5. A. stellata; a native of various parts of Germany, France, and the Levant, is also often seen in our gardens, where it is called 4. hortensis. It differs from the last in having smaller and narrower petals, very rarely double flowers, a greater tendency to purple in their colours, and much broader leaves. It is not so liable to vary as the last species. Gardening books are filled with directions for the management of these plants; all of which, in this as in most other cases, may be reduced to a few simple rules, resulting, Indeed, from experience, but which might have been just as well deduced from the consideration of the natural habits of the species. 1. They grow wild in rich and moist pastures, the soil for them should therefore be fresh loam, with as great a proportion of stimulating manure as they can be made to bear. 2. They are natives of the hottest parts of Europe, where the winter's cold is not more than the olive will bear; they should therefore never be exposed to the severest frosts of England, but should be protected by a covering of some kind, either in the shape of frames or a mulching of decayed tan. It is true that they are hardy enough to exist and flower without this care, but the beauty of plants protected is infinitely greater than that of such as are left exposed in the open border. 3. They commence their growth during the mild winters of their native countries, and are ready as soon as the spring is sufficiently advanced to start up into flower. As the summer advances, and the heat and drought increase, they perfect their seeds and lose their leaves, when they fall into a state of rest; summer and autumn are, therefore, their real winter, and, consequently, it is at this time they should be taken up and prepared for the succeeding season. 4. When they are in a growing state in their native countries, the sun's rays have but little force, and they are consequently not prepared to bear much exposure; for this reason, florists find it necessary to shade them, when they flower during the bot weather of our English summers.

Like all other rules in gardening, the above directions may be modified and departed from without any great evil; but if the object is to cultivate this class of flowers in the greatest perfection, and to improve their race, these rules will be found too important to be materially neglected. For A. Hepatica, see HEPATICA.

ANE'MOSCOPE, an instrument for determining the direction of the wind; usually constructed by connecting with the spindle of a weathercock the hand of a dial on which the points of the compass are marked.

ANETHUM. [See FŒNICULUM and PIMPINELLA.] A'NEURISM, is a Greek word (averpronos), literally signifying, a widening, or extension: it is now used to signify a tumour, consisting of a preternatural enlargement of an artery. The artery is the only seat of this disease; and any artery of the body may be the subject of it, but it is much more common in some arteries than in others. The corresponding disease in a vein is termed VARIX.

An ARTERY is composed of three membranes which are firmly united, and form the walls of a strong, elastic, and extensible tube. These membranes are called tunics or coats. In the healthy state of the artery these tunics yeid only to a certain extent to the impulse of the blood, so that the tube possesses only a certain diameter; but in a state of disease the impulse of the blood distends these tumes to a preternatural extent, causing that part of the artery which is diseased to swell out into a tumour or bag. The distension of the coats of the artery progressively increasing, they are at last capable of no farther stretch

When the coats of the artery have burst and this portion of the tube is dilated into a sac, it is evident that this sac is beyond the direct current of the circulation, and that the larger the bag, the farther its contents will be from the influence of the direct current of the blood. The consequence is, that the blood contained in the aneurismal sac undergoes a peculiar change, a modification of the process of coagulation [see BLOOD]; the thinner part of the blood being removed, while a portion of the thicker part, or the fibrin, remains. In this manner there is left upon the internal surface of the sac a stratum of the thicker or fibrous part of the blood. Successive depositions are made of this fibrous part of the blood by which the cavity of the tumour is gradually diminished. At length the sac becomes entirely filled with this substance, which forms for it a firm plug. The deposition of this fibrin is not confined to the aneurismal sac, but is continued into the artery itself, both above and below its dilatation, until it reaches the next important ramification which is given off from the artery, where it stops. In this manner the circulation through the anedrismal portion of the vessel is prevented; the blood is determined into other channels; this portion of the vessel, being no longer of any service in carrying on the circulation, is blocked up, and in this manner is effected a spontaneous cure of the disease.

But this beautiful curative process, though it occasionally happen, is not the usual course. When the external coat or the cellular sheath of the artery are stretched beyond a certain point, it would seem that its vitality is diminished; at length a part of it mortifies or dies; an eschar is formed; the eschar sloughs away; an opening is thus formed in the tumour; the blood rushes out, and the patient dies. This is the mode in which the aneurismal sac bursts when the aneurism is situated on the external part of the body. But if the aneurism be internal the process is different. The tumour becoming thinner and thinner by successive dis tention, bursts suddenly by a crack or fissure, through which the blood is discharged.

