Apotheosis of Trajan. See TRIUMPH OF TRAJAN. Apotheosis of Washington. An immense fresco on the interior of the dome of the Capitol in Washington, painted by Brumidi. It covers some 5,000 feet, and cost $40,000.

Apoxyomenes. A celebrated statue of an athlete by Lysippus (flourished time of Alexander the Great), the Greek sculptor; a marble copy of which, found at Trastevere in 1846, is now in the Vatican, Rome.

The legs and arms [of the Antinous] are modelled with exquisite grace of outline; yet they do not show that readiness for active service which is noticeable in the statues of the Meleager, the Apoxyomenos, or the Belvedere Hermes. J. A. Symonds. Appian Way. See VIA APPIA. Apprentices. See IDLE AND INDUSTRIOUS APPRENTICES. Approach to Venice. A picture by Joseph Mallord William Turner (1775-1851), the eminent English painter.

Apsley House. The former wellknown residence of the Duke of Wellington, Piccadilly, London. It immediately adjoins Hyde Park. It was built about 1785 for Charles Bathurst, Lord Apsley, and was purchased by Marquis Wellesley, elder brother of the great Duke, in 1828. It contains a collection of pictures. Ara Coeli. [Altar of Heaven.]

A

very interesting church in Rome, of high antiquity, occupying the site of the temple of Jupiter Capitolinus. It was in this church that Gibbon, as he himself informs us, on the 15th of October, 1764, as he sat musing amidst the ruins of the Capitol, while the barefooted friars were singing vespers, first meditated writing the history of the Decline and Fall of the city. The name Ara Coeli is traditionally derived from the altar consecrated by Augustus in consequence of the sibyl's prophecy about the coming of the Redeemer, a monkish invention wholly unsupported by historical evidence. Some say, however,

that in the middle ages the church was called " S. Maria in Aurocœlio." The church of Ara Coeli is held in great reverence by the people, on account of the famous wooden image called the Santissimo Bambino, supposed to be of great efficacy in curing the sick. The steps of this church are the identical ones which formed the ascent to the temple of Jupiter Capitolinus. See BAMBINO.

"On the steps of Ara-Coli, nineteen centuries ago, the first great Cæsar climbed on his knees after his first triumph. At their base Rienzi, the last of the Roman tribunes, fell. . . . Standing on a spot so thronged with memories, the dullest imagination takes fire." W. W. Story.

"A flight of 124 steps of marble leads to the church of Ara-Cœli, one of the oldest and ugliest in Rome. But no one is held in greater reverence by the people, and none is more frequented by throngs of worshippers."

G. S. Hillard.

"A staircase of extraordinary width and length stretches upward to the red façade of the church of AraCali. On these steps hundreds of beggars, as ragged as those of Callot, clad in tattered hats and rusty brown blankets, are warming themselves majestically in the sunshine. You embrace all this in a glance, the convent and the palace, the colossi and the canaille; the hill, loaded with architecture, suddenly rises at the end of a street, its stone masses spotted with crawling human insects. This is peculiar to Rome." Taine, Trans.

Returning home by Ara Coeli, we mounted to it by more than 100 marblesteps, not in devotion, -as I observed some to do on their bare knees, but to see those two famous statues of Constantine in white marble, placed there out of John Evelyn, 1644.

his Baths.

Arbroath Abbey. This ruin of the most spacious abbey in Scotland is in Aberbrothwick. It was built in 1178, and dedicated to St. Thomas à Becket. There is a tradition that the Abbots of Aberbrothwick placed a bell on a dangerous reef in the German Ocean, and this story gave rise to a ballad of Southey's.

The Abbot of Aberbrothock
Had placed that bell on the Inchcape rock.
Southey.

See INCHCAPE ROCK.

Arc de l'Étoile, or Arc de Triomphe. A very large and fine triumphal arch at the west end of the Champs-Elysées, Paris. It is one of the chief ornaments of the city, and, from its high situation, commands an extensive view over Paris. In 1806 Napoleon resolved to build this arch, and its construction was begun; but the work as now seen was not finished until 1836, after the accession of Louis Philippe. It is of a classical design; and the whole structure is 161 feet high, 145 feet wide, and 110 feet deep.

"It was not, however, till we stood almost beneath it that we really felt the grandeur of this great arch, including so large a space of the blue sky in its airy sweep. At a distance it impresses the spectator with its solidity; nearer, with the lofty vacancy beneath it." Hawthorne.

