his happiest hours were devoted to the study of letters and philosophy, and the conversation of learned men. He also endowed numerous religious houses, and built an hospital at Jerusalem for the relief of distressed pilgrims. While the spirit of his government was moderate, he avoided every appearance of state which might excite the jealousy or discontent of the Florentines; and therefore, byway of increasing his interest among them, restricted the marriages of his children to Florentine families: By such wise measures, and the general urbanity of his behaviour to all orders of men, he attained the title of “Father of his country,” which was inscribed on his tomb. He died Aug. 1, 14-64, aged seventyfive years, deeply lamented by the citizens of Florence.

, grandson of the preceding, was born Jan. 1, 1448. From his earliest years he gave proofs of a vigorous mind, which was carefully cultivated, and exhibited many traits of that princely and liberal spirit which afterwards procured him the title of “Magnificent.” In polite literature he cultivated poetry, and gave some proofs of his talents in various compositions. At the death of Cosmo, on account of the infirmities of his father Peter de Medici, he was immediately initiated into political life, although then only in his sixteenth year. He was accordingly sent to visit the principal courts in Italy, and acquire a personal knowledge of their politics and their rulers. In 1469 his father died, leaving his two sons Lorenzo and Julian heirs of his power and property; but it was Lorenzo who succeeded him as head of the republic. Upon the accession of Sixtus IV. to the papal throne, he went, with some other citizens, to congratulate the new pope, and was invested with the office of treasurer of the holy see, and while at Rome took every opportunity to add to the remains of ancient art which his family had collected. One of the first public occurrences after he conducted the helm of government, was a revolt of the inhabitants of Volterra, on account of a dispute with the Florentine republic; by the recommendation of Lorenzo, means of force were adopted, which ended in the sack of the unfortunate city, an event that gave him much concern. In 1472, he re-established the academy of Pisa, to which he removed in order to complete the work, exerted himself in selecting the most eminent professors, and contributed to it a large sum from his private fortune, in addition to that granted by the state of Florence. Zealously attached to the Platonic philosophy, he took an active part in the establishment of an academy for its promotion, and instituted an annual festival in honour of the memory of Plato, which was conducted with singular literary splendour. While he was thus advancing in a career of prosperity and reputation, a tragical incident was very near depriving his country of his future services. This was the conspiracy of the Pazzi, a numerous and distinguished family in Florence, of which the object was the assassination of Lorenzo and his brother. In the latter they were successful; but Lorenzo was saved, and the people attached to the Medici collecting in crowds, putto death or apprehended the assassins, whose designs were thus entirely frustrated, and summary justice was inflicted on the criminals. Salviati, archbishop of Pisa, was hanged out of the palace window in his sacerdotal robes; and Jacob de Pazzi, with one of his nephews, shared the same fate. The name and arms of the Pazzi family were suppressed, its members were banished, and Lorenzo rose still higher in the esteem and affection of his fellow-citizens. The pope, Sixtus IV. who was deep in this foul conspiracy, inflamed almost to madness by the defeat of his schemes, excommunicated Lorenzo and the magistrates of. Florence, laid an interdict upon the whole territory, and, forming a league with the king of Naples, prepared to invade the Florentine dominions. Lorenzo appealed to all the surrounding potentates for the justice of his cause; and he was affectionately supported by his fellow-citizens. Hostilities began, and were carried on with various success through two campaigns. At the close of 1479, Lorenzo took the bold resolution of paying a visit to the king of Naples, and, without any previous security, trusted his liberty and his life to the mercy of a declared enemy. The monarch was struck with this heroic act of confidence, and a treaty of mutual defence and friendship was agreed upon between them, and Sixtus afterwards consented to a peace. At length the death of Sixtus IV. freed him from an adversary who never ceased to bear him ill-will; and he was able to secure himself a friend in his successor Innocent VIII. He conducted the republic of Florence to a degree of tranquillity and prosperity which it had scarcely ever known before; and by procuring the institution of a deliberative body, of the nature of a senate, he corrected the democratical part of his constitution.

Mercati wrote in Italian, at the request of his patron pope Gregory, a work “On the Plague, on the Corruption of the Air, on the Gout, and on Palsy,” Rome, 1576, 4to; and likewise a “Dissertation on the Obelisks of Rome,” 1589, 4to. But he is principally remembered for his description of the subjects of natural history, particularly of mineralogy, contained in the museum of the Vatican, which was formed under the auspices of Gregory XIII. and Sixtus V. and was afterwards totally dispersed. He was about to prepare engravings of the principal subjects, when his disease, which terminated his life, interrupted his progress. His manuscript came into the hands of Carlo Dati of Florence, where it remained till the time of Clement XI. who purchased it, and caused it to be splendidly edited by Lancisi, his first physician, in 1717, at Rome, under the title of “Metallotheca, opus posthumnm authoritate et mnnificentia dementis XI. Pont. Max. e tenebris in lucem eductum opera & stud. J. M. Lancisi Archiat. Prat, illustratum,” folio. An “Appendix ad Metallothecam” was published in 1719.

In 1731 appeared the first edition of the “Gardener’s Dictionary,” in folio, the most celebrated work of its kind, which has been often translated, copied, and abridged, and may be said to have laid the foundation of all the horticultural taste and knowledge in Europe. It went through eight editions in England, during the life of the author, the last being dated 1768. This last, which forms a very thick folio volume, follows the nomenclature and style of Linnaeus; the earlier ones having beeo written on Touruefortian principles. A much more ample edition has been published within a few years, making four large volumes, under the, care of the rev. Prot. Martyn. In this all the modern botanical discoveries are incorporated with the substance of the eighth edition. Linnæus justly predicted “Non erit Lexicon hortulanorum, sed botanicorum,” and it has certainly been the means of extending the taste for scientific botany, as well as horticulture. This work had been preceded, in 1724, by “The Gardener’s and Florist’s Dictionary,” 2 vols. 8vo, and was soon followed by “The Gardener’s Kalender,” a single 8vo volume, which has gone through numerous editions. One of these, in 1761, was first accompanied by “A short introduction to a knowledge of the science of Botany,” with five plates, illustrative of the Linnaean system. Miller had been trained in the schools of Tournefort and of Ray, and had been personally acquainted with the great English naturalist, of which he was always very proud. No wonder, therefore, if he proved slow in submitting to the Linnaean reformation and revolution, especially as sir Hans Sloane, the Mecaenas of Chelsea, had not given them the sanction of his approbation. At length more intelligent advisers, Dr. Watson and Mr. Hudson, overcame his reluctance, and, his eyes being once opened, he soon derived advantage from so rich a source. He became a correspondent of Linnæus, and one of his warmest admirers. Although it does not appear that he had any direct communication with Micheli, he was chosen a member of the botanical society of Florence, which seems to indicate that they were known to each other, and probably communicated through Sloane and Sherard, as neither was acquainted with the other’s language. Miller maintained an extensive communication of seeds with all parts of the world. His friend Houston sent him many rarities from the West Indies, and Miller but too soon inherited the papers of this ingenious man, amongst which were some botanical engravings on copper. Of these he sent an impression to Linnæus and such of them as escaped accidents, afterwards composed the “Reliquiae Houstonianae.”

, an eminent architect, to whose memory Black Friars Bridge will be a lasting monument, was born at Edinburgh, Jan. 4, 1734. His father, Thomas Mylne, was an architect, and a magistrate of that city; and his family, it has been ascertained, held th office of master-masons to the kings of Scotland for five hundred year’s, till the union of the crowns of England and Scotland. Mr. Mylne was educated at Edinburgh, and travelled early in life for improvement in h;s hereditary science. At Rome he resided five years, and in September 1758, gained the first prize in the first class of architecture, adjudged by the academy of St. Luke, and was also unanimously elected a member of that body. On this occasion prince Altieri, distinguished for his knowledge of the fine arts, obtained from the pope the necessary dispensation, Mr. Mylne being a protestant. He was also elected a member of the academies of Florence and Bologna. He visited Naples, and viewed the interior of Sicily with an accuracy never before employed; and from his skill in his profession, and his classical knowledge, was enabled to illustrate several very obscure passages in Vitruvius. His fine collection of drawings, with his account of this tour, which he began to arrange for publication in 1774, but was interrupted by his numerous professional engagements, are still in the possession of his son, and will, it is hoped, at no very distant period, be given to the public. He was often heard to remark in his latter days, that in most of his observations and drawings, he had neither been anticipated by those who traversed the ground before him, nor followed by those who came after him.

, an Italian historian, was born of a noble family of Florence, in 1476. Having espoused the cause of the liberties of his country, when the Medici family gained the ascendancy, he was banished, and his property confiscated. He then went to Venice, where he passed the rest of his days in composing his various works, particularly his history of Florence, “L'Istorie de Firenze, dal 1494 sino al 1531,” &c. 1532, 4to, which bears a great character for style; but, from his being the decided enemy of the house of Medici, must probably be read with some caution; nor was it published until fifty years after his death. He acquired great reputation also by his translation of Livy, which is considered as one of the best versions of the ancient authors in the Italian language. It was first printed in 1547; but the best editions are those of 1554 and 1575, in which last there is a supplement to the second decade by Turchi. Apostolo Zeno laments, that after Nardi had been banished his country, his works should also be banished from the vocabulary della Crusca. These academicians quote him but once, under the word pronunziare. He certainly deserved not such contempt, if it was out of contempt they neglected him. Nardi, in his youth, had distinguished himself as a soldier, and shows great knowledge and experience in military affairs, in a Life of the celebrated commander Malespini, printed at Florence, 1597, 4to. He was the author of several other works, both in prose and verse, and is supposed to have given the first example of the versi sciolti, or Italian blank verse. He is thought to have died about 1555, far advanced in age.

, a landscape painter, was born at Amsterdam in 1619, and is well known to the connoisseurs in painting, by a peculiarity of style, and also by the handling and transparence of his landscapes. His subjects are views of villages, or the huts of fishermen, oiv the banks of rivers and canals, by moon -light, generally finished 2 with a remarkable neatness of pencilling. His touch rsextremely light, free, and clean, and his imitation of nature true; particularly in the lustre of his skies about the moon, and the reflection of the beams of that luminary on the surface of the waller. His figures are usually well designed, and their actions and attitudes are well adapted to their employments and occupations. In all parts of Europe his pictures are still in good esteem, but are seldom found uninjured, owing to the simplicity of his manner, and his painting very thin. This artist died in 1683, leaving a son, Eglon Hendrick Vender Neer, who was born at Amsterdam in 1643. He was at first a pupil to his father, and afterwards of Jacob Vanloo. He had an extensive talent, and executed subjects drawn from various branches of the art, with an equal degree of merit. His portraits, in large and small, are well coloured, and touched with spirit and delicacy; in history he designed with correctness, and composed with ingenuity; his conversations have the manner, the breadth, and the finish, of Terburg; his landscape is varied and well chosen, but too much loaded, and too anxiously discriminated in the fore-grounds. The portrait of this artist, painted by himself, and inscribed “Eglon Hendric Vander Neer f. 1696,” has a place in the gallery of Florence. He died in 1703, aged sixty.

