for some time between Morone and Rome, and a league was formed against Charles V., which was styled "holy," because the Pope was at the head of it. Henry VIII. of England, who was then in a fit of ill humour against Charles, joined the league. A correspondence was carried on with the Duchess of Angoulême, Francis's mother and Regent of France, and with Francis himself, then a prisoner in Spain. The historian Sepulveda says that the allies advised Francis by all means to endeavour to obtain his freedom, "to stickle at no promise or oath, nor refuse any hostages for the purpose, as it would be easy afterwards to obtain his release from all engagements from the supreme pontiff, who was himself at the head of the conspiracy." Pescara, it appears, informed Charles of what was going on, at what period he made the disclosure is however a matter of controversy, and he received instructions to let the intrigue proceed, until he should have all the threads of it in his hands. At last, in October, 1525, Pescara, who was ill at Novara, sent for Morone for the purpose of conferring with him. Morone came; he stated the plans of the league, and the prospect there was of success. Pescara had concealed Antonio de Leyva behind the tapestry of the apartment in which the conversation was held. When Morone took his leave of Pescara, he met in the hall Antonio de Leyva, who arrested him as a prisoner of the emperor. Other persons were arrested at the same time, and they were put to the torture. The whole plot was then discovered, and Morone was condemned to be beheaded, but was respited. Duke Sforza was also found guilty of treason against the emperor, and as such was declared to have forfeited his duchy. Pescara desired the duke to give up to him the castle of Milan, which Sforza, protesting his innocence, refused to do until he should receive an answer from Charles, to whom he had appealed. Pescara then blockaded the castle, in which Sforza had shut himself up. In the midst of all this, Pescara, who had never recovered from the consequence of the wounds received at Pavia, felt himself gradually sinking under a slow wasting fever, and knowing that he was near the point of death, he wrote to Charles V. earnestly begging of him to liberate Morone, as he had given him his word for his safety when he sent for him at Novara. Morone was afterwards released by the Duke of Bourbon, on paying a ransom. Pescara then recommended his wife, Vittoria Colonna, to the care of his cousin Del Vasto, to whom, with the emperor's permission, he bequeathed his feudal titles and estates, as he had no issue. His estates were much encumbered, as he was naturally of a generous disposition, and had been in the habit of drawing upon his own resources in the course of his campaigns. He also recommended to Del Vasto his trusty Spanish soldiers, giving him some advice for the maintenance of subordination and discipline, especially in case of another Italian war, which he saw fast approaching. He then distributed among his attendants his horses, arms, wardrobe, money and other property, and bequeathed a legacy to build a church at Naples in honour of St. Thomas. He died at the end of November, nine months after the victory of Pavia, at thirty-six years of age. His funeral was attended by the troops of the garrison of Milan, who showed much grief for the loss of their favourite commander. His body was transferred to Naples, and was deposited in the church of St. Domenico, where the urn which contains his remains is still to be seen in the same chapel with the tombs of the Aragonese dynasty, with his effigy, his banner, and his sword. His wife Vittoria, on hearing of the illness of her husband, set out from Naples to join him, but on arriving at Viterbo she was apprised of his death. She was for a long time inconsolable; she wrote several affecting sonnets in memory of him, whom, whether present or absent, she seems always to have loved and admired. When she first heard rumours of the proposals made to her husband by Morone and the Pope, she wrote him in anxious terms entreating him not to listen to deceitful offers, nor swerve from the straight path of loyalty, adding that for herself she had not the least ambition to be a queen, considering herself to be much more honoured in being the wife of a commander who had conquered and captured kings. After a time she retired to a monastery, in which she died in 1547. (Paolo Giovio, La Vita di Don