He painted likewise, besides many other pictures, the set of portraits of the emperors of the house of Hapsburg which is preserved at the convent of Kremsmünster; and the large picture of the Raising of the Siege of Vienna, and the Battle of Gran, in the church of Zolkief in Galicia. In the gallery of Vienna there is only one piece by Altomonte, Susannah at the Bath. The date 1682, given by Dr. Nagler as the year of his birth, is erroneous: he died in 1745, in his eighty-eighth year. There have been other artists of this name, obscure designers and engravers, who lived at Vienna in the eighteenth century; they were probably of the same family as Martino Altomonte. (Hagedorn, Lettre à un Amateur de la Peinture, &c.; Heineken, Dictionnaire des Artistes, &c.; Nagler, Neues Allgemeines Künstler Lexicon.) R. N. W. ALTON, COUNT D'. [ALVINCZI; VAN DER NOOD; WURMSER.]

ALTONA, CHRISTIAN (INDDP n), a converted Jew of the city of Altona, near Hamburg, who was living in the beginning of the eighteenth century, and was the author of a work called "Die wahre Seelen-Ruhe, die er in der Christlichen Lehre geniesse" (" The genuine Soul's Rest, which is enjoyed in the Christian Doctrines"). In this work the author reviews the fables and traditions of the Talmudists, selecting those which are most open to ridicule, and comparing them with the Christian doctrines, in favour of which he adds some arguments. This work was printed at Hamburg A. D. 1717, 8vo. (Wolfius, Biblioth. Hebr. iii. 975.) C. P. H.

ALTORFER. [ALTDORFER.] ALTOVITI, ANTONIO, Archbishop of Florence, was born there of noble parents, on the 9th of July, 1521. He was first a clericus, and then dean of the clerici, of the camera apostolica, or papal bureau of finance. Subsequently Paul III. appointed him archbishop of Florence in 1548; but his solemn entry into his diocese did not take place until 1567. Ughelli asserts, in his Italia Sacra, that he was obliged to keep away for a long time, in consequence of his having fallen under the political suspicions of his prince, Cosmo I, the duke of Florence, as the title then was. He was one of the prelates who were present at the council of Trent, and was distinguished by the strictness of his morals and the extent of his learning. He was particularly addicted to metaphysical and theological studies, and professed his ability to return an extemporaneous answer to any abstruse question which might be proposed to him. He wrote several metaphysical treatises in Latin, the titles of which may be seen in the literary histories of Poccianti, Ghilini, and Negri: it is certain, however, that none of them have ever been printed. We learn from a letter of Bartoli, in the

"Fasti Consolari dell' Academia Fiorentina," by Salvini, that he also composed a treatise to defend Dante from the censures of Castravilla (the name which it is supposed Bellisario Bulgarini assumed). But neither does this appear to have been printed. Two votes of his, however, have been published in the "Decisiones S. Rotæ Romanæ coram Remboldo, Germano, ejusdem Rotæ auditore, in unum collectæ, opera Jos. Domitii. Romæ, 1676," fol. The decrees of two synods held by him have also been published: the one diocesan, under the title " Decreta Diocesanæ Florentinæ Synodi celebratæ, sub A. Altovita, anno 1569," 4to.; the other provincial, under the title " Decreta Provincialis Synodi Florentinæ, præsidente in ea Reverendiss. D. A. Altovita," 1574, 4to. He died suddenly on the 28th of December, 1573, and was interred in the church de' Santi Apostoli. (Mazzuchelli, Scrittori d'Italia.) J. N-n.

