persed the Swiss vanguard by the artifice (introduced by himself) of making each rank kneel after firing, that the one behind might fire over their heads. The cavalry were obliged to follow the infantry, to protect them in the pursuit; and these advantages were followed up so closely, that the French were driven from all their Italian conquests. At the reduction of Genoa, their last possession, Pescara set fire with his own hand to the gate allotted to him, amidst a rain of bullets; and only saved the city from utter destruction by his own infuriated soldiery, by venturing his own life to oppose their ravages. Some discontent at the preference shown by the emperor to Colonna, to whom he gave the command of the whole army, withdrew him for a time from public life; but at the earnest entreaty of Charles, he again took the command of the army, in conjunction with the viceroy Launoy; repulsed Bonnivet in a series of battles; drove his army over the Sepia, and took prisoner the chevalier Bayard. By the advice of the rebel Bourbon, the emperor was persuaded to make an invasion of France; the counsels of Pescara, who sought to dissuade him from this step, were unheeded; but he at length succeeded in persuading his fellow-commanders to relinquish the siege of Marseilles, and to hasten back to the defence of Italy, which Francis had already invaded by the passage of Mount Cenis. Pavia was defended by the allies, and besieged by Francis. On the night of the 24th of February, 1525, Pescara attacked a position of Francis, and in the combat which ensued, he came to the help of Launoy and Bourbon, with his light cavalry, having 800 musketeers en croupe, and poured so murderous a fire on the iron mass of Francis's troops, that they were routed, and he himself taken prisoner. Discontented at the preference shown by the emperor to the Netherlanders, over the Spaniards and Italians, it was hoped by the latter that he would join them in their conspiracy against Charles, and the crown of Naples was offered him, as a bribe for this betrayal of his duty. But he steadfastly refused this, discovered the conspiracy to the emperor, and assisted him with his advice and personal efforts in quelling it. This was the last act of a life full of extraordinary incidents, which he closed at the early age of thirty-five, (1525.) He left his title and possessions to his cousin

Alfonso Avalos Marchese del Vasto (or

Guasto), who had been his faithful companion throughout the course of his military life, and led the foot lancers against the Swiss at the battle of Bicoca; broke into Genoa at his cousin's side; and clove the skull of a gigantic Swiss, who threatened his life, when the army of Bonnivet was driven across the Sepia. He covered the retreat of the army from Marseilles; distinguished himself at the battle of Pavia; and after the death of the marquis of Pescara, helped to disarm the Italian conspirators. He shared in the expedition to Tunis, in 1535; intercepted the messengers of Francis to the Turkish sultan; and drove the besieging army of Francis, and the Turks, from Nizza, in 1543. He died in 1546; and his death is said to have been caused by chagrin for the loss of the battle of Cerisoles, in Piedmont, two years before. (Ersch und Grüber. Paulo Giovio.)

AVANCINUS, (Nicolas,) a Jesuit, originally from the Tyrol, professor of philosophy at Gratz, and afterwards of theology at Vienna, in the seventeenth century. He is the author of a great many works on divinity and poetry. (Biog. Univ.)

AVANIZI, (Pietro Antonio,) a painter of the school of Parma, who flourished at Piacenza, and was a pupil of Franceschini, at Bologna. He is said to have been deficient in imagination, which led him generally to copy from designs by his master. He died in 1733. (Lanzi, Stor. Pitt. iv. 94.)

AVANZI, (Giovanni Maria,) an Italian lawyer, was born in 1549. He practised his profession at Rovigo, and died at Padua in 1622. He is the author of a poem, entitled Il Satiro favola Pastorale, Venice, 1587; and some other pieces. (Biog. Univ.)

AVANZI. The name of several Italian painters.

1. Jacopo, a Bolognese who flourished in 1370, was the disciple of Franco de Bologna, and is considered one of the most distinguished painters of that early period. He produced many of the histories at the church of Mezzaratta, most of them in conjunction with Simone, and a few alone. One of the latter is the Miracle of the Probation, at the bottom of which he wrote-Jacobus pinxit. Lanzi gives the following further account of him :-" He appears to have employed himself with most success in the chapel of S. Jacopo al Santo, at Padua, where, in some very spirited figures representing some feat of arms, be said to

he may

have conformed his style pretty nearly to the Giottesque, and even, in some measure, to have surpassed Giotto, who was not skilful in heroic subjects. His master-piece seems to have been the Triumphs painted in a saloon at Verona, a work commended by Mantegna himself as an excellent production. He subscribed his name sometimes Jacobus Pauli; which has led me to doubt whether he was not originally from Venice, and the same artist who, together with Paolo his father, and his brother Giovanni, painted the ancient altar-piece of San Marco at that place." (Lanzi, Stor. Pitt. v. 14, 15.)

