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taken down in 1678. It was here
that the celebrated collection
known as the Arundelian Mar-
bles was gathered. See ARUN-
DELIAN MARBLES.

Arundel Library. A well-known
collection now merged in the li-
brary of the British Museum, to
which it was added in 1831.
Arundelian Marbles. A celebrated
collection of ancient Greek stat-
ues and monuments, brought to
England in 1627 from the island
of Paros, and purchased by_the
Earl of Arundel. After the Res-
toration in 1660, they were pre-
sented by the grandson of the
Earl to the University of Oxford.
[Called also Oxford Marbles.]

How a thing grows in the human Memory, in the human Imagination, when love, worship, and all that lies in the human Heart, is there to encourage it. And in the darkness, in the entire ignorance, without date or document, no book, no Arundel-marble; only here and there some dumb monumental cairn. Carlyle.

Ascension, Convent of the. A convent on the summit of Mount Olivet, near Jerusalem.

Ascension of Christ. [Ital. L'Ascensione, Fr. L'Ascension, Ger. Die Himmelfahrt.] A favorite subject of representation by the early painters. The following may be mentioned as among the more celebrated and familiar examples.

Ascension, The. A picture by Giotto di Bordone (1276-1336). In the Chapel of the Arena at Padua, Italy.

Ascension, The. A grand altarpicture by Pietró Perugino (14461524), originally painted for the church of S. Pietro Maggiore, at Perugia, Italy, and afterwards presented by Pope Pius VII. to the city of Lyons, France, and now preserved in the museum of that city.

Ascension, The. A picture by Antonio Allegri, surnamed Correggio (1494-1534). In the church of S. Giovanni, Parma, Italy. Ashburnham House. A mansion in London, so named because formerly the residence of Lord

It was built by

Ashburnham. Asher Place. See ESHER PLACE. Inigo Jones. Ashmolean Museum. A building connected with the University of Oxford, England, built by Sir Christopher Wren in 1682, to contain the collections of Ashmole, Asinelli, Torre degli. See TORRE the antiquary. DEGLI ASINELLI. Assistance, The. An Arctic exploring vessel which sailed under Commander Austin, in 1850. Assumption, The.

[Ital. L'Assunzione, Fr. L'Assomption, Ger. Mariä Himmelfahrt.] A very common and favorite subject of representation by the early painters, in which is portrayed the exaltation of the Virgin Mary. Of the great number of pictures called by this name, the following may be mentioned as among the more celebrated and familiar.

Assumption, The. A picture by Pietro Perugino (1446-1524). In the Academy at Florence, Italy.

Assumption, The. A celebrated picture by Albert Dürer (14711528), the German painter and engraver. The sum of 10,000 florins was paid for this picture by Maximilian, the Elector of Bavaria; but it was destroyed by fire at Munich in 1674. A copy of it by Paul Juvenel of Nuremberg is still preserved in the Stahlhof at Frankfort-on-the-Main.

Assumption, The. A noted picture by Guido Reni (1575-1642), now in the Gallery of Munich, Bavaria.

"The fine large Assumption in the Munich Gallery may be regarded as the best example of Guido's manner of treating this theme." Mrs. Jameson.

Assumption, The. A picture bearing this title by Guido Reni (1575-1642) in the National Gallery, London, is, according to the best authorities, an Immaculate Conception.

Assumption, The. A large altarpiece by Domenico di Bartolo (fl. 1440). Now in the Gallery of Berlin, Prussia.

"This is one of the most remark. able and important pictures of the Siena school." Mrs. Jameson.

Assumption, The. A picture by Fra Bartolommeo (1477-1517), the Italian painter. It is now in the Museum at Naples, Italy. There is another upon the same subject by this master in the Museum at Naples, and another at Besançon, France.

Assumption, The. A picture by Antonio Allegri, called Correggio (1494-1534). In the cupola of the Duomo at Parma, Italy.

"One glow of heavenly rapture is diffused over all; but the scene is vast, confused, almost tumultuous."

Mrs. Jameson.

Assumption, The. A celebrated picture by Titian (1477-1576), and regarded as his masterpiece, now in the Accademia delle Belle Arti in Venice, Italy, to which it was removed from the church of S. Maria Gloriosa de' Frari. It is one of the best examples of the work of this renowned master of coloring.

