ANTHEMIUS, Greek mathematician and architect, who produced, under the patronage of Justinian (A.D. 532), the original and daring plans for the church of St Sophia in Constantinople, which strikingly displayed at once his knowledge and his ignorance. He was one of five brothers--the sons of Stepha.n.u.s, a physician of Tralles--who were all more or less eminent in their respective departments. Dioscorus followed his father's profession in his native place; Alexander became at Rome one of the most celebrated medical men of his time; Olympius was deeply versed in Roman jurisprudence; and Metrodorus was one of the distinguished grammarians of the great Eastern capital. It is related of Anthemius that, having a quarrel with his next-door neighbour Zeno, he annoyed him in two ways.

First, he made a number of leathern tubes the ends of which he contrived to fix among the joists and flooring of a fine upper-room in which Zeno entertained his friends, and then subjected it to a miniature earthquake by sending steam through the tubes. Secondly, he simulated thunder and lightning, the latter by flashing in Zeno's eyes an intolerable light from a slightly hollowed mirror. Certain it is that he wrote a treatise on burning-gla.s.ses. A fragment of this was published under the t.i.tle [Greek: Peri paradoxon maechonaematon] by L. Dupuy in 1777, and also appeared in 1786 in the forty-second volume of the _Hist. de l'Acad. des Inscr_.; A. Westermann gave a revised edition of it in his [Greek: Paradoxographoi] (_Scriptores rerum mirabilium Graeci_), 1839. In the course of constructions for surfaces to reflect to one and the same point (1) all rays in whatever direction pa.s.sing through another point, (2) a set of parallel rays, Anthemius a.s.sumes a property of an ellipse not found in Apollonius (the equality of the angles subtended at a focus by two tangents drawn from a point), and (having given the focus and a double ordinate) he uses the focus and directrix to obtain any number of points on a parabola--the first instance on record of the practical use of the directrix.

On Anthemius generally, see Procopius, _De Aedific_. i. 1; Agathias, _Hist_. v. 6-9; _Gibbon's Decline and Fall_, cap. xl. (T. L. H.)

ANTHESTERIA, one of the four Athenian festivals in honour of Dionysus, held annually for three days (11th-13th) in the month of Anthesterion (February-March). The object of the festival was to celebrate the maturing of the wine stored at the previous vintage, and the beginning of spring. On the first day, called _Pithoigia_ (opening of the casks), libations were offered from the newly opened casks to the G.o.d of wine, all the household, including servants and slaves, joining in the festivities. The rooms and the drinking vessels in them were adorned with spring flowers, as were also the children over three years of age.

The second day, named _Choes_ (feast of beakers), was a time of merrymaking. The people dressed themselves gaily, some in the disguise of the mythical personages in the suite of Dionysus, and paid a round of visits to their acquaintances. Drinking clubs met to drink off matches, the winner being he who drained his cup most rapidly. Others poured libations on the tombs of deceased relatives. On the part of the state this day was the occasion of a peculiarly solemn and secret ceremony in one of the sanctuaries of Dionysus in the Lenaeum, which for the rest of the year was closed. The basilissa (or basilinna), wife of the archon basileus for the time, went through a ceremony of marriage to the wine G.o.d, in which she was a.s.sisted by fourteen Athenian matrons, called _geraerae_, chosen by the basileus and sworn to secrecy. The days on which the Pithoigia and Choes were celebrated were both regarded as [Greek: apophrades] (_nefasti_) and [Greek: miarai] ("defiled"), necessitating expiatory libations; on them the souls of the dead came up from the underworld and walked abroad; people chewed leaves of whitethorn and besmeared their doors with tar to protect themselves from evil. But at least in private circles the festive character of the ceremonies predominated. The third day was named _Chytri_ (feast of pots, from [Greek: chytros], a pot), a festival of the dead. Cooked pulse was offered to Hermes, in his capacity of a G.o.d of the lower world, and to the souls of the dead. Although no performances were allowed at the theatre, a sort of rehearsal took place, at which the players for the ensuing dramatic festival were selected.

The name Anthesteria, according to the account of it given above, is usually connected with [Greek: anthos] ("flower," or the "bloom" of the grape), but A.W. Verrall (_Journal of h.e.l.lenic Studies_, xx., 1900, p.

115) explains it as a feast of "revocation" (from [Greek: anathessasthai], to "pray back" or "up"), at which the ghosts of the dead were recalled to the land of the living (_cp._ the Roman _mundus patet_). J.E. Harrison (_ibid_. 100, 109, and _Prolegomena_), regarding the Anthesteria as primarily a festival of all souls, the object of which was the expulsion of ancestral ghosts by means of placation, explains [Greek: pithoigia] as the feast of the opening of the graves ([Greek: pithos] meaning a large urn used for burial purposes), [Greek: choes] as the day of libations, and [Greek: chutroi] as the day of the grave-holes (not "pots," which is [Greek: chutrai]), in point of time really anterior to the [Greek: pithoigia]. E. Rohde and M.P. Nilsson, however, take the [Greek: chutroi] to mean "water vessels," and connect the ceremony with the Hydrophoria, a libation festival to propitiate the dead who had perished in the flood of Deucalion.

