tation, and was the ornament of his country. He loved and patronized learning and learned men; and never any person had more friends in the republic of letters. He furnished assistance to several authors; and particularly contributed to the great collection of inscriptions published by Gruter. He gave the security of a thousand florins, in order to procure to Rittershusius a manuscript of the epistles of Isodorus Pelusiota, which was in the library of the duke of Bavaria, and could not be had without such security; and, what made this act of generosity the greater, he did it without Rittershusius's knowledge. He was also the author of several works of reputation himself. His first essay, according to Melchior Adam, was a work which he published. at Venice in 1594, thus entitled: "Rerum Augustanarum Vindelicarum Libri Octo, quibus a prima Rhetorum ac Vindelicorum origine ad annum usque 552 a Nato Christo nobilissimæ gentis Historia et Antiquitates traduntur; ac antiqua monumenta, tam quæ Augusta, quam quae in agro Augustano, quin et que alibi extant ad res Augustanas spectamia are incisa et notis illustrata exhibentur " In 1602 he published, at Augsburg, "Rerum Boicarum libri quinque, Historiam a gentis origine ad Carolum Magnum complexi," containing the history of Bavaria from the year 600, when Sigoves led the Boii from Gaul to Germany, to the year 788, when Charlemagne dethroned the last Bavarian duke Tassilo II. and confined him in a cloister. Velser intended to continue this work, which is reckoned his best, and had already collected materials for it, and nearly composed two additional books, but was prevented by death from finishing his task; and the two books were a long time supposed to be lost. One of these, however, was discovered in 1778, by M. de Lippert, in the university library at Ingolstadt, and published at Augsburgh in that year. Velser published, at different times, the lives of several martyrs at Augsburg. His works were collected and reprinted at Nuremburg 1682, in folio, under the inspection and care of Arnoldus, professor there, who wrote "Prolegomena," in which he informs us of many particulars concerning him. As Velserus held a great correspondence with the learned of Italy, and several other countries, many of his Latin and Italian letters were collected and inserted in this edition. He passed for the author of a celebrated piece called Squittinio della liberta Veneta," which was published in 1612. Gassendi having

observed that several ascribed this book to Peiresc, adds, that they were deceived; and that it was probably written by the illustrious Velserus, as he calls him. Velserus's genius, liberality of mind, his fine taste, and his classical diction, enabled bim to communicate his historical acquisitions to the public with success and applause. He died June 13, 1614, and left no issue by his marriage. He was one of those who never would suffer his picture to be drawn ; yet it was done without his knowledge, as Gassendi informs us in his life of Peiresc.'

VENANTIUS, or VENANTIUS HONORIUS CLEMENTIANUS FORTUNATUS, a Christian poet of the sixth century, was a native of Italy, and studied at Ravenna. He applied himself to grammar, rhetoric, poetry, and jurisprudence, but was most attached to rhetoric and poetry, and was honoured by Hilduinus, the abbot of St. Denis, with the title of Scholasticissimus. It sems uncertain what was the cause of his leaving Italy for France, but the step was peculiarly fortunate for him, as his poetical genius procured him the most honourable reception. Princes, bishops, and persons of the highest ranks, became eager to confer on him marks of their esteem. He arrived in France during the reign of Sigebert, king of Austrasia, who received him with great respect. This being about the time of the king's marriage with Brunehaut, in the year 566, Venantius composed an epithalamium, in which he celebrated the graces and perfections of the new queen. It is also said, that he gave the king lectures on politics. The following year he went to Tours to perform a vow to St. Martin, whose image had cured him of a complaint in his eyes. He then went to Poictiers, and was invited by St. Radegonda, the foundress of a monastery there, to reside in the capacity of her secretary; and afterwards, when he became a priest, she appointed him her chaplain and almoner. He resided here for some years, employing his time in study and writing, and edifying the church as much by his example as by his works. He was much esteemed by Gregory of Tours and other prelates, and was at last himself raised to be bishop of Poictiers, which dignity, it is said, he did not long enjoy. He died about the commencement of the seventh century, some say in the year 609. His works consist of eleven books of poetry, mostly of the elegiac kind, and ge

Niceron, vol. XXIV.-Gen. Dict.-Blount's Censura.-Saxii Onomast.

nerally short hymns adapted to the services of the church: epitaphs, letters to several bishops, and some to Gregory of Tours: courtly verses addressed to queen Radegonda, and her sister Agnes, usually sent with presents of flowers, fruit, &c. four books of the "Life of St. Martin," in heroic verse: several lives of the saints. Editions of his works were published at Cagliari in 1573, 1574, and 1584, and at Cologne in 1600: but all these are said to be incomplete and incorrect, yet they shew the respect paid to him as the best Latin poet of his time. In 1603 Christopher Brower, a German Jesuit, produced a very correct edition, with notes, printed at Fulda, and reprinted at Mentz, in 1617, 4to; but this contains only his poems. His other works are in the "Bibliotheca Patrum," of Lyons, 1677. The most complete edition is that of Rome, published under the title of "Venantii opera omnia quæ extant, post Browerianam editionem nunc recens novis additamentis aucta, not. et scholiis illustr. opera Mich-Ange Luchi," 1786-87, 2 vols. 4to.'

