of the Lombard kingdom, he assumed the rights of independent sovereignty, but in 787, after a struggle of thirteen years, was forced to admit his feudal dependence on the crown of Italy, and to pay a large annual tribute. He died in the same year. (Biog. Univ. Sismondi, Rep. It.)

ARIGNOTE of SAMOS, is said by some to have been the daughter of Pythagoras and Theano, and by others only the pupil of the philosopher. Suidas attributes to her a Treatise on the Mysteries of Ceres and Bacchus, under the title, it would seem, of 'Iepos Aoyos; the loss of which cannot be sufficiently deplored, as it would probably have enabled us to know that as a fact, which can be now arrived at only by inference. It is possible, however, that the author of the treatise was the Arignotus mentioned by Lucian in Philopseud. § 29.

It was

ARIMAZES, a chieftain of Sogdiana, who refused to surrender to Alexander a rocky fortress held by him. taken, and Arimazes put to death, with all his garrison. (Q. Curt. 7, c. 11.)

ARIMNESTUS, the son of Pythagoras, and the preceptor of Democritus, wrote a work on the Boundaries of Samos, or rather the Definitions of the Samian (i.e. Pythagoras). Heumann identifies him with the Aimnestus mentioned by Diogenes Laertius.

ARINGHI, (Paul,) an Italian antiquary and priest of the Oratory at Rome, where he died in 1676. He is chiefly known by his additions to the Roma Subterranea of Basio. Aringhi also published, Monumenta Infelicitatis. Rome, 1664. Triumphus Poenitentiæ, 1670. (Biog. Univ.)

ARIOALD, was elected to succeed Adaloald in the kingdom of Lombardy in 625. Gundeberga his queen was accused by a disappointed lover of conspiracy against her husband, and was confined by him, for three years, in a tower at Lomello, until a champion appeared to do battle for her. He conquered in the combat, and Gundeberga was restored to her seat on the throne. Arioald died in 636. (Biog. Univ.)

ARIOBARZANES, king of Cappadocia, surnamed Philoromæus, was elected to the crown with the approbation of the Roman senate, when the royal line of Ariarathes became extinct. Mithridates, who intended the kingdom for his own son, expelled Ariobarzanes; but the latter recovered Cappadocia on the defeat of Mithridates by Sylla. The crown of

Cappadocia was possessed alternately by Ariobarzanes and the son of Mithridates, for four or five times, as the power of Mithridates or the Romans prevailed; but Pompey finally established him on the throne. (Biog. Univ.)

ARIOBARZANES II., surnamed Philopator, son of the preceding, succeeded his father about 67 B. C., and died about 52 B. C. (Cicero, Epist. fam. xv. 2.)

ARIOBARZANES III., surnamed Eusebes Philoromæus, son of the preceding. He was protected by the Roman people, with whom he communicated through Cicero. After the death of Julius Cæsar he joined the forces of the triumvirate. (Biog. Univ.)

ARION, the son of Cyclon, was a native of Methymne in Lesbos, and contemporary with Periander of Corinth, where he lived a long time, and was in high favour with the prince as a dithyrambic poet; and, according to Herodotus, i. 23, the first of that profession. From thence he went to Italy and Sicily, where he amassed considerable property. On his return, however, to Corinth, he was plundered by the crew of the vessel, and ordered to throw himself into the sea. Arion pleaded for his life, or at any rate, begged that if they determined to destroy him, they would not prevent his corpse from reaching land and obtaining the usual honours of the dead. Deaf to his entreaties, the crew would grant him only the request he made to play a spiritstirring strain; when taking his harp he struck the strings with such skill as to attract a dolphin, upon whose back he threw himself and reached Corinth in safety. The story of his adventure was at first disbelieved by Periander; but when, on the arrival of the vessel, the crew were asked what had become of Arion? and they had answered that he was safe at Tarentum, Periander produced Arion in the very dress he wore when he leaped into the sea, which so staggered the sailors that they were compelled to confess the truth, and were immediately impaled on a cross by the orders of the prince. The story has been explained, by supposing that Arion was picked up by another vessel called the Dolphin, which arrived first at Corinth. There is, however, a curious confirmation of the tradition in the accounts of travellers, who tell us that in the back settlements of North America some of the native tribes are accustomed to harpoon the larger fish, and quitting their canoe, to leap upon the back of the fish and to

ride it to land. The hymn which Arion is said to have sung has been preserved by Elian, H. A. xii. 45, but it is repudiated by Schneider. Herodotus, however, testifies that the poet perpetuated the memory of the adventure by a small votive tablet of brass, on which, says Ælian, was an epigram to the effect following:

“ Arion, Cyelon's son, through heaven's kind hand, This car from Sicily's sea brought safe to land.” ARIOSTI, (Attilio,) a musician, who was an ecclesiastic of the order of St. Domenic, and is supposed to have had a dispensation to exempt him from the rule of his order, and enable him to follow a secular profession. He was a native of Bologna, in which city, and in Venice, he pursued his art. He afterwards resided in Germany, where in 1700 he was appointed maestro di capella to the electress of Brandenburgh; and in the same year, on the occasion of the marriage of the daughter of that princess with the hereditary prince Frederick of Hesse Cassel, a ballet and an opera of his composition were performed at the villa of the electress, near Berlin. In the opera, which was called Atys, he composed what he called sinfonia infernale, to express the extremity of rage and despair, of which the modulation was so singular, and altogether so masterly, as to excite the greatest astonishment, and ensure entire success.

On the establishment of the Royal Academy of Music in London, in 1720, he was invited from Berlin, and with Handel and Bononcini appointed to compose for it. He produced several operas, of which the most esteemed were Coriolanus and Lucius Verus, the only ones which are printed entire. In the former, the prison scene is wrought to the highest perfection, and is said to have drawn tears from the audience at every representation. Burney says Ariosti came to England in 1716, and played upon an instrument called viol d'amore, which he had either invented or very greatly improved; so that he had previously visited this country. He played also on the violoncello. He was considered one of the most eminent musicians of his time, and to have been a perfect harmonist, though somewhat deficient in invention. Falling into distress, he published a set of Cantatas by subscription, and some lessons for the viol d'amore, which, together, he designated by the title Alla Maestà di

Giorgio Rè della Gran Britagna, &c., with only his initials; after which he quitted England, and no further account appears concerning him. (Burney's Hist. of Music. Musical Biography.)

ARIOSTO, (Ludovico,) was born at Reggio in 1474, of noble parents, some writers pretending that he was related to the dukes of Ferrara. He was the eldest of ten children. Like many other geniuses of the same stamp, he gave early proofs of his talents for poetry, and wrote whilst a boy a tragedy on the subject of Pyramus and Thisbe, which with his brothers he acted before his parents. But by the desire of his father he was compelled to study the law, and after having literally thrown away not less than five years in this pursuit, he was at last permitted to follow his own inclination. Impressed with the necessity of understanding well the classical authors, he applied himself to the study of the best Latin writers, under the guidance of Gregorio da Spoleto, an eminent scholar of his age. Whilst reading Plautus and Terence, he conceived the plan and wrote a great part of two comedies. The first he attempted was La Cassaria, and the next I Suppositi, much the best even of those he wrote in his more mature years. Whilst engaged in writing the former, for some fault not mentioned by his biographers, his father reprimanded him severely; Ludovico listened attentively to all he said without uttering a single word. Being asked by his brother why he had not justified himself, he answered, "I wanted a scene like this for my comedy; my father has offered me the model, and I was unwilling to interrupt him.' By means of his lyric poems, both in Italian and Latin, he became known to cardinal Ippolito d'Este, who took him into his service, and, together with his brother, the duke Alfonso employed him in business of consequence, particularly with pope Giulio II., during the war he was carrying on against the Venetians. The desire of paying his court to his patrons, and thus bettering his fortune, inspired him with the idea of writing the Orlando Furioso, by adopting the fictions of Boiardo, who had preceded him; a poem, as he said, in which he would take from future poets every hope not only of surpassing but of equalling him either in imagination or style. The great knowledge he had of the Latin language, and the facility with which he composed Latin verses, induced cardinal Bembo to advise him to

write his poem in Latin; fortunately he did not listen to the advice, and he is even said to have answered that he wished rather to be reckoned the first among the Italians than the second amongst the Latins.