We are informed, by Florentine historians, that this family had borne the highest posts of the state from the year 900, when it was raised, with five others, to the dignity of Famiglia Cavalleresca, by the famous Ugo, marquis of Tuscany. The education of Philip de Nerli was superintended by Benedetto, a disciple of Politian; and in his youth he formed an intimacy with the most distinguished scholars of Florence. In the beginning of duke Alexander’s government, in 1532, he was chosen among the first to be of the quarantotto, or forty-eight magistrates, who were afterwards called senators. He governed the chief cities of Tuscany, in quality of commissary, which title is bestowed only upon senators; and the opinion which Alexander entertained of his judgment, made him be always employed upon public affairs, and nothing important was transacted without his concurrence. From this intimacy with political events, we may suppose him enabled to transmit to posterity the secret springs which gave them birth. He was a great favourite, and nearly related to the family of Medicis, which created him some enemies. He died at Florence, Jan. 17, 1556. His “Commentari de Fatti Civili,” containing the affairs transacted in the city of Florence from 1215 to 1537, were printed in folio, at Augsburg, in 1728, by Settimanni. As the author every where betrays his partiality to the Medici, they may be advantageously compared with Nardi’s history of the same period, who was equally hostile to that family.

, a very eminent contributor to the restoration of literature, and founder of the library of St. Mark at Florence, was the son of Bartholomew Nicolas, a merchant of Florence, and was born in 1363. He was intended, and as some say, for a time engaged, in mercantile pursuits, but preferring the cultivation of the liberal arts, he placed himself, on the death of his father, under Marsigli, or Marsilius, a scholar of considerable fame. So ardent was his love of learning, that when he had attained a competent knowledge of the Latin language, he went to Padua, for the express purpose of transcribing the compositions of Petrarch. To this laborious task he was compelled, according to Tiraboschi, by the mediocrity of his fortune, which prevented his purchasing manuscripts of any great value. His fortune, however, such as it was, and his whole time, he devoted to the collection of manuscripts or making transcripts, and accumulated about eight hundred volumes of Greek, Roman, and oriental authors. What he copied, was executed with great accuracy, and he was one of the first who corrected the defects and arranged the text of the manuscripts which he had an opportunity of studying. His house was the constant resort of scholars and students, who had free access to his library, and to many of whom he was a liberal patron. Poggio Bracciolini valued him highly in this character, and on Niccoli’s death, Jan. 23, 1437, published a funeral oration, in which he celebrated his prudence, benevolence, fortitude, &c. He was not, however, without his faults, and had disgusted some eminent scholars of his time by his sarcastic wit and irritability of temper. By his will he directed that his library should be devoted to the use of the public, and appointed sixteen curators, among whom was Cosmo de Medici; but as he died in a state of insolvency, this legacy would have been lost, had not Cosmo offered to pay his debts on condition of obtaining a right to dispose of the books. This being agreed to, he deposjted them in the Dominican monastery of St. Mark at Florence. This collection was the foundation of another celebrated library in Florence, known by the name of the Bibliotheca Marciana, or library of St. Mark, which is yet open to the inspection of the learned, at the distance of three centuries. It does not appear that he was the author of any literary work, except a short treatise on the orthography of the Latin language, in which he attempted to settle various disputed points on this subject, by the authority of ancient inscriptions.

Besides his “Chronicle,” Matthew, or Matteo, Palmieri wrote in Latin the life of Nicolas Acciajuoli, grandseneschal of the kingdom of Naples, which is printed in the thirteenth volume of Muratori’s “Script. Rer. Ital.;” a work on the taking of Pisa by the Florentines, “De captivitate Pisarum,” printed in Muratori’s nineteenth volume, and, in Italian, “Libro della vita civile,” written in the form of dialogues, and printed at Florence in 1529, 8vo. It was translated into French by Claude des Hosiers, Paris, 1557, 5vo. Palmieri was also a poet. He composed in the terza rima, in imitation of Dante, a philosophical, or rather a theological, poem, which had great celebrity in his day: its title was “Citta di Vita,” and was divided into three books, and an hundred chapters. But having advanced, among other singular opinions, that human souls were formerly those angels who remained neuter during the rebellion in heaven against their Creator, and were sent to the world below as a punishment, the Inquisition, after his death, ordered his poem to be burnt, although it had never been published, but read in manuscript. Some assert, that he was burnt along with his poem but Apostolo Zeno has proved that he died peaceably in 1475, and was honoured with a public funeral, by order of the state of Florence, that Rinuccini pronounced his funeral oration, and that, during the ceremony, his poem was laid on his breast, as his highest honour.

, a native of Florence, where he was born in 1488, was called II Fattore, or the Steward, from having been intrusted with the domestic concerns of Raphael, and soon became one of his principal assistants. He more than any other helped him. in the execution of the cartoons of the Arazzi; and in the Loggie of the Vatican painted the histories of Abraham and Isaac. After the death of his master he executed the fresco of the coronation in the stanza of Constantine. The upper part of the Assumption of the Virgin, a work of Raffaellesque grace, at Monte Lupi, in Perugia, is ascribed to him, though Vasari gives it to Perino del Vaga: the under part with the Apostles is painted by Julio. Of the works which he performed alone, no frescoes, and so few oil-pictures remain, that they may be considered as the principal rarities of galleries. Facility of conception, grace of execution, and a singular felicity in landscape, are mentioned as his characteristics. Penni wished much to unite himself with his coheir Julio, but being coldly received by him at Mantua, went to Naples, where his works and principles might have contributed much toward the melioration of style, had he not been intercepted by death in 1528, in his fortieth year. He left at Naples, with his copy of the Transfiguration, a scholar of considerable merit, Lionarde Afalatesta, or Grazia, of Pistoja. Uc had a brother Lucas, who having a close connection with Perino del Vul;;I, who had married his sister, worked with that master (see Perino) for some years at Genoa, Lucca, and other cities of Italy, with great credit. Afterwards he went to England, and was employed by king Henry VIII. for whom he painted several designs; and was also engaged by some of the merchants of London; but at last he almost entirely quitted the pencil, devoting all his time and application to engraving, as some say, but Mr. Fuseli maintains that he only furnished designs for engravers.

In the beginning of 1488, we find Picus in the possession of a peaceful asylum at Fiesole, in the vicinity of Florence, which had been given him by Lorenzo de Medici, who had a villa in the neighbourhood; and he and Politian spent many of their hours of literary leisure together. Here also he enjoyed the friendship of Robert Salviatus and the family of the Benivieni, four in number, and all men of learning and talents. Jerome Benivieni, or Benivenius, became more especially the intimate friend of Picus, the depositary of his religious and moral opinions, and all that congeniality of opinion and disposition can render one person to another. Picus wrote a commentary on one of Benivieni’s Canzone, which will be noticed hereafter* In 1489, Picus’s “Heptaplus” was published, and received with great encomiums by the learned of the age, as worthy of its author’s talents and pre-acquired celebrity It can scarcely, however, says his biographer, be productive of any valuable purpose, very minutely to inquire into the merit of a woik which the tacit consent of posterity has consigned to almost total oblivion. Picus intermixes much of Platonism in all his theological writings; and they are also tinctured with the fancied doctrines of the Jewish Cabala, which is particularly observable in the work in question. After this he appears to have been employed on a commentary on the Psalms of David, at the request of Lorenzo de Medici; but respecting thecompletion of this, nothing satisfactory is upon record. About the beginning of 1490 he was employed on his favourite object of reconciling Plato and Aristotle. “To this work,” he says in a letter to Baptista Mantuanus, “I daily devote the whole of my morning hours; the afternoon I give to the society of friends, those relaxations which are requisite for the preservation of health, and occasionally to the poets and orators, and similar studies of a lighter kind; my nights are divided betwixt sleep and the perusal of the Holy Scriptures.” In 1491 he published his treatise “De Ente et Uno,” which, says his biographer, exhibits a chain of the most profound and abstract reasoning concerning the Deity, expressed in a language consistent with the sacred ness of the subject, much more free from the terms and phraseology peculiar to the schoolmen than might be expected, and which (in comparison with the mode then usual, of treating arguments so metaphysical and abstruse) may be denominated luminous and classical. This work afterwards gave occasion to a friendly controversy between Picus and Antonius Faventinus, or Cittadinus, the whole of which is included in the works of Picus, who, as a controversial writer, appears in a very amiable view.

The society and conveniencies of study which Florence afforded, had reconciled him to a lasting abode in that city, when, in 1492, he hadthe misfortune to lose his illustrious patron and associate, Lorenzo de Medici, who was carried off bya fever in the prime of life. He and Politian, of all the Florentine scholars, had possessed perhaps the very first place in Lorenzo’s esteem. Picus now resolved to leave Florence, at least for a time, where every object reminded him of the loss he had sustained; and went to Ferrara, where he endeavoured to divert his grief by again deeply engaging in his oriental studies. A short time previously to this period, being willing to exonerate himself from the weight of secular dignities and cares, he had, for a very inadequate consideration, transferred to his nephew (the subject of our next article), John Francis PicLi.s, all his territories and other rights and possessions in Mirandula and Goncordia, comprehending one-third part of the patrimonial inheritance. The sums arising from this transfer, he employed partly in the purchase of lands, to secure an annual revenue for the due support of his household, and partly in charitable donations; to the later purpose also the produce of a great part of his rich furniture and plate was appropriated. Benevolence towards the poor seems to have been a distinguishing feature in his character; for, not content with performing acts of munificence and charity, the necessity and propriety of which suggested themselves to his own observation, he engaged his friend Jerome Benivenius to be constantly in search of such cases of indigence and di&tress amongst the poorer citizens of Florence as might happen to escape general observation; authorizing him to supply immediate relief as necessity required, and engaging lo refund from his own purse whatever sums he should disburse on these benevolent occasions. In his latter days, to which we are now approaching, we are told that pride, ambition, anger, and all the turbulent passions, had subsided; that vanity and self-conceit were extinguished, and that no events, whether prosperous or adverse, discomposed the constant and uniform serenity of his mind. These great qualities, however, were not wholly unmixed with some portion of the superstition incident to the age. He is represented as having, at particular seasons, added to the usual mortifications prescribed by the church, by voluntary penances and self-inflicted pains, which the erring judgment of those times considered as meritorious. Of many, however, of the abuses and corruptions of the papal hierarchy he appears to have been sensible, and on various points of doctrine his views have been pronounced much more rational than could be expected from the time.