She [Mme. de B-] is not a cabinet minister, she is not a marshal of France, she has no appointments in her gift, she lives beyond the Arc de l'Etoile; but, for all that, people go to visit her from the four corners of Paris. Taine, Trans.

With every respect for Kensington turnpike, I own that the Arc de l'Etoile at Paris is a much finer entrance to an imperial capital. Thackeray.

You find here [in Rome] less space and stone work, less material grandeur than in the Place de la Concorde, and in the Arc de Triomphe, but more invention and more to interest you. Taine, Trans.

Arc de Triomphe. See ARC DE L'ÉTOILE.

Arc du Carrousel. A triumphal

arch in the centre of the Place du Carrousel, Paris, 48 feet high, 65 feet wide, begun in 1806. It is a copy, with alterations, of the Arch of Severus at Rome. Formerly the Arc du Carrousel was surmounted by four horses of bronze from St. Mark's, Venice; but these were returned to Venice in 1814.

Arcade, The. A well-known building in Providence, R.I., being an immense granite bazaar 225 feet in length by 80 feet in depth (in parts 130 feet deep) containing under one glass roof 78 stores. The building was erected in 1828.

Arcadian Academy. [Ital. Accademia degli Arcadi.] A literary

institute at Rome, founded in 1690, which still holds its meetings in the Capitol. Its aim, which it failed to reach, was to improve the literary taste of the time, and at one period it numbered some 2,000 members. Its laws were drawn out in ten tables, its constitution was republican, its first magistrate was called custos, and its members shepherds. Goethe was enrolled as an Arcadian in 1788.

"Each person on his admission took a pastoral name, and had an Arcadian name assigned to him: the business of the meetings was to be conducted wholly in the allegorical language, and the speeches and verses as much so as possible.... The Arcadia has survived all the changes of Italy; it still holds its meetings in Rome, listens to pastoral sonnets, and christens Italian clergymen, English squires, and German counsellors of state, by the names of the heathens. It publishes moreover a regular journal, the Giornale Arcadico, which, although it was a favorite object of ridicule with the men of letters in other provinces, condescends to follow slowly the progress of knowledge, and often furnishes foreigners with interesting information, not only literary but scientific."

Spalding.

Arch of Augustus. An old Roman memorial arch in Rimini, Italy. Arch of Constantine. One of the most imposing monuments of ancient Rome, standing over the Via Triumphalis. It is ornamented with bas-reliefs and medallions illustrating the history of Trajan. These were taken from an arch of Trajan to decorate that of Constantine, though some writers have regarded the whole structure of Constantine as a transformed arch of Trajan. The frieze and sculptures upon the arch, which are of the time of Constantine, show plainly the decay which the art of sculpture had suffered since the age of Trajan.

"The Arch of Constantine is, I think, by far the most noble of the triumphal arches of Rome. Its superiority arises partly, no doubt, from its fine preservation. Its ancient magnificence still stands unimpaired."

C. A. Eaton

Arch of Janus. (Quadrifrons.) This structure, which is rather inaccurately called an arch, since it consists of four arches, is now standing in what was once the Forum Boarium, Rome. It is a large square mass, each of its four fronts being pierced with an arch, which gives rise to the belief that it was a Compitum, a kind of structure which was generally erected at the meeting of four roads. It is supposed to have been used as a shelter from the sun and rain, and as an exchange or place of business for those trading in the Forum. The date of its construction is unknown, though it has been usually assigned to the time of Septimius Severus (146-211), and by some to as late an age as that of Constantine.

"I know few ruins more picturesque and venerable than this. That this arch is a work of imperial Rome, there can be no doubt, but the date of its erection is purely conjectural."

Eaton.

Arch of Septimius Severus. 1. A ncted monument of ancient Rome, standing at the north-west angle of the Forum It was built of marble, A.D. 205, in honor of the emperor Septimius Severus and his sons Caracalla and Geta, and consists of one large and two smaller arches. It is ornamented with bas-reliefs relating to the Eastern wars of the emperor, and was formerly surmounted by a car drawn by six horses abreast, and containing statues of Septimius Severus and his two sons. The part of the inscription of the

arch relating to Geta was oblit erated after his murder by his brother.