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ALTOUVITIS, MARSEILLE D', born in the year 1550, was the daughter of Philippe d'Altouvitis, of an illustrious house of Florence, who was first consul at Aix in 1550, and of Renée de Rieux, baroness of Castellane and Châteauneuf. Marseille was early distinguished for her genius and love of poetry, and was eulogised for her talents by all the poets of her time. She has however left but one ode in praise of Louis Bellaud de la Bellaudiere and Pierre Paul de Marseille, the restorers of provençal poetry, printed by Goujet in his "Bibliothèque Françoise," also in vol. v. of "Les Poëtes François depuis le XII Siècle jusqu'à Malherbe," p. 455., and in the "Obras et rimos provvenssalos de Loys de la Bellaudiero reviondados per Pierre Paul," Marseille, 1595, 4to. p. 33. This was the first book printed at Marseille. She died at Marseille in the year 1606. (Goujet, Bibliothèque Françoise, xiii. 440— 443.) J. W. J.

ALTRINGER. [ALDRINGER.]

ALTSCHUL, R. CHAJIM BEN GUMPEL (ba Sapia, ja pun “7), a German rabbi who was living in the beginning of the eighteenth century, and who wrote a work in the Judæo-Germanic dialect, commonly called German Hebrew, the title of which is "Beth Israel u Beth Habbechira " (" The House of Israel and the chosen House"). It was printed at Amsterdam by Solomon Props, or Proops, A. M. 5484 (A. D. 1724). In the first part, called "Beth Israel," the history of the Jewish nation from Abraham down to the Asmonean kings or Maccabees is treated on, and the acts of the judges, prophets, and kings of Israel and Judah are recorded. The second part, called "Beth Habbechira," treats entirely of the building of the temple and of the city of Jerusalem. (Wolfius, Biblioth. Hebr. iii. 821.) C. P. H.

ALTSCHULLER, R. NAPHTALI BEN ASHER (NN 13 bnd) ~~), a learned German Jew of the sixteenth cen

ment.

that they would have been much more valuable had the arrangement been better and the selection been made with more judg4. " Regolette particulari della volgar Lingua" ("Short Rules for the Italian Language"), inserted in the collection of "Autori del ben parlare," tom. ii. part i. p. 393. Crescimbeni ranks him among the Italian poets, but only one sonnet by him appears to be known, introduced in the Fabbrica del Mondo." (Barotti, Memorie istoriche di Letterati Ferraresi, ii. 121-126.; Mazzuchelli, Scrittori d'Italia; Fontanini, Biblioteca dell' Eloquenza Italiana, con le Annotazioni di Apostolo Zeno, i. 63—69.)

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J. W. J.

ALU'NNO, NICCOLO, an old Italian painter of Foligno of the fifteenth century, of great merit for his time. Vasari mentions him in the Life of Pinturicchio, with whom, he says, he was contemporary; but Alunno must have been much older than Pinturicchio, for, according to Mariotti, he painted as early as 1458, and in 1460 he was already established as a painter at Foligno.

Alunno was of the old Giottesque or Umbrian school of water-colour or à tempera painters, and was one of those who contributed considerably to the advancement of painting. In his large historical pieces, he was in the habit of painting the heads from the life, which gave them a reality and a truth of expression not generally found in the works of his contemporaries, and he was highly esteemed in his time. There are pictures by him executed after 1500. Alunno's pictures were numerous, but the following were, according to Vasari, the principal:In the church of Sant' Agostino, at Foligno, an altar-piece of the Nativity of Christ, and in distinct compartments, on the _predella below it, some compositions of small figures illustrating the history of the Passion; marked "Opus Nicolai Fulginatis, 1480:" at Assisi, a gonfalone or standard used in religious processions; an altar-piece for the church of San Francesco; another for the great altar of the cathedral; and his greatest work, a chapel of the cathedral; where, together with other subjects, he painted a Pietà with two angels bearing torches, and crying so naturally, says Vasari, that no other painter whatever could have done them much better. There are still some remains of these paintings in the cathedral at Assisi.