"The injury and neglect this marvellous picture had suffered in the keeping of the Roman Church protected it from the rapacity of the French. The lower part was literally burnt with candles, and the whole so blackened with smoke, that the French commis. sioners did not think it worth the transport to Paris. It continued in this state till 1815, when, all danger being over, Count Cicognara drew attention to Titian's masterpiece, which was then cleaned and restored." Eastlake, Handbook of Painting, Note,

"And Titian's angels impress me in a similar manner. mean those in the glorious Assumption at Venice, with their childish forms and features, but with an expression caught from beholding the face of our Father that is in heaven' it is glorified infancy. I remember standing before this picture, contemplating those lovely spirits one after another, until a thrill came over me like that which I felt when Mendelssohn played the organ, and I became music while I listened."

Mrs. Jameson.

Assumption, The. A celebrated picture by Peter Paul Rubens (1577-1640). Of a number of compositions upon this subject by Rubens, the most famous and

splendid is that in the Museum at Brussels, Belgium.

Astankina. A summer palace and park in the immediate neighborhood of Moscow, Russia, belonging to the noble family of Cheremetieff. The grounds are laid out after the manner of Versailles.

"Here was the scene of one of those gigantic pieces of flattery by which the courtiers of Catherine II. sought to keep or win her favor. Dur. ing a visit of that empress to Astankina, she remarked to the proprietor, Were it not for the forest, you would be able to see Moscow.' The latter immedi ately set some thousands of serfs to work, and in a few days afterward prevailed upon the empress to pay him another visit. Your majesty,' he said, regretted that the forest should shut out my view of Moscow. It shall do so no longer.' He thereupon waved his hand, and there was a movement among the trees. They rocked back. ward and forward a moment, tottered, and fell crashing together, breaking a wide avenue through the forest, at the end of which glittered in the distance the golden domes of the city."

Bayard Taylor.

Astley's. A well-known place of entertainment, Westminster Bridge Road, London, so called from Philip Astley, the builder of nineteen theatres. It was originally built for equestrian exhibitions. The present theatre, which is the fourth erected upon this site, has been remodelled for performances of the regular drama.

"There is no place which recalls so strongly our recollections of child. hood as Astley's. It was not a Royal Amphitheatre' in those days, nor had Ducrow arisen to shed the light of classic taste and portable gas over the saw. dust of the circus; but the whole character of the place was the same, the pieces were the same, the clown's jokes were the same, the riding-masters were equally grand, the comic performers equally witty, the tragedians equally hoarse, and the highly-trained chargers' equally spirited. Astley's has altered for the better- we have changed for the worse." Dickens.

He [Canning] came, but said he hated the whole thing; that he had come only because he had given his word; and then, turning suddenly on the Secretary, "Now

if you will let me off from this business to-night, I will treat you to Astley's." George Ticknor.

We have four horses and one postilion, who has a very long whip, and drives his team something like the Courier of St. Petersburg in the circle at Astley's or Franconi's. Dickens.

Base Buonaparte, filled with deadly ire,
Sets, one by one, our playhouses on fire.
Some years ago he pounced with deadly
glee on

The Opera House, then burnt down the
Pantheon;

Thy hatch, O Halfpenny! passed in a
trice,

Boiled some black pitch, and burnt down
Astley's twice. Rejected Addresses.

Astor Library. A library in New York City, containing more than 100,000 volumes, so named after John Jacob Astor (1763-1848), by whom it was endowed with $400,000.

Astrologer, The. A picture by Giorgio Barbarelli, commonly called Giorgione (1477-1511), in the Manfrin palace, Venice, Italy.

Astrologers, The. See GEOMETRICIANS, THE.

Athassel Priory. A beautiful ruined priory of the thirteenth century, in Tipperary County, Ireland.

Athenæum. In ancient Athens a temple or gymnasium sacred to Minerva, where philosophers, poets, and rhetoricians were accustomed to recite their works. Hence applied in later times to an association or a building devoted to purposes of literature

or art.

Athenæum. A noted club-house and club situated in Pall Mall, London, belonging to an association instituted in 1823, and composed of individuals distinguished for their literary or scientific attainments, or as patrons of science, literature, and art. The club-house was built in 1829. The Athenæum has the best club library in London.

