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but that which entitles him chiefly to a place here is his “ Bibliotheca Belgica,” containing the lives of the eminent men of the Netherlands, and lists of their works. This was first published in 1623, 8vo. This edition excited a literary war between the author and Francis Swertz, who in 1628 published his '“ Athenæ Belgicæ, sive Nomenclator Scrip. .torum inferioris Germaniæ," fol. In this he accuses Andreas of having interfered with his design, and violated the rules of friendship, &c. Andreas, who had continued to improve his work, and published it a second time at Lovain in 1643, 4to, answered these accusations very modestly in his preface, and asserted the priority of his design. This last edition is preceded by the “ Topographia Belgica” above-mentioned. · The best edition of the Bibliotheca, however, is that published by. Foppen in 1739, 2 vols. 4to, elegantly printed, and illustrated by a series of engravings, which, owing to the robberies of portrait-dealers and collectors, is now seldom found complete. It has been objected that Foppen omitted many particulars re

corded by Andreas, but after a careful inspection, we have · been able to discover very little omitted that is of importa

ance.' · ANDREINI (FRANCIS), of Pistoia, an Italian comedian of the sixteenth century, deserves some notice on account of his wife, a woman of considerable talents, and his son, whose history is in one respect connected with that of our immortal Milton., This Francis appears to have been a species of buffoon stroller. In 1609, he published a work entitled “Le Bravure del capitan Spavento, Venice,” 4to, which consists of dialogues between the captain and his man Trappola. Prefixed to it is a sérious lamentation over the death of his wife, the subject of our next article. He afterwards published other dialogues in prose, “ Ragionamenti fantastici posti in forma di dialoghi rappresentativi," Venice, 1612, 4to. He also is the author of two dramatic pieces, “ L'Alterazza di Narciso,” Venice, 1611, 12mo; and.“ L'Ingannata Proserpina," ibid. same year. He was remarkable for the powers of memory, and spoke, with great facility, French, Spanish, Sclavonian, modern Greek, and even the Turkish language. He was living in 1616, as appears by the date of his edition of his wife's works, and it is thought that he died soon after that publication..., : Foppen's Bibl. Belg. . . ? Biographie Universelle.'

- ANDREINI (ISABELLA), wife to the preceding, was born at Padua in 1562, became an actress of great fame, and was flattered by the applauses of the men of wit and learning in her time. She is described as a woman of ele gant figure, beautiful countenance, and melodious voice, of taste in her profession, and conversant with the French and Spanish languages; nor was she unacquainted with philosophy and the sciences. She was a votary of the muses, and cultivated poetry with ardour and success. The Intenti, academicians of Pavia, conferred upon her the honours of their society, and the titles of Isabella Andrei. na, Comica Gelosa, Academica Intenta, detta l'Accesa. She dedicated her works to cardinal Cinthio Aldobrandini (nephew to Clement VIII.), by whom she was greatly esteemed, and for whom many of her poems were composed.

In France, whither she made a tour, she met with the most flattering reception from the king, the queen, and the court. She composed several sonnets in praise of her royal patrons, which are inserted in the second volume of her poems. She married Francis Andreini, whom we have just noticed, and died at Lyons, June 10th, 1604, in consequence of a premature delivery during a state of pregnancy, in the forty-second year of her age. Her husband, whom her loss overwhelmed with affliction, had her interred in the city in which she expired, and erected a monument to her memory, on which he caused an epitaph to be inscribed, enumerating her virtues, her piety, and her talents. Her death was lamented in many Latin and Italian elegies and panegyrics, and even a medal was struck to her memory, with the inscription, « Æterna Fama.” The justice of these high praises may still be appreciated by a perusal of her works : 1. “ Mirtilla, favola pastorale," Ve. rona, 1588, 8vo, and often reprinted. She is said to have begun this in her infancy, but it does not appear to have been very successful on the stage. 2. “Rime,” Milan, 1601, 4t0; Paris, 1603, 12mo, &c. Most of these 'had appeared in various collections, and there are others of her writing in “ Componimenti poetici delle piu illustri rimatrici d'ogni seculo," Venice, 1726, 12mo. 3. " Lettere,” Venice, 1607, 4to. These letters are mostly on love subjects.” It has been remarked as somewhat singular in bib(liography, that the dedication of this work to the duke of

Savoy, as well as the title-page, bears date 1607, three

years after the author's death. 4. “ Fragmenti d'alcune scritture,” &c.'a collection of fragments, dialogues, &c. on love subjects, published by her husband, Venice, 1616, the date of the preface, but in the frontispiece, 1625, 8vo.'

