Latinitatis; Vossius, De Historicis Latinis, | tatus Propositionum alphabeticarum contra p. 562; Foppens, Biblioth. Belgica, vol. i. ARNOLDUS LEODIE'NSIS, a Benedic- ARNOLDUS LUY'DIUS, or A LYDE, a native of Tongern in the Netherlands, was a celebrated divine, who is sometimes called ARNOLDUS A TUNGRIS, and must not be confounded with Arnoldus Tungrensis, or Hessels, an Augustine canon, who died in 1466, and who is the author of some treatises on religious subjects. Arnoldus Luydius was born in the latter part of the fifteenth century, and was of noble parentage. He studied divinity at Cologne, and became the instructor of Eberhard or Evrard de la Mark, of the noble house of Aremberg, who was afterwards Bishop of Liège. After having filled this office during several years, Arnoldus was appointed director of the Gymnasium Laurentianum at Cologne, and he was chosen canon of the metropolitan chapter of this city. He was also professor of canon law at the University of Cologne, and in 1494 was dean of the faculty of law. He died at Liège on the 28th of August, 1540. Arnoldus Luydius was a distinguished opponent of John Reuchlin. He is the author of-1. "Articulorum seu Propositionum XLIII. male-sonantium ex Libello Joannis Capnionis sive Reuchlini, &c., cui titulus Oculare Speculum,' desumptarum," &c. 2. "Responsiones ad Articulos Quinquaginta desumptos ex 'Speculo Oculari' (J. Reuchlini)." 3." Trac Judæos et blasphemum eorum Talmud," &c. ARNOLDUS DE MELDORP, a priest ARNOLDUS, NICOLAUS. [ARNOLD, NICOLAUS.] ARNOLDUS OLORI'NUS, or CYGNÆ'US, was a Dutch divine whose original name was Swaens. He was born in the latter part of the sixteenth century at Goorl near Tilborg, and after having finished his studies, he was appointed master, and afterwards dean, at Gertruydenberg, whence he was expelled by the Water-Gueusen. He was exposed to many sufferings during the civil and religious troubles in the Netherlands, but finally he retired to HertogenBosch (Bois-le-Duc), where he lived quietly. He died after 1622. He is the author of the following works:-1. "Thesaurus Salutaris Sapientiæ,' 1610, 8vo. 2. Explicatio Missæ et Canonis," 1611, 16mo. 3. "De Arte Concionandi," 1611, 16mo. 4. "Summa Virtutum et Vitiorum," 1615, 8vo. He has also written several books in Flemish, the titles of which are given in Latin thus :— 5. “Doctrina Consolatoria contra Scrupulos et Pusillanimitatem," 1612, 8vo. 6. "Demonstratio Veræ et Christianæ Fidei," 1613, 8vo. 7. " Expositio Cœnæ et Passionis Dominicæ," 1622, 8vo.; and some others. All his works were printed by John Turnhout at Hertogen-Bosch. (Foppens, Bibliotheca Belgica, i. p. 100, 101; Andreas, Bibliotheca Belgica, p. 84.) W. P. ARNOLDUS DE ROTERODA'MIS, or DE HOLLA'NDIA, a distinguished divine, was a native of Rotterdam, and born in the first part of the fifteenth century. His original name was Geilhoven. He studied at Bologna and Padua, and was first friar and afterwards canon of the Augustine Abbey of Groenendal near Brussels; he was also Doctor Decretorum, or of Canon Law. He is the author of the following work:“гy@bi σeauтòv, sive Speculum Conscientiæ," which is divided into two books: the first is entitled "De Legibus et Statutis; De Peccatis Mortalibus," and was written in 66 1413; the title of the second is "De Ex-, Narbonensis. The same pope employed communicatione et Aliis Censuris," which him as ambassador to the emperor Louis IV., was composed in 1424. This work, which the Bavarian, and as a reward for his good is also known under the barbarous title of services gave him the see of Magalona or Gnotosolitos," was published at Brussels, Montpellier in 1339. The town of Maga1476, fol., second edition, 1479, fol. Ar- lona had been destroyed by the policy of noldus de Roterodamis died at Groenendal, Charlemagne, and Montpellier chosen for on the 31st of August, 1442. (Oudin, De the residence of the bishop, but the diocese Scriptoribus Ecclesiasticis, vol. iii. p. 2298, continued to be called the diocese of Maga&c.; Andreas, Biblioth. Belgica, p. 86, 87.) lona, of which Arnoldus, in his work cited below, gives a circumstantial account. Arnoldus de Verdala died in 1351, and was buried in the church