Greek έnkovтa,) triremes. But the story carries its own refutation on the face of it. He might indeed have equipped six or seven (¿§ ʼn kaι éπта,) vessels, and even this is not very likely, if it be true that he was ridiculed by Plato the dramatist for his love of money. Towards the close of his life, he was connected with Peisander and others in new modelling the form of government in favour of the Four Hundred; and as he was thus opposed to the democratic party, it was only natural for him to be accused of treason when he returned from an unsuccessful embassy to Sparta; and though his defence was an able one, yet it did not save him from being found guilty, when his goods were forfeited, his body denied burial, and his house razed to the ground, and a pole stuck up on the spot, with the inscription, "This was the ground of the traitor Antipho." The oration to which Thucydides alludes was extant in the time of Harpocration; and it was that perhaps which gave rise to his being called the Nestor of the bar. Respecting his style, however, there seems to be an equal disagreement amongst the critics of ancient and modern times. Dionysius says that his language was austere and antiquated, and by no means agreeable; while Cæcilius, on the other hand, speaks of him as possessing all the requisites of a finished orator. So too amongst the moderns, Jensius sets down all the extant orations as spurious; while Reiske considers only the first and last as connected with real events, and rejects the rest as merely sophistical exercises. Ruhnken, however, shows that the 4th, 5th, and 10th, are quoted as genuine by Harpocration; nor is the least hint thrown out respecting the spuriousness of the others; although it is true that in the time of Cæcilius, twenty-five of those attributed to Antipho were rejected as forgeries.

2. Contemporary with the orator, or rather a little posterior to him, was Antipho, the dream and miracle expounder, who wrote various treatises, of which little more than the titles have been preserved. According to Origen against Celsus, iv. p. 176, he denied in his work upon Truth the existence of a Providence, and thus anticipated the doctrines of Epicurus; while from his conversation with Socrates, as detailed in Xenophon's Memorab. i. 6, it appears that he was a sophist, or, as Suidas calls him, a word-cook; an appellation well suited to the individual, who was in the habit of

selling his words at the best market, and who considered happiness to centre in all that ministered to luxurious and ex pensive habits. Such was the similarity of his style with that of the orator, that Hermogenes confessed himself at a loss to decide between their respective productions.

3. The tragedian, who is said to have been beaten to death by Dionysius, tyrant of Syracuse; for when asked, according to Plutarch, ii. p. 68, A. and p. 1051. C. what kind of copper was the best, he answered, that of which the Athenians made the statues of Harmodius and Aristogiton. Of his plays, the titles of only two have been preserved, the Andromache and Meleager; for the Plexippus was not a play, but only one of the characters in the Meleager, as shown by Ruhnken.

4. The mathematician and natural philosopher, whose attempt to square the circle is mentioned by Aristotle in Soph. Elench. i. 10, and Physic. Auscult. i. 2. 5. A collector of anecdotes, quoted by Diogen. Laert. viii. 3.

6. A writer on husbandry, known only from Athenæus.

ANTIQUARIO, (Jacopo,) of Perugia, was a learned Italian, who lived at the end of the fifteenth, and beginning of the sixteenth centuries. He was secretary to Cardinal Savelli, legate at Bologna; and afterwards to Giovanni Galeozzo and Ludovico Sforza, duke of Milan. He published the first, and perhaps only entire edition of the works of Campanus in 1495. As an author he is not much known, but he was an important person in the literary history of his times. He left, however, an Oratio, Milan, 1509; and a volume of Latin letters, printed at Perugia in 1519. He died at Milan in 1512.

ANTIQUUS, (John, October 11, 1702 -1750,) a painter of history, was born at Groningen, and learned the art of painting on glass from Gerard Vander Veen, which he practised for some years; but afterwards became a scholar of John Abel Wassenberg, a respectable painter of history and portraits. At twenty-three years of age, he went by sea with his brother Lambert, a landscape painter, to Genoa. During the voyage, John made a portrait of the captain, which was esteemed so much like, that he would not receive any money from the two artists for their passage. Arrived at Genoa, portraits were their resource; and after six months' sojourn, they went to Florence. The