The first symptom which denotes the formation of an aneurism, is the perception of an unusual throbbing in the diseased artery. If the situation of the artery be such that it can be seen or felt, a small tumour is manifest. This tumour. when carefully observed, is found to have a pulsatory mʊtion, the pulsatory motion, as well as the tumor itself, disappearing when the part is compressed, but instantly reap pearing on the removal of the pressure. Commonly, the tumour is without pain, and without any discoloration of the skin. The magnitude of the tumour, whatever its size when first discovered, is steadily progressive; in proportaa as it grows larger the pulsatory motion diminishes, ani when it has attained a very considerable size the pulsatia is no longer perceptible. The tumour continually enlarg... produces a variety of effects on the parts with which at comes in contact. Some it pushes aside, others it carries with it, and others it destroys. The adjacent muscles, for example, whether they are situated directly over the aneurism, or are at one side of it, are usually stretched, dispiacos, dwindled, and sometimes entirely confounded with the tv..tiguous parts. The nerves, too, are frequently pushed ont of their natural situation, or, if they adhere to the sides of

fifteenth century. The angel was originally a gold coin of France, where it was first coined, at least by that name, in 1340. (See Ducange, v. Moneta, and Le Blanc, Traité Hist. des Monnoyes de France, 4to. Amst. 1692, p. 207.) In France, where it was soon followed by the half and quarter angel, it was always of fine gold, but not always of the same weight. It appears to have been introduced with its minor divisions, into England, by Edward IV., in 1465, (see Leake, pp. 150-164,) and was continued as a coin by King Henry VI. when he returned to the throne. Angels and half-angels are the only gold coins known of Richard III. (Leake, p. 170.) When first introduced, the angel was rated in value at 68. 8d., and being of the same value as the noble, was sometimes called the noble angel. This value was continued at Henry VIII.'s first coinage of gold. In the coinage of that king's latter time, the value was raised to ss., and so continued through the reign of Edward VI. Queen Mary's angel went for 10s., which value continued to the end of the reign of Charles I., the last of our kings who coined the angel. So base was Henry VIII.'s gold coinage of this money, that Stow, in his History of London, says, 'I have seen twenty-one shillings given for an old angel to gild withal. Queen Elizabeth, (according to Nicolson's Historical Library, p. 267, from Fynes Mory son's Itin. Part i. l. 3 c. 6.) in the 43rd year of her reign, (1600-1601) contracted not only for the coining of angels, and their usual divisions, but for pieces of an angel and a half and three angels, of the finest angel gold; but it is presumed that the contract for these larger pieces was never completed, as no such coins have been seen by our collectors. The usual device upon the obverse of the angel, was the figure of St. Michael standing upon the dragon, and piercing him through the mouth with a spear, the upper end of which terminated in a cross, or cross-crosslet. The reverse of the earlier ones had a ship, with a large cross for a mast, with the royal arms in front. The angels of James I. and Charles I. have the mast of the ship with a main-top, and no eross. The obverse had the king's titles surrounding the device. The reverse, from Edward IV. to Edward VI., bore the inscription PER CRVCEM TVAM SALVA NOS CHRISTE REDEMPTOR. The reverses of the angels of Phiap and Mary, Elizabeth, and James I., bore, partly at length, and partly abridged, the sentence, A DOMINO FACTUM EST ISTVD ET EST MIRABILE [IN OCVLIS NOSTRIS.] Charles I.'s angel had on the reverse, AMOR POPVLI PRESIDIVM REGIS. Folkes (pl. xiii. of his Gold Coins) has engraved a piece in silver, struck from the reverse only of a die, intended for an angel by King Charles II., but never coined; with the same inscription on the reverse as his father's angel. The only distinction by which the angels of Henry VI. are known from those of Henry VII. is, that in the former, the archangel Michael stands with his left foot upon the dragon: in the latter, the angel stands with both feet upon the dragon. In the collection of Lord Pembroke there is a six-angel piece; but it is not certain that it was intended for a coin. The Angelets of Edward IV., and to Henry VIII, have on the reverse, O CRVX AVE SPES UNICA. The angelets of Edward VI. have the same inscription on the reverse as the angel.

1. A partial umbel of the natural size.

Angelica archangelica, a diminished figure. 2. A separate flower. 3. The back of one of the partial umbels, showing the bractea. which has caused them to be employed in scrofulous diseases, they have been administered in the form of infusion and of powder, as diuretics and sudorifics; but in this country they are no longer employed as curative agents.

A very common wild species, the Angelica sylvestris, or wild angelica, which is found all over the meadows near the Thames above London, possesses similar properties, but they are weaker, and therefore less important.

