ATTILIANUS, a sculptor of the island of Aphrodisia, of doubtful date. ATTILUS, the son of Holward Hotebrod, king of Sweden, succeeded his father on his marriage with the daughter of Helgo, king of Denmark, who had ravaged Sweden and slain Holward. He is celebrated for his avarice and immense treasures, which his queen, aided by Rolv, her son by a former marriage, contrived to steal from him, and to escape from his kingdom. (Saxo Grammaticus. Univ. Hist.)

ATTINGHAUSEN, (Werner Freyherr von,) one of the founders of Swiss liberty, a name made familiar to every one by the verses of Schiller. Albrecht, of Austria, excited by the states of Austria and Styria, sent a deputation to the Swiss Waldstette, "to submit, for the time to come, to his protectorship." They answered, that "they loved best the state in which their forefathers had lived." They sent Attinghausen to the royal court, who (as his ancestors had, and his heirs have been) was then landamman of the men of Uri, but without avail. (Joh. Müller Gesch. i. ch. 18.) Soon afterwards the Austrian power in Switzerland was overthrown by the great league, which has been immortalized along with the name of William Tell.

Schiller represents Attinghausen, in his William Tell, as the pattern of an old patriarchal squire, devoted sincerely to his vassals, tenants, and servants. Thus we see him not only living for and amongst them, but his death-bed is surrounded by the sincere and unsophisticated farmer and peasant. In the very beginning of the play, Schiller makes him say to his rather aristocratical nephew:

"Allow, that according to the costume of ancient

times,

I share the morning draught with servants

mine.

Once I was with them both in forest and in

field,

(Müller, 1. c. Tschudy. Schiller's Wilhelm Tell.)

ATTIRET. The name of two French artists.

1. Le Frère Jean Denis, (July 31, 1702-Dec. 8, 1768,) a Jesuit and painter to the French mission at Pekin, born at Dôle, in the province of Franche Comté, in France. He was taught the art of painting by his father, who was an artist, in which he made great progress, and was sent to Rome by the patronage and

The

assistance of the marquis de Brossia, in order to complete his studies. On his return, he painted at Lyons some pictures which gained him a high reputation. At thirty years of age he became one of the order of Jesuits, in the humble quality of a lay-brother. Some years afterwards the missionaries of Pekin requiring a French painter, he applied for the appointment, and proceeded to China about the end of 1737. Soon after his arrival at Pekin, he presented to the emperor, Kien-Long, a picture of the Adoration of the Magi, which was afterwards, with his other works, placed in his majesty's own private apartment, where no one is allowed to enter. The want of taste of the Chinese compelled Attiret to paint in their style, in which he executed flowers, and a variety of other objects. emperor gained many important conquests from the years 1753 to 1760, which were celebrated by the artist in a great number of compositions. His majesty used almost daily to visit his study, to converse with, and see him paint. On the 29th of July, 1754, on entering the palace, according to custom, one of the great officers of the court informed Attiret that he had been created a mandarin; an honour which he declined, on account of his humble religious rank, though often pressed by the emperor himself upon him. He also refused the emoluments of the office, which were tendered to him, when he refused the rank itself. He painted in every variety of manner, both in oil and water-colours. One of his pictures, a beautiful work of the Guardian Angel, adorned the chapel of the Converts, in the church of the French mission at Pekin. The emperor publicly deplored his death, and contributed towards the expenses of his funeral, (Biog. Univ.)

2. Claude François, (Dec. 14, 1728— July 15, 1804,) nephew of the preceding, born also at Dôle. He learnt sculpture in the school of Pigal; and, after gaining one of the great annual prizes, he was sent to Rome to perfect himself in his art. On his return to Paris, he was received into the Academy of Painting and Sculpture, and composed several works, by which he acquired much reputation. He lived afterwards at Dijon, where he also exercised his chisel; and lastly, returned to his native town, the magistrates of which committed to him the execution of the statue of Louis XVI. the first that was erected to that prince. It was broken to pieces during