Alunno painted also the façade of the old church of Santa Maria degl' Angeli, near Assisi, which was pulled down in 1568, by order of Pius V., to make room for the new basilica. There are several old pictures in distemper, with the inscription" Nicolai Fulginatis opus," which are probably not all the work of Alunno, for there was a Niccolo Deliberatore or Di Liberatore, also an old painter of Foligno. There is one, however, with this inscription in the church of Bastia,

near Assisi, dated 1499, evidently the work of Alunno; it represents a Madonna between two angels; and some small figures upon a gold ground, with a group exactly similar to the Pietà of the cathedral of Assisi, so much admired by Vasari. There is also in the church of Santa Maria Nuova at Perugia, a gonfalone made of fine canvas, painted in water-colours by Alunno; it bears the inscription "Societas Annunciata fecit fieri hoc opus, 1466." And at Foligno, over a side altar of the Augustine church of San Niccolo, is a picture of San Niccolo and the Infant Christ, painted by Alunno in 1492, which was taken by the French to Antwerp, and at the restoration of the various plundered works of art to their rightful owners, this picture was returned, without its lower part or predella, upon which the name and date were written. This predella is now in the gallery of the Louvre, at Paris, No. 854. It is rather more than a foot high, and about eight feet long, and contains six pictures: the first is an allegorical piece, of two angels holding a scroll or cartella, containing an inscription in verse, scarcely legible, which celebrates the generosity of a lady of the name of Bresida, and the talents of the painter Alunno; the second represents Christ in the garden of Olives; the third, Christ scourged at the pillar; the fourth, Christ bearing his cross; the fifth, Christ between the two thieves; and the sixth, the flight of Peter, and the apparition of Christ, to whom Peter says, Domine, quo vadis?" The drawing of these pictures is in the dry meagre style of the period; and the colouring is very brown, with strong contrasting lights; but the execution is free, and the expression of character is strongly marked. (Vasari, Vite de' Pittori, &c.; Mariotti, Lettere Pittoriche Perugine; Lanzi, Storia Pittorica, &c.; Rumohr, Italienische Forschungen; Nagler, Neues Allgemeines Künstler Lexicon; Notice des Tableaux exposés dans le Musée Royal; Waagen, Kunstwerke und Künstler in Paris.) R. N. W.

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ALURED. [Alfred.]

ALUSH, (y), a Jewish lady who was living in the beginning of the eighteenth century. She was a German or Pole by birth, and the daughter of Rabbi Mordecai, who is called by Wolff" Magister Sluskiensis," which probably means chief rabbi of Slutzk in Lithuania. Her husband's name was R. Aaron ben R. Alikum Getz. She translated from Hebrew into German the book called "Shomerim Labboker” (“ The Watchers for Morning") (Psalm cxxx. 6.), which is a collection of prayers and supplications recited by the pious German Jews every morning. She made this translation in

A. D. 1704, during a journey in company with her husband, R. Aaron Getz, to the Holy Land. It was printed at Frankfort on the Oder, with the Hebrew text, by

Michael Gottschalck, A. M. 5464 (A.D. 1704), in 8vo.: it has been frequently reprinted. (Wolfius, Biblioth. Hebr. i. 947. iv. 821.) C. P. H.

ALVA. [ALBA.]

ALVA Y ASTORGA, PEDRO DE, a Spanish writer of the seventeenth century. He was born at Los Caravajales, and went over to Peru, where he became a Minorite friar. On his return to Spain he devoted himself to the twofold purpose of advocating the privileges of his order, and the glory of St. Francis, its founder; and of maintaining the doctrine of the immaculate conception of the Virgin Mary. For these objects he incurred great expense and labour, and visited different parts of Europe; but his zeal far outstripped his discretion, and his abuse of those of opposite sentiments and his attack upon St. Thomas Aquinas, excited disgust. It is asserted in Moreri's Dictionnaire that he was obliged to leave Spain, but for what cause is not stated. He died (A. D. 1667) in the Netherlands. His works, which are given in the "Bibliotheca Hispana Nova" of Nicolas Antonio, are very numerous; including one or two which he announced, but the publication of which is doubtful, they amount to thirty-four, several of them in folio and quarto. Some of them are in many volumes. His "Abecedarium Marianum," or collection of writers on the Virgin Mary, alphabetically arranged, would have been an enormous work if finished. He only published three folio volumes, comprehending those writers whose names begin with the letter A. One of his earliest works was a life of St. Francis, entitled "Naturæ Prodigium et Gratia Portentum, hoc est, Seraphici Patris Francisci Vitæ Acta ad Christi Domini Vitam et Mortem regulata." Madrid, 1652, fol. Some authorities give 1651 as the date of its publication. In this work he points out a resemblance between Christ and St. Francis in four thousand particulars. The work in which he attacked St. Thomas Aquinas was entitled "Funiculi modi indissolubilis de conceptu Mentis et conceptu Ventris." Brussels, 1661, 8vo., and (much enlarged), Brussels, 1663, 4to. His other works, some of which are in Latin, and others in Spanish, have very long and remarkable titles. (N. Antonius, Bibliotheca Hispana Nova; David Clement, Bibliothèque Curieuse; Jöcher, Allgem. Gelehrten Lexicon, and Adelung's Supplement.) J. C. M.