"The heavy and clumsy style of its architecture is sufficiently strik ing when viewed beside the noble buildings of the Forum, in which it stands. Indeed, I know few ancient edifices in which the arts have been so completely tortured out of their native graces. The whole building is covered with a profusion of bas-reliefs, and their deformity of design and execution is sufficiently evident through all the injuries of time and accident. Though this arch is entire, the sculpture has evidently suffered from fire." Eaton.

"In the later days of the Empire two side arches were added for footpassengers, in addition to the carriageway in the centre. This added much to the splendor of the edifice, and gave a greater opportunity for sculptural decoration than the single arch afforded. The Arch of Septimius Severus is perhaps the best specimen of the class." Fergusson.

It

2. There is also a smaller Arch of Septimius Severus in the Velabrum, Rome, near the church of S. Giorgio in Velabro. It was erected to the emperor Severus, his wife Julia, and his sons Caracalla and Geta, by the silversmiths (Argentarii; hence it is also called Arcus Argentarius) and tradespeople of the Forum Boarium. The dedication of this arch was changed after the death of Geta, as in the case of the larger arch described above. Arch of Titus. The most elegant triumphal arch in Rome. stands upon the summit of the Via Sacra, and was erected by the Roman Senate and people in honor of Titus to commemorate the destruction of Jerusalem. As a record of Bible history it is the most interesting ruin in Rome, containing as it does a representation in bas-relief of the spoils brought from the Temple; among which may be recognized the table of shew-bread, the silver trumpets, and the golden seven-branched candlestick which is said to have fallen into the Tiber during the flight of Maxentius from the onslaught of

Constantine. There is a close resemblance between the basreliefs on this arch representing the trophies brought from Jerusalem, and the account of them given by the Jewish historian Josephus.

"The Arch of Titus - the most ancient and perhaps the most faultless of the Triumphal Arches-was the work of an age when the arts, which in the age of Domitian had degenerated from their ancient simplicity into a style of false and meretricious ornament, had revived in their fullest purity and vigor, beneath the patronage of Trajan. But we now see it to great disadvantage. The hand of Time has robbed it of much of its ancient beauty, his 'effacing fingers' have obliterated much of the expression and grace and even outline of the bas-reliefs, the design and composition of which we can yet admire." Eaton.

"Over the half-worn pavement, and beneath this arch, the Roman armies had trodden in their outward march to fight battles, a world's width away. Returning victorious, with royal captives and inestimable spoil, a Roman triumph, that most gorgeous pageant of earthly pride, has streamed and flaunted in hundred-fold succession over these same flagstones and through this yet stalwart archway."

Hawthorne.

"The Arch of Titus is the most graceful in its form of all the Roman arches.... The Jews to this day, it is said, never pass under this arch; avoiding the sight of this mournful record of the downfall of their country and the desecration of their religion." Hillard.

I stood beneath the Arch of Titus long; On Hebrew forms there sculptured long I pored;

Titus! a loftier arch than thine hath spanned

Rome and the world with empery and law; Thereof each stone was hewn from Israel!

It is now in the Amsterdam Gal lery. There is a replica of the same now in the Louvre in Paris. Archimedes, The. The first vesShe sel propelled by a screw. was built by the English Admiralty in 1838, and made her first trip in 1839.

Arctic, The. A vessel of the Collins line of transatlantic steamers which sank in 1854, with a loss of many lives, in consequence of a collision with the Vesta.

"In that mysterious shroud, that vast atmosphere of mist, both steamers were holding their way with rushing prow and roaring wheels, but invisible. At a league's distance, unconscious, and at nearer approach, unwarned; within hail, and bearing right towards each other, unseen, unfelt, till in a moment more, emerging from the gray mists, the ill-omened Vesta dealt her deadly stroke to the Arctic. . . In a wild scramble that ignoble mob of firemen, engineers, waiters, and crew, rushed for the boats, and abandoned the helpless women, children, and men, to the mercy of the deep! Four hours there were from the catastrophe of collision to the catastrophe of SINKING!" H. W. Beecher.

Ardennes. [Written also poetically Arden.] An ancient forest of vast extent in Belgium and the North of France, of which but little remains at the present time. The Forest of Arden is familiar to readers of "As You Like It." There was ancient forest named Arden in the central part of England, which has now entirely disappeared. Shakespeare's "Arden is by some identified with the English for

an

"The wood of Soignies is supposed to be a remnant of the forest of Ardennes, famous in Boiardo's Orlando, and immortal in Shakespeare's' As You Like It.' It is also celebrated in Tacitus as being the spot of successful defence by the Germans against the Roman encroachments." Byron.