Ferrando Davalo, Marchese di Pescara, tradotta per M. Lodovico Domenichi; Sansovino, Della Origine e dei Fatti delle Famiglie illustri d'Italia; Verri, Storia di Milano; Giannone, Storia civile del Regno di Napoli ; Guicciardini and Botta, Storia d'Italia; Sepulveda, De Rebus Gestis Caroli V. Imp. et Regis; Cronache Milanesi scritte da Gio. Pietro Cagnola, Gio. Andrea Prato, e Gio. Marco Burigozzo, ora per la prima volta pubblicate, Florence, 1842; Brantôme, Vies des Hommes illustres et grands Capitaines.) A. V. AVANCI'NUS, NICOLA'US, was born in the Tyrol, in the year 1612. In 1627 he took the vows of the Society of Jesuits at Grätz, and having entered the Jesuits' College in that city, he soon distinguished himself by his acquirements, and became successively professor of rhetoric, ethics, and philosophy. He next removed to Vienna, where he occupied the chair of moral theology for four years, and of scholastic theology for six. Subsequently he became rector of the Colleges of Grätz, Passau, and Vienna. In the year 1672 he was elected a deputy to the Congregation at Rome: he was afterwards appointed visitor of his Order in the province of Bohemia, and died on the 6th of December, 1685. 5. 66 Avancinus was a voluminous writer, and published the following works:-1. "Poesis Dramatica," 3 parts, Vienna, 1655—71, 12mo.; afterwards at Cologne, 4 parts, 1675-79, 12mo. 2. "Poesis Lyrica, qua continentur lyricorum libri iv. et epodon liber 1," Vienna, 1659, 12mo., and 1670, 12mo. 3. "Pietas Victrix, sive Flavius Constantinus Magnus, Tragoedia," (anonymous,) Vienna, 1659, fol. 4. "Orationes, in tres partes divisa," 2 vols. Vienna, 1661, 12mo.; and Cologne, 1675. Imperium Romano-Germanicum, sive Elogia 50 Cæsarum Germanorum," Vienna, 1663, 4to. 6. "Vita et Virtutes Serenissimi Archiducis Leopoldi Guilielmi," Antwerp, 1665, 4to. 7. "Vita et Doctrina Jesu Christi," Vienna, 1665, 1667, 1674, 12mo.; Amsterdam, 1667, 12mo.; Cologne, 1678, 12mo. A French translation, Paris, 1713, 12mo., and a German translation, Duderstadt, 1672, 12mo. 8. "Compendium Vitæ et Miraculorum Sancti Francisci Borgia, Ducis Gaudiæ, et Generalis tertii Societatis Jesu," translated from the Italian of S. Sgambata," Vienna, 1671, no size mentioned. 9. “Deus solus, seu confœderatio inita ad honorem solius Dei promovendum," from the Italian of Anturini, Vienna, 1673, no size mentioned. (Ribadeneira, Alegambe, and Southwell, Bibliotheca Scriptorum Societatis Jesu; Jöcher, Allgem. Gelehrten Lexicon, and Adelung's Supplement.) G. B. AVANTIUS, HIERONYMUS. [AVANZI, GIROLAMO.] AVA'NZI, GIOVANNI MARI'A, an eminent Italian jurisconsult, has gained a notice in biographical records by having spent some of his leisure hours in poetical composition. He was born at Rovigo, in 1549, was a friend and fellow-student of the poets Guarini and Torquato Tasso at the university of Ferrara, and studied law at Bologna and Padua. For many years he practised as a lawyer in his native town with high reputation; and he had the honour of declining an invitation to the court of the Emperor Ferdinand II. Pecuniary losses, how ever, personal feuds (in one of which he was stabbed in eighteen places), and the death of near relatives, threw him into low spirits, and finally induced him to quit Rovigo. He resided at Padua from 1606 till his death in 1622. Avanzi left in manuscript many verses both Italian and Latin, an unfinished treatise "De Partu Hominis," and a large number of professional papers. His only published writings were the following:-1. "Il Satiro, Favola Pastorale," Venice, 1587, 12mo. 2. "La Lucciola, Poemetto," Padua, 1627, 12mo.; a poem on the Glow-worm, in nine cantos of ottava rima. 3. A few verses in two obscure collections. (Mazzuchelli, Scrittori d'Italia; Papadopoli, Historia Gymnasii Patavini, ii. 117; Fontanini, Eloquenza Italiana, by Zeno, ii. 480.) W. S. AVA'NZI, GIROʻLAMO, a native of Verona, possessed considerable authority as a Latin philologer, about the end of the fifteenth century and in the earliest part of the sixteenth. The particulars of his life are very imperfectly known. It is said that in 1493, when he wrote his remarks upon Catullus, he was a professor of philosophy at Padua; but the assertion comes from an equivocal quarter, and he himself describes his labours executed about that period as having been the fruits of youthful inexperience. The early printers in the north of Italy found in Avanzi one of their most active assistants