Pius behaved in his high office with considerable spirit and activity; but more as a temporal prince, than the head of the church. During his pontificate he received ambassadors from the patriarchs of the east: the chief of the embassy was one Moses, archdeacon of Austria, a man well versed in the Greek and Syriac languages, and of a distinguished character. He appeared before his holiness in the name of the patriarchs of Antioch, Alexandria, and Jerusalem; he told his holiness, that the enemy who sows tares having prevented them till then from receiving the decree of the council of Florence, concerning the union of the Greek and Latin churches, God had at last inspired them with a resolution of submitting to it; that it had been solemnly agreed to, in an assembly called together for that purpose; and that for the future they would unanimously submit to the pope as vicegerent of Jesus Christ. Pius commended the patriarchs for their obedience, and ordered Moses’s speech to be translated into Latin, and laid up amongst the archives of the Roman church. A few days after the arrival of these ambassadors from the east, there came others also from Peloponnesus, who offered obedience to the pope, and he received them in the name of the church of Rome, and sent them a governor.

, one of the. revivers of literature, was the son of Guccio Bracciolini, and was born in 1380, at Terranuova, a small town situated in the territory of the republic of Florence, not far from Arezzo. He inherited from his father who had been a notary, but had lost his property, no advantages of rank or fortune, yet in a literary point of view, some circumstances of his birth were singularly propitious. At the close of the fourteenth century, the dawn of literature was appearing, and the city of Florence was distinguished by the zeal with which its principal inhabitants cultivated and patronized the liberal arts. It was consequently the favourite resort of the ablest scholars of the time; some of whom were induced by the offer of considerable salaries, to undertake the task of public instruction. In this celebrated school, Poggio applied himself to the study of the Latin tongue, under the direction of John of Ravenna; and of Greek, under Manuel Chrysoloras. When he had acquired a competent knowledge of these languages, he quitted Florence, and went to Rome, where his literary reputation introduced him to the notice of pope Boniface IX. who took him into his service, and promoted him to the office of writer of the apostolic letters, probably about 1402. At this time Italy was convulsed by war and faction, and in that celebrated ecclesiastical feud, which is commonly distinguished by the name of the “schism of the West,” no fewer than six of Poggio’s patrons, the popes, were implicated in its progress and consequences. In 1414 we find Poggio attending the infamous pope John to Constance, in quality of secretary; but as this pontiff fled from the council, his household was dispersed, and Poggio remained some time at Constance. Having a good deal of leisure, he employed his vacant hours in studying the Hebrew language, under the direction of a Jew who had been converted to the Christian faith. The first act of the council of Constance was the trial of pope John, who was convicted of the most atrocious vices incident to the vilest corruption of human nature, for which they degraded him from his dignity, and deprived him of his liberty. It was also by this council that John Huss, the celebrated Bohemian reformer, was examined and condemned, and that Jerome of Prague, in 1416, was tried. Poggio, who was present at Jerome’s trial, gave that very eloquent account of the martyr’s behaviour which we have already noticed (See Jerome Of Prague), and which proves, in the opinion of Poggio’s biographer, that he possessed a heart “which daily intercourse with bjgoted believers and licentious hypocrites could not deaden to the impulses of humanity.”

After the ecclesiastical feud had been in some measure composed, Martin V. became the new pontiff, but Poggio did not at first hold any office under him, as he visited England in consequence of an invitation which he had received from Beaufort, bishop of Winchester. He is said to have observed with chagrin the uncultivated state of the public mind in Britain, when compared with the enthusiastic love of elegant literature, which polished and adorned his native country. During his residence here he received an invitation to take the office of secretary to Martin V. which was the more readily accepted by him, as he is said to have been disappointed in the expectations he had formed from the bishop of Winchester. The time of his arrival at Rome is not exactly ascertained but it appears that his first care afcer his re-establishment in the sacred chancery, was to renew with his friends the personal and epistolary communication which his long absence from Italy had interrupted. He now also resumed his private studies, and in 1429 published his “Dialogue on Avarice,” in which he satirized, with great severity, the friars who were a branch of the order of the Franciscans, and who, on account of the extraordinary strictness with which they professed to exercise their conventual discipline, were distinguished by the title of Fratres Observantly. He inveighs also against the monastic life with great freedom, but with a levity which renders it very questionable whether any kind of religious life was much to his taste. When Eugenius IV. was raised to the pontificate, his authority commenced with unhappy omens, being engaged in quarrels both in Italy and Germany and Poggio, foreseeing the disastrous event, wrote freely upon the subject to the cardinal Julian, the pope’s legate, that he might gain him over to his master’s interest. In this letter were some smart strokes of satiric wit, which the disappointed and irritated mind of Julian could not well bear. Poggio’s morals were not free from blame; and the cardinal in his answer reminds him of having children, which, he observes, “is inconsistent with the obligations of an ecclesiastic and by a mistress, which is discreditable to the character of a layman.” To these reproaches Poggio replied in a letter replete with the keenest sarcasm. He pleaded guilty to the charge which had been exhibited against him, and candidly confessed that he had deviated from the paths of virtue, but excused himself by the common-place argument that many ecclesiastics had done the same. In 1433, when the pope was obliged to fly from Rome, Poggio was taken prisoner, and obliged to ransom himself by a large sum of money. He then repaired to Florence, where he attached himself to the celebrated Cosmo de Medici, and in consequence became involved in a quarrel with Francis Philelphus (See Philelphus), which was conducted with mutual rancour. Poggio now purchased a villa at VaJdarno, which he decorated with ancient sculpture and monuments of art; and such was the esteem in which he was held by the republic of Florence, that he and his children were exempted from the payment of taxes. These children, all illegitimate, amounted to fourteen but in 1435, when he had attained his fifty-fifth year, he dismissed them and their mother without provision, and married a girl of eighteen years old. On this occasion he wrote a formal treatise on the propriety of an old man marrying a young girl the treatise is lost, and would be of little consequence if recovered, since the question was not whether an old man should marry a young girl, but whether an old man should discard his illegitimate offspring to indulge his sensuality under the form of marriage. As however, men in years who marry so disproportionately are generally very ardent lovers, he celebrates his young bride for her great beauty, modesty, sense, &c.

Although Poggio held the office of apostolic secretary under seven pontiffs, he had never reached any of the superior departments of the Roman chancery. But when Nicholas V. ascended the pontifical throne, his prospects were brightened and he indulged the hope of spending the remainder of his days in a state of independence, if not of affluence. With a viewof improving his interest with the new pontiff, he addressed to him a congratulatory oration, which was recompensed by very liberal presents. This was succeeded by a dedicatory epistle, introducing to his patronage a dialogue “On the Vicissitudes of Fortune,” the most interesting of Poggio’s works, and inculcating maxims of sublime philosophy, enforced by a detail of splendid and striking events. Confiding in the pontiff, he also published the dialogue “On Hypocrisy,” already mentioned. At the request, and under the patronage of Nicolas, he also contributed to the illustration of Grecian literature, by a Latin translation of the works of Diodorus Siculus, and the “Cyropaedia” of Xenophon. During the plague, which raged in various parts of Italy, in 1450, Poggio visited the place of his nativity; and availing himself of this interval of relaxation from the duties of his office, he published his “Liber Facetiarum,” or collection of jocose tales, containing anecdotes of several eminent persons who flourished during the fourteenth and fifteenth centuries. This work acquired a considerable degree of popularity, and was read, not only in the native country of its author, but also in France, Spain, Germany, and Britain, very little indeed to the credit of the readers, as it abounds with gross and abominable indecencies. In 1451 he dedicated to the cardinal Prospero Colonna, his “Historia disceptativa convivialis.” In 1453 Poggio was elevated to the chancellorship of Florence; and at the same time he was chosen one of the “Priori degli arti,” or presidents of the trading companies; both which offices he held till his death, which happened October 30, 1459. Notwithstanding the multiplicity of his business, and the advances of age, he prosecuted his studies with his accustomed ardour, and published a dialogue “De miseria hurnanae conditionis,” and a version of Lucian’s “Ass,” with a view of establishing a point of literary history, which seems to nave been till that time unknown namely, that Apuleius was indebted to Lucian for the stamina of his “Asinus aureus.” The last literary work in which he engaged, was his “History of Florence,” divided into eight books, and comprehending the events in which the Florentines were concerned from 1350 to the peace of Naples in 1455. This history was translated into Italian by Jacopo, the son of Poggio but the original was published by Recanati, and has been republished in the collections of Graevius and Muratori. Poggio concluded his career in the possession of universal respect, and in the tranquil enjoyment of social and domestic comforts. His remains were interred with solemn magnificence in the church of Santa Croce at Florence and his fellow-citizens testified thek respect for his talents and virtues, by erecting a statue to his memory on the front of the church of Santa Maria del Fiore. As the citizeu of a free state, which he deemed a high honour, he improved every opportunity that occurred for increasing and displaying the glory of the Tuscan republic. Although he was honoured by the favour of the great, he never sacrificed his independence at the shrine of power, but uniformly maintained the ingenuous sentiments of freedom. Such was the state of morals in his time, that the licentiousness which disgraced the early period of his life, and the indecent levity which occurs in some of his writings, did not deprive him of the countenance of the greatest ecclesiastical dignitaries, or cause him to forfeit the favour of the pious Eugenius, or of the moral and accomplished Nicolas V. To those with whom he maintained a personal intercourse, he recommended himself by the urbanity of his manners, the strength of his judgment, and the sportiveness of his wit. “As a scholar, Poggio is entitled to distinguished praise. By assiduous study, he became a considerable proficient in the Greek language, and intimately conversant with the works of the Roman classic authors. In selecting, as his exemplar in Latin composition, the style of Cicero, he manifested the discernment of true taste and his endeavours to imitate this exquisite model, were far from being unsuccessful. His diction is flowing, and his periods are well balanced. But by the occasional admission of barbarous words and unauthorized phraseology, he reminds his readers that at the time when he wrote, the iron age of literature was but lately terminated. His striking fault is diffuseness a diffuseness which seems to arise, not so much from the copiousness of his thoughts, as from the difficulty which he experienced in clearly expressing his ideas. It must, however, be observed, that he did not, like many modern authors who are celebrated for their Latinity, slavishly confine himself to the compilation of centos from the works of the ancients. In the prosecution of his literary labours, he drew from his own stores and those frequent allusions to the customs and transactions of his own times, which render his writings so interesting, must, at a period when the Latin language was just rescued from the grossest barbarism, have rendered their composition peculiarly difficult.” When compared with the works of his immediate predecessors, the writings of Poggio are truly astonishing. Rising to a degree of elegance, to be sought for in vain in the rugged Latinity of Petrarca and Coluccio Salutati, he prepared the way for the correctness of Politian, and of the other eminent scholars whose gratitude has reflected such splendid lustre on the character of Lorenzo de Medici." The works of Poggio were published together at Basil, in 1538, which is reckoned the most complete edition.