2 and 3. Jacopo appears to have been the father of two painters; one, who on an altar-piece at S. Michele in Bosco signs himself Petrus Jacobi, and is mentioned by Malvasia as Orazio di Jacopo; and one who has left at Venice a painting of S. Cristoforo, in the school of the merchants at S. Maria dell' Orto, to which he adds his name, but no date. (Id. 15.) 4. Giuseppe, (1645-1718,) a native of Ferrara, and a painter of that school, is well known by his very numerous works, for the most part confused, and many of them said to be painted at a sitting. He is described as being more like an artisan than an artist. But his picture of the Beheading of St. John, at the Certosa, is very like the style of Guercino; and some others, on canvass and copper, are more carefully finished. Several of these are landscapes, and some of them compositions of fruit and of flowers. In the church of Madonna della Pietà are four pictures by him, of subjects from the life of S. Gaetano; and in the church of S. Domenico, is the Marriage of St. Catherine, which is considered as his best work. (Bryan's Dict. Lanzi, Stor. Pitt. v. 223, 229.)

AVANZINI, (Giuseppe, 1753-1827,) professor of mathematics at Padua, and author of several treatises on hydrostatics and hydraulics. He was a native of Gaino, in the territory of Brescia, and having distinguished himself at the school of Brescia, he entered into the ecclesiastical condition, and became a friend of count Carlo Bettoni, then a great patron cf scientific studies. He published, in Bettoni, a treatise, Sul Governo de' Fiumi, some observations on the irrigation of the country, by means of the Lago di Garda; and also added something to his Uomo Volante per Aria, per Aqua, e per Terra. On the death of Bettoni, in 1786, his employments were suspended, and he subsequently became professor of

mathematics at Padua; and after being deprived of his office during the troch – in Italy, in 1801, he was restored in 19 to the university. His chief attentin was turned to hydraulic questions, espec ally the resistance of fluids, on the st of which he was engaged in a sharp be troversy with Brunacci. He mainta on these subjects, some peculiar viess His publications are enumerated in Tpaldo, iv. 27—31. 2

AVANZINO, (Giuseppe Mar professor of medicine at Florence, in eighteenth century. (Biog. Univ. AVARAY, (Claude Theophile de Besivie Marquis d',) was born in 1655. He ertered the French army in 1672, fought under the great Condé, and, after wards, in the war of the succession. L 1706 he served under the duke of Bwick in Spain, and, in 1707, highly d tinguished himself at the battle of Almanza. The duke of Berwick mi no mention of his services, which, th it disappointed him, did not make the less zealous. He served afterwars under Villars, in 1710, 1711, and 1712 St. Simon, in his Mémoires, does just to his military and diplomatic talents He died in 1745, at the age of ninety (Biog. Univ. Suppl.)

AVARAY, (Claude Antoine de Besiade, Duke d',) grandson of the preceding, wai born in 1740. He also followed the pr fession of arms, and was wounded at the battle of Minden. He was nominated a deputy, by the noblesse of Orleans, to the states-general in 1789, being preferred by them to the duke of Orleans, who was also a candidate. He warmly opposed the progress of the revolution, and whee the declaration of the rights of man was produced, he proposed that there should be also a declaration of the duties of man. He was prevented, by a severe malady, from emigrating in 1791, and escaped death, almost by miracle, during the reign of terror. On the return of Louis XVIII., in 1815, he was called to the peerage, and in 1817 was created a duke. He died in 1829. (Biog. Univ. Suppl.)