Balances; on the Theory of Floating Bodies; and on the Stability of Ships. These are all somewhat tainted by the lecture style of composition; but they all manifest great ingenuity and resource, though they are all marked by a want of mathematical power to grapple with his problems in the best manner. At the same time we must not censure this: it was the general weakness of the scientific men of his time, at least in this country. Mr. Attwood also wrote two tracts on Bridges, in 1801 and 1804, occasioned by the project then much discussed of rebuilding London Bridge. There seems much probability in Dr. Hutton's conjecture, that he had only then turned his attention to the subject, as many of the propositions which he produced as new, were well known to those who had given adequate attention to the subject. The subject itself might have been taken up by him in consequence of its having been referred to him by the minister, and subsequently followed up in consequence of its coalescing so nearly with those of his early predilections Be this as it may, his two tracts on Bridges are the least valuable of all his writings.

Mr. Attwood was much respected in private life, for the amenity of his deportment towards his friends, and towards those with whom he came in contact: but the latter years of his life were spent in much suffering, from the infirmities brought on by intense application-by that worst of all complaints, the literary malady. His powers of application were very great, and his accuracy as a calculator never surpassed. This faculty, however, when strongly indulged, effectually precludes the cultivation of the inventive powers; and though it may render a man useful, it can never render him great, or, indeed, capable of entertaining very enlarged views, or making extraordinary discoveries in science. Attwood's first treatise was his best in every respect; and his falling off in science is attributable rather to the pursuits to which he was induced to give up his time and attention, than to any want of natural capacity to enter upon higher inquiries, or to enter upon them in an original

manner.

ATTWOOD, (Thomas, 1765-Mar. 24, 1838,) an eminent English composer and musician, was the son of a coalmerchant. He received his early professional education as one of the children of the Chapel Royal, under Dr. Nares, and his successor Dr. Ayrton. Soon after

quitting the royal choir, and when about sixteen years of age, he performed on the harpsichord at Buckingham-house, when the Prince of Wales, (afterwards George the Fourth), was present; who, struck by the talent he exhibited, sent him to Italy to study. In 1783, he proceeded to Naples, where he remained two years, and received instructions from Filippo Cinque, and Gaetano Latilla; but he considered that the German school was in a higher state of perfection; wherefore he quitted Italy and proceeded to Vienna, where he soon became a pupil of Mozart, with whom he contracted a close degree of intimacy, and who is said to have considered that Attwood partook more o his style than any scholar he ever had. After two years' diligent study under this eminent master, Attwood returned to England in 1786, when his patron appointed him one of his chamber band, a situation which he soon relinquished. After the marriage of the duke of York, Attwood was selected as preceptor to the duchess, and afterwards filled the same situation to the princess of Wales. In 1795, on the death of Mr. Jones, the organist to St. Paul's cathedral, the dean and chapter elected him to the vacant office; and in the following year he succeeded Dr. Dupuis as composer to the Chapels Royal. For the coronation of George the Fourth, he produced officially the anthem, The King shall rejoice, a composition greatly admired, and which again introduced him to the personal notice of the king; who had, for some years, paid him little attention, arising from his position as preceptor to the princess of Wales. His majesty now, 1821, appointed him organist of the private chapel of the Pavilion at Brighton, but the expenses attending the duty exceeded the profits. On the accession of William the Fourth, he composed the anthem, O Lord, grant the King a long life, which was performed at the coronation in 1830. In 1837 he was, without any solicitation, chosen by the bishop of London, to succeed Mr. Stafford Smith, as organist to the Chapels Royal, the duties of which he performed but a few months. He was attacked, soon after Christmas, by a malady, for which he refused to have recourse to the general practice of medicine, until too late. He was buried nearly under the organ, in the vaults of St. Paul's cathedral, on the 31st of March, 1838. Early in life he devoted much of his time to the theatre, and