which Arnaldus I., bishop of Magalona, had constructed about 1170, amidst the ruins of the ancient town of Magalona. Arnoldus de Verdala was the author of the following work: "Episcoporum Magalonæ insulæ Series," which contains the history of twenty-six bishops of Magalona and Montpellier, from Ricinus in 770, to Galterius, who died in 1333, and several documents which are of considerable interest for the ecclesiastical history of southern France, Catalonia, and Majorca. It was first published by Labbe in the first volume of his "Nova Bibliotheca MSS.," p. 793, &c. This history is the ground-work of Gariellus, "De Præsulibus Magalonensibus et Monspeliensibus," Toulouse, 1665, 2 volumes in fol. (Cave, Historia Literaria, vol. ii. p. 499.) W. P. ARNOLDUS WENENSIS. [ARNOLLUS AB AUSTRIA.] W. P. ARNOLDUS SAXO, canon at Hersfeld in Hesse, and afterwards monk in the Benedic-| tine convent of Altham, or Altaham, now Nieder-Altaich, in Bavaria, lived in the first half of the eleventh century. It seems that his original name was Wolfherr, which he changed to Arnoldus when he took orders, unless it be true, as Adelung thinks, that Arnoldus and Wolfherr are two different persons. He wrote "Vita S. Godeharti Hildesheimensis Episcopi." As Godehart died in 1037, the work must have been written after this year. It was first published at Leipzig in 1518, and it is also contained in Brower, in the first volume of the "Acta Sanctorum," and in Leibnitz, " Scriptores Brunswicenses" (vol. i. p. 482), who attributes it to Wolfherr. The feast of S. Godehart is celebrated on the 4th of May. This little work of Arnoldus, besides its importance for the ecclesiastical history of Northern Germany, is not without interest with regard to the policy of the Saxon emperors, and after their extinction in the person of Henry II., the Saint, in 1024, for the political system of Conrad II. of the Frankish dynasty. (C. Browerus, Sidera Illustrium et Sanctorum Virorum qui Germaniam ornarunt, Mainz, 1616, 4to. p. 71, &c.; Fabricius, Biblioth. Med. et Inf. Latinitatis; Adelung, Supplement to Jöcher, Allgem. Gelehrten-Lexicon.) W. P. ARNOLDUS A TUNGRIS. [ARNOLDUS LUYDIUS.] ARNOLFI'NI, GIOVANNI ATTILIO, was born at Lucca on the 15th of October, 1733, and studied at the Clementine college at Rome. He showed a particular taste for hydrostatics, a science which has always attracted much attention in the north of Italy, owing to the necessity of guarding against the inundations of the rivers. After travelling through Italy, for the purpose of studying hydraulic architecture, he was intrusted, in 1761, with that department of the public works at Lucca. The success ARNOLDUS or ARNALDUS DE with which, by constructing a canal, he VERDA'LA, bishop of Magalona or Ma- drained a marshy country near Camaiore, the guelone in Languedoc, was descended from difficulties of which had been considered too a noble family at Carcassonne, where he great for the plans of Rondelli, Eustachio was born in the latter part of the thirteenth Manfredi, Zendrini, and Boscovich, encentury. He was distinguished by his learn-couraged him to attempt the improvement ing and skill in administrative business. He took the degree of doctor in civil and canon law in the university of Montpellier, where he was appointed professor of law. He became afterwards canon of the chapter of Mirepoix, and several other ecclesiastical dignities were conferred upon him, among which was that of inquisitor against the Albigenses, by whom southern France was kept in a state of continual excitement. He discharged this duty so satisfactorily that pope Benedict XII. appointed him "Jurum, Rerum ac Personarum Reformator" in the province of Narbonne, which name was still given by the church to the ancient Gallia of the lower course of the river Serchio, the impetuosity of which was a constant source of terror to those who lived near it. In the formation of new banks for the altered and contracted course of the stream, he adopted a method already used by the Pisans and Florentines, and constructed them of masses of rock, in the proportioning of the strength of which to the force of the current lay the skill of the engineer; and