Poiitian had been indebted for his education to Lorenzo, who had early procured for him the citizenship of Florence placed him in easy and affluent circumstances; probably conferred on him the secular priory of the college of S. Giovanni, which he held and on his entrance into clerical orders, appointed him a canon of the cathedral of Florence. It was at this period that the arts and sciences began gradually to revive and flourish; philosophy “to be freed,” to use the expression of antiquaries, “from the dust of barbarism,” and criticism to assume a manly and rational appearance. The more immediate causes which brought about these desirable events, were, the arrival of the illustrious Grecian exiles in Italy the discovery of antient manuscripts; establishment of public libraries, and seminaries of education; and especially the invention of printing. No branch of science was cultivated with greater ardour than classical literature: under the peculiar patronage of Lorenzo, and of some of the chief of other states in Italy, who imitated his liberality, eminent scholars engaged with incredible ardour and diligence, in collating manuscripts, and ascertaining the genuine text 'of Greek and Latin authors: explaining their obscurities, illustrating them with commentaries, translating them into various languages, and imitating their beauties.

, an Italian poet of Florence, who went into France in the suite of Mary of Medicis, queen to Henry IV. is the reputed inventor of the musical drama or opera, that is, of the manner of writing, or representing comedies or tragedies in music, to which the first recitative was applied. Others give this invention to a Roman gentleman of the name of Emilio del Cavaliere, who was more properly the inventor of the sacred drama or oratorio, in a similar species of music or recitative, so nearly at the same time that it is difficult to determine which was first: both had their beginning in 1600. Rinucciui was author of three lyric pieces, “Daphne,” “Euridice,” and “Ariadne,” which all Italy applauded. Euridice, written for the nuptials of Mary of Medicis, was first performed with great splendor and magnificence at Florence, at the court and expence of the grand duke. The poetry is truly lyrical, smooth, polished, and mellifluous. He died in 1621, at Florence; and a collection, or rather selection, of his works were published in 1622, in the same city, in 4*o, by his son, Pietro Francesco Rinuccini, and another entitled “Drammi Musicale,” in 1802, 8vo, at Leghorn. The family is noble, and was subsisting in 1770. More of Ottavio may be seen in the appendix to Walker’s “Life of Tassoni,” just published, 1816.

, in Latin Oricellarius, a learned writer of the fifteenth century, was born in 1449. His mother was daughter of the celebrated Pallas Strozzi, one of the most powerful and opulent citizens of Florence, a great patron of literature, and who in his collections of books and antiquities, was the rival of Niccoli, and even of the Medicis themselves. To this last mentioned illustrious family Bernard became allied, in his seventeenth year, by his marriage with the sister of Lorenzo, which joyful occasion his father John Ruccellai is said to have celebrated with princely magnificence, at the expence of 37,000 florins. Bernard after his marriage pursued his studies with the same avidity as before; and after Lorenzo de Medici’s death, the Platonic academy found in him a very generous protector. He built a magnificent palace, with gardens and groves convenient for the philosophic conferences held by the academicians, and ornamented it with the most valuable specimens of the antique, collected at an immense expence.

, fourth son to the preceding, was born at Florence, Oct. 20, 1475, at a time when his family was in the plenitude of its power. By what masters he was educated we have not been told, but it maybe presumed, from his father’s character, that he procured him the best which Florence could afford; and it is said that he became very accomplished in the Greek and Latin languages, as well as in his own. In 1505 he was sent as ambassador from Florence to Venice. In the tumult raised by the younger citizens of Florence on the return of the Medici in 1512, and which contributed so greatly to facilitate that event, he and his brother Pallas took a principal part, apparently in opposition to the wishes of their father, who was on the popular side. On the elevation of Leo X. and the appointment of his nephew Lorenzo to the government of Naples, Ruccellai is supposed to have accompanied the latter to Rome, when he went to assume the insignia of captain-general of the church. In 1515 he attended Leo on his visit to Florence, on which occasion the pontiff was entertained in the gardens of the Ruccellai with the representation of the tragedy of “Rosmunda,” written by our author in Italian blank verse. As Ruccellai entered into the ecclesiastical order, it has appeared surprising that Leo did not raise him to the purple; but political reasons, and not any want of esteem, seem to have prevented this, fop he sent him, at a very important crisis, as his legate to Francis I. in which station he continued until Leo’s death. After this event he returned to Florence, and was deputed, lyith five other principal citizens, to congratulate the net* pope Adrian VI. which he performed in an oration yet extant. The succeeding pope Clement VII. appointed Ruccellai keeper of the castle of St. Angelo, whence he obtained the name of IL Gastellano. He died in 1526. His fame rests chiefly on his poem of the “Api,” or Bees, which was published in 1539, and will secure to its author a high rank among the writers of didactic poetry. “His diction,” says Mr. Roscoe, “is pure without being insipid, and simple without becoming vulgar; and in the course of his work he has given decisive proofs of his scientific acquirements, particularly on subjects of natural history.” Besides the tragedy of “Rosmunda,” already noticed, he wrote another, V Oreste,“which remained in manuscript until published by Scipio Maffei in his” Teatro Italiano,“who consider it as superior to his” Rosmunda.“They are both imitations of Euripides. An edition of all his works was printed at Padua in 1772, 8vo, and his poem of the” Bees" was translated into French by Pingeron, in 1770.

, a learned Italian, was born at Florence in 1654, where he afterwards became professor, of Greek, which he understood critically. He has the credit of having contributed much to the promotion of good taste in Italy, chiefly by his translations, which comprize the Iliad and Odyssey of Homer; Hesiod Theocritus; Anacreon and many of the minor poets and epigrammatists: the Clouds and Plutus of Aristophanes parts of Horace and Ovid; Persius part of the Book of Job and the Lamentations; Boileau’s“Art Poetique;” Addison’s “Cato” and “Letters from Italy,” and other pieces. All these are literally translated, which obliged him to introduce into the Tuscan language a multitude of new compound terms. He wrote also “Sonnets and other original Poems,” 4to; “Tuscan prose,” 1715, 2 vols. 4to “A hundred Academical Discourses” “A funeral Oration for Antonio Magliabecchi,” and other works. Jie died in 1729. The Salvinia, in botany, was so named in compliment to him, but of his botanical talents we have no information. Salvini also belonged to the academy of De la Crusca, and was particularly instrumental in the completion of that cer lebrated Dictionary. He had a younger brother, a canon of Florence, who died at an advanced age in 1751. He was also a distinguished man of letters, and published a work, entitled “Fasti cqnsolari delfe' Academia Fiorentina,” and the Lives of Magalotti and Migliorucci.

Sauvages was much loved by his pupils, to whom he communicated freely all that he knew, and received with equal readiness whatever information any one was enabled to give him. He was an able mathematician, an. accurate observer of phenomena, and ingenious in devising experiments; but had too much bias to systems, so that he did not always consult facts uninfluenced by prepossession. He was a member of the most learned societies of Europe, viz. of the Royal Society of London, of those of Berlin, Upsal, Stockholm, and Montpellier, of the Academy “Naturae Curiosorum,” of the Physico-Botanical Academy of Florence, and of the Institute of Bologna. He obtained the prizes given by many public bodies to the best essays oil given subjects; and a collection of these prize-essays was published at Lyons in 1770, in two volumes, with the title of.“Chef d'Œuvres de M. de Sauvages.”

Various opinions have been entertained of this man’s real character. Some of the friends of liberty and protestantism have considered him as a man who had elevated views and good intentions, though perverted by a spirit of fanaticism; and there seems no reason to doubt that he was really a friend to the liberty of Florence, and felt an honest indignation at the profligacy of the court of Rome, and the corruption of the catholic church. For these last reasons, some have even admitted him among the reformers and martyrs. But his title to this honour seems very questionable, and the character of a leader of a party is as discernible in his conduct as that of a reformer. There are a great number of his sermons remaining, and other works in Latin and Italian, most of them on religious subjects. His life, inserted in Bates’ s “Vitse Selectorum,” was written in Latin by John Francis Picus de Mirandola, prince of Concordia. Queti published an edition of it, to which he added notes, with the Latin translation of some of Savonarola’s works, and a list of them.

During his life-time were published the above-mentioned speech to pope Innocent; another speech which he made as chancellor of Florence, “Pro Imperatoriis miiitaribus siguis dandis Constantio Sfortise Imperatori,” 1481 and “Apologia contra vituperatores civitatis Florentiae,” 1496, in folio. His posthumous works are four books, “De Historia Floremina,” and “Vita di Vitaliani Borromeo;” both printed at Rome in 1677, 4to. This history of the Florentine republic was written in twenty books, and deposited in the Medicean library; but, as only four of these books and part of a fifth were finished, no more have been thought fit for the press. He was the author also of “Apologues,” and of some Latin and Italian “Poems.” Some few of his letters have been published; and there are eight in the collection of Politian, with whom Scala, as appears from the correspondence, had the misfortune to be at variance. Politian probably despised him for being his superior in every thing but letters, and Scala valued himself too much on his opulence. Erasmus also has not passed a very favourable judgment on him: he represents him as a Ciceronian in his style. Scala' s daughter Alexandra, above mentioned, was no less distinguished by her personal beauty, than her literary acquirements. She gave her hand to the Greek Marullus (See Mahullus); and Politian is numbered among her unsuccessful admirers; a circumstance that may in some degree account for the asperities which marked his controversy with her father. She is said to have been assisted in her studies by. John Lascaris, and Demetrius Chalcondylas. In evidence of her proficiency, we are told that she replied to a Greek epigram, which the gallantry of Politian addressed to her, in the same language and measure; and in a public representation of the “Electra” of Sophocles at Florence, she undertook to perform the principal female character, which, according to Politian, she did with great success. She died in 1506.