AVARAY, (Antoine Louis François de Besiade, Count, and afterwards Duke d',) the son of the preceding, was born in 1759. He entered the army at an early age, and was at the siege of Gibraltar in 1782. On the breaking out of the revolution he attached himself particularly to Monsieur, afterwards Louis XVIII. Monsieur, knowing of the plan formed by Louis XVI. to retire to the north, and collect around him his true sup

porters, determined to join him. He was then at Luxemburg, closely watched, but by means almost entirely of the judicious measures and precautions of Avaray, he was enabled to escape from that town on the 21st of June, 1791. Avaray was from this time a close attendant on, and a most trustworthy and trusted servant and friend of, this prince. In 1799, on the marriage of the duke of Angoulême with the daughter of Louis XVI., the title of duke was conferred upon him by Louis XVIII. The marks of kindness bestowed by the king on him, however, awakened jealousies from which Avaray suffered considerably. Avaray followed the king in all his wanderings until 1801, when his health compelled him to spend the winter of that year, and of 1802, in the warmer climate of Italy. When Louis XVIII. retired to England, Avaray joined him, but in 1810 he was again obliged to have recourse to another climate, and set out for Madeira, where he died in 1811. Louis XVIII. himself composed the epitaph of his faithful servant. (Biog. Univ. Suppl.)

AVAS, (Moses Judah,) an Egyptian rabbi of the seventeenth century, who had considerable reputation in his day, as a jurist and as a poet. His poems, however, and his treatises on the Talmud, (mentioned by Conforti,) and a volume of Legal Consultations, (seen by Wolf, and wrongly attributed to another writer,) do not appear to have been published. He died at Rashid (i. e. Rosetta). (De Rossi. Delitzsch, Geschichte der Jüdischen Poësie, p. 57.)

AVAUX. See MESME.

AVAUX, (Claude de Mesme, comte d',) was sent, in 1627, as French ambassador to Venice, and his negotiations there so pleased Pope Urban VIII. that he desired he might be sent in that character to Rome. Louis XIII., however, sent him soon after to Denmark, and subsequently to Poland and Sweden, and he had the honour of concluding the famous truce of twenty-six years between those two last-named countries. On his return to France, in 1643, he was sent to the Hague, and to Munster, in the character of plenipotentiary, to arrange a general peace. In this office he met with much trouble and interference from his colleague, Servien, and from Mazarin, whose creature Servien was. The duke of Longueville was sent as first plenipotentiary to prevent disagreement, and Avaux continued in his duties, when he was suddenly recalled, just before the con

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clusion of the famous treaty of Munster, to which he had contributed so much. On his return to France, he was banished to his estates by Mazarin, but the troubles of Paris rendering the services of his brother, the president Mesme, necessary, he was recalled, and from this time consulted in all difficult matters of state. He died in 1650. He is considered to have been one of the most able negotiators that France has produced. He wrote,-Exemplum Litterarum ad Serenissimum Daniæ Regem Scriptarum, 1642; Lettres de d'Avaux et de Servien, 1650; Mémoires touchant les Négociations du Traité de Paix fait à Munster en 1648-1674. (Biog. Univ.)

AVAUX, (Jean Antoine,) grand-nephew of the preceding, was sent as plenipotentiary, by the French king, to the congress of Nimeguen, in 1672, where he brought the negotiations to a favourable conclusion. He went afterwards as ambassador to Holland in 1684, to James II. when in Ireland, and to Sweden in 1693, where he had a share in the preliminaries that led to the peace of Ryswick. He was also sent ambassador to the states-general in 1702. He died at Paris in 1709. The duke of St. Simon has spoken highly of him in his Memoirs. There were printed at the Hague in 1710, in 3 vols, Les Lettres et Négociations d'Estrades, de Colbert, de Croissy, et de d'Avaux, which related to the conferences of 1676 and 1677. D'Avaux wrote-1. Mémoire présenté aux EtatsGénéraux le 5 Novembre, 1681; and, 2. Négociations du Comte d'Avaux en Holland, published by Mallet in 1752. (Biog. Univ.)

AVAUX, (M. d',) distinguished as a concert player, composer, and musical author. His work, Lettre sur un Instrument ou Pendule nouveau, qui a pour but de déterminer avec la plus grande exactitude les différents degrés de vitesse ou lenteur de temps dans une Pièce de Musique, printed in Paris, (see Journ. Encyclop. Juin 1784,) is not wanting in original thoughts. His musical compositions (in all twenty,) comprise the Opérettes Cecilia, Theodore, &c., and many concertos, quatours, &c. (Univ. Lex. der Tonk.)

