phrases, the Talmuds, and other Rabbinical and cabbalistical writings, with difficult passages in the writings of the Rabbis, many of the ceremonies of the law and all the Hebrew abbreviations are explained, with copious marginal references: it was printed at Paris in a very elegant Hebrew type, by Antoine Vitray, A. D. 1620, in large folio. 2." Philippi Aquinini Primogeniæ Voces seu Radices breves Linguæ Sanctæ, cum Thematum investiganda Ratione" ("The Original Words or short Roots of the Holy Tongue, with the Manner of finding the Root, of Philip de Aquino "); it was printed at Paris by Sebastian Cramoisy, a. D. 1620, in 16mo., and is a very rare little volume. 3." Pirke Aboth " ("Selections of the Fathers "), a collection of Rabbinical proverbs and moral sentences, printed in Hebrew without points, with a Latin translation by Philippe D'Aquin on the opposite page it is of precisely the same form and typography as the little volume above described, and is without date or printer's name, and therefore was most probably published with it, although no mention of it is made in the preface to that tract. 4. "Veterum Rabbinorum in exponendo Pentateucho Modi tredecim cum octo eruditorum Rabbinorum in Psalm. CXIX. Commentariis, item Theologia Mysticæ Quæstionibus decem et Excerptis ex Zohar aliisque Libris Sententiis quibus Orthodoxæ Fidei Articuli quidam contra Contumacem Judæorum Impietatem adstruuntur, Lutetiæ Paris. ex off. Nivelliana, sumpt. Seb. Cramoisy, An. 1620, in 4to." This work is a Latin translation of the "Shalosh esre Middoth," or thirteen modes or rules for interpreting the law of Moses, of R. Ismael, with a translation also of the commentaries of the eight following celebrated Rabbis on the 119th Psalm, namely, R. Matathias Hajizharis, R. Joseph Aben Jachija, R. Joseph Jahabetz, Aben Ezra, Rashi (R. Solomon Jarchi), R. David Kimchi, the author of the "Midrash" (vol. i. p. 135. note) on this psalm, and the author of the "Jalkut" (Simeon Haddarshan). It has a long Hebrew preface by D'Aquin, with a Latin translation on the opposite page. 5. "Dissertation du Tabernacle et du Camp des Israëlites recueilli de plusieurs anciens Docteurs Hebreux, à Paris, Chez Th. Blaise, 1623 in 4to." (" A Dissertation on the Tabernacle and Camp of the Israelites, collected from many ancient Hebrew Doctors (Rabbis), printed at Paris by Th. Blaise, 1623 in 4to."). This work is not merely a literal description of the tabernacle erected by Moses, at God's command, in the Wilderness with its various coverings, and the priestly vestments, but is also an explanation of their allegorical and moral signification, with a treatise on the Urim and Thummim, and the cases in which it was to be consulted under the Old Testament dispensation;

VOL. III.

also on the various sacrifices of the ancient Jews, and the manner of performing them from the most ancient and celebrated Rabbinical authorities, with a plan of the camp in the Wilderness, and a plate of the breastplate of the high-priest, with its mystical gems. A second edition of this work, revised by the author, was printed at Paris, 1624, 4to. 6." Interpretatio Arboris Cabbalisticæ cum ejusdem Figura, ex antiquis Scriptoribus " ("An Explanation of the Cabbalistic Tree, with the Figure of the same from the ancient Writers "), Paris, 1625, in 4to. Wolff has given the title of this work as above, but we are inclined to believe it to be in the French language, as most of this author's works are so. 7. "Bechinath Olam" ("The Contemplation of the World "). This celebrated work of R. Jedaja Happenini was translated into French by Philippe D'Aquin, and printed at Paris by Jean Laquehay, A. D. 1629, in 8vo. It consists of the Hebrew text, in the square letter, with the French translation on the opposite page: it is followed by the author's Latin translation of the Shalosh esre Middoth," or thirteen ways of interpreting the law, with an ample commen tary. 8. "Kina" ("Lamentation"): this is a Hebrew poem on the death of Cardinal Berulle, followed by a Latin translation, entitled "Lacrymæ in Obitum Illustriss. Cardinalis de Berulle:" it was printed at Paris by Jean Bessin, A. D. 1629, in 8vo.