, an early Italian writer, was born at Florence about the close of the fifteenth century. He was educated at Padua, where he became an accomplished classical scholar, but appears afterwards to have gone into public life, and was employed in various embassies and iiegociations by duke Cosmo, of Florence. He wrote an excellent history of Florence from 1527 to 1555, which, however, remained in ms. until 1723, when it appeared, together with a life of Niccolo Capponi, gonfalonier of Florence, Segni’s uncle. He likewise translated Aristotle’s Ethics. “L‘Etica d’Aristotele, tradotta in volga Fiorentino,” Florence, 1550, 4to, a very elegant book; and “DelP Anima d'Aristotele,” 1583, also the Rhetoric and Poetics of the same author, &c. He died in 1559.

, a man of great learning and abilities, was the third son of Marianus Socinus, an eminent civilian at Bologna, and has by some been reckoned the founder of the Socinian sect, as having been in reality the author of all those principles and opinions, which Faustus Socinus afterwards propagated with more boldness. He was born at Sienna in 1525, and designed by his father for the study of the civil law. With this he combined the perusal of the scriptures; thinking that the foundations of the civil law must necessarily be laid in the word of God, and therefore would be deduced in the best manner from it. To qualify himself for this inquiry, he studied the Greek, Hebrew, and Arabic tongues. What light he derived from this respecting the civil law is not known, but he is said to have soon discovered, that the church of Rome taught many tilings plainly contrary to scripture. About 1546 he became a member of a secret society, consisting of about forty persons, who held their meetings, at. different times, in the territory of Venice, and particularly at. Vicenza, in which they deliberated concerning a general reformation of the received systems of religion, and particularly endeavoured to establish the doctrines afterwards publicly adopted by the Socinians; but being discovered, and some of them punished, they dispersed into other countries; and our Socinus, in 1547, began his travels, and spent four years in France, England, the Netherlands, Germany, and Poland; and then settled at Zurich. He contracted a familiarity, and even an intimacy, with the learned wherever he went and Calvin, Melancthon, Builinger, Beza, and others of the same class, were amongst. the number of his friends. But having soon discovered, by the doubts he proposed to them, that he had adopted sentiments the most obnoxious to these reformers, he became an object of suspicion and Calvin, in particular, wrote to him an admonitory letter, of which the following is a part; “Don't expect,” says he, “that I should answer all your preposterous questions. If you chuse to soar amidst such lofty speculations, suffer me, an humble disciple of Jesus Christ, to meditate upon such things as conduce to my edification; as indeed I shall endeavour by my silence to prevent your being troublesome to me hereafter. In the mean time, I cannot but lament, that you should continue to employ those excellent talents with which God has blessed you, not only to no purpose, but to a very bad one. Let me beg of you seriously, as I have often done, to correct in yourself this love of inquiry, which may bring you into trouble.” It would appear that Socinus took this advice in part, as he continued to live among these orthodox divines for a considerable time, without molestation. He found means, however, to communicate his notions to such as were disposed to receive them, and even lectured to Italians, who wandered up and down in Germany and Poland. He also sent writings to his relations, who lived at Sienna. He took a journey into Poland about 1558; and obtained from the king some letters of recommendation to the doge of Venice and the duke of Florence, that he might be safe at Venice, while his affairs required his residence there. He afterwards returned to Switzerland, and died at Zurich in 1562, in his thirty-seventh year. Being naturally timorous and irresolute, he professed to die in the communion of the reformed church, but certainly had contributed much to the foundation of the sect called from his, or his nephew’s name, for he collected the materials that Faustus afterwards digested and employed with such dexterity and success. He secretly and imperceptibly excited doubts and scruples in the minds of many, concerning several doctrines generally received among Christians, and, by several arguments against the divinity of Christ, which he left behind him in writing, he so far seduced, even after his death, the Arians in Poland, that they embraced the communion and sentiments of those who looked upon Christ as a mere man, created immediately, like Adam, by God himself. There are few writings of Laelius exta.it, and of those that bear his name, some undoubtedly belong to others.

In 1574, he left the court of Florence, and went into Germany; whence he could never be prevailed with to return, though frequently importuned by letters and messengers from the grand duke himself. He studied divinity at Basil for three years; and now began to propagate his uncle’s principles, but with considerable alterations and additions of his own. About that time the churches of Transylvania were disturbed by the doctrine of Francis David, concerning the honours and the power of the son of God. Blandrata, a man of great authority in those churches and at court, sent for Socinus from Basil, as a man very well qualified to compose these differences, and procured him to be lodged in the same bouse with Francis David, that he might have a better opportunity of drawing him from his errors. David, however, would not be convinced, but remained obstinate and determined to propagate his errors; on which he was cast into prison by order of the^mnce, where he died soon after. This left an imputation upon Socinus, as if he had been the contriver of kis imprisonment, and the occasion of his death; which, saysLe Clerc, if it be true (though he endeavoured to deny it), should moderate the indignation of his followers against Calvin in the case of Servetus, for nothing can be said against that reformer, which will not bear as hard upon their own patriarch.

Somner died March 30, 1669, after having been twice married, and was buried in the north aile of St. iMargaret’s church, Canterbury, where is an inscription to his memory. Dr. Kennet tells us, that “he was courteous, without design wise, without a trick faithful, without a reward humble and compassionate moderate and equal; never fretted by his afflictions, nor elated by the favours of heaven and good men.” Of his “Saxon Dictionary” he says, “For this, indeed, is a farther honour to the work, and the author of it, that it was done in the days of anarchy and confusion, of ignorance and tyranny, when all the professors of true religion and good literature were silenced and oppressed. And yet Providence so ordered, that the loyal suffering party did all that was done for the improvement of letters, and the honour of the nation. Those that intruded into the places of power and profit did nothing but defile the press with lying new and fast sermons, while the poor ejected churchmen did works of which the world was not worthy.” This opinion, which is not strictly just, is yet considerably strengthened by an appeal which Dr. Kennet makes to the “Monasticon, the Decem Scriptores, the Polyglot Bible, the London Critics, the Council of Florence, and the Saxon Dictionary.” Somner’s many well-selected books and choice manuscripts were purchased by the dean and chapter of Canterbury for the library of that church, where they now remain. A catalogue of his manuscripts is subjoined to the life abovementioned. He was a man “antiquis moribus,” of great integrity and simplicity of manners. He adhered to king Charles, in the time of his troubles; and, when he saw him brought to the block, his zeal could no longer contain itself, but broke out into a passionate elegy, entitled “The insecurity of princes, considered in an occasional meditation upon the king’s late sufferings and death,” 1648, 4to. Soon after, he published another affectionate poem, to which is prefixed the pourtraicture of Charles I. before his Ειχων βασιλικη and this title, “The frontispiece of the king’s book opened, with a poem annexed, ‘ The Insecurity of Princes,’ &c.” 4to.

1747. Of this work of acknowledged taste and learning“, Mr. Gray has been thought to speak too contemptuously in his Letters. His chief objection is, that the author has illustrated his subject from the Roman, and not from the Greek poets; that is, that he has not performed what he never undertook; nay, what he expressly did not undertake. A third edition appeared in folio in 1774, and the abridgment of it by N. Tindal has been frequently printed in 8vo. There is a pamphlet with Spence’s name to it in ms. as the author, called” Plain Matter of Fact, or, a short review of the reigns of our Popish Princes since the Reformation; in order to shew what we are to expect if another shouKl happen to reign over us. Part I.“1748, 12mo. He was installed prebendary of the seventh stall at Durham, May 24, 1754; and published in that year” An account of the Life, Character, and Poems of Mr. Blacklock, student of philosophy at Edinburgh,“8vo, which was afterwards prefixed to his poems. The prose pieces which he printed in” The Museum“he collected and published, with some others, in a pamphlet called” Moralities, by sir Harry Beaumont,“1753. Under that name he published,” Crito, or a Dialogue on Beauty,“and” A particular account of the emperor of China’s Gardens, near Pekin, in a letter from F. Attiret, a French missionary now employed by that emperor to paint the apartments in those gardens, to his friend at Paris;“both in 1752, Hvo, and both reprinted in Dodsley’s” Fugitive Pieces.“He wrote” An Epistle from a Swiss officer to his friend at Rome,“first printed in” The Museum,“and since in the third volume of” Dodsley’s Collection.“The several copies published under his name in the Oxford Verses are preserved by iNichols, in the” Select Collection,“1781. In 175S he published” A Parallel, in the manner of Plutarch, between a most celebrated Man of Florence (Magliabecchi), and one scarce ever heard of in England (Robert Hill, the Hebrew Taylor),“12mo, printed at Strawberry Hill. In the same year he took a tour into Scotland, which is well described in an affectionate letter to Mr. Shenstone, the collection of several letters published by Mr. Hull in 1778. In 17c3 he communicate i to Dr. Wartun several excellent remarks on Virgil, which he had made when he wasbroad, and some few of Mr. Pope’s. West Finchale Priory (the scene of the holy Godric’s miracles and austerities, who, from an itinerant merchant, turned hermit, and wore out three suits of iron cloaths), was now become Mr. Spence’s retreat, being part of his prebendal estate. In 1764 he was well pourtrayed by Mr. James Ridley, in his admirable” Tales of the G nil,“under the name of” Pbesoi Ecnep> (his name rrad backwar l>) iervise of the groves,“and a panegyrical letter from nim to that ingenious moralist, under the same signature, is inserted i-i 4k Lexers of Emi'-eni Persons,” vol. III. p. 139. In 1764 he paid the last kind office to the remains of his friend Mr. Dodsley, who died on a visit to him at Durham. He closed his literary labours with “Remarks and Dissertations on Virgil with some other classical observations; by the late Mr. Holdsworth. Published, with several notes and additional remarks, by Mr. Speutv,” 4to. This volume, of which the greater part was printed off in 1767, was published in February 1768; and on the iiOth of August following, Mr. Spence was unfortunately drowned in a caiidl in his garden at Byrieet in Surrey. Being, when the accident inppened, quite alone, it could only be conjectured in what manner it happened but it was generally supposed to have been occasioned by a fit while he was standing near the brink of the water. He was found flat upon his face, at the edge, where the water was too shallow to cover his head, or any part of his body. He was interred at Byfleet church, where is a marble tablet inscribed to his memory. The duke of Newcastle possesses some ms volumes of anecdotes of eminent writers, collected by Mr. Spence, who in his lifetime communicated to Dr. Warton as many of them as related to Pope; and, by permission of the noble owner, Dr. Johnson has made many extracts from them in his “Lives of the English Poets.” These have lately been announced for publication. Mr. Spence’s Explanation of an antique marble at Ciandon place, Surrey, is in “Gent. Mag.” 1772, p. 176 “Mr. Spence’s character,” says a gentleman who bad seen this memoir before it was transplanted into the present work, " is properly delineated and his Polymetis is justl vindicated from the petty criticisms of the; fastidious Gray *. In Dr. Johnson’s masterly preface to Dry den,