in preparing the works of the Latin classics for the press. With the Aldine printing-house, in particular, he maintained a close and constant connection, both during the lifetime of Aldus Manutius and after his death. Aldus, in his prefaces, frequently expresses, in the warmest terms, his sense of the value of Avanzi's services. He survived the year 1534, when Paul III., who patronized him zealously, was raised to the popedom. Avanzi's merits as a critic have been flatteringly estimated by some of his literary countrymen, even in recent times. But the modern scholars of other countries, although his position has necessarily called their attention to his labours, have by no means judged them so leniently. His favourite field of criticism was conjectural emendation of texts. He was bold and unscrupulous in his introduction of new readings, for which he derived his reasons oftener from his own ingenuity than from the manuscripts which he consulted. Indeed, enthusiasm and industry were perhaps his principal merits. It would be impossible to collect a complete list of the Latin classics in the publication of which Avanzi was either the chief editor or an assistant. The following are the principal editions in which he was certainly concerned:-1. Ausonius. He revised the text for the edition of 1496, Venice, which bears the name of Georgius Merula, the author of the preface. He edited likewise the edition of 1507, printed by Joannes de Tridino, Venice, 1507, in which he gave several pieces not previously published. 2. Statius, Venice, printed by Querengi, 1498, fol.; and additional emendations inserted in his third edition of Catullus. 3. Catullus, and the "Priapeia." A few pages of his "Emendationes" on these are in the edition of Catullus, Tibullus, and Propertius, published under his superintendence at Venice, 1500, fol.; Venice, Aldus, 1502, 8vo.; Venice, 1520, fol. 4. Lucretius, "Hieronymi Avantii ingenio et labore," Venice, Aldus, 1500, 4to. 5. The Younger Pliny: the Aldine edition, Venice, first printed in 1504. Mazzuchelli is wrong in asserting that, in this edition, Avanzi had the merit of having for the first time published the tenth book of Pliny's Letters. 6. "Emendationes in Seneca Tragœdias," Venice, by Joannes de Tridino, 1507, 4to.; used in the Paris editions of the tragedies, 1514, fol.; and inserted, with Avanzi's dissertation on Seneca's metres, in the Aldine edition, Venice, 1517, 8vo. Avanzi asserts that he had corrected in the text of Seneca nearly three thousand errors. He was probably employed, particularly by Aldus, in several other publications. Broukhusius, the severest of his modern censurers, professes to trace his hand in several objectionable readings of the Aldine text of Propertius; and believes him to have interpolated the text of many other Latin classics which issued from that press. (Mazzuchelli, Scrittori d'Italia; Fabricius, Bibliotheca Latina, ed. Ernesti, i. 79, 92, ii. 135, 413, iii. 146; Souchay, Dissertatio in Ausonium, p. xxxiii.; Broukhusius, In Propertium, ii. 7, 76, iii. 4, 25, iii. 7, 16.) W. S. AVA'NZI, JA'COPO DI PA'OLO D', a celebrated Italian painter. He lived at Bologna in the latter part of the fourteenth century, and was apparently a Bolognese by birth, but he is claimed likewise by Padua and by Verona; the earliest writers, however, call him Jacopo da Bologna. name was Paolo, and according to Baldi, an His father's old writer quoted by Malvasia, he was of the noble family of the Avanzi of Bologna. D'Avanzi in his earliest works signed himself Jacobus Pauli, but latterly Jacobus de Avantiis. Lanzi considers him a Bolognese, and he was the scholar, according to some, of Vitale of Bologna called Dalle Madonne, or of Franco Bolognese, according to Malvasia. Jacopo is generally mentioned in company with his fellow-scholar Simone da Bologna, commonly called Simone de' Crocefissi, or I Crocefissaio, because, in his earlier years, he almost exclusively represented, on a large scale, the crucifixion of our Saviour. and Jacopo afterwards became partners, and He they then painted all kinds of subjects, each, according to report, having a hand in their joint productions. Before this partnership Jacopo painted Madonnas almost as exclusively as Simone did Crucifixions, and he was, like Vitale, whom he imitated, known by the nickname of Dalle Madonne. Masini and Orlandi, and through them many recent writers and lexicographers, have written of these painters