he was completely successful. He was afterwards induced to take in hand the improvement of the upper course of the same river, in which it had overflowed large tracts of valuable ground; but he commenced this enterprise with many Giotto and Brunelleschi as the original author of the Duomo at Florence. He was, according to Vasari, the son of a German artist named Jacopo (abbreviated in the Florentine dialect into Lapo), who had greatly distinguished himself in architecture by the church at Assisi, and who, having settled at Florence, where he died about 1262, erected the Ponte alla Carraia, then called the Ponte Nuovo, and several other structures. Yet, although this account has hitherto been generally followed, even by such writers as Milizia and Quatremère de Quincy, it is now known to be exceedingly incorrect, and to contain more than one serious error, for Jacopo was neither the father of Arnolfo nor, as they suppose, the same Lapo whose name is usually associated with Arnolfo as a scholar of Nicola Pisano. misgivings, as he clearly foresaw that the contraction of the bed of the river in the upper part of its course would add to an impetuosity which had already proved dangerous. This he proposed to restrain by a large number of mill-dams; but before the works were complete he was carried off by a fever. After his death, which took place on the 21st of November, 1791, it is said that no engineer could be found of sufficient skill to construct the dams, and the consequence was that the works of Arnolfini, on the lower course of the Serchio, which had hitherto answered well, were completely ruined by the effect of the works on the upper, which raised the river to such a height that the barriers of rock were insufficient to restrain it, and the adjacent country was laid under water. Arnolfini is stated by Fornagiari to have been the author of a project for draining the superfluous waters of the Lake of Sesto, or Bientina, by a canal, to pass by a tunnel under the river Serchio, and discharge itself in the Lake of Maciuccoli. This project, however, was published as his own by the Abate Ximenes, mathematician to the Duke of Tuscany, in his "Piano di Operazioni Idrauliche per ottenere la massima depressione del Lago di Sesto," in which we do not observe the slightest mention of the name of Arnolfini as giving assistance, though those of Boscovich and Zanotti occur. According to Fornagiari, Ximenes adopted the project at the request of Arnolfini, who thought so bold a proposal required the sanction of a more illustrious contemporary Cimabue; for the latter trious name than his own. Arnolfini left behind him thirty-two manuscript volumes on politics, physics, and hydrostatics, and eighty memoirs on improvements in the valley of Bologna, in which he had been appointed by Pope Pius VI. to continue some works begun by Father Lecchi, a Jesuit, and Colonel Boldrini, for restraining the course of the Reno. He was an enlightened critic on the fine arts and a proficient in music. (Article by Fornagiari (who refers to Lucchesini, Elogio di Arnolfini) in Tipaldo, Biografia degli Italiani Illustri del Secolo XVIII. &c. i. 14-17; Ximenes, Piano, &c.) T. W. ARNOLFO of CALABRIA, in regard to whom nothing is known but that he lived in the tenth century, wrote a brief chronicle of the history of his native province in his own time. In the second volume of Tafuri's "Storia degli Scrittori nati nel Regno di Napoli," 1744-70, it is published with the following title:"Chronicon SaracenicoCalabrum ab anno 903 ad annum 965: Auctore Arnulpho Calabro, qui eo tempore floruit." (Mazzuchelli, Scrittori d'Italia; Tafuri, in Calogera's Raccolta di Opuscoli, 1st series, xviii. 