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Philippe D'Aquin also edited the Hebrew and Chaldee texts of the Parisian Polygott (Biblia Polyglotta, curâ et studio Guid. Mic. le Jay, Paris, typ. Ant. Vitré, 1628-45, 10 vols. folio.), but this task he is said to have performed indifferently. The celebrated scholar and critic Jean Morin (Joannes Morinus) was a Hebrew pupil of Philippe D'Aquin, which, says Rich. Simon, was no doubt the reason why Morin so often falls into grammatical errors in rendering passages from the Rabbis, as D'Aquin himself was far from a proficient in this branch of Hebrew literature. Such is the opinion of this learned Frenchman, who is, however, by no means sparing of his censures. bert Gaulmyn also, in the preface to his Hebrew Lexicon, says that Philippe D'Aquin taught him Hebrew.

Guil

ANTOINE D'AQUIN, who was chief physician to Louis XIV., was the grandson of Philippe D'Aquin. (Bartoloccius, Biblioth. Mag. Rabb. iv. 347, 348.; Wolfius, Biblioth. Hebr. i: 977-979., iii. 728-732.; Le Long, Biblioth. Sacra, ii. 612.; Bayle, Diction. Histor. Crit. art. “ D'Aquin.”) C. H. P. AQUINO, THOMAS DÉ. [AQUINAS, THOMAS.]

ARA BIUS SCHOLA'STICUS, or ILLU'STRIUS ('Apáßios ExoλaσTIKós), a Greek epigrammat c poet, of whose epigrams eight are extant in the Greek Anthology: most of them are written upon works of art, or por

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traits. Respecting the life of the author, nothing is known; but from one of his epigrams (Antholog. Planud. 39., compare 314.), which was made for a portrait of Longinus, the præfect of Constantinople in the reign of Justinian, we must infer that the poet lived about the same time, about A. D. 550. (Jacobs, Ad Antholog. Græc. xiii. 856.) L. S. ARABSHAH. [AHMED IBN ARABSHAH.] A'RAGON, JUAN DE, a Spanish painter who lived at Granada about 1580, when he was employed in the monastery of St. Jerome in that place. (Cean Bermudez, Diccionario Historico, &c.) R. N. W. ARAGONA, TU'LLIA D', a celebrated Italian poetess, was the illegitimate daughter of a Ferrarese lady and of Tagliavia, archbishop of Palermo, and afterwards cardinal, himself an illegitimate descendant of the royal house of Aragon. The year of her birth is unknown, but was probably one of the first ten of the sixteenth century. She received a good education, and became remarkably accomplished; while yet a girl she could both write and dispute in Latin, and she afterwards surpassed all the women of her time in singing and music. She was very partial to the society of authors, and her house at Rome, where, as well as at Venice and Ferrara, she long resided, was frequented by most of the distinguished men of letters of the time, with whom she was in the habit of exchanging complimentary sonnets. Among them we find the Cardinal Ippolito, son of Giuliano de' Medici, Pietro Angelio di Barga, Francesco Maria Molza, Ercole Bentivoglio, Filippo Strozzi, Benedetto Varchi, Bernardo Tasso, Pietro Manelli, Lattanzio Benucci, and Girolamo Muzio, the last of whom was the most assiduous of the long list of her admirers. Unfortunately, in spite of the assertion of Crescimbeni that she was no less virtuous than beautiful, her poetical reputation became her only one, or, to use the words of Roscoe, "Tullia, the offspring of love, is said not to have been insensible to his dictates." At Rome she married; and in a curious treatise on matrimony, full of the purest Platonism, addressed to her by Muzio, and printed in his " Operette Morali," we learn that she did so by his advice, in the hope of making manifest to the world that "necessity only had been the occasion of her past life." On the death of her husband she retired to Florence, under the protection of Leonora Toledo, the duchess of that city, to whom she dedicated a volume of her poetry. Pietro Angelio di Barga had predicted that she would arrive at extreme old age, but the prophecy did not prove true. The year of her death, like that of her birth, is unknown, but there is reason for supposing that it took place either in 1560, or not long afterwards. Her father, the cardinal, died in 1558.