, a German painter, was the son of a merchant, and born at Antwerp in 1546. He was brought up under variety of masters, and then went to Rome, where cardinal Farnese took him into his service, and afterwards recommended him to pope Pius V. He was employed at Belvidere, and spent thirty-eight months in drawing the picture of “The Day of Judgment;” which picture is said to be still ovtr that pope’s tomb. While he was working upon it, Vasari told his holiness that “whatever Sprangher did was so much time lost;” yet the pope commanded him to go on. After a great number of pictures done in several parts of Rome, he returned to Germany, and became chief painter to the emperor Maximilian II. and was so much respected by his successor Rodolphus, that he presented him with a gold chain and medal, allowed him a pension, honoured him and his posterity with the title of nobility, lodged him in his own palace, and would not suffer him to paint for any body but himself. After many years continuance in his court, he obtained leave to visit his own country; and accordingly went to Antwerp, Amsterdam, Haerlem, and several other places; and having had the satisfaction of seeing his own works highly admired, and his manner almost universally followed in all those parts, as well as in Germany, he returned to Prague, and died at a good old age, in 1623. Fuseli says that Sprangher may be considered as the head of that series of artists who, disgusted by the exility and minuteness of method then reigning in Germany, imported from the schools of Florence, Venice, and Lombardy, that mixed style which marks all the performances executed for the courts of Prague, Vienna, and Munich, bv himself, John ab Ach, Joseph Heinz, Christopher Schwartz, &c. Colour and breadth excepted, it was a style more conspicuous for Italian blemishes than beauties, and in design, expression, and composition, soon deviated to the most outrageous manner.

In 1668, the grand duke of Tuscany being then in Holland with Mr. Thevenot, in order to see the curiosities of the country, carne to view those of Swammerdam and his father; and on this occasion, our author dissected some insects in the presence of that prince, who was struck with admiration at his uncommon dexterity in handling those minute objects, and especially at his proving, that the future butterfly lies with all its parts neatly folded up in a caterpillar; by actually removing the integuments that cover the former, and extricating and exhibiting all its parts, however minute, with incredible ingenuity, and by means of instruments of an inconceivable fineness. On this occasion his highness offered him 12,OOu florins for his share of the collection, provided he would remove them into Tuscany, and live at the court of Florence; but Swammerdam, from religious motives, as well as a dislike of a court life, declined the proposal. He now continued his researches into the nature and properties of insects, and in 1669, he published a general history of them, a work which afterwards proved the lasting monument of his talents. But, in the mean time his father resenting his neglect of his profession, endeavoured to recall him to it by refusing him any pecuniary aid. This induced him at last to promise to resume his profession; but, as he had injured his health by the closeness of his studies, a retirement to the country for some time was requisite that he might recover his strength, and return to his business with new force and spirits. He was, however, scarcely settled in his country retirement, when, in 1670, he relapsed into his former occupation. Thevenot, in the mean time, informed of the disagreement between Swammerdam and his lather, did all that lay in his power to engage the former to retire into France, and probably some amicable arrangement might have been made, had not Swammerdam, in 1673, formed a connection with the then famous Antonia Bourignon, and became totally absorbed in all her mysticism and devout reveries. After this he grew altogether careless of the pursuits in which he had so much delighted, and withdrew himself in a great measure from the world, and followed and adopted all the enthusiasms of Antonia. In this persuasion he neglected his person, wasted away to the figure of a skeleton by his various acts of mortification, and died at Amsterdam in 1680.

Stillingfleet, bishop of Worcester, in his “Vindication of the doctine of the Trinity,” had taken occasion to animadvert on Mr. Toland' s “Christianity not mysterious;” and, as he supposed that Toland had borrowed some principles from Locke’s “Essay on human understanding,” in support of his heretical doctrines, he bestowed some animadversions also on that work. This, and Mr. Toland’s persisting to represent him as his patron and friend, together with his very exceptionable conduct, made Locke renounce all regard for him, and almost disclaim the little countenance he had given him. To this purpose he expresses himself, in a letter dated the 15th of June: “As to the gentleman to whom you think my friendly admonishments may be of advantage for his conduct hereafter, I must tell you, that he is a man to whom 1 never writ in my life; and, I think, I shall not now begin: and as to his conduct, it is what I never so much as spoke to him of; that is a liberty to be taken only with friends and intimates, for whose conduct one is mightily concerned, and in whose affairs one interests himself. I cannot but wish well to all men of parts and learning, and be ready to afford them all the civilities and good offices in my power: but there must be other qualities to bring me to a friendship, and unite me in those stricter ties of concern; for I put a great deal of difference between those whom I thus receive into my heart and affection, and those whom I receive into my chamber, and do not treat there with a perfect strangeness. I perceive you think yourself under some obligation of peculiar respect lo that person, upon the account of my recommendation to you; but certainly this comes from nothing but your over-great tenderness to oblige me. For if I did recommend him, you will find it was only as a man of parts and learning for his age; but without any intention that they should be of any other consequence, or lead you any farther, than the other qualities you shall find in him shall recommend him to you; and therefore whatsoever you shall, or shall not do, for him, I shall no way interest myself in.” At that time Mr. Peter Brown, senior fellow of Trinity college near Dublin, afterwards bishop of Cork, having published a piece against Mr. “Poland’s book, Mr. Molyneux serit it to Mr. Locke, with a letter dated the 20th of July:” The author, says he, “is my acquaintance but two things I shall never forgive in his book one is the foul language and opprobrious names he gives Mr. Toland; the other is upon several occasions calling in the aid of the civil magistrate, and delivering Mr. Toland up to secular punishment. This indeed is a killing argument; but some will be apt to say, that where the strength of his reasoning failed him^ there he flies to the strength of the sword.” At length the storm rose to such a height that Toland was forced to retire from Ireland; and the account which Mr. Molyneux gives of the manner of it, in a letter dated the llth of September, would excite pity, were it not considered as representing the natural consequences of his vanity. “Mr. Toland is at last driven out of our kingdom: the poor gentleman, by his imprudent management, had raised such an universal outcry, that it was even dangerous for a man to have been known once to converse with him. This made all wary men of reputation decline seeing him, insomuch that at last he wanted a meal’s meat, as I am told, and none would admit him to their tables. The little stock of money which he brought into this country being exhausted, he fell to borrowing from any one that would lend him half a crown; and ran in debt for his wigs, cloatbs, and lodging, as I am informed. And last of all, to complete his hardships, the parliament fell on his book; voted it to be burnt by the common hangman, and ordered the author to be taken into custody of the sergeant at arms, and to be prosecuted by the attorney-general at law. Hereupon he is fled out of this kingdom, and none here knows where he has directed his course.” Many in Englan-o approved this conduct in the Irish parliament; and Dr. Gonth in particular was so highly pleased with it, that he complimented the archbishop of Dublin upon it, in the dedication of his third volume of “Sermons,” printed in 1698. After having condemned our remissness here in England, for bearing with Dr. Sherlock, whose notions of the Trinity he charges with heresy, he adds, “but, on the contrary, among you, when a certain Mahometan Christian (no new thing of late) notorious for his blasphemous denial of the mysteries of our religion, and his insufferable virulence against the whole Christian priesthood, thought to have found shelter among you, the parliament to their immortal honour presently sent him packing, and, without the help of a faggot, soon made the kingdom too hot for him.” As soon as Poland was in London, he published an apologeticai account of the treatment he had received in Ire-< land, entitled “An Apology for Mr Toland, &c. 1697” and was so little discouraged with what had happened to him there, that he continued to write and publish his thoughts on all subjects, without regarding in the least who might, or who might not, be offended at him. He had published, in 1696, “A discourse upon Coins,” translated from the Italian of signior Bernardo Davanzati, a gentleman of Florence: he thought this seasonable, when clipping of money was become a national grievance, and several methods were proposed to remedy it. In 1698, after the peace of Hyswick, during a great dispute among politicians, concerning the forces to be kept on foot for the quiet and security of the nation, many pamphlets appeared on that subject, some for, others against, a standing army; and Toland, who took up his pen among others, proposed to reform the militia, in a pamphlet entitled “The Militia Keformed, &c.” The same year, 1698, he published “The Life of Milton,” which was prefixed to Milton’s prose works, then collected in three volumes folio. In this he asserted that the “Icon Basilike” was a spurious production. This being represented by Dr. Blackall, afterwards bishop of Exeter, as affecting the writings of the New Testament, Toland vindicated himself in a piece called, “Amyntor; or, a Defence of Milton’s Life, 1699,” 9vo. This Amyntor however did not give su< h satisfaction, but that even Dr. Samuel Clarke and others thought it necessary to animadvert on it, as being an attack on the canon of the scriptures. Yet Toland had the confidence afterwards (in the preface to his “Nazarenus”) to pretend that his intention in his “Amyntor” was not to invalidate-, but to illustrate and confirm the canon of the New Testanunt; which, as Leland justly observes, may serve as one instance, among the many that might be produced, of the vfriter’s sincerity. The same year, 1699, he published “The Memoirs of Denzil lord Holies, baron of IfieJd in Sussex, from 1641 to 1648,” from a manuscript communicateJ to him by the late duke of Newcastle, who was ono of his patrons and benefactors.

, an eminent Florentine sculptor, was born about 1472, and was the contemporary of Michael Angelo, in competition with whom he executed some works in the town-hall of Florence. He was an artist of very superior merit, but a proud, inconsiderate, and ungovernable character. It was in one of his passionate fits that he struck Michael Angelo with such force as to flatten his nose. Benvenuto Cellini, in his own life, has recorded this affair, as related to him by Torrigiano himself: “His conversation one day happening to turn upon Michael Angelo Buonarroti, on seeing a drawing of mine made from the celebrated cartoon of the battle of Pisa: ‘ This Buonarroti and I (said Torrigiano), when we were young men, went to study in the church of the Carmelites, in the chapel of Masaccio; and it was customary with Buonarroti to rally those who were learning to draw there. One day, amongst others, a sarcasm of his having stung me to the quick, I was extremely irritated, and, doubling my fist, gave him such a violent blow upon his nose, that I felt the bone and cartilage yield as if they had been made of paste, and the mark I then gave him he will carry to his grave’.”