as of the same family, and have given to Simone also the name of Avanzi, but this is an error; they are treated as of distinct families by Baldi quoted by Malvasia, by Vasari, by Malvasia, by Baldinucci, by Lanzi, and in the manuscript of Oretti, in which Simone is surnamed Benvenuti. [BENVENUTI, SIMONE.] The Avanzi were an ancient and noble family of Bologna. Jacopo painted in the style of Giotto, but surpassed him in attitude and in expression. The frescoes of the chapel of San Felice (formerly San Jacopo), in the 262 AVANZI. church of Sant' Antonio at Padua, which were long attributed to Giotto; they were were painted by Jacopo d'Avanzi in 1376, partly restored in 1773, by Francesco Zannoni. works: the Destruction of Jerusalem is one Lanzi considers them Jacopo's best of the subjects. Simone and Jacopo painted together thirty frescoes in the old church of the Madonna di Mezzaratta without the Porta San. Mamolo at Bologna, illustrating supper with his disciples. The painters the life of Christ from his birth to the last Galasso of Ferrara and Cristofano of Bologna also painted some frescoes in that church at the same time, and they were all completed in 1404. These paintings are the best of the old frescoes at Bologna, and they ing their time, by Michel Angelo and the are said to have been much praised, considerCarracci, who recommended their preservation; they are not yet entirely obliterated. On Mezzaratta is, says Lanzi, to the school of account of these works, the Madonna di Bologna, what the Campo Santo at Pisa is to the school of Florence. triumphs in a public hall at Verona, which Besides these works Jacopo painted two Mantegna is said to have looked upon as company with Aldighieri da Zevio, some fresworks of extraordinary merit; and also, in coes in the chapel of San Giorgio in the church of Sant' Antonio at Padua, which, after long neglect, have been recovered from dirt and oblivion by Dr. E. Förster, who had them cleaned, and has described them in the "Kunstblatt" of 1838 (pp. 16 and 22). pictures in the gallery of Bologna by Jacopo; According to Giordani there are two small both are marked Jacobus Pauli: one is a picture of Christ crucified between the two thieves, with various other figures; the other is the Madonna crowned by her Son, with do not consider these pictures worthy of the angels witnessing from above. Some critics reputation of Avanzi. of Maestro Paolo, the oldest known painter Lanzi conjectures that Avanzi was the son of Venice, who, with his two sons Jacobus and Johannes, painted an altar-piece for the church of St. Mark there. Paolo was howhim in the sacristy of the Padri Conventuali ever a Venetian, for there is a painting by Paulus de Venetiis pinxit hoc opus." If at Vicenza, inscribed as follows:-"1333, therefore Avanzi were the son of this Maestro Paolo, it is unlikely that he was of a Bolognese family, though he may have settled in Bologna. Lanzi supposes likewise that po, who lived at this time at Bologna, were the two painters Pietro and Orazio, di Jacothe sons or scholars of Avanzi. by Vasari, who was a distinguished gem en- He cut in a piece of lapis lazzuli three inches | enabling him to supply the mathematical wide, a Nativity of Christ, in which he intro- information in which the count was defiduced many small figures; it was purchased cient. The latter seems to have been someby the then Duchess of Urbino as a great thing of a visionary, to judge from the title curiosity. Niccolo was one of the instructors of one of his published works-" L'Uomo of Matteo dal Nassaro, who was likewise a Volante per Aria, per Acqua e per Terra," native of Verona, and a very distinguished to which Avanzini, as usual, furnished the gem-engraver of that period. mathematical part. They had made considerable progress in an extensive work of a more useful nature, a topographical chart of the Lago di Guarda, which, with the surrounding mountains for a distance of twenty or thirty miles, was to have included the lake of Idri and the valley of Ledro; but this was stopped in 1786 by the death of Avanzini's patron. Shortly after the death of the count, Avanzini accepted an invitation to occupy the vacant chair of mathematics and natural philosophy at the college of Noventa. From this he was transferred by the Venetian republic to a similar post in the college of San Marco at Padua. While fulfilling the duties which both these situations imposed on him, he devoted his leisure time