ANGELICA, a genus of plants belonging to the natural order umbellifer; it comprehends several species, the principal part of which are to be met with in botanic gardens, and one that was formerly very much cultivated as an escueulent plant, on account of which we admit the genus here. This, the Angelica archangelica, or Archangelica officinalis, as it is now sometimes called, is a native of the banks of rivers and of wet ditches in all the northern parts of Europe; in this country it grows abundantly on the banks of the Thames below Woolwich, and in several other places. It is a biennial plant, with a large fleshy aromatic root, blackish externally, but white within; and a stout furrowed branched stem as high as a man. Its leaves are of a clear bright green, shining, and divided into a very large number of heart shaped finely serrated lobes. The flowers are white, and disposed in round, very compact umbels; they are succeeded by large broad-winged grains of a pale yellowish-brown colour. Each part.al umbel is surrounded at its base by seven or eight painted undivided bracter.

HOTW

ANGELO (BUONA ROTTI, MICHEL), the father of epic painting, and scarcely less distinguished as a sculptor and architect, was descended from the noble family of Canossa in Tuscany. He was born in the year 1474, a period peculiarly favourable to genus, when the states of Italy emulated each other in the cultivation of the liberal arts. Michel Angelo, the bent of whose powers manifested itself in his earliest childhood, learned the elements of design in the sebo of Domenico Ghirlandaio, a celebrated professor in Florence. While he pursued his studies with this master, a seminary was established for the promotion of sculpture by Lorenzo

For the sake of its agreeable aromatic odour, this plant has been much cultivated, and is so still on the continent. Its blanched stems, candied with sugar, form a very agree able sweetmeat, possessing tonic and stomachic qualities. Its roots contain a pungent, aromatic, stimulating principle,

de' Medici, and Michel Angelo was invited among other youths to study from the collection of antique statues arranged in the Medicean gardens. It is said that the sight of these splendid works determined him to devote himself entirely to sculpture; he began, not merely by copying, but by investigating the principles on which the Greek artists had wrought, and having found a head of a laughing faun, considerably mutilated, he imitated that part of it which was perfect, and restored what was wanting. Lorenzo, who frequently visited the garden, was struck by this demonstration of vigorous capacity; and being pleased no less with the simple manners of the youth, and his evident devotion to his art, he invited him to reside entirely in his house, where he remained three years, treated with paternal kindness, and having the advantage of associating with the first literary characters of the age. At the suggestion of Politian, who also resided with Lorenzo, he executed for this illustrious patron a bassorilievo in marble, the subject of which was the Battle of the Centaurs; he resumed the pencil also during this period, and made many studies from the works of Masaccio. Lorenzo died in 1492. His brother Pietro continued to patronize Michel Angelo, but in a different spirit. Treating art as a toy, he employed him, during a severe winter, to make a statue of snow; and manifesting in all things the same frivolous spirit, he precipitated, by his bad government, the downfall of his family, which was driven from Florence in 1494. On this event, Michel Angelo retired to Bologna, where he contributed two statues to the church of the Dominicans, and after a year's residence in that city, returned to Florence. During this time he made the celebrated statue of a Sleeping Cupid, which was sent to Rome, where it was shown as a piece of sculpture which had been dug up from a vineyard, and was pronounced by various connoisseurs to be a genuine antique, and superior to anything which contemporary art was capable of producing. This statue having been purchased at a high price by the Cardinal S. Giorgio, the trick became known, and Michel Angelo's reputation was so much augmented by it, that the cardinal, though vexed at the deception, invited him to Rome. He devoted himself during this his first residence in the imperial city, to intense study, and executed several works, particularly a Virgin weeping over the dead body of Christ, for St. Peter's church, which excited astonishment, not only by its excellence, but by the apparent facility with which the greatest difficulties of art were surmounted. Several great works in art having at this time been projected by the government of Florence, Michel Angelo, at the earnest advice of his friends, returned to that city, and the first undertaking on which he exercised his talents was a gigantic statue of David, hewn from a solid block of marble. This work had been commenced some years previously by one Simon da Fiesole, who, finding that he had undertaken a task wholly beyond his capacity, had abandoned it in despair. The misshapen mass which had been thus left, Michel Angelo accommodated to a new design, and produced from it the sublime statue which ornaments the great square at Florence. The Gonfaloniere, Pietro Soderini, was now anxious to enrich the city with some grand production of Michel Angelo's pencil. Leonardo da Vinci had been commissioned to paint an historical picture for one end of the hall of the Ducal palace, and Michel Angelo was engaged to execute another at the opposite extremity. He selected a subject from the wars of Pisa, in which a number of men, while bathing in the Arno, are surprised by a sudden attack on the city, and start up to repulse the enemy. Trumpets are sounding; some of the warriors endeavour, with gestures of furious impatience, to draw their garments over their wet limbs; others rush halfclad into the combat; horse and foot are intermingled, and the whole scene breathes fierceness and slaughter. This cartoon, with the exception of a few dismembered fragments, has perished, but as long as it existed, it was studied by artists from all countries, and Benvenuto Cellini, a scholar and admirer of Michel Angelo, affirms, that he never equalled it in any of his subsequent productions. Michel Angelo had at this time attained only his twenty-ninth year, and had not only established his reputation as the greatest artist of his day, but had created by the novelty and grandeur of his style a new era in the arts. Julius II., a pontiff who, in the energetic cast of his character, bore a strong resemblance to Michel Angelo himself, having now succeeded to the papal chair, called him immediately to Rome, and commissioned him to make his monument, a