The works of Tullia, separately published, are three :—1." Rime della Signora Tullia di

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Aragona e di diversi a lei," Venice, 1547, 12mo. This small and slender volume, which is that dedicated to the Duchess of Florence, contains verses addressed to Tullia by all of her admirers mentioned above, with the exception of Bernardo Tasso, and Angelio di Barga, as well as her replies to them. 2. "Dialogo della Infinità di Amore," Venice, 1547, 12mo. This "Dialogue on the Infinity of Love," which is printed in the same year by the same printers as the preceding work, is accompanied with a preface by Muzio, who professes to have sent it to the press without the consent of its authoress. He apologises for having changed the name of one of the three speakers introduced, from Sabina, as it stood in the manuscript, to Tullia, which was, he says, evidently the right name, and could only have been suppressed from excess of modesty. By this strange device the reader was, we suppose, to be made to overlook that the fulsome panegyrics on Tullia which are put into the mouths of Varchi and Benucci, the two other speakers, proceeded in reality from her own pen. The dialogue is elegantly written; the subject, which is rather a delicate one, is more delicately managed than in one by Sperone Speroni, "Dialogo di Amore," in which Tullia is introduced by him as one of the speakers. 3. "Il Meschino ò il Guerino," Venice, 1560, 4to., a romance of chivalry, in octave verse, in thirty-six cantos, containing not less than four thousand stanzas, or thirty-two thousand lines. The subject is stated by Tullia herself to be taken from a Spanish romance; but if the story exists in Spanish, which is doubtful, it can only be as a translation from an Italian original, which was in Tullia's time and continues even now one of the most popular of the language. Among the adventures of Guerino, whose peregrinations embrace much of the known and unknown world, is a visit to Ireland to the famous purgatory of St. Patrick, whose wonders are described at length. The general character of the poem is dryness and tediousness, which have had their natural effect on its reputation, in spite of the eulogiums of its admirers, one of whom, Crescimbeni, ventures to compare it to the Odyssey. There are in existence, in different collections, a number of sonnets and short pieces by Tullia, which Mazzuchelli has had the patience to enumerate. (Life by Zilioli in manuscript Storia de' Poeti Italiani, quoted by Mazzuchelli, Scrittori d' Italia; Panizzi, Essay on Italian Romantic Poetry, prefixed to his edition of Boiardo and Ariosto, i. 380.; Crescimbeni, Istoria della volgar Poesia, i. 331. 341.; Roscoe, Life of Leo the Tenth, 4to. edition of 1805, iii. 224.; Speroni, Opere, i. 1-45.; Mutio Justinopolitano, Operette Morali, p. 57.; all the works of Tullia.) T. W.

ARAGONE'SE, LUCA SEBASTIA'NO, commonly called SEBASTIANO ARAGONESE, was a painter and draughtsman of

Brescia of the latter part of the sixteenth century, but he appears to have painted little. Lanzi mentions one painting, the Saviour between two Saints, at Brescia, marked L. S. A., which is supposed to be by this artist; it is well coloured and well drawn. He drew principally with the pen. He made very elaborate drawings of one thousand six hundred ancient medals with their reverses, and made two hundred frames or cases (cartelloni) after his own designs. He made drawings also of all the ancient marbles in Brescia, and copies of all ancient inscriptions. (Rossi, Elogi Istorici de' Bresciani Illustri, 1602; Orlandi, Abecedario Pittorico; Lanzi, Storia Pittorica, &c.) R. N. W.