"The only club I belong to is the Athenæum, which consists of 1,200 members, among whom are to be reckoned a large proportion of the most eminent persons in the land, in every line-civil, military, and ecclesiastical,

peers spiritual and temporal (95 noble. men and 12 bishops), commoners, men of the learned professions, those connected with science, the arts, and com. merce in all its principal branches, as well as the distinguished who do not belong to any particular class. Many of these are to be met with every day, living with the same freedom as in their own houses. For six guineas a year every member has the command of an excellent library, with maps, of the daily papers, English and foreign, the principal periodicals, and every material for writing, with attendance for whatever is wanted. The building is a sort of palace, and is kept with the same exactness and comfort as a pri vate dwelling. Every member is a master, without any of the trouble of a master. He can come when he pleases, and stay away as long as he pleases, without anything going wrong. has the command of regular servants, without having to pay or to manage them. He can have whatever meal or refreshment he wants, at all hours, and served up with the cleanliness and comfort of his own house. He orders just what he pleases, having no interest to think of but his own. In short, it is impossible to suppose a greater degree of liberty in living.'

He

Walker's Original.

"Ninety-nine hundredths of this club are people who rather seek to obtain a sort of standing by belonging to the Athenæum, than to give it lustre by the talent of its members. Ninetenths of the intellectual writers of the age would be certainly black-balled by the dunces. Notwithstanding all this, and partly on account of this, the Atheneum is a capital club."

New Quarterly Review.

His [M. Guizot's] name was immcdiately proposed as an honorary member of the Athenæum. M. Guizot was blackDalled. Certainly, they knew the distinction of his name. But the Englishman is not fickle. He had really made up his mind, now for years as he read his newspaper, to hate and despise M. Guizot; and the altered position of the man as an illustrious exile, and a guest in the country, make no difference to him, as they would instantly to an American.

Emerson.

Every day after leaving the Athenæum, I go and sit for an hour in St. James's Park. Taine, Trans.

The broad steps of the Athenæum are as yet unthronged by the shuffling feet of the literati whose morning is longer and more secluded than that of idler men, but who will be seen in swarms, at four, entering that superb edifice in company with the employés and politicians who affect their society. N. P. Willis.

Athenæum. A building on Beacon | Street, Boston, belonging to the Athenæum corporation, and containing a library of more than 115,000 volumes, and until recently a good collection of paintings and statuary. A great part of the works of art formerly in the Athenæum are now in the Museum of Fine Arts, in Boston. It contains also the library of the American Academy of Arts and Sciences.

Athenæum. A building in Baltimore, Md., containing several libraries, a picture-gallery, reading-room, and museum of curiosities

Athenæum. A very common name
applied to numerous associations
and buildings devoted to purposes
connected with literature or art.
See supra.

Athens, School of. See SCHOOL
OF ATHENS.

Athlone Castle. This castle at
Athlone, Ireland, has been prom-
inent in the military history of
the island. It underwent a long
siege in the reign of James II.,
and was at last taken by the
English.

Atlanta, The. A powerful Confederate ram in the Civil War of 1861-65. She was under the command of Capt. Webb, formerly of the United States Navy. She was captured by the United States vessel-of-war Weehawken.

The Atlanta was in the Wilmington River. It was the pleasant month of June. She went down to meet the two monitors [the Weehawken and the Nahant], accompanied by gunboats crowded with citizens of Savannah, who went to see the fight and enjoy the victory. When her intended victims appeared in sight, Webb assured his audience' that the monitors would be in tow of the Atlanta before breakfast.' As she pushed swiftly toward the Weehawken, Capt. Rodgers sent a solid shot that carried away the top of the Atlanta's pilot-house and sent her aground. Fifteen minutes afterwards she was a prisoner to the Weehawken. 'Providence, for some good reason,' said the astonished Webb pathetically to his crew, has interfered with our plans.'" Lossing.

Atlas. A noted statue representing Atlas sustaining a globe. This figure is of value as exhibiting the ancient ideas of astronomy. Now in the Museum at Naples, Italy.

Attila. A fresco by Raphael Sanzio (1483-1520) in the Stanza of the Heliodorus, in the Vatican, Rome.

"Raphael's fresco styled 'the Attila' is rather historically than religiously treated: it is, in fact, an historical picture." Mrs. Jameson.