produced several operas, amongst which were, The Prisoner; The Adopted Child; The Castle of Torento; and The Smugglers; besides many others, which, however, notwithstanding the excellence of the music, were unsuccessful. He likewise contributed the music to Tobin's Honeymoon, the Curfew Glee, in which, is one of the most generally and justly admired of his works. To this, Italian words, beginning Qual silenzio, were afterwards adapted. Of his many glees, In this Fair Vale; The Harp's Wild Notes; In Peace Love tunes; Begin the Charm; and, Oh, heavenly Sympathy! form part of the wealth of all musical societies. Of his canzonets, which are extremely numerous, The Soldier's Dream; Sweet Charity; The Coronach; and the Convent Bells; are of a high order of excellence. His two grand anthems before referred to, have been, by universal consent, admitted amongst the first-rate British compositions. Of his style, it has been justly said, "The invention and science to be found in these, are not less conspicuous in Mr. Attwood's other sacred compositions; in his services and anthems, written for the use of the royal chapel, wherein are united the gravity of our old unrivalled cathedral music, with the gracefulness of the modern school. Some few have thought them too secular in their style; but the same objection was once made to many admirable works of the kind, now consecrated by time and use, to the church music of Child, Greene, Nares, and Arnold." (Dict. of Mus. Gent. Mag.) ATTY, (Sir Arthur,) secretary to the earl of Leicester, the favourite of queen Elizabeth, and then residing at Newington, in 1583, when he had a grant of coat armour from the College of Heralds. He studied in Merton college, Oxford, and took the degree of M.A. in 1564. He was public orator and principal of Alban hall. After the death of the earl of Leicester, he became secretary to the earl of Essex, in whose insurrection he was implicated, so that he was forced to withdraw himself. When king James had succeeded to the throne, he received the honour of knighthood; an honour which he did not long enjoy, dying in 1604. He was buried in the church of Harrow on the Hill. (Ath. Oxon.)

ATWELL, (George,) a Cambridge surveyor, contemporary with Newton, by whom he is mentioned with honour. He appears to have paid most attention to the study of geometry, but is prin

cipally known by a very creditable treatise on practical surveying, published at Cambridge in 1662, under the title of The Faithful Surveyor.

ATWELL, (Hugh,) was a player of considerable eminence, contemporary with Shakespeare, though it does not appear that he performed in any of the productions of our great dramatist. In fact, as far as we can now learn, he never belonged to the company or companies by which Shakespeare's plays were represented. We find that a person of the name of George Atwell (or Attewell, as his name is spelt by Philip Henslowe, in his Diary) was a player in 1595, and there is reason to believe that he had then been for some years in the profession. Hugh Atwell was probably his son, and the earliest notice of him is as one of the performers in Ben Jonson's Epicone when it was brought out, in 1609, by the theatrical association called "The Children of the Queen's Revels." The author inserts the name of Hugh Atwell third in the list of "comedians, at the end of the edition of 1616; so that it is likely he supported a prominent character. He was not one of the actors in Ben Jonson's Poetaster, when it was originally performed in 1601, and we may infer that he had grown into reputation between 1601 and 1609. He died, as would seem, of consumption, on 25th September, 1621, when his fellow player, William Rowley (who was also a dramatic poet of some celebrity) published a "funeral elegy" upon him. Hence we learn that he was a man of small stature, that he had often played at court, that his tongue was like a "silver bell," and that he struggled against death for a period of six years. The original copy of this elegy is preserved in the library of the Society of Antiquaries, but it is reprinted at length in Collier's Hist. of Dram. Poetry and the Stage, i. 423.

ATZE, (Christian Gottlieb,) a protestant clergyman, who exerted himself for the improvement of the female sex. He died in 1826, as rector of Friedland. His works are-Short Logic for Females, Berlin, 1777; Natural History for Females; and some parts of Steinberg's Lesebuch für Frauenzimmer, are also by him.

AUBAIS, (Charles de Baschi, marquis d', 1686-1777.) He published, together with Ménard, Pièces Fugitives pour l'Histoire de France, Paris, 1759, 3 vols, 4to; a collection of many rare and curious pieces-genealogies, old accounts

of travels, descriptions of pattles, &c. He also published a Géographie Historique, 8vo, 1761. (Biog. Univ.)