After the labour of ten or eleven years, during which he was exposed to several and long interruptions, and by no means easy in his circumstances, this poem was published in 1516, in forty cantos; and though in many respects very different to what he afterwards made it, yet it was considered so superior to anything of the sort as to raise its author at once to the rank of the first Italian poets. He revised and corrected it afterwards at every new edition, and in the last which appeared during his life in 1532, he extended it to forty-six cantos. But notwithstanding the general applause with which it was received, one voice was heard blaming the poet and the poem, and this voice was that of his patron, cardinal Ippolito, the man who had scantily repaid his services, and had no right to boast of his claims. It is reported that he complained that Ariosto, for the sake of writing this poem, had neglected his services; and the insulting question which he put to the poet after having read his poem, is too well known and disgusting to deserve repetition; a complaint the more unjustifiable, as the poem had been in a great measure written to celebrate and immortalize the cardinal and his family. The cardinal, however, thought differently; for reasons not very creditable to his memory he from that moment lost every sentiment of benevolence towards Ariosto, and, as is often the case amongst the great, hatred supplied its place. On his departure for Hungary, he left Ariosto, who could not accompany him on account of ill-health, in distressed circumstances, from which, for a short time, he was partly relieved by the duke Alfonso, who took him into his service, but repaid him with similar ingratitude. The only remuneration which Ariosto obtained from him, as well as from all the princes of this family, celebrated as they have been for their munificence and liberality, was a pension, or rather a reservation of rent on the chancery of Ferrara, of seventy-five ducats per annum, amounting to twelve pounds and ten shillings of English money. Indeed the distress which Ariosto experienced at this time compelled him to apply to the duke to beg that he would either relieve his necessities or permit him to offer his services to some one

else. Urged by this appeal, the duke granted him the government of a small province, called La Garfagnana, distracted by factions and infested by robbers, whose chieftain was the notorious Pacchione. Although such an appointment ill-suited the poet's taste, yet by his mild character and conciliatory manners he succeeded in establishing some sort of order, and obtaining the affection of the people. It was there that the scene took place which was, for the first time, related by Garofalo, and which following biographers, in copying it, have strangely altered. According to Garofalo, Ariosto was going over the mountains, accompanied by six or seven servants, all on horseback, and on the road fell in with a troop of armed men who were sitting in the shade. Their suspicious appearance induced Ariosto to hasten the pace of his horse. The chief of the troop, understanding from one of the servants who was in the rear, that it was Ariosto, followed him, and the latter perceiving himself pursued by this armed man, thought it prudent to stop. The man saluted him respectfully, said that his name was Filippo Pacchione, apologized for not having saluted him when he passed, not knowing his name, but said that after having learnt it he had hastened to pay personally his respects to the man whom he knew so well by reputation.

At the expiration of three years, Ariosto left his government and returned to Ferrara, and it was then that, to please the duke, he revised his two comedies, and wrote three new ones, La Lena, Il Negromante, and La Scolastica, and thus he shares with Cardinal Bibiena and Macchiavelli, who were his contemporaries, the credit of having written the first regular comedy. Of these, four were first written in prose and turned afterwards into verse. They were represented with every possible magnificence, on a stage raised after his own plan and under his immediate inspection, by the first noblemen of the court, and in the Lena one of the sons of Alfonso spoke the prologue. In the midst of so many occupations Ariosto did not lose sight of his poem, for at this time he made the alterations which have been already noticed. About this time he also published his Satires, and was again involved in family difficulties, and harassed by law-suits. At last, having arranged his affairs, he bought a piece of land, where he built a very small but commodious house, which some of his biographers assert he did

through the liberality of the duke Alfonso, but the words, " parta ære meo," which occur in the inscription he put on the entrance, show that this liberality of the duke is to be found only in the imagination of the writers.