Auburn. A place celebrated_in Goldsmith's poem of "The Deserted Village." The situation of this village has been much in doubt; but it is now generally supposed to be the same as Lissoy, or Lishoy, in the county of Westmeath, near Athlone, Ireland. There is a village named Auburn (sometimes spelt Albourne) in Wiltshire, near Marlborough, which has by some been identified, but without any apparent reason, with the scene of the poem.

"The village of Lissoy, now and for nearly a century known as Auburn, and so marked on the maps,' stands on the summit of a hill. . The circumstances under which he [Goldsmith] pictured 'Sweet Auburn' as a deserted village, remain in al most total obscurity. If his picture was in any degree drawn from facts, they were in all likelihood as slender as the materials which furnished his description of the place, surrounded by all the charms which poetry can derive from invention.. The poem bears ample evidence, that, although some of the scenes depicted there had been stamped upon his memory, . . . the story must either be assigned to some other locality, or traced entirely to the creative faculty of the poet."

Mr. and Mrs. Hall.

"The village in its happy days is a true English village. The village in its decay is an Irish village. The felicity and the misery which Goldsmith has brought close together belong to two different countries and to two different stages in the progress of society. He had assuredly never seen in his native island such a rural paradise, such a seat of plenty, content, and tranquillity, as his Auburn. He had assuredly never seen in England all

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Audley Castle.

A picturesque ruined fortress in the county of Down, Ireland.

Audubon Avenue. A subterranean passage in the Mainmoth Cave, Kentucky. It is one mile in length, 50 feet high, and 50 or 60 feet in width.

Auerbach's Cellar. A place of public entertainment, where beer and wine are sold, under an old house in Leipzig, Germany. It is noted as the scene of the traditional feats of the famous magician, Doctor Faustus. His magical exploits of drawing various wines from gimlet-holes bored for the purpose in the table, of making the members of the company seize each other's noses under the delusion that they were grasping bunches of grapes, and his finally riding out of the door upon a cask, are told by Goethe in his dramatic poem of "Faust,'

one

scene of which is laid in Auerbach's Cellar. Two pictures painted upon the walls of the vault are supposed to commemorate the adventures of Faust.

"I supped there during my last visit to Germany, and took some pains to ascertain the traditions connected with it, which the waiter seemed to have a particular pleasure in communi. cating. He assured me that there was

not the shadow of a doubt as to my being seated in the very vault in which both Faust and Goethe had caroused." Hayward.

"Another interesting place in Leipsic is Auerbach's cellar, which it is said contains an old manuscript history of Faust, from which Goethe derived the first idea of his poem. He used to frequent this cellar.' Bayard Taylor. As grosser spirits gurgled out

From chair and table with a spout, In Auerbach's Cellar once, to flout The senses of the rabble rout, Where'er the gimlet twirled about Of cunning Mephistopheles: So did these cunning spirits seem in store, Behind the wainscot or the door. Lowell, Biglow Papers. Auerback. A ruined castle on the road between Darmstadt and Heidelberg, Germany.

Augustan Age. A picture by Jean Léon Gérôme (b. 1824), the French painter.

Augusteum. A palace in Dresden,
Saxony. It contains a valuable
collection of works of art and
scientific treasures. [Called also
the Japanese Palace.]
Augustus. See ARCH OF Augus-

TUS, MAUSOLEUM OF Augustus,
PALACE OF THE CÆSARS.

Aurea Domus. See GOLDEN
HOUSE.

Aurora. 1. A celebrated fresco by Guido Reni (1575-1642) in the casino, or summer-house, of the Rospigliosi Palace in Rome. It is painted upon the ceiling, and represents Aurora scattering flowers before the chariot of the Sun, while the Hours advance in rapid motion. The engraving of this picture by Raphael Morghen (1758-1833) has made it very familiar. According to Lanzi, the Venus de' Medici and the Niobe were the favorite models of Guido, and there are few of his large pictures in which the Niobe or one of her children is not introduced, yet with such skill that the imitation can hardly be detected.

"Guido's Aurora is the very type of haste and impetus; for surely no man ever imagined such hurry and tumult, such sounding and clashing. Painters maintain that it is lighted from two sides: they have my full permis

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