453.) W. S. ARNOLFO DI LAPO, or DI COLLE, one of the most celebrated Italian architects of the 13th century, and the precursor of The usual tradition has been corrected by documents discovered since Vasari's time; and from them it has been established by Cicognara, Rumohr, Von der Hagen, and others, that Arnolfo was the son of Cambio di Colle of Valdesla, and the fellow-pupil of the Lapo who has been confounded with his supposed father, Jacopo Tedesco, or the German. Yet, beyond the mere circumstance of his origin, no further light has been thrown upon the earlier part of his life. The date of his birth, 1232, has not been disputed; but it renders improbable, if it does not altogether contradict, what is said as to his having studied under his illus was his junior by about eight years, being born in 1240, though Vasari has, without intending it, made them both perfectly contemporary in the dates of their births as well as deaths; the latter being the year 1300, at which period he makes Arnolfo's age only sixty, notwithstanding the date assigned to his birth. If he received any sort of instruction from Cimabue, it must have been while the latter was yet very young, and before Arnolfo began to study sculpture, and probably architecture likewise, under Nicola Pisano, whom he and Lapo assisted, in 1266, in the work of his celebrated marble pulpit at Siena; in regard to which Cicognara quotes the original contract mentioning "Arnolfum et Lapum suos discipulos.” This puts beyond doubt that Arnolfo was really a pupil of Nicola, and had at that time begun to practise sculpture under him; in which art he afterwards distinguished himself, though by no means in the same degree as in his profession of architect. The principal works of sculpture attributed to him, and which appear to have been executed before he was engaged upon the various structures that occupied the last twelve or fifteen years of his life, are:-The monument of Cardinal Brayo (who died in 1280) in the church of the Dominicans at Orvieto; the tomb of Honorius III., in Santa Maria Maggiore at Rome; a Gothic tabernacle in the basilica of S. Paolo fuor delle Mura (1285), a very elaborate work, yet not mentioned by Vasari, although he speaks of the monument of Boniface VIII. as being by him, a statement positively contradicted by Cicognara, and certainly at variance with the fact that Boniface did not die till 1303. The same writer also doubts if Arnolfo was really the author of another work attributed to him by Vasari, the Presepio, in Santa Maria Maggiore which was destroyed when that church was rebuilt. Of Arnolfo's architectural talents the chief theatre was Florence, where, besides buildings of less note, both public and private, he either erected or was employed upon many of the "monuments" of that city. One of his earliest works there, but one only of military architecture, was the outer line of the city walls and fortifications, which he completed in 1284. About the same time he commenced the Palazzo de' Signori, now called the Palazzo Vecchio, an edifice characterized chiefly by massiveness and masculine severity of style, which it still retains, notwithstanding the various alterations it has since undergone, more especially in the interior. Where authorities differ so much as to dates and the chronological order of buildings, exactness can hardly be pretended to, but Or San Michele, first erected for a public granary (Or being a corruption of Horreum), and afterwards converted into a church, is said to have been originally designed by Arnolfo, about 1285, and is generally considered one of the most remarkable specimens of Italian Gothic of its age; but the upper part of the structure, which has pointed windows, was the work of Taddeo Gaddi, half a century later. In 1294, or perhaps rather earlier, Arnolfo began the church of Santa Croce, the most extensive structure of its kind which had till then been erected at Florence, and which has since been surpassed there in size only by his own work of the Duomo or Santa Maria de' Fiori, of which it falls short in length by only 17 braccie: that of the one being 240 Florentine braccie, or 459 English feet; of the other, 257 braccie, or 492. Santa Croce, whose front is only of rough brickwork, it having never been completed, was restored in the 16th century by Vasari, but is in a poor style of Gothic, and chiefly interesting for the numerous monuments of celebrated men, owing to which it has been styled the Westminster Abbey of Florence. One of his next works was that of refacing or incrusting the exterior of the Baptistery with marble. At that period the Duomo, which, with the Baptistery in front of