It is generally believed that the labour he took in the publication of the last edition of his great poem, in 1532, produced the malady,` unfortunately too common among literary people, which after eight months of excruciating pain, carried him to the tomb, in the fiftyeighth year of his age. In accordance with his own desire, he was carried during the night to the old church of S. Benedetto in the most private manner, and his ashes remained for forty years in this humble situation, with no other inscription than the few Italian and Latin verses which occasionally travellers had engraved, or rather scratched, on the stone. In the year 1572 a gentleman of Ferrara, called Agostino Mosti, who had been a pupil of Ariosto, caused to be built at his expense in the new church of S. Benedetto a tomb of beautiful marble, having at the top the bust of the poet. On the anniversary of his death, Agostino carried in his own hand the urn containing his remains, followed by the monks, who accompanied the convoy with chaunts and tapers, amidst the acclamation of the people.

The works of Ariosto are:-1. Seven Satires, in which he endeavoured to imitate the urbanity of Horace rather than the asperity of Juvenal, and which contain many facts that are of great use to the historian of his time, and his biographer. 2. Five Comedies. 3. His Italian Poems, consisting of elegies, odes, sonnets, madrigals, &c. 4. His Latin Poems, in two books. 5. A short prose tract, entitled Erbolato, in which he introduces a certain Antonio de Faenza speaking of the dignity of man and the science of medicine. And, lastly, his great poem, Orlando Furioso, to which he owes his immortality, and which has passed through numberless editions, and been translated into almost all languages, not without much harsh criticism, even by some of his admirers, who cannot exempt themselves of a feeling of disgust, arising by a kind of vexation produced by the labour they must employ to attend to the rapid succession and the astonishing multiplicity of the episodes, and the introduction of foreign anecdotes and vulgar characters, which are perpetually interfering with each other and interrupting the main story. For although the

real object of the poem may be to celebrate the origin of the family of Este, the loves and exploits of Ruggieri and Bradamante form its principal argument or action. To this Ariosto, by way of predictions, which are invariably told to Bradamante, has joined all that could flatter the vanity of his patrons; and the event, or second action, to which he had attached that main argument, is the imaginary war of the Saracens against Charlemagne. The madness of Orlando forms the third argument or action, though the poem takes its title from it, and this madness, with the description of the effects it produces, the extraordinary means employed by Astolfo to restore him to his senses, and the amusing detail of the manner in which this cure is performed, form all together one action, or one episode, highly entertaining and poetical. But still, such is the magic of his style, the sharpness of his satire, the vivid description of his characters, the wonderful power of his ardent imagination, his general good taste, and the manner in which he can excite the curiosity of his reader, and even interest his passions, that the Orlando Furioso is the first of all the poems of chivalry and romance, and the most extraordinary composition of the kind.

ARIOSTO, (Gabriel,) a brother of the great poet, died about 1552, according to Mazzuchelli, but it is probable that his death took place much earlier. A collection of Latin poetry by him, was published at Ferrara in 1582. (Biog. Univ.)

ARIOSTO, (Horace,) son of Gabriel, and nephew of the poet, was born in 1555. He was a canon in the cathedral of Ferrara, and an intimate friend of Tasso, for whom he composed arguments to the cantos of the Jerusalem Delivered. In the dispute between the partisans of Tasso and Ariosto, Horace Ariosto wrote La Difese dell' Orlando Furioso, &c., but always entertained a high admiration for Tasso. He commenced the composition of a great poem, entitled Alfeo, the completion of which was prevented by his death in 1593, and none of it was ever printed. (Biog. Univ.)

ARIOVISTUS. A celebrated leader of the Germans, who was defeated by Cæsar, with a reputed loss of 80,000 men. His name is said to answer to the German Ehrenvest. (Cæsar, 1 Bell. Gall. Tacitus, 4 Hist.)

ARIPHRON, a lyric poet of Sicyon, of whom a solitary fragment has been preserved by Athenæus, xv. p. 702, in the

well-known Ode to Health, which G. Burges has restored to its original measures in the Classical Journal, No. 48, p. 368. ARIPHRADES, a writer of comedy, quoted by Aristotle, Poet. ss. 22, and who is perhaps the person to whom Aristophanes alludes in 'I. 1278, and Epŋk. 1272, as may be inferred from Lucian, Pseudologist, ss. 3.