to hydrodynamics, and more particularly to the resistance of fluids. Several papers on this subject which he read before the Academy of Padua gained him considerable reputation. GIUSEPPE AVANZI was a painter of the school of Costanzo Cattanio of Ferrara, where he was born in 1655. He is better known for the quantity than for the quality of his works; he seems, says Lanzi, to have painted against time, to see what he could earn in a day. He painted figures, landscapes, and flowers, mostly alla prima, or at once, and seldom retouched his paintings; yet, among many slighted works by him, there are a few estimable and carefully painted pictures: his best is a Beheading of John the Baptist at the Certosa of Ferrara, which is painted much in Guercino's style. He died at Ferrara, in 1718. (Vasari, Vite de' Pittori, &c., and the Notes to Schorn's German translation; Malvasia, Felsina Pittrice; Baruffaldi, Vite de' Pittori, &c. Ferraresi; Lanzi, Storia Pittorica, &c.; Giordani, Pinacoteca di Bologna.) R. N. W. AVANZINI, GIA'COMO, an Italian composer, a native of Cremona, is mentioned as one of the writers for the theatre at Milan from 1780 to 1790. E. T. AVANZINI, GIUSEPPE, was born on the 15th of December, 1753, at Gaino, a little hamlet in the Venetian territory. His parents were in the middle rank, and in circumstances far from affluent, but they made great exertions to procure Giuseppe an education befitting the ecclesiastical profession, for which from an early age he showed a decided inclination. He received his first instruction in his native village, whence he was sent to the college of Salò, and thence to that of Brescia. Here he applied himself to the study of theology and mathematics. He passed rapidly through the usual ecclesiastical gradations, and before the age of twenty-examine projects for the navigation of the three became an abate. At Brescia he became the pupil of Domenico Coccoli, who at that time filled the chair of mathematics; and under him Avanzini made great progress in geometry and algebra, as well as the physical sciences. After completing his academical studies, and before taking his degree, we are told that he defended no less than 259 theses on various subjects connected with natural philosophy. Avanzini's talents attracted the notice and procured for him the regard of the Count Carlo Bettoni, a nobleman passionately fond of science, and a munificent patron of scientific men. In compliance with his request, Avanzini became an inmate of his family. For some years he employed himself in assisting Bettoni in the composition of several scientific works: Avanzini's studies In 1797 the college of San Marco was abolished; but Avanzini was speedily appointed to the chair of elementary mathematics in the university of Padua. In the political disturbances of 1801 he was forced to quit this situation, and became secretary to the Academy of Brescia, which was just then revived. On the foundation of the National Italian Institute in 1805, he was invited to Bologna, and elected its vice-secretary. In the following year he was admitted one of its pensioned members, and the greater portion of his scientific essays were thenceforward published in its Transactions. In 1806 he was restored to Padua, where he was appointed professor of applied mathematics, and a member of a commission to Brenta. While at Padua he continued to The results of Avanzini's inquiries into states, that as D'Avaray himself intends to the laws of the resistance of fluids differ con- give an account of the journey, his modesty siderably from those of Newton and Juan. will probably interfere with his doing himAn account of them is given in Tipaldo. self justice: the narrative anticipated in this Avanzini died at Padua, on the 18th of June, supposition does not, however, appear to 1827. The only work which he published have been published. The most minute parin a separate shape is the " Opuscoli intorno ticulars of the project-even to the measuring alla teoria dell' Ariete Idraulico," Padua, of the prince for a wig, and the examination 1815, 8vo. (Tipaldo, Biografia degli Ita- of the state of the locks of the apartments to be liani Illustri, iv. 27-31; Biographie Uni- passed through—were personally performed verselle, Supplement.) G. B. by D'Avaray. No other person was made AVANZINI, PIER ANTONIO, a completely privy to the plan, and the disguise painter of Piacenza, of the eighteenth cen- adopted was that of English