ANDREINI (John BAPTIST), the son of the two preceding, was born at Florence in 1578, and was also a comedian, and wrote several pieces for the theatre, and some poems. They once had a temporary reputation, but such as have survived to our times, are indebted to particular circumstances, independent of their merit. They are all in that bad style of Italian poetry, of the seventeenth century, peculiar to the school of Marino, and most of them, in the plot and conduct, are irregular and fantastic, and demonstrate a wretched taste in the public. The only piece worthy of our notice is his “ Adamo,” a sacred drama in five acts, with chorusses, &c. Milan, 1613 and 1617, with prints designed by Carlo Antonio Proccachini, a celebrated landscape painter of his time, and of the school of the Carracci, but in a wretched style, paradise being represented as full of clipt hedges, square parterres, strait walks, &c. But what is more interesting, Voltaire, in his visit to England in 1727, suggested that Milton took his hint of the Paradise Lost from this drama. This obtained little credit at the time, and was contemptuously rejected by Dr. Johnson in his life of Milton. Mr. Hayley, however, has revived the question, and with considerable advantage to Voltaire's supposition, and it seems now to be the opinion that the coincidence between Andreini's plan and Milton's is too great to be the effect of chance. We have no account of Andreini's death.”

ANDRELINI (Publio FAUSTO), or Publius FAUSTUS ANDRELINUS, a modern Latin poet, was born at Forli, in Romagnia, about the middle of the fifteenth century. Having composed in his youth, at Rome, four books of poetry under the name of " Amours,” he was honoured with the poetic crown; in 1488 he came to Paris, and the following year was appointed professor of poetry and philosophy, and Lewis XII. of France made him his poet-laureat. He was likewise poet to the queen. His pen, however, was not wholly employed in making verses, for he wrote also moral and proverbial letters in prose, to which Beatus Rhenanus added a preface, and commends them s as learned, witty, and useful; for though," says he, * this author, in some of his works, after the manner of poets, is a little too loose and wanton, yet here he appears like a modest and elegant orator.” John Arboreus, a divine of Paris, published comments upon them. Andrelini wrote also several poetical distichs in Latin, which were printed with a commentary by Josse Badius Ascenscius, and translated verse for verse into French by one Stephen Prive. John Paradin had before translated into French stanzas of four verses, an hundred distichs, which Andrelini had addressed to John Ruze, treasurer-general of the finances of king Charles VIII. in order to thank him for a considerable pension.

I Gen, Dict.-Moreri. Biographie Universelle.

2 Biographie Universelle-Hayley and Symmons's Life of Milton,-- Warton's Essay on Pope,

The poems of Andrelini, which are chiefly in Latin, are inserted in the first tome of the “ Deliciäe poetarum Italorum.” Mr. de la Monnoie tells us, that his loveverses, divided into four books, entitled “ Livia," from the name of his mistress, were esteemed so fine by the Roman academy, that they adjudged the prize of the Latin elegy to the author. It is upon this account, that when he printed his Livia, in quarto, at Paris, in 1490, and his three books of Elegies four years after, in the same city, he took upon him the title of poet-laureat, to which he added that of " poeta regius et regineus," as he was poet to Charles VIII. Lewis XII. and queen Anne IV. The distichs of Faustus (continues the same author) are not above two hundred) and consequently but a very small part of his poems, since, besides the four books of Love, and three books of Miscellaneous Elegies, there are twelve Eclogues of his printed in octavo, in 1549, in the collection of thirtyeight Bucolic Poets, published by Oporinus." The death of Andrelini is placed under the year 1518. The letters which he wrote in proverbs have been thought worth a new edition at Helmstadt in 1662, according to that of Cologn of 1509. The manner of life of this author was not very exemplary; yet he was so fortunate, says Erasmus, that though he took the liberty of rallying the divines, he was never brought into trouble about it.'

ANDREW (surnamed of CRETE, because he was bishop of Aleria in that isle ; or the JERUSALEMITE, from his having retired to a monastery at Jerusalem), was of Daa á ! Gen. Dict. ---Moreri.Biog. Universelle.“Şaxii Onomasticon.

mascus, and died in the year 720, or, according to others, in 723. He has left commentaries on some books of scripture, and sermons. Pere Combesis gave an edition of them, with a Latin translation, and notes, together with the works of St. Amphilocus and Methodicus, Paris, 1644, folio. '

ANDREW, 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 Donatello, 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 façade 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

Cave, vol. I.-Saxii Onomasticon, VOL. II.

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