Oli. Where will the old Duke live?

Cha. They say he is already in the Forest of Arden, and a many merry men with him; and there they live like the old Robin Hood of England. Shakespeare.

And Ardennes waves above them her green leaves,

Dewy with nature's tear-drops as they pass. Byron.

Scott.

That motley clown in Arden wood,
Whom humorous Jaques with envy viewed,
Not even that clown could amplify
On this trite text so long as I.
The forest-walks of Arden's fair domain,
Where Jaques fed his solitary vein,
No pencil's aid as yet had dared supply,
Seen only by the intellectual eye.

Charles Lamb. Ardfert Abbey. An interesting and picturesque monastic ruin in the county of Kerry, Ireland, near Tralee, of high antiquity. Ardtornish Castle. An ancient ruined castle of the fourteenth century, in the island of Mull, formerly a place of great consequence as a stronghold, and as the headquarters of the Lords of the Isles." Its situation, on a low basaltic promontory overlooking the sea, is very picturesque. [Written also Artornish and Ardtonish.]

Ardtornish on her frowning steep. "Twixt cloud and ocean hung. Scott. Wake, Maid of Lorn! the minstrels sung. Thy rugged halls, Artornish, rung; And the dark seas thy towers that lave, Heaved on the beach a softer wave. Ibid.

Arena, The [of Arles]. A Roman ruin in the city of Arles, France. This amphitheatre is thought to have surpassed in the days of its splendor that at Nîmes.

There, the huge Coliseum's tawny brick, The twin arcs hand in hand. But there is

one

In mine own country I saw clearer yet. Thou art the Arles arena in my eyes, Great ruin! Aubanel, Trans.

Arena, The [of Nîmes]. A remarkable Roman ruin at Nîmes, in Southern France. The amphitheatre is 437 feet long, 332 feet broad, and 72 feet high, and is one of the finest remains of the kind in existence.

"Rousseau, in the last century, complained of the neglected state in which the arenas of Nimes were allowed to lie. . . . Not till the year 1810 was an act passed for the clearing of this great amphitheatre, and now there is no obstruction to the view. Situated in the middle of the town, and not far from the ancient wall, the arenas [Fr. Les Arènes] of Nîmes have long been fa

mous for their size and preservation. They are supposed to be contemporaneous with the Coliseum. The inte rior presents only a picturesque mass of ruins, but the principal parts may even yet be easily distinguished."

Le Fevre, Trans. Donald.

"If the arena of Arles is better preserved in the interior, the wall of that of Nimes is more intact, and its crown has not suffered so much.. Taken together these two amphitheatres furnish almost complete details of the construc tion of these buildings, the purpose of which, and their gigantic proportions, argue a state of things so different from Mérimée.

our own."

Arena, The [of Verona]. A celebrated Roman ruin in Verona, Italy, being an amphitheatre of the age probably of Diocletian, and in a remarkable state of preservation. It is still used for theatrical purposes.

"In the midst of Verona is the great Roman amphitheatre. So well preserved, and carefully maintained, that every row of seats is there, unbroken. Over certain of the arches the old Roman numerals may yet be seen; and there are corridors, and staircases, and subterranean passages for beasts, and winding ways above ground and below, as when the fierce thousands hurried in and out, intent upon the bloody shows of the arena." Dickens.

"The amphitheatre is interesting from the excellent preservation in which the interior still continues. . We see here that root of utility out of which the flower architecture springs. The idea of an amphitheatre is simply that of a building in which he who is the most distant, in a horizontal line, shall have the highest place. This is the way in which a crowd, on any occasion of interest, dispose themselves. The amphitheatre is still used for public exhibitions. I could not help thinking what a capital place it would be for a political caucus or a mass-meeting. It will hold twenty-two thousand spectators." Hillard.

"The arena of this amphitheatre [at Verona] is very nearly perfect, owing to the care taken of it during the Middle Ages, when it was often used for tournaments and other spectacles. Its dimensions are 502 feet by 401, and 98 feet high, in three stories, beautifully proportioned." Fergusson.

"This edifice seen from above looks like an extinct crater. If one desires to build for eternity it must be in this fashion." Taine, Trans.