ALVANLEY, LORD. [ARDEN.] ALVAR PAEZ, otherwise Alvar Pajo or Alvar de Sampajo (Latinised Alvarus Pelagius), an ecclesiastic of the fourteenth century. It is probable he was born in Portugal, though some have affirmed that he was a Gallician. He studied canon law at Bologna with great success, and also theology; and took his doctor's degree in the same university. He was commonly believed to

have attended the lectures of Scot (Duns Scotus) at Paris. This was probably after he had entered the order of Minorite Friars, A. D. 1304. Dupin states that he studied also at Pisa. On the deposition of Michael Cæsena, general of the order of the Minorites, by Pope John XXII. (A.D. 1329), the pope wrote a letter to Alvar, praising him for his opposition to Michael, and exhorting him to persevere in defending the rites of the church. Alvar undertook to defend John in the struggle which he was then carrying on with his various opponents, and took up his residence at Avignon, where he was made penitentiary to the pope (A. D. 1330). Some have asserted, but without foundation, that he was raised to the dignity of cardinal. He was appointed titular bishop of Coron in Greece (A. D. 1332), and shortly after bishop of Silves in Algarve in Portugal. After his appointment to this diocese he returned to Portugal, from which he appears to have been absent from his youth. He died in Spain, and was buried in the church of the Franciscan monastery of St. Clara at Seville. The "Biographie Universelle" fixes his death, but we know not on what authority, A. D. 1352.

His principal work is entitled "De Planctu Ecclesiæ " ("On the Complaint of the Church"). The author's postscript states that it was begun at Avignon A. D. 1330 and finished there A. D. 1332; revised for the first time in Algarve in Portugal, "where," he says, "I am bishop," A. D. 1335 (thus enabling us to approximate to the time of his appointment to the diocese of Silves); and for the second time at Compostella, A. D. 1340. It was first printed at Ulm, A. D. 1474; then at Lyon, A. D. 1517; and Venice, A. D. 1560. All these editions are in folio: the Venetian edition is very incorrect. This work consists of two books, of which the first treats of the constitution of the church, and the sovereign power of the pope, which the author strongly affirms; the second book treats of the disorders and abuses of the church, and of society at large, which he exposes with a bold and unsparing hand. This is the only work of Alvar that has been printed, for the "Summa Theologia," of which Wadding and Antonio speak, is the treatise " 'De Planctu Ecclesia" under another title. His works which are (or were) extant in MS. are

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Collyrium fidei contra Hæreses;" "Apologia pro Joanne XXII. Papa adversus Marsilium Patavinum et Gulielmum Ockam;" Speculum regum;" "In quatuor Libros Sententiarum Libri quatuor;' ""Sermo factus in Præsentia Domini Papæ Joannis XXII." Other works are ascribed to him. (N. Antonius, Bibliotheca Hispana Vetus; Wadding, Scriptores Ordinis Minorum; Fabricius, Bibliotheca Latina Media et Infimæ Etatis; Dupin, Bibliothèque des Auteurs Ecclésiastiques.)

J. C. M.