grand duke of Tuscany employed him for six years, and granted him a pension. Upon his being admitted a member of the Florentine Academy, he painted for his admission-picture a large composition, representing the Fall of the Giants. He also made a copy of the Martyrdom of St. Stephen, after Cigoli, which he sold for one hundred ducats. During his six years' residence at Florence, he made four journeys to Rome; during one of which he had a most distinguished reception from Pope Benedict XIII. The artists were held in such high esteem, that when they visited Naples, Solimeni, then head of the Academy of that town, offered them his own house. On his return to Rome, John Antiquus painted several pictures, when he heard the grand duke was dangerously sick. He returned immediately to Florence, but his munificent patron had died. After staying at the principal cities of Italy, and travelling to Venice, for the celebrated general Schullembourg, he returned to his own country. His long residence in Italy had excited in his countrymen a high opinion of his abilities; he was received by the prince of Orange with most flattering marks of attention; and had his residence fixed, and a pension granted to him by that prince. He was employed in the palace of Loo, where he painted a large picture of Mars disarmed by the Graces, and several other considerable works. He was a correct designer, a good colourist, and had a freedom of touch. His study of Italian art gave him a taste discernible in all his works. The prevailing characteristic of his style is that of the Roman school. (Bryan's Dict. Pilkington's Dict. Biog. Univ.) ANTISTHENES, the first of the Cynic philosophers, was born at Athens about Ol. 89, of a Thracian or Phrygian mother, for authorities differ; but so little was the disgrace he attached to such a circumstance, that when he had conducted himself bravely at Tanagra, he asserted that no man, whose parents were both Athenians, would have acted the same part; while he ridiculed the boast of that people who said they were sprung from the soil, by saying, 66 so were muscles." He was originally a pupil of Gorgias, whose style he adopted in his dialogues; but he afterwards attached himself to Socrates, and recommended his pupils to follow his example. Like his new master, he was no friend to Plato, whose finical and factitious habits ill accorded with the simple fare and dress

of the philosopher, who worshipped nature alone, and taught Diogenes, as confessed by the latter in the words of the Euripidean Telephus, quoted by Plutarch, Sympos. ii. p. 632, Xyl.

"To put on rags, and seem to be

The form of abject poverty." Such was the harshness of his manners and strictures, that he drove away nearly all his followers, and hence he was called, ironically, by Socrates, "the procurer,' as stated by Plutarch, ii. p. 632, a passage that enables us to understand why the same term was applied to Socrates by Antisthenes, as detailed by Xenophon, in Sympos. ss. 8, who has preserved, in Memorab. ii. 15, a conversation between the two; while the Antisthenes, mentioned in iii. 14, can hardly be the philosopher, for he is represented by Nicomachides as never having served in the army, and skilled only in scraping money together; unless it be said that, at that period, Antisthenes had scarcely been weaned from the practice and precept of his first master Gorgias. Of his various works, which filled ten volumes, the few fragments that have come down to us have been collected by Orelli, in his Opuscula Græc. Veter. Šententiosa et Moralia. Lips. 1821. According to Cicero, in Nat. Deor. i. 13, Antisthenes, in his work on Physics, overthrew the idea of the existence and power of the gods, by asserting that the gods of the people were many, but that of nature only one. Phrynichus the grammarian, quoted by Photius, cod. 158, praises the purity of the style of Antisthenes, and considers as genuine his speech put into the mouth of Ulysses. But if the one alluded to is that which is found in the collections of the Greek Orators, the opinion is of little value; for the speech in question is evidently taken from a play of Euripides, as appears by the circumstance of finding nearly a dozen Iambic verses in their original poetic dress, while it conveys sentiments similar to those expressed in the Herc. Fur. 189-196. Nor is a greater dependence to be placed upon the judg ment of Timor, who not only found fault with the number of the works of Antisthenes, but with their matter, which he said was a mass of trifling; for the Sillographer was in the habit of abusing all the philosophers equally. He is said to have lectured in the gymnasium attached to the temple of Hercules, called Cynosarges; for that was the place where inquiries were carried on respecting the parentage of persons supposed to be ille

ANTOINE, (Sebastian,) an engraver, a native of Nancy in Lorraine, where he engraved a portrait of R. P. Augustin Calmet, in a large oval, in 1729. The Enterprise of Prometheus, one of the ceilings of Versailles, painted by Mignard, was also engraved by him; and the crown of precious stones, with which Louis XV. was crowned, Oct. 25, 1722. He worked chiefly with the graver in a thin feeble style, without effect; he was also very deficient in the other requisites of the art. (Strutt's Dict. of Eng. Heinecken, Dict. des Artistes.)