ARA'JA, FRANCISCO, a dramatic composer, was born at Naples in 1700. His first opera "Berenice" was performed in a palace of the Duke of Tuscany, near Florence. The following year he produced his " Amor Regnante" at Rome, and his "Lucio Vero" at Venice. In 1735 he was invited to St. Petersburg, where he went with a company of Italian singers. During his stay there he composed several Italian operas, as well as "Cephalus and Procris," the first opera that had been written in the Russian language. For the latter he was rewarded by the empress with five hundred silver rubles. The last work that he produced in Russia was a musical drama in celebration of the marriage of the Prince Peter Federowitz. Having acquired considerable property, he returned to Italy in 1759, and spent the rest of his life in retirement at Bologna. (Fetis, Biographie Universelle des Musiciens.) E. T.

ARAKCHEEV, ALÉXAY ANDREEVICH, was born in the year 1769 in the government of Novgorod, and was educated at the institution for the corps of cadets in artillery and engineering, where he gave great attention to military studies and very little to any other. Throughout his life he never spoke any foreign language whatever, a circumstance which, when related of a Russian, almost implies that he never held a familiar conversation with a foreigner. In 1785 Arakcheev entered the army as a corporal, and after passing through some inferior grades, he was recommended in 1792, by General Melissino, to whom he had acted as adjutant, to a post in the garrison of Gatchina, a country-seat not far from St. Petersburg belonging to the Grand-Duke Paul, the successor to the throne. Arakcheev, by his strict discipline and prompt attention to orders, so rose in the favour of Paul, that after his accession to the throne, in 1796, the emperor raised him in the course of one year to the rank of general-major, knight of the order of St. Anne of the first class, and of St. Alexander Nevsky, and baron, made him commandant of St. Petersburg and bestowed on him in perpetuity the estate of the village of Gruzino, in the government of Novgorod, with the property in

two thousand "souls" or serfs.

A year after After five

he was dismissed the service. months' disgrace he was recalled and taken into as much favour as ever, made a count, and appointed chief of the artillery in an army under the command of Prince Alexander, which was one of four intended to act against England. Before the end of the short reign of Paul, however, he was again disgraced and dismissed. He remained in private life till May, 1803, when he was recalled to the army by the Emperor Alexander, during the rest of whose reign he continued to acquire more and more importance, but apparently rather in the character of a faithful and vigilant official servant than of an influential adviser. The posts which he occupied were those of inspector-general of artillery, from 1803; minister of war, from 1808; and president of the department of military affairs in the Imperial Council, from 1810. The reforms which he introduced extended to almost every department in the army, in its minutest relations; but his favourite branch of the service was the artillery, which, by incessant attention, he advanced to the point of rivalling the French artillery during the war of 1813 and 1814. In the great war of invasion in Russia, in 1812, Arakcheev had the principal care of providing and supporting the reserves; and though from the nature of his services they were not brilliant, they were important in the highest degree, and recognised as such by the emperor, whose portrait was presented by himself to Arakcheev, to be worn round his neck. After the return of peace Arakcheev was much employed by Alexander in the details of the internal government, and he had the largest share in the development of the plan of the Russian military colonies. On the death of the emperor in 1826, he retired from the public service to his estate of Gruzino, where he resided till his death in the year 1834. In private life, especially in his later years, his passion for order and discipline was carried to excess. As he left no heir his estates were, by the provisions of his own will, placed at the disposal of the Emperor Nicholas, who presented them to the corps of cadets at Novgorod, to which Arakcheev had been a great benefactor during his life, with the condition that for the future it should bear Arakcheev's name. Before his death, in 1833, he lodged in the imperial bank the sum of fifty thousand rubles, with the provision that principal and interest should be allowed to accumulate without interruption till 1921, when at five per cent. the whole will amount to one million nine hundred and eighteen thousand nine hundred and sixty rubles. Three fourths of this sum are to be paid in 1925 to the author of the best history of the Emperor Alexander in the Russian language, and the remaining fourth is to be applied to the printing and circulation of ten thousand