ARISI, (Francesco,) an Italian jurist, and a man of some literary eminence, was born at Cremona in 1657. He studied law at Rome, Bologna, Pavia, and Milan, and on his return to Cremona he divided his time between his professional occupations and the cultivation of literature, especially of poetry. He was in constant correspondence with his most celebrated contemporaries, and was a member of most of the Italian academies. His professional reputation for learning and integrity procured him employment on several public occasions, in which he always acquitted himself with honour. He died in 1743. Mazzuchelli gives a list of Arisi's works, amounting to eightyfour, both printed and manuscript. Of the former, may be mentioned, La Tirranide Soggiogata. Cremona, 1677. Cremona Litterata, &c. 3 vols, in fol. Parma, 1702 and 1705; Cremona, 1741. Rime per le Sacre Stimate del Santo Patriarca Francesco, &c. 1713; a volume of three hundred and twenty-five sonnets on the marks on the body of St. Francis; Il Tabacco masticato, e fumato, trattenimenti ditirambici colle sue Annotazioni, Milan, 1725. (Biog. Univ. Mazzuchelli.)

ARISTÆNETUS of NICE, in Bithynia, was the friend of Libanius, and perished in the earthquake, which laid Nicomedia in ruins, in a. c. 358. To him was once attributed the collection of letters that pass under that name, but which have been shown to be written after the fifth century, from the allusion in i. 26 to Caramallus, mentioned by Sidonius Apollinaris, xxiii. 267; and the title is now supposed to owe its origin to the fact, that the first letter is addressed by Aristænetus to Philocalus. Amongst the curious circumstances connected with the letters is this, that they contain a prose representation of the story of Acontium and Cydippe, taken from a lost poem of Callimachus, but so altered as to make it difficult to detect any of the original versification. They have been translated with great spirit into English by an anonymous author, under the title of Ten Letters of Love and Gallantry, written in

Greek by Aristænetus; the volume in 12mo. is dedicated to Eustatius Budgel, who, as appears from the preface, was the author of the papers in the Spectator, signed X. The first book likewise has been translated into English verse by H.S. (i. e. N. B. Halhed and R. B. Sheridan) in 1771. The Greek was first printed at Antwerp, 4to, 1556; and the latest and most complete edition is by Boissonade, Lutet. 1822.

Of the other persons of the same name, history records-1. The politician and leader of the Achæans, who sided with the Romans; and although he was opposed to Philopomenes, yet when the latter had been condemned to perpetual exile by the people of Megalopolis, on the ground of his having betrayed them, Aristænetus prevented the execution of the sentence, as stated by Plutarch, i. p. 388.- - 2. The historian of Gela, quoted by Steph. Byz., and who is identified by Fabricius with the one mentioned by Nonnus, in his Scholia on Dionysius.-3. The sophist of Byzantium, and a pupil of Chrestus, as we learn from Philostratus, Vit. Soph. ii. 5.

ARISTEUS of CROTONA, was the son of Damophon, and the successor of Pythagoras, according to Jamblichus. Fabricius supposes him to be the same with the subject of the preceding article, who is perhaps the author of the work on Harmony, quoted by Stobæus.

ARISTEUS. The author of five books on Solid Loci, one of the most difficult parts of the ancient geometry, and who flourished in the fourth century before the birth of Christ. None of his works have reached the present time, but he is spoken of by the ancients with much respect, and was considered one of their greatest scientific luminaries. From the preface to the seventh book of Pappus's Mathematical Collections, we learn that his work on Solid Loci was included in the Tomos Avaλvouevos of the Alexandrian school. (See APOLLONIUS PERGEUS.) Vicentio Viviani, a celebrated Italian geometer, endeavoured to restore this work, and his restoration was published at Florence in 1701. Aristæus also wrote a work on the Conic Sections, to which it is said Apollonius is indebted, but the title of it is all that time has left to us.

ARISTAGORAS, the son of Molpagoras, and the son-in-law of Histiæus, was governor of Miletus, under Darius; from whom, however, he instigated the Ionian states to revolt, and so exas