AVED, (Jacques André Joseph, Jan. 12, 1702—March 4, 1766,) an eminent painter, born at Douay, was the son of a physician, but left an orphan in his infancy. One of his uncles, who was a captain in the Dutch guards, took him to Amsterdam, intending him for a military

C C

life; but the works of Bernard Picart, an able designer and engraver, excited his admiration, and determined him to follow the fine arts. He travelled through the Low Countries to perfect himself by the study of the works of the great masters, and went to Paris in 1721, and became a pupil of the painter Lebel, at the same time that Carle Vanloo, Boucher, Dumain le Romain, were his scholars. Admitted to the academy in 1729, he became a member in 1734, and in a short time gained high reputation as a portrait painter. His works have been extravagantly praised; but they show a neat and agreeable touch, and harmonious colouring. A portrait of Mehemet Effendi, ambassador from the Porte, which was shown to Louis the Fifteenth, procured him the advantage of painting that monarch himself; as well as many persons about the court. He died of apoplexy. Many of his portraits are engraved, and there is a large folio plate called Temple de la Paix, engraved by G. Le Brun, with the motto Paci perpetuæ, after a picture by him. (Biog. Univ. Heinecken, Dict. des Artistes.)

AVEELE, or AVELEN, (John vander,) a Dutch engraver, who resided at Leyden, and flourished about the year 1696. He was chiefly employed by the booksellers, and among other plates engraved the frontispiece for the nineteenth volume of the work entitled Thesaurus Antiq. Rom. published in 1698, by Peter vander Aa. Several of the plates for Lilii Giraldi Opera, Lugd. Bat. 1696, folio, are by him; also the cabinet of the Fine Arts, copied from that which was engraved and published at Paris by Perault. Mr. Strutt gives two artists of this name, but they are evidently one. (Heinecken, Dict. des Artistes.)

AVEEN, (Adrian,) a Dutch engraver, born at Amsterdam, who flourished about the year 1700. He engraved many views of country houses of the gentry in Holland, executed in a neat, but formal style. (Bryan's Dict.)

AVEIRO, (the duke of, died 1759,) one of the alleged conspirators in the mysterious affair which led to his death, and that of the conde de Atougia, and others, in the reign of José, king of Portugal. (See JosE.) He was burnt alive, and his ashes thrown into the sea; some were strangled before they were burnt.

AVELAR, a Portuguese painter, who became so rich by the practice of his profession, that his name was made pro

verbial. No further information appears concerning him.

AVELINE. The name of five French engravers.

1. Joseph, (1638-1690,) an artist, whose works are but little known.

2. Anthony, (1662-1712,) who was also a designer, was born in Paris. He engraved a number of plates of landscapes, and views of the palaces and houses in France, and other parts of Europe, executed in a neat and agreeable style. His works, if marked, are thus: Aveline in. et fec. (Heinecken, Dict. des Artistes.)

3. Peter, (1711-1762,) son of the preceding, was also a designer. He was instructed in the art of engraving in the school of the Poillys, and his style partakes much of that of Jean Baptist Poilly. His drawing is stiff and formal, and his selection of subjects bad; but his engravings, though not highly finished, are many of them very clear. He executed some after his own designs, but by far the greater number after other artists. Mr. Heinecken gives a long list of his works. He is stated in the Biographie Universelle to have been born in 1710, and to have died in 1760; but Heinecken states those events as above. Peter Aveline was a member of the Academy of Painting in Paris. (Biog. Univ. Heinecken, Dict. des Artistes.)

4. J. Francis Anthony, the son, according to Mr. Heinecken, but Mr. Bryan says, the cousin, and scholar of Peter, was born in Paris in 1718, so that the former must be clearly wrong. After practising some years in France, he removed to England, and according to Bassan, died in indigence in London. Amongst his plates are portraits of some of the early kings of France; the Four Seasons, after Peter Aveline; the Flemish Musician after Teniers, marked A. Aveline, sculp.; a set of six large Chinese figures and subjects after J. Pillemont, London, published 1759, marked F. A. Aveline, sc. (Heinecken, Dict. des Artistes. Bryan's Dict.)

5. John, brother of the last, was born at Paris, and worked for the booksellers. Amongst his works is a view of the Chateau of Chenonceau, after a picture painted by M. Dupin de Franclieu. This chateau was built for Catherine de Medicis, by the most able architects of Italy. (Heinecken, Dict. des Artistes.)