travellers. D'Atury, who studied with Franceschini at Bo- varay at first endeavoured to obtain a passlogna. He is said to have been deficient in port through Lord Edward Fitzgerald, with invention, and to have painted chiefly from whom he was on terms of intimacy; and the designs of his master. He died in 1733. failing in this attempt, he was obliged to have (Lanzi, Storia Pittorica, &c.) R. N. W. recourse to the hazardous alternative of falsiAVANZINO, an Italian painter, born in fying an old passport, which had been issued 1552, at Città di Castello, who lived in Rome in the name of Mr. and Miss Foster. He during the pontificates of Sixtus V. and accomplished the expedition without any imClement VIII., and died there in 1629, aged portant interruption, except becoming himself 77. He was the scholar of Circignani, called severely indisposed, and without subjecting Pomarancio, and assisted him in many of his royal master to any more serious inconhis works. He painted likewise many ori- venience than bad cookery. It was remarked ginal frescoes in various churches of Rome, that Louis XVI. only wanted such a friend the principal of which are enumerated by to have been likewise saved. The expresBaglione. Baldinucci mentions an AVAN- sions of gratitude by the prince were in the ZINO DA GUBBIO who lived at Gubbio in the highest tone of French enthusiasm, and they sixteenth century, and of whom there were in were at first seconded by the voice of the his time still many pictures in private houses emigrants, of whom those who were nobles there. (Baglione, Vite de' Pittori, &c.; Bal- paid a congratulatory visit to D'Avaray in a dinucci, Notizie de' Professori del Disegno, body at Brussels. He continued to accom&c. vol. xix.) R. N. W. pany his master; and when the progress of Napoleon compelled the prince to quit Verona in 1796, he accomplished the arrangements which enabled him to join Conde's emigrant army on the Rhine. He supported the prince in his determination to remain with the army, and attending him during the retreat in which they were at last compelled to accompany the Austrians, saw him very nearly fall a AVANZO. [AVANZI.] AVANZOLINI, GIROLAMO, is only known by having published at Venice, in 1623, "Salmi concertati a otto voci." E. T. AVARAY, ANTOINE LOUIS, DUC D', son of Claude Antoine, was born on the 8th of January, 1759. He served, in 1782, at the siege of Gibraltar by the united forces of France and Spain, and was engaged in many of the conflicts and adventures connected with that memorable effort. He was made colonel of the regiment of Boulonnais in 1788. His celebrity chiefly rests on the part which he took in the escape of Monsieur, Louis the Sixteenth's brother, afterwards Louis the Eighteenth, from Paris and the dangers which there threatened all the members of the royal family. The king and his brother had projected a contemporaneous flight; and the latter made his effectual escape on the 21st of June, 1791, the day before the abortive attempt of the king. In 1823 an account of this adventure was published in Paris: it professed to come from the pen of Louis XVIII., and, at all events, was published during his reign without being either suppressed or contradicted. The ostensible object of this tract, which was immediately translated into English, was to express the king's gratitude to D'Avaray, and to make the public aware of the extent of his services on the occasion. The author victim to an ambuscade. D'Avaray was the chief agent in negotiating the marriage between the daughter of Louis XVI. and the Duc d'Angoulême, which was celebrated at Mittau in 1799. The exiled prince whom D'Avaray served made such attempts as his situation permitted to reward his faithful follower. While he was uncle and guardian to the young titular king called Louis XVII., he appointed D'Avaray captain of his guards. After the death of his young nephew, when he was treated by his small band of followers as King of France, and thus had, in name, the dignities and offices of the kingdom at his disposal, he made his favourite captain of the Scots Guards, and allowed him to add the arms of France to his achievement. In 1799 D'Avaray received from the same quarter the titles of duke and peer. The other emigrants complained that services which could not be considered of a public character were thus rewarded by a profuse distribution of national honours; but as the dignities which the exiled prince was able to |