ANTOINE, (Jacques Denis,) born at Paris, Aug. 6, 1733, was an artist who did much for the reformation of architectural taste in the French capital. One of his first works which attracted notice was the small tetrastyle portico in the court of the Hospital de la Charité, which, although now not at all remarkable, was at the time of its erection a striking novelty, being the earliest application of the ancient Grecian Doric, a style that has found few imitators in France. He was also one of the architects employed in repairing and altering the Palais de Justice, after the fire in 1776; but his great work is the Hôtel des Monnaies, or Mint, a vast pile of building with two fronts-one towards the quay and Pont-Neuf, the other towards the Rue Guénégaud,—each upwards of 370 feet in extent; and notwithstanding faults of detail, and a certain littleness of taste in some respects, it is unquestionably an imposing unbroken mass of building; at the same time, it has no particular propriety of character, having more the air of a palatial residence than of what would indicate the actual purpose of the edifice. Antoine also designed the Mint at Bern, and the palace of the Duc de Bervic at Madrid. He died August 24th, 1801.

ANTOINETTE OF ORLEANS, daughter of Eléonore of Orleans, duke of Longueville, was married to Charles de Gondi, marquis of Belle-Isle, who was killed in 1596. Abandoning herself to grief, she entered a nunnery at Toulouse, and afterwards founded the order of the Filles du Calvaire, among whom she died, at Poitiers, in 1618. (Biog. Univ.) ANTON, (Gottfried, 1571-1618,) was born at Freudenberg in Westphalia. He was a student, and afterwards professor, at Marburg, from whence he removed to Giessen, at the request of the landgrave Lewis V., who was then about to found a university in that town, and wished to

have the benefit of his advice and assistance. Anton was appointed chancellor and first professor of laws in the new institution, to which a large number of students were attracted by his celebrity as a lecturer. In addition to these duties, he was actively engaged in affairs of state, and was sent as ambassador to several courts. His comprehensive juridical science gained him a reputation which has survived him. The most celebrated of his works are:-1. Disputationes Feudales, the best edition of which was published by Stryk, Halle, 1699, 4to. 2. De Cameræ Imperialis Jurisdictione. This treatise, in which the author differed from Herman Vulteius as to the extent of the emperor's constitutional rights, involved him in a hot controversy with the latter, who had the advantage, in point of temper and moderation at least. A complete list of his works is given by Willen, Memoriæ Jurisconsultorum, p. 82.

ANTON, (Robert,) one of the minor poets of the reign of King James the First, calls himself, in the title-page of the only work known of his, of Magdalen College, Cambridge. The work here spoken of consists of a collection of satires, and is entitled, Vice's Anatomy Scourged and Corrected; but there is also a second title, the Philosopher's Satires, which, on a subsequent page, is expanded into the Philosopher's Seven Satires, alluding to the Seven Planets. There is an edition of the date 1616, and another of 1617, or possibly the same edition with a reprinted title-page. The satires possess little claim on the reader's attention, although there are a few slight notices of the eminent poets contemporary with this almost forgotten author.

ANTON, or ANTONIUS, (Paul,) a Lutheran divine, born 1661 at Hirschfeld, in Upper Lusatia, died 1730 at Halle. His principal works are— -De Sacris Gentilium Processionibus. Leipsig, 1684. Concilii Tridentini adeoque et Pontificiorum Doctrina publica. Halle, 1697, often reprinted. Elementa Homiletica. Halle, 1700. Collegium Antitheticum. Halle, 1732; and some controversial writings. See Walch, Bibl. Theol. vol. ii. p. 754. (Biog. Univ.)

ANTON, (Conrad Gottlob,) a learned German, born 1745, died 1814; was professor of morality, and afterwards of oriental languages in the university of Wittemberg. He is the author of a number of works, chiefly on Hebrew and oriental literature. (Biog. Univ. Suppl.)

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ANTON, (Charles Gottlob,) born 1751, died 1818; practised as an advocate at Goerlitz. He wrote several historical and other works-among them, Essays on the Templars; and on Rural Economy in Germany. He was also an active contributor to a great number of scientific and literary journals. (Biog. Univ. Suppl.)