Testament, and all the principal poets and historians. In 1734, he removed his school to Knaresborough, where he remained till 1745. In that year one Daniel Clark, a shoemaker, taking advantage of the credit he enjoyed in consequence of his marriage with a woman possessed of a small fortune, obtained from his fellow-townsmen a quantity of valuable goods, and then suddenly disappeared, it was supposed in order to defraud them; and this, indeed, appears to have been originally his intention. Aram being known as an intimate friend, was suspected of having aided him, and, his garden being searched, part of the property was found concealed. He was apprehended, and, although discharged for want of evidence, he thought proper to quit Knaresborough, leaving his wife behind him. Aram proceeded to London, and thence to various parts of England, earning his bread as a school usher, and all the while prosecuting his laborious studies. He obtained a good knowledge of heraldry and botany, and of the Chaldee, Arabic, Welsh, and Irish languages. His researches in etymology led him to conceive the idea of compiling a "Comparative Lexicon of the English, Latin, Greek, Hebrew, and Celtic Languages;" for which he made extensive collections, having compared above three thousand words, and detected a close similarity between them. In the midst of his studies, and when engaged as usher in an academy at Lynn, in Norfolk, he was suddenly arrested on the charge of murder.

A skeleton having been dug up in February, 1759, near Knaresborough, was suspected to be that of Daniel Clark, and Aram's wife having often darkly intimated that her husband and a man named Houseman were privy to the mystery of Clark's disappearance, Houseman was apprehended. On being taken before the coroner, he was desired to declare his innocence while holding a bone of the supposed murdered man. He took up one accordingly, and exclaimed, "This is no more Dan Clark's bone than it is mine!" in so peculiar a manner, that he was at once suspected of knowing at least where Clark's bones were. On being pressed, he acknowledged to have been present at the murder of Clark by Aram and a man named Terry, and affirmed that the body had been buried in a particular part of St. Robert's Cave, a wellknown spot near Knaresborough. digging there a skeleton was discovered in the exact place indicated; and immediately after measures were taken for Aram's apprehension.

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He was tried at York, August 3d, 1759, and Houseman, who was acquitted for the purpose, was the principal witness against him. Aram called no witnesses, but delivered an elaborate defence, not referring so much to the case in hand, as to the general fallibility of circumstantial evidence, especially that

which he brought together a great number of instances. He was notwithstanding found guilty, and ordered for execution on the Monday following, August 6th. After condemnation he acknowledged his guilt to two clergymen who attended him, but intimated, as all believed, that Houseman's share in the murder was larger than he acknowledged. His motive he stated to have been the discovery of a guilty commerce between Clark and his own wife, and not, as was generally supposed, the desire of obtaining the one hundred and sixty pounds which Clark had just received as his wife's portion. On the night before his execution, Aram attempted to commit suicide, by opening two veins in his arm, but he was discovered before he had bled to death, and his sentence carried into effect. Before the attempt he had written a defence of suicide, concluding with six lines of verse, which was found by his side. He left three sons and three daughters.

The defence on his trial proves Aram to have been possessed of considerable literary attainments. The style in which it is written, though deformed by the stiffness of the period, is exceedingly good; and a sketch of his life, which, at the request of some friends, he composed in the interval between condemnation and execution, is distinguished by the same excellence. This singular production bears no trace of mental distress, but is as coolly conceived and written as though penned at full leisure, and under the expectation of a long and honoured life. The "Comparative Lexicon " has not been preserved, but passages from the preface, which are extant, show that part at least to have been both well considered and well written. His poetry, from the few specimens known, does not appear to have had much merit. All the pieces here mentioned are contained in a "Genuine Account of the Trial of Eugene Aram," London, 1759, written by Mr. Bristow, who had frequent personal communication with Aram when in prison, and who evidently took the utmost pains to secure the accuracy of all he printed on the subject. The "defence," he informs us, is given with even the accidental grammatical errors, exactly as in the MS. prepared by Aram himself.

The interest attached to the history of Aram has been revived and increased in our own day by Hood's powerful ballad of "The Dream of Eugene Aram the Murderer," and Bulwer's romance of "Eugene Aram." Such is the effect they have produced, that St. Robert's Cave is now invariably the first object enquired for by the visitor to Knaresborough. (Biographia Britannica, edit. Kippis, i. 230.; Genuine Account of the Trial of Eugene Aram, &c., London, 1759; Scatcherd, Memoirs of Eugene Aram, Leeds, 1832; Annual Register for 1759 (reprinted