AVELLENADA, (Alfonso Fernando d',) deserves notice for the egregious vanity which made him continue the

great work of Cervantes, La Segunde Parte del ingenioso Hidalgo Don Quixote de la Mancha, appeared at Tarragona in 1614, during the lifetime of Cervantes, who did not spare Avellenada.

Spain boasts of some other personages of this name.

1. Diego (died 1598,) a Jesuit of Grenada, who wrote on Confession.

2. Another of this name, a resident of Toledo, wrote a history of his family in 1613.

3. A third, a lawyer of Guadalaxara, wrote on the laws affecting agriculture, Madrid, 1606.

AVELLINO, the name of two painters.

1. Giulio, (about 1645-1700,) a Sicilian, born at Messina, and thence called Il Messinese, is said to have been the pupil of Salvator Rosa, and painted landscape in his grand style, though somewhat softened in effect, and ornamented with views of ruins and architecture, and with figures introduced, designed with spirit and boldly touched. He was one of those who revived the art of landscape painting in Ferrara, where he settled, which had been nearly disused since the time of Dossi. There is scarcely a collection in Ferrara or Romagna, which does not possess specimens of his works. (Lanzi, Stor. Pitt. v. 229.)

2. Onofrio, (1674-1741,) a Neapolitan, according to Domenici, who was brought up in the school of Francesco Solimene. He afterwards resided many years in Rome, executing commissions for private persons, and painting in the churches. The vault of S. Francesco di Paola, is considered his best performance; and in the church of S. Maria de Monte santo, is an altar-piece by him, representing a subject taken from the Life of S. Alberto. (Lanzi, Stor. Pitt. ii. 302. Bryan's Dict.)

AVELLINO, (Francesco,) an Italian physician of considerable reputation, who flourished about 1630. He was the author of two tracts. (Biog. Univ.)

AVELLONI, (Francesco,) born in Italy in 1756. He performed, first, at some of the theatres of his native country as a strolling player, Subsequently he betook himself to dramatic compositions, some of which partake of a rather sombre character, and exhibit the desire of the author to imitate Dante, or Shakespeare, as in his Julio Willenvel, or the Assassin. He also divided the subject of Henry IV. into three parts, and some

of the pictures are said to be faithful. He wrote also comedies, as the Magic Lantern, &c. He lived latterly in rather indigent circumstances in Venice, and died some years ago.

AVEN. See D'AVEN.

AVENARIUS, a family whose members were conspicuous for their exertions in church music.

Avenarius, Philippe A., born at Lichtenstein about 1553, died as chief pastor in Zeitz. He had exercised previously the occupation of an organist, and published in 1572, Cantiones sacræ 5 vocum. Nurembergæ, 4to. They were very much esteemed. (Draud. Bibl. Cl. p. 1616.)

Avenarius, Mathæus A., son of the preceding, born in Eisenach, 1625, died 1692, pastor in Schmalkalden, was possessed of extensive musical knowledge, and published a work under the title, Musica.

Avenarius, Johann, son of Mathæus, born in 1670, died in 1736, being then chief pastor and inspector of the Gymnasium at Gera. He wrote several theological, but more musical works. In his Sendschreiben an M. Gottf. Ludovici von den Hymno-poetis Hennebergensibus, 1704, 4to, he explained the hitherto unknown origin of many ancient German church songs. In 1718, he published Erbauliche Lieder-Predigten über 4 evangelische Stens und Trost Liedes. On this subject he published a still larger work in Gera, from 1729 to 1731, in 4to. All the above works (in fact, all ancient works on music) (Gerber. Univers. Lexic. der Tonkunst.) AVENELLES, (Aubin d',) was born about 1480. He wrote some verses printed at the end of an old translation into French of Ovid's Art of Love. They are entitled, Le Chef d'Amour, et les Sept Arts Libéraux. (Biog. Univ.)

are rare.

AVENELLES, (Pierre des,) an advocate of the parliament of Paris, 1560. Having become acquainted with the objects of those engaged in the conspiracy of Amboise, he caused the cardinal of Lorraine to be informed of them, by which means they were easily defeated. published an abridgement of Plutarch's Lives. (Biog. Univ. Suppl.)

He

AVENTIŇUS (Johann,) the author of the Annales Boiorum, was born at Abensberg, in Upper Bavaria, and took his Latin appellation from the name of his birth place; his family name being Turmayr. At the university of Ingolstadt, which he entered in 1495, he devoted himself chiefly to the study of