work conceived on a scale which Michel Angelo felt to be commensurate to his powers. He made a design, which, had it been finished according to his original intention, would have surpassed in grandeur, beauty, and richness of ornament every ancient and imperial sepulchre. It was to have had four fronts of marble, embellished with forty statues, besides several mezzo-rilievi in bronze. To this design Rome and the world are indebted for the magnificent church of St. Peter's; for Michel Angelo having suggested to the pope that the interior of the old edifice would not allow sufficient space for the monument to be properly seen, the pontiff determined to rebuild the church on a larger scale. While the monument was in progress, the pope delighted to come and inspect it; but the work was interrupted by an accident which strongly marks the character of the artist. Having occasion to make some communication to his holiness, and not having found admission on two applications, in the latter of which he felt himself somewhat superciliously treated by one of the officers in attendance, he gave directions to his servants to sell his goods to the Jews, and immediately set off for Florence. He had scarcely reached Poggiobonzi before five couriers had arrived from Julius commanding his immediate return, but Michel Angelo was inflexible, and continued his journey. On arriving at Florence, he set about finishing the cartoon of Pisa, but three briefs were dispatched to Soderini the Gonfaloniere, requiring that he should be sent back. Michel Angelo excused himself, alleging that he had accepted a commission from the Grand Sultan to go to Constantinople for the purpose of building a bridge. The pope, in the mean time, had gone on political affairs to Bologna, and Soderini, fearing he should himself incur the papal displeasure through Michel Angelo's contumacy, persuaded him to go to that city. Immediately on his arrival, and before he had had time to adjust himself, he was conducted by the pope's officers before his holiness, who, looking at him with an angry glance, said, 'What, then! instead of coming to seek us, thou wast determined that we should come to seek thee?" Michel Angelo excused himself, saying, that he had quitted Rome, being unable, after his faithful services to his holiness, to endure the indignity of being denied admission to him.' A bishop in attendance, intending to say something in extenuation, observed to the pope, that such persons, however expert in their professions, were usually ignorant of everything else: Who told thee to interfere? exclaimed Julius, bestowing at the same time a hearty blow with his staff on the shoulders of the ecclesiastic, and commanding Michel Angelo to kneel, he gave him his benediction, and received him into full favour, giving him directions at the same time to make his statue in bronze. Michel Angelo soon completed the clay model; the statue was the personification of majesty, but the face had so terrible an expression, that the pope demanded, Am I uttering a blessing or a curse? Michel Angelo replied, that he had intended to represent him admonishing the people of Bologna, and inquired if his holiness would have a book placed in one of the hands: Give me a sword, answered the warlike pontiff, I know nothing of books.'

On his return to Rome, Julius was induced by the advice of his architect, Bramante, to suspend the execution of the monument, and he gave orders to Michel Angelo to paint the vault of the Sistine Chapel. It is said, that Bramante was instigated by unworthy motives in giving this counsel to the pope, either imagining that the large sums which his holiness was expending in sculpture would leave less at his command for the purposes of architecture; or that Michel Angelo, who preferred the practice of sculpture to that of painting, would incense the Pope by refusing to perform his commission; or finally, that, should he attempt it, he would expose his inferiority as a painter to Raffaelle d'Urbino, who was Bramante's nephew. Such are the motives ascribed to Bramante, although, it would appear, on no very rational grounds. If, however, Bramante was really actuated by any unworthy motive, never did an evil intention more completely defeat itself. Michel Angelo, indeed, who was absorbed in the execution of the monument, most earnestly endeavoured to decline the task of painting the chapel, and even alleged that he thought Raffaelle better qualified to perform it; bat Pope Julius allowed no impediment to stand in the way of his will, and Michel Angelo, finding himself without an alternative, and impressed with a sense of the vastness and grandeur of the task, commenced his cartoons. He invited from Florence several artists distinguished as painters in fresco, a mode of practice in which he was then inexperienced, and the roof of