, an eminent botanist, the son of Leonard Targioni, born at Florence Sept. 11, 1722, was sent to the university of Pisa, where he very soon distinguished himself by a thesis on the use of medicine. At the age of nineteen he became acquainted with the famous botanist Micheli, by whom he was protected, with whom he kept up an uninterrupted friendship till 1737, when Micheli died, and whom he succeeded in the care of the famous botanic garden. Of the plants in this garden Micheli had already made a catalogue, which Targioni published after his death, with very considerable additions by himself. In the year 1737, he was made professor of botany in the Studio Fiorentino, a kind of university at Florence, and at the same time member of the academy ofApatisti. In 1738, he became a member of the Collegio Medico, or faculty of Medicine. Much about the same time he was named by government consulting physician in pestilential disorders, aud had the place of fiscal physician (physician to the courts of justice). This last place obliged him to write a great deal, being often consulted on the accidents that became discussions for a court of justice, such as deaths by poison, sudden deaths, unheard-of distempers, and (when, as it sometimes happened, foolish accusations of the kind were brought into court) witchcraft. Some time after, he was named, together with the celebrated Antonio Cocchi, to make a catalogue of the library, begun by P</lagliabecchi and increased by Marni, duke Leopold, and others, which consisted of 40,000 volumes of printed books, and about 1100 volumes of manuscripts. It is to this nomination we are indebted for the five volumes of letters of famous men, as, during his employment in this capacity, he used to make extracts of the curious books which fell into his hands. On Micheli’s death in 1737, Mr. Targioni had inherited his Hortus Siccus, Mss. and collection of natural history, which last, however, he purchased, but at a very cheap rate, with his own money. This seemed to lay him under the necessity of publishing what his master had left behind him, and accordingly he had prepared the second part of the “Nova Plantarum Genera,” but not exactly in the manner in which Micheli himself would have published them; for, though the drawings were too good to be lost, as they have all the accuracy which distinguish the other works of the great naturalist, Targioni could not suffer the work to come forth with the Zoophytes and Keratophytes classed among the plants, asMicheli had intended. Targioni therefore meant to have given the work another form. It was to be divided into two parts, the first of which would have contained the “Fucus’s, Algae, and Confervae;” and the second the “Zoophytes:” the first part was finished a week before Targioni’s death. Many of the plates are from drawings by Ottaviano Targioni, the son of John Targioni, who succeeded his father as reader of botany in the hospital of Sancta Maria Maggiore, a new establishment formed by the grand duke upon a liberal and extensive plan, in which ducal professors of medicine, anatomy, chemistry, physiology, surgery, &c. read gratis on the very spot where examples are at hand to confirm their doctrine. In 1739, Targioni was chosen member of the academy Naturae Curiosorum; and, in 1745, the Crusca gave him a public testimony of the value they set upon his style, by chusing him one of their members. In 1749, he was chosen member of the academy of Etruscans at Cortona, as he was of that of the Sepolti at Volterra in-4749. The academy of Botanophiles made him one of their body in 1757; as did that of practical agriculture at Udino in 1758. In 1771, he was chosen honorary member of the royal academy of sciences and belles lettres at Naples; and, finally, was named corresponding member of the royal society of medicine at Paris in 1780. It is much to be regretted that we cannot give an account of his manuscript works, several of which are known to be very important, as he was one of the most celebrated physicians of this time, and is known to have written a great deal on inoculation (of which he was one of the first promoters in Tuscany), putrid fevers, &c. &c. His printed works are extremely numerous; among the first of them was his “Thesis de prsestantia et usu Plantarum in medicina.” Pisis, 1734,“folio; and the latest, * Notizie degli Aggrandimenti delle Scienze Fisiche accaduti in Toscana nel corso di anni 60, nel secolo 17, Firenze,” 1780, 4 vols. 4to. He had just published the fourth volume of this last great work, on the improvement made in natural knowledge and natural philosophy in Tuscany in sixty years only of the 17th century, when he died of an atrophy in 1780. Mr. Targioni had a large cabinet of natural history, the foundation of which, as has been said, had been laid by Micheli. It consists of the minerals and fossils which are found in Tuscany, and the Zoophytes and Hortus Siccus of Micheli. There is a drawer made at Amboyna, by order of Rumphius, containing all the sorts of wood of that island. Besides this, there is a great suite of animals and shells and petrified animal substances, particularly of the bones of elephants which are found in the environs of Florence.

, an illuminator on vellum, who was in England in the reign of queen Elizabeth, appears to have been a native of Florence, and, while here, a teacher of the Italian language. Vertue speaks of some of his works as extant in his time, or as having very lately been so; as the Psalms of David in folio, with an inscription by Ubaldini to Henry earl of Arundel, whom he calls his Maecenas. The date is, London, 1565. There was another book on vellum, written and illuminated by him, by order of sir Nicholas Bacon, who presented it to the lady Lumley. This is, or was, at Gorhambury. There were other specimens of his skill in the royal library, now in the British Museum, and he appears also to have been an author. Walpole mentions one of his Mss. in the Museum, entitled “Scotiae descriptio a Deidonensi quodain facto, A. D. 1550, et per Petruccium Ubaldinum transcripta A. D. 1576,” which was published afterwards in Italian, with his name, at Antwerp, 1588, fol. The Museum catalogue attributes also the following to Ubaldini: 1. “Discourse concerning of the Spanish fleet invading England in 1588 and overthroweu,” Lond. 1590, 4to. 2. “Le Vite delle Donne illustri del regno d'lughilterra, e del regnb di Scotia, &c.” ibid. 1591. Walpole, who appears to have examined this work, gives, as a specimen of Petrucchio’s talents for history, two of his heroines. The first was Chembrigia, daughter of Gurguntius, son of king Bellinus, who, having married one Cantabro, founded a city, which, from a mixture of both their names, was called Cambridge. The other illustrious lady he styles expressly donna senza. name, and this nameless lady, as Walpole says, was the mother of Ferrex and Porrex in lord Dorset’s “Gorboduc,” who, because one of her sons killed the other that was a favourite, killed a third son in a passion. 3. “Precetti moral i, politici, et economici,” 1592, 4to. 4. “Scelta di alcune Attioni, e di varii Accidenti,” 1595, 4to. 5. “Rime,”

Thus far we have gathered from Walpole’s Anecdotes, who adds, that Ubaldini seems to have been in great favour at court, and is frequently mentioned in the rolls of new years-gifts, which used to be reposited in the jewel-office. There is a notice of this kind as far as 1588, but how much longer he lived is not known. But we find Baretti giving other particulars of Ubaldini. He says he was a nobleman of Florence, who lived many years in England, in the service of Edward VI. The “Lives of Illustrious Ladies” he penned with great gallantry and elegance, and he must certainly have been the favourite of the British (English) belles of his time, having been as handsome in his figure, and as valiant with his sword, as he was able at his pen. Baretti also in forms us that in the preface* to his Life of Charles the Great, he says it was the first Italian book that was printed in London; the date is 1581, printed by Wolf, and consequently the date given above from the Museum catalogue must have been a subsequent edition. Ubaldini adds, that he wrote it, because, “having seen how many fables and dreams the poets have writ of that emperor, he thought it the duty of a man, born to be useful to others, to explode, as much as possible, falsehood from the world, and substitute truth instead.” Baretti informs us that in the Foscarini library at Venice there is a manuscript history of Ubaldini, written with his own hand, of the reign of his master Edward.

, an Italian poet of the fourteenth century, was the descendant of an illustrious family of Florence, the Uberti, who, when the Guelphs became victorious, were banished from Florence, and their property divided among their enemies. Our poet was born in the poverty and obscurity to which his family had been reduced, and although the Florentines allowed him to return and reside in the country of his forefathers, he never became rich, and was obliged to attend the courts of the nobility, and gain a subsistence by chaunting his verses. Of those he composed a great many in the form of songs and other small pieces which were admired for their novelty; he is even thought to have been the inventor of the ballad species. In more advanced age, he undertook his “Dittamondo,” in imitation of Dante, who in his vision takes Virgil for his guide; Uberti takes Solinus, who conducts him over the whole habitable globe. By means of this fiction he includes geographical and historical matter, which has induced some to call his poem a geographical treatise. It is said to be written with energy and elegance, and was first printed, or at least a part of it, at Vicenza in 1474, fol. and reprinted at Venice in 1501. Both are rare, and chiefly valued for their rarity. Villani, who gives us a sort of eloge rather than a life of Uberti, says that he died at an advanced age in 1370.

, or Valeriano Bolzam, an ingenious and learned Italian, was born at Belluno, in the state of Venice, about 1477. He lost his father at nine years of age, and was reduced with his mother and brethren to great poverty, which so retarded his studies that he was fifteen years old before he learned to read; but his uncle Urbanus Bolzanius (see vol. VI. p. 36), who was afterwards preceptor in the Greek language to Leo X. took him under his protection, and had him liberally educated. He studied the Latin and Greek tongues under Valla and Lascaris; and made so wonderful a progress, that he was accounted one of the most learned men of his age. Going to Rome under the pontificate of Julius II. he became the favourite of John de Medicis (afterwards Leo X.), who committed to his care the conduct and instruction of two nephews; and the cardinal Julius de Medicis, who entered upon the pontificate in 1523, under the name of Clement VII. shewed him the same regard. He offered him first the bishopric of Justinople, and then that of Avignon; but Valerianus refused them both, being fully satisfied with the place of apostolic notary. He was in imminent danger, when Rome was taken in 1527; and the year after retired to Belluno, for the sake of that tranquillity which he had never found at court. Yet he suffered himself to be drawn from his retirement by Hypolite de Medicis, one of his pupils; who, being made a cardinal in 1529, chose him for his secretary. He continued in this office till the death of the cardinal in 1535; and seems to have passed the next two years with his other pupil Alexander de Medicis, who had been made first duke of Florence in 1531. Upon the death of Alexander, in 1537, he retired to Padua; where he spent the remainder of his life among his books, and died in 1558.

, an artist, though better known as the biographer of his profession, was born at Arezzo, in 1512, and was taught the rudiments of drawing by his father, and the first principles of painting by William of Marseilles, a Frenchman, and a painter on glass; but being taken to Florence by cardinal da Cortona, he improved himself under Michael Angelo, Andrea del Sarto, and other eminent masters. By the cardinal he was introduced into the Medici family, but in 1527, when they were driven from Florence, he returned to his native city. Finding an epidemic disease prevailing there, he spent his time in the surrounding country, improving himself by painting subjects of devotion for the farmers. His father unfortunately died of the contagion, and left a young family unprovided for. Vasari, to contribute more effectually to their support, quitted the uncertain profession of a painter, and applied himself to the more lucrative trade of a goldsmith. In 1529, the civil war, which then existed at Florence, obliged the goldsmiths’ company to remove to Pisa: and there, receiving commissions to paint some pictures both in oil and in fresco, he was induced to resume his former profession, and afterwards through life met with encouragement, that left him neither motive nor desire to change. The dukes of Florence and other distinguished persons were his liberal patrons, and he was constantly employed in works both profitable and honourable to himself.