it, and Giotto's campanile on its south side, forms so striking an architectural group, rivalled only by the similar one at Pisa, was not erected; but for | Arnolfo himself was reserved the opportunity of planning and commencing that noble monument of his art, so nobly completed by Brunelleschi, who could not, however, have reared his dome in its actual grandeur had the original conception been less magnificent than it was. The time of its being first begun is somewhat doubtful, it being highly improbable that if it was not commenced until 1298, a work of such magnitude (492 feet in length, and 318 across the transept) could have been so far advanced within less than two years as to have three arms of the cross and their tribunes covered in at the time of Arnolfo's death. We must at least suppose that the foundations had been executed previously; and the date of 1296, or even earlier, has been assigned by some as the correct one: by Cicognara, that of 1294. Whether any such feature was contemplated by Arnolfo himself is not known; but the dome by Brunelleschi has stamped the whole fabric with a character totally distinct from that of Gothic architecture, of which, in fact, there was but little in the original idea beyond that derived from the use of the pointed arch alone. No other elements of that style discover themselves even in Arnolfo's own work; and the arrangement of the plan is quite contrary to that of large churches in the pointed style; nor will it bear any comparison with them as regards perspective effect and that produced by a lengthened succession of parts. Although the nave is not less than 240 feet in extent (which is somewhat more than that of the nave of Westminster Abbey), it has only four arches or compartments on each side; owing to which fewness of the divisions the whole has a disagreeable air of poverty and vacancy, similar to that occasioned by excessive width of intercolumniation in the Grecian orders. Nor is there richness of other kind in the architecture itself, it being in a particularly dry and meagre style. Even this, however, has been reckoned rather a merit than a defect by some of his critics at least by Quatremère de Quincy-who praises him for having purified architecture and freed it from "the chaos of Gothic superfluities." Arnolfo is further said to have begun the façade, afterwards altered by Giotto, and now destroyed. As to the dome, that portion of the fabric will call for more particular notice in the article BRUNELLESCHI. (Vasari, Vite; Cicognara, Storia della Scultura; Von der Hagen, Briefe in die Heimat; Quatremère de Quincy, Histoire des plus célèbres Architectes). W. H. L. ARNOLFO, or ARNULFUS, of MILAN. This name was common to two natives of Milan in the latter half of the eleventh century. The two have sometimes been confounded, but the researches of the antiquaries have made it easy to distinguish them. ARNOLFO III., Archbishop of Milan, was Naples, and afterwards of Carlo Maratta in Rome; and his works, says Dominici, have much of the style of both masters united. He excelled as a portrait painter, and painted many of the Neapolitan gentry of his time. He was presented by Luca Giordano to Philip V. as an excellent portrait-painter, and that king sat to him and rewarded him highly for the picture Arnone made of him, with which he was well satisfied. Arnone died at Naples, in 1721. (Dominici, Vite de' Pittori, &c. Napolitani.) R. N. W. elected to the see in 1093, but immediately | He was first the pupil of Luca Giordano in deposed by the apostolic legate. Having made his peace with Rome, he was reinstated in 1095, and accompanied Pope Urban II. to the Council of Clermont; after which he preached the Crusade with great_eloquence and success in various parts of Lombardy. Soon afterwards he was sent as a papal envoy to the emperor Henry IV., at whose court he had to endure crosses which affected his health and spirits. Returning to Milan, he died there towards the end of the year 1096. Argellati mentions, as extant in manuscript, two of his episcopal instruments, and a volume of his "Conciones ad populum dictæ, ut crucem suscipiant." (Argellati, Bibliotheca Scriptorum Mediolanensium, i. 