ANTONA, (Giovanni de,) a painter of portraits. Francisco Zucci, of Venice, engraved an oval portrait of Giovanni Antonio Murani, after a picture by his hand. (Heinecken, Dict. des Artistes.) ANTONELLA DA MESSINA. See

MESSINA.

ANTONELLE, (Pierre Antoine, marquis d',) was born at Arles in 1747. He served in the army for some time, but on the breaking out of the French revolution he became an extreme democrat; was named mayor of Arles in 1790, and was more than once censured in the National Assembly for his violence, but was defended by Mirabeau. He was chosen member of the Legislative Assembly for the department of Bouchesdu-Rhone; and in 1792 was despatched with two colleagues to arrest Lafayette. He presided over the revolutionary tribunal which condemned the Girondins, in whose favour he seems to have relented, but was compelled by FouquierTainville to go on. After the fall of Robespierre, he continued to play a conspicuous part, and was concerned in a newspaper called the Journal des Hommes Libres. He was involved in the conspiracy of Babeuf, but acquitted; and was regarded by the Directory as one of their most dangerous enemies. After the affair of the infernal machine, he was obliged to withdraw from France for a time; but on returning to Paris, was allowed to pursue in peace the philosophical speculations to which he was addicted. In 1814 he undertook the defence of the restoration, in Le Reviel d'un Vieillard, in which he declared that France could only obtain liberty under the legitimate king. He died in 1817. He published several political pamphlets on various occasions. (Biog. Univ. Suppl.)

ANTONELLI, (Giovanni Carlo, 1690 -1768,) an Italian prelate, known in Italy for some treatises of local interest, relating to Velletri, his native place. He was in several official employments; he was ordained subdeacon, 1718, and priest and bishop 1752.

ANTONELLI, (Niccolo Maria, count of Pergola,) rose through various eccle

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siastical dignities to that of cardinal. He was born in 1698, died 1767. He published-De Titulis quos S. Evaristus Romanis Presbyteris distribuit. Rome, 1725. Ragioni della sede Apostolica sopra il Ducato di Parma e Piacenza esposte a' Sovrani e Principi Cattolici dell' Europa. 1742. S. Athanasii Archiepiscopi Alexandriæ Interpretatio Psalmorum. 1746. Vetus Missale Romanum. 1756. Other works by him were collected and published at Rome, in 1756. (Biog. Univ. Tipaldo, vol. i. p. 114.)

ANTONELLI, (Leonard, Cardinal, 1730-1811,) was one of the most able members of the Sacred College, and accompanied Pius VII. to Paris in 1804. He was also a member of the Académie des Inscriptions, and collected a valuable library of books. (Biog. Univ. Suppl.)

ANTONI, (Alexander Victor Papanico d',) born 1714, died 1786; was director of the School of Artillery of the king of Sardinia, and author of a Course of Military Mathematics, Architecture, and Artillery. The most valuable parts of this work are treatises on gunpowder, and the use of fire-arms, which contain the results of a great number of experiments in illustration of the science of gunnery. (Biog. Univ.)

ANTONI, (Vicenzo Berni degli,) a very celebrated Italian lawyer, born 1747, was procureur du roi in Napoleon's Italian kingdom. (Biog. Univ. Suppl.)

ANTONI, (Degli,) or D'ANTONIO. See MESSINA.

ANTONIA, (Minor,) second daughter of M. Antony and Octavia, born (not before) B. c. 36, died 37 or 38 A. D. She married Drusus, the youngest son of Livia (Augusta) and of Claudius Tiberius Nero, who fought against Octavianus at Perusium, B. c. 40, 41. Of many children of Drusus and Antonia three survived their father, Germanicus, Livilla, and Claudius, afterwards emperor. Antonia was prevented by Tiberius and Livia from appearing at the funeral of Germanicus, (see Tacit. Ann. iii. 3,) that the spectacle of her grief might not add to the popular excitement of the time (see AGRIPPINA I.) beauty, her long widowhood, above rumour or suspicion, and her abstinence from court-intrigue, procured for Antonia universal esteem, and even conciliated the jealous temper of Tiberius. According to Josephus, Antiq. xviii. 8, she was the first to apprise him of the real designs of Sejanus. Cf. Xiphilin in Dio C.

Her