VENERONI (JOHN), who has the credit of promoting Italian literature in the last century, particularly in France, was a native of Verdun. His name was Vigneron, but as he had made the Italian language his study, and wished to acquire reputation at Paris as a teacher, he Italianized his name, and gave out that he was a native of Florence. He published an Italian Grammar and Dictionary; both of which have been repeatedly printed in France and England, but with modern improvements. He published also Translations of Bentivoglio's and Loredano's letters, the Italian on one side. His grammar, it is said, was not written by him, but by the famous Roselli, whose adventures. have been printed as a romance. This latter, passing through France, dined with Veneroni, who finding that he reasoned very justly upon the Italian language, engaged him to compose a grammar, for which he gave him a hundred franks. Veneroni only made some additions according to his taste, and published the book under his own name. His "Translation of the Select Fables," is printed with a German version and plates, Augsburg, 1709, 4to. We find no account of his death; but, from the dates of his publications, he appears to have flourished, if that

1 Vossius de Hist. Lat. et De Poet. Lat.-Fabric. Bibl. Lat. Med. Bi.. Moreri-Biog. Univ. art. Fortunat.-Saxii Onomast.

phrase be allowable in his case, in the early part of the last century.1

VENEZIANO (AGOSTINO), or AGOSTINO DE MUSIS, a very eminent engraver, was a native of Venice, and was the scholar of the celebrated Marc Antonio Raimondi. It is not certain at what period he began his studies under that great master, but the first dated print by Agostino appeared in 1509, at which time, it is probable, his tutor still resided at Venice. After the death of Raphael, which happened in 1520, Veneziano and Marc de Ravenna, his fellow-pupil, who had conjointly assisted each other, separated, and worked entirely upon their own account. When the city of Rome was taken and sacked by the Spaniards in 1527, Veneziano retired to Florence, and applied for employment to Andrea del Sarto, who was then in high repute; but del Sarto, dissatisfied with the dead Christ which he had engraved in 1516, after his design, refused to permit him to engrave any more of his pictures. Veneziano afterwards returned to Rome, where he followed his professional pursuits with great success, and where he died some time about 1540.

He generally marked his prints with the initials A. V., which were sometimes inscribed on a tablet. He imitated the style of his master with great attention, and, as far as regards manual execution, with considerable success: sometimes, indeed, he in this respect excelled Marc Antonio; but in point of taste, and in the purity and correctness of his outline, he fell far short of that distinguished artist. Good impressions of the works of Veneziano are now become extremely scarce, and a complete set is hardly to be obtained; among them will be found a few, wherein he has expressed the flesh entirely by means of stippling, in a manner which, being imitated by Boulanger, grew by degrees into what is now termed the chalk manner of engraving."

VENIUS, or VAN VEEN, (OTHо,) a Dutch painter of great eminence, was descended of a considerable family in Leyden, and born in 1556. He was carefully educated by his parents in the belles lettres, and at the same time learned to design of Isaac Nicolas. In his fifteenth year, when the civil wars obliged him to leave his country, he retired to Liege, finished his studies, and there gave the

1 Dict. Hist.

2 Strutt's Dict.-and Preface to vol. II. Rees's Cyclopædia, art. Italian Engraving.

first proofs of his talents. He was particularly known to cardinal Groosbeck, who gave him letters of recommendation when he went to Rome, where he was entertained by cardinal Maduccio. His genius was so active, that he at once applied himself to philosophy, poetry, mathematics, and painting, the latter under Frederico Zuchero. He acquired an excellence in all the parts of painting, especially in the knowledge of the chiar-oscuro, and he was the first who explained to the Flemish artists the principles of lights and shadows, which his disciple Rubens afterwards carried to so great a degree of perfection. He lived at Rome seven years, during which time he executed several fine pictures; and then, passing into Germany, was received into the emperor's service. After this the duke of Bavaria and the elector of Cologn employed him but all the advantages he got from the courts of foreign princes could not detain him there. He had a desire to return into the Low Countries, of which Alexander Farnese, prince of Parma, was then governor. He drew the prince's picture in armour, which confirmed his reputation in the Netherlands. After the death of that prince, Venius returned to Antwerp, where he adorned the principal churches with his paintings. The archduke Albert, who succeeded the prince of Parma in the government of the Low Countries, sent for him to Brussels, and made him master of the mint, a place which took up much of his time; yet he found spare hours for the exercise of his profession. He drew the archduke and the infanta Isabella's portraits at large, which were sent to James I. of Great Britain and, to shew his knowledge of polite learning, as well as of painting, he published several treatises, which he embellished with cuts of his own designing. Among these are, 1. "Horatii Emblemata," Antwerp, 1607, 4to, often reprinted, but this edition has the best plates. 2. "Amoris divini emblemata," Antwerp, 1615, 4to. 3. "Amorum emblemata," ibid. 1608, 4to. 4. "Batavorum cum Romanis bellum, &c." ibid. 1612, 4to, &c. Venius died at Brussels, 1634, in his seventy-eighth year. He had two brothers; Gilbert, who was an engraver; and Peter, a painter; but his greatest honour was his having Rubens for a pupil.'

VENN (HENRY), a pious divine of the church of England, was the son of the rev. Richard Venn, rector of St.

1 Argenville, vol. III.-Deschamps, vel. I.-Pilkington.-Bullart's Academie des Sciences.