101; Mazzuchelli, Scrittori d'Italia.) ARNOLFO, the author of a history of Milan from the year 925 to 1076, was a contemporary of the archbishop, and composed his work about the year 1085. Of his life nothing is positively known, except that he was, as he himself asserts, a grand-nephew of Arnolfo I., Archbishop of Milan in the reign of Otho the Great. It may be inferred from his history that he was an ecclesiastic, although his biographers have not drawn the inference. They commend him for the candour with which, having at first advocated the marriage of the clergy, and held, upon other points, opinions adverse to the papal claims, he retracts his errors in a subsequent part of his book, and makes unqualified admissions both of the pope's authority and of the wisdom of the laws which imposed celibacy on the priests. Arnolfo's "Historia Mediolanensis," preserved in four manuscripts, was first published at Hanover in 1711, in the third volume of the "Scriptores Brunsvicensia Illustrantes" of Leibnitz, who had received a copy from Giovanni de' Sitoni, a Milanese advocate descended from a Scottish family of Setons. The history was again printed at Amsterdam in 1722, in the fourth volume of the "Thesaurus Antiquitatum Italiæ of Grævius and Burmann. An improved edition, with collations of all the manuscripts, and notes by Count Carlo Archinto and his son Alberico, Archbishop of Nicæa, appeared in the fourth volume of Muratori's Rerum Italicarum Scriptores," Milan, 1723. Muratori praises the work of Arnolfo as greatly superior to the Milanese history of his contemporary, the elder Landulf. The former is a simple and judicious annalist; the latter is incorrect, pompous, and fabulous. (Argellati, Bibliotheca Scriptorum Mediolanensium, i. 102; Mazzuchelli, Scrittori d'Italia; Leibnitz, Burmann, and Muratori, Prefaces; Oudin, De Scriptoribus Ecclesiasticis, ii. 704.) W. S. ARNOLPHUS BRIXIENSIS. [ARNALDO of BRESCIA.] ARNO'NE, ALBERTO, a Neapolitan painter of the end of the seventeenth century. ARNO'NE, or ARNO'NI, GUGLIELMO, organist of the Duomo at Milan about 1580, published a “Magnificat" for four, five, six, seven, and eight voices in 1595, and a set of madrigals, printed at Venice. In the "Bergameno Parnasso" of 1615 several of his compositions are found, and four of his motets for six voices were printed in the Promptuarium Musicum " of Abraham Schad:" Esurgat Deus" in the first part, Cantabo Dominum" in the second, "In labiis meis" in the third, and "Domine Deus" in the fourth. (Morigia, Nobilità di Milano.) E. T. 66 ARNOT, HUGO, was the son of a merchant in Leith near Edinburgh, where he was born on the 8th of December, 1749. His original name was Pollock, and he adopted that of Arnot on succeeding to the maternal estate of Balcormo in Fifeshire. He became a member of the Faculty of Advocates of Edinburgh on the 5th of December, 1752. In 1777 he published an Essay on Nothing," a paper which he had read at the Speculative Society, an association of young men in Edinburgh, constituted for their improvement in essay writing and debating. The author says, "I do not communicate this treatise to promote directly piety, morality, meekness, moderation, candour, sympathy, liberality, knowledge, or truth; but indirectly, by attempting to expose and to lash pride, pedantry, violence, persecution, affectation, ignorance, impudence, absurdity, falsehood, and vice." He kept his word, and made his attacks so bitterly and so freely against opinions and habits sanctioned, whether rightly or not, by public opinion, that he rendered himself unpopular among his serious fellow-citizens. In 1779 he published his "History of Edinburgh," in 4to., a work, both in general learning and in historical science, far above the average merit of local histories. It found its way into the general literature of the country, and its merit was acknowledged by the appearance of a pirated edition in Ireland. which materially cut down the author's profits. An edition in 8vo. appeared in 1817, after the author's death. In 1785 he published "A Collection of celebrated Criminal Trials in Scotland, with Historical and Critical Remarks," 4to. This work possesses |