, who has the credit of promoting Italian literature in the last century, particularly in France, was a native of Verdun. His name was Vigntron, but as he had made the Italian language his study, and wished to acquire reputation at Paris as a teacher, he Italianized his name, and gave out that he was a native of Florence. He published an Italian Grammar and Dictionary; both of which have been repeatedly printed in France and Eng T land, but with modern improvements. He published also Translations of Bentivoglio’s and Loredano’s letters, the Italian on one side. His grammar, it is said, was not written by him, but by the famous Roselli, whose adventures have been printed as a romance. This latter, passing through France, dined with Veneroni, who finding that he reasoned very justly upon the Italian language, engaged him to compose a grammar, for which he gave him a hundred franks. Veneroni only made some additions according to his taste, and published the book under his own name. His “Translation of the Select Fables,” is printed with a German version and plates, Augsburg, 1709, 4to. We find no account of his death; but, from the dates of his publications, he appears to have flourished, if that phrase be allowable in his case, in the early part of the last century.

, an eminent Italian scholar, was born at Florence, in the month of July, 1499. In very early life he began his studies in philosophy, mathematics, jurisprudence, and particularly Greek and Latin. In 1522, he went to Spain with Paul Vettori, a relation, who was general of the gallies, and appointed to accompany the new pope, Adrian VI. into Italy. Our author stopt at Catalonia, and travelled over that and the neighbouring parts in quest of the remains of Roman antiquities, of which he took copies. He also afterwards continued this research at Rome, when he went there to congratulate Clement VII. on his accession to the popedom. This pope had been a npbleman of Florence, and of his own standing. When the revolt took place at Florence Vettori sided with the republican party, and, during the prevalence of the Medici family, retired to the country, and devoted himself to study, with the firm resolution to meddle no more with public affairs. When the duke Alexander was killed, and the senators and patricians were assembled to consider of a new form of government, they invited Vettori to take part in their deliberations; but instead of complying, he went to Rome, and left his discordant and tumultuous countrymen to determine among themselves whether they would be freemen or slaves. “My country,” he used to say, “is in the same situation as Rome formerly; it will neither tolerate liberty nor slavery. Riches have produced pride, and pride, ambition. The laws have no longer any force; every day they are repealing old laws and making new ones, and no more respect is paid to the new than to the old. In the present state of my country, I clearly see that it must have a sovereign, but I will not aid in giving it a sovereign, for fear of giving it a tyrant.”

With such arguments he always answered those who by letter or in person pressed him to return to Florence, and affected even to consider his refusal as criminal. He bad the wisdom to abandon politics, and dedicate his whole time and attention to the acquisition of knowledge. And in such esteem was he held on account of his learning, that Cosmo I. who could not love him on account of his hostility to the Medici family, yet sent him an invitation to become Greek and Latin professor in the university of Florence. This was a noble sacrifice of prejudice on the part of the duke, and Vettori executed the duties of his office for more than forty years with the highest reputation, and formed many distinguished scholars both Italians and foreigners. Whether we consider the utility of his lectures or his public works, it will appear that literature was as highly indebted to him as to almost any scholar of his time. Had he done nothing but collate and correct the editions of the Greek and Latin authors which had appeared from the invention of printing to his own time, his labours would have been of infinite service in that comparatively dark period; but we are indebted to his industry also for the collation of avast number of manuscripts, and selecting the best for the press, in which he shewed great judgment, and assigned his reasons with critical precision. But his services did not end even here, for he furnished the learned world with notes and commentaries, which gave superiority to many editions of the classics, as various parts of Aristotle’s works, Terence, Varro, Sallust, Euripides, Porphyry, Plato, Xenophon, &c. but of all his editions, that of Cicero, printed in 1534 37, four vols. folio, has justly received the encomiums of the literary world ever since his time. He has been called “Verus Ciceronis sospitator,” and Grasvius is of opinion that Cicero is more indebted to him than to all the other critics and commentators. Besides these and his “Variae lectiones,” of which there have been several editions, and which discover great critical knowledge, he was the author of some Latin poetry and orations, of letters both in Latin and Italian, and an Italian treatise on the culture of olives. Men of learning of all countries were happy in his acquaintance and correspondence, and princes and other great personages not only attended his lectures, but expressed their veneration of his talents and worth, by diplomas, titles, and presents. He died in the eighty-sixth year of his age, in 1585, and was interred with great solemnity at the public expence in the church of the Holy Spirit, where is a marble monument and inscription to his memory. It is said that his private virtues, as well as his talents, made his death the subject of universal regret.

, a Florentine historian of the fourteenth century, was the son of a native of that place, and is supposed to have been born about the end of the thirteenth century, as he was somewhat older than an infant in 1300, when he informs us he went to Rome to see the Jubilee, and young as he was, first formed, on that occasion, the design of writing his “Chronicle.” Before, however, he began this work, he visited various parts of Italy, France, and the Netherlands, and having collected much information, began to compile his history as soon as he returned home. His first intention was to write only the history of Florence, a city which he imagined would rise in splendour and prosperity as Rome declined, but he was induced to extend his plan to the events of other countries wherever they could be introduced. In the mean time the public employments to which his merit raised him, delayed the completidn of his history for many years. Tnrice, 1316, 1317, and 1321, he was one of the priors of Florence; he had also some office in the mint, and at various times was employed in the service of the republic. He died of the plague in 1348. He had written his history up to this period, and his brother Matthew Villani made a continuation till the year 1363, when he also died of the plague. The work then fell into the hands of Philip Villani, son to Matthew, who made a still longer addition to the labours of his father and uncle. The first edition was printed at Florence by the Junti in 1537, fol. and was often reprinted. The last, corrected from three ms copies, was printed at Milan in 1729, 2 vols. fol. The original part by John Villani, is, like most chronicles, mere compilation of fabulous history, until he comes to his own times, when he is allowed to be accurate and useful, and the same praise is due to his successors.

Philip Villani also composed the “Lives of the illustrious Men of Florence,” which Mazzuchelli published for the first time in 1747, not, however, the original text, which is Latin, but an ancient Italian translation, with copious and learned notes. Philip was appointed, in 1401, to give lectures on Dante in the chair which Boccaccio had filled. He was again appointed to the same office in 1404, and it is supposed he died soon after. He was the first author of a local literary history, and much use has since been made of his Lives of the celebrated Florentines.

, usually mentioned with the epithet Ephesius, from the place of his birth, to distinguish him from the above Xenophon Socraticus, is the author of five books “Of the loves of Habrocomes and Anthia,” which are entitled “Ephesiaca,” although they have no more to do with the town of Ephesus than the “Ethiopics of Heliodorus,” which is a love-romance also, have with the affairs of Ethiopia. His late editor thinks that Xenophon lived about the end of the second, or the beginning of the third century of the Christian jera. It is at least very probable that he is one of the most ancient of the Authores Erotici, from the purity and simplicity of his style, in which there is little of those affected ornaments so common in writers of a later period. The only Mss. in which the history of Habrocomes and Anthia has been transmitted to posterity, is preserved in the Benedictine abbey of Monte Cassino, at Florence, and is written in so small a character, that the whole work is comprised in no more than nine leaves, 4to. The first person who copied it was Salvini, who likewise, in 1723, translated this romance into the Italian language. Of the Greek text itself, the first edition was prepared by the celebrated physician Anthony Cocchi, and published at London in 1726, 4to, although his late editor baron Locellst asserts that London was put in the title instead of Florence. But the fact was that it was printed at London by Bowyer, as is proved in Mr. Nichols’s life of that celebrated printer. Two other editions, of 1781 and 1793, have likewise appeared, but they are all incorrect. At length in 1796 the work was rendered not unworthy of the classical scholar, by baron Locella, a gentleman, not a philologist by profession, but a man of business, who dedicated the leisure of his declining years to the Greek muses. His edition, which was elegantly printed at Vienna, 4to, is entided, “Xenophontis Ephesii de Anthia et Habrooome Ephesiacorum libri quinque, Gr. et Lat. Recensuit et supplevit, emendavit, Latine vertit, ad notationibus aliorum et suis illustravit, indicibus instruxit Aloys. Emerie. Liber Baro Locella, S. C. R. A. M. a cons, aulae.”

, an eminent cardinal, was born in 1339, at Padua. He taught common law in his native place and at Florence, where he acquired so much esteem, that when the archbishopric became vacant, he was chosen to fill it, but the pope had anticipated the election by giving it to another. Zabarella was afterwards invited to Rome by Boniface IX. and by John XXIII, who made him archbishop of Florence, and created him cardinal in 1411, from which time he had the title of the cardinal of Florence. The pope sent him on an embassy to the emperor Sigisrnund, who demanded a council, both on account of the Bohemian heresies, and the schism between the various candidates for the popedom; and the city of Constance having been fixed upon for this general council, Zabarella very much distinguished himself in its debates. He advised the deposition of John XXIII. and there is every reason to believe he would have been elected pope, had he not died, September 26, 1417, aged seventy-eight, six weeks before the election of Martin V. The emperor and the whole council attended his obsequies, and Poggio spoke his funeral oration, exerting the full powers of his eloquence and learning. Zabarella' s works are, “Commentaries on the Decretals and the Clementines,” 6 vols. folio. “Councils,” 1 vol. “Speeches and Letters,” 1 vol. A treatise “De Horis Canonicis” “De Felicitate, libri tres” “Varise Legum repethiones;” “Opuscula de Artibus liberalibus et de natura rerun* diversarum” * c Commentarii in naturalem et moralem Philosophiam“” Historia sui temporis“” Acta in Conciliis Pisano et Constanttensi“lastly,” Notes“on the Old and New Testament, and a treatise” On Schism,“Basil, 1565, folio, in which he ascribes all the misfortunes of the church, during his time, to the cessation of councils. This treatise” On Schism" has been frequently reprinted by the protestants, because Zabarella speaks very freely in it of the popes and the court of Rome; and for the same reason the book has been put into the index. Cardinal Zabarella had a nephew, Bartholomew Zabarella, who gave lectures in canon law at Padua, with reputation, and was afterwards archbishop of Florence, and referendary of the church under pope Eugenius IV. He died August 12, 1442, aged forty-six.