AUBAN, (Marquis de St.,) died in 1783, lieutenant-general of the French armies. He wrote some works on the old system of the French artillery. He had seen much service, having been present at thirty-eight sieges and battles. (Biog. Univ.)

AUBENTON. See DAUBENTON. AUBER, a French writer, born at Rouen about the middle of the last century, and died in 1803. He lived at Rouen, was member of the Academy of Sciences there, and by his literary labours, and acquaintance with agricultural matters, was both an ornament and a benefactor to that city. (Biog. Univ. Suppl.)

AUBERNON, (Philippe, 1757-1832.) He rendered great services to the French army, from 1792 until 1815, in the cha racter of commissary. (Biog. Univ.)

AUBERT, the name of two famous bishops in the earlier ages of French history. The first was bishop of the united sees of Cambrai and Arras, in 633. After having been the friend of Dagobert, and having founded several abbeys, he died Nov. 16, 668. (Mabil. Act. Benedict. Biog. Univ.) The second bishop of this name was St. Aubert of Avranches, at the beginning of the eighth century. He died about A. D. 725. His name is chiefly known by its connexion with the foundation of the famous abbey of Mont St. Midiel, where his body was deposited, and, after having been forgotten during more than three centuries, was discovered by a pretended revelation from heaven. The anniversary of this discovery is fixed in the Romish Calendar on the 26th of June. (Biog. Univ. Desroches, Hist. du Mont Saint-Michel, i. 92-107.)

AUBERT DE PUYCIBOT, a troubadour of the first half of the thirteenth century, celebrated not more for his poetic talents than for his singular adventures. He was born in a castle near Limoges, named Puycibot, of which his father was the lord, and was educated from his youth for the monastic order. But his mind was given to poetry and wandering, and he quitted his monastery, and repaired to the court of Savary de Mauléon. Savary dressed and armed the poet, who went from court to court, making, as the old biographer of the troubadours says, 66 many a good song." While exercising the profession of the "gay art," Aubert fell in love with a

noble and beautiful lady, who refused to listen to his advances unless he were a knight and would marry her. In this dilemma he had recourse to his old patron Savary, who not only made him a knight, but fieffed him with lands, and Aubert married the lady of his affections. Scarcely, however, had a year passed, before the poet became acquainted with the infidelity of his wife. He vented his anger in satirical songs, and quitted his home to wander in Spain; while his wife fled with her gallant. Months afterwards, when Aubert was returning from Spain, he stopped at a town on the way, and took up his lodgings at a house of ill-fame, which had lately become famous for the beauty of one of its frail inmates. The troubadour found that this lady was his wife, who, deserted by her seducer, had been reduced to the lowest grade of infamy; he led her from the place, and she, struck with remorse, allowed herself to be immured in a nunnery. Aubert, overcome with shame and grief, is also said to have retired to a monastery; and, according to his biographer, he neither made nor sung any more poetry (e par aquela dolor el laysset lo trobar e 'l cantar). His death has been placed at about A.D. 1263. Some of his pieces are given in Raynouard. (Hist. Lit. de Fr. xix. 504. Raynouard.)

AUBERT, (Guillaume,) sieur de Massoignes, was born about 1534, and died about 1596. He was a distinguished advocate in the parliament of Paris. He published a History of the Wars of the Christians against the Turks, under Godfrey of Bouillon; various pieces of poetry; and some essays; which, however, did not equal the reputation for eloquence and learning that he enjoyed. (Biog. Univ.)

AUBERT, (Pierre, 1642-1733,) a French lawyer, who left his library to the city of Lyons for the benefit of the public. He published, at the age of sixteen, a romance, entitled Voyage de l'Isle d'Amour, which was followed by another, with the title, Retour de l'Isle d'Amour. (Biog. Univ.)

AUBERT. The name of several French physicians of some eminence, among whom may be mentioned, François, (1692-1782); another François (born in 1695); Jaques, who died in 1586. The two latter were the authors of books on subjects connected with their profession. (Biog. Univ.)

AUBERT - DUBAYET, born in Louisiana in 1759, and died in 1797, was deputy to the Legislative Assembly