See F. Hiller von Gartringen in Pauly-Wissowa's _Realencyclopadie_ (s.v.); J. Girard in Daremberg and Saglio, _Dictionnaire des antiquites_ (s.v. "Dionysia"); and F.A. Voigt in Roscher's _Lexikon der Mythologie_ (s.v. "Dionysos"); J.E. Harrison, _Prolegomena to the Study of Greek Religion_ (1903); M.P. Nilsson, _Studia de Dionysiis Atticis_ (1900) and _Griechische Feste_ (1906); G.F. Schomann, _Griechische Alterthumer_, ii. (ed. J.H. Lipsius, 1902), p. 516; A.

Mommsen, _Feste der Stadt Athen_ (1898); E. Rohde, _Psyche_ (4th ed., 1907), p. 237.

ANTHIM THE IBERIAN, a notable figure in the ecclesiastical history of Rumania. A Georgian by birth, he came to Rumania early in the second half of the 17th century, as a simple monk. He became bishop of Ramnicu in 1705, and in 1708 archbishop of Walachia. Taking a leading part in the political movements of the time, he came into conflict with the newly appointed Greek hospodars, and was exiled to Rumelia. But on his crossing the Danube in 1716 he was thrown into the water and drowned, as it is alleged, at the instigation of the prince of Walachia. He was a man of great talents and spoke and wrote many Oriental and European languages. Though a foreigner, he soon acquired a thorough knowledge of Rumanian, and was instrumental in helping to introduce that language into the church as its official language. He was a master printer and an artist of the first order. He cut the wood blocks for the books which he printed in Tirgovishtea, Ramnicu, Snagov and Bucharest. He was also the first to introduce Oriental founts of type into Rumania, and he printed there the first Arabic missal for the Christians of the East (Ramnicu, 1702). He also trained Georgians in the art of printing, and cut the type with which under his pupil Mihail Ishtvanovitch they printed the first Georgian Gospels (Tiflis, 1709). A man of great oratorical power, Anthim delivered a series of sermons (Didahii), and some of his pastoral letters are models of style and of language as well as of exact and beautiful printing. He also completed a whole _corpus_ of lectionaries, missals, gospels, &c.

See M. Gaster, _Chrestomathie roumaine_ (1881), and "Gesch. d.

rumanischen Litteratur," in Grober, _Grundriss d. rom. Philologie_, vol. ii. (1899); and E. Picot, _Notice sur Anthim d'Ivir_ (Paris, 1886). (M. G.)

ANTHOLOGY. The term "anthology," literally denoting a garland or collection of flowers, is figuratively applied to any selection of literary beauties, and especially to that great body of fugitive poetry, comprehending about 4500 pieces, by upwards of 300 writers, which is commonly known as the _Greek Anthology_.

_Literary History of the Greek Anthology._--The art of occasional poetry had been cultivated in Greece from an early period,--less, however, as the vehicle of personal feeling, than as the recognized commemoration of remarkable individuals or events, on sepulchral monuments and votive offerings: Such compositions were termed epigrams, i.e. inscriptions.

The modern use of the word is a departure from the original sense, which simply indicated that the composition was intended to be engraved or inscribed. Such a composition must necessarily be brief, and the restraints attendant upon its publication concurred with the simplicity of Greek taste in prescribing conciseness of expression, pregnancy of meaning, purity of diction and singleness of thought, as the indispensable conditions of excellence in the epigrammatic style. The term was soon extended to any piece by which these conditions were fulfilled. The transition from the monumental to the purely literary character of the epigram was favoured by the exhaustion of more lofty forms of poetry, the general increase, from the general diffusion of culture, of accomplished writers and tasteful readers, but, above all, by the changed political circ.u.mstances of the times, which induced many who would otherwise have engaged in public affairs to addict themselves to literary pursuits. These causes came into full operation during the Alexandrian era, in which we find every description of epigrammatic composition perfectly developed. About 60 B.C., the sophist and poet, Meleager of Gadara, undertook to combine the choicest effusions of his predecessors into a single body of fugitive poetry. Collections of monumental inscriptions, or of poems on particular subjects, had previously been formed by Polemon Periegetes and others; but Meleager first gave the principle a comprehensive application. His selection, compiled from forty-six of his predecessors, and including numerous contributions of his own, was ent.i.tled _The Garland_ ([Greek: Stephanos]); and in an introductory poem each poet is compared to some flower, fancifully deemed appropriate to his genius. The arrangement of his collection was alphabetical, according to the initial letter of each epigram.

In the age of the emperor Tiberius (or Trajan, according to others) the work of Meleager was continued by another epigrammatist, Philippus of Thessalonica, who first employed the term anthology. His collection, which included the compositions of thirteen writers subsequent to Meleager, was also arranged alphabetically, and contained an introductory poem. It was of inferior quality to Meleager's. Somewhat later, under Hadrian, another supplement was formed by the sophist Diogenia.n.u.s of Heracleia (2nd century A.D.), and Strato of Sardis compiled his elegant but tainted [Greek: Mousa Paidike] (Musa Puerilis) from his productions and those of earlier writers. No further collection from various sources is recorded until the time of Justinian, when epigrammatic writing, especially of an amatory character, experienced a great revival at the hands of Agathias of Myrina, the historian, Paulus Silentiarius, and their circle. Their ingenious but mannered productions were collected by Agathias into a new anthology, ent.i.tled _The Circle_ ([Greek: Kyklos]); it was the first to be divided into books, and arranged with reference to the subjects of the pieces.

These and other collections made during the middle ages are now lost.

The partial incorporation of them into a single body, cla.s.sified according to the contents in 15 books, was the work of a certain Constantinus Cephalas, whose name alone is preserved in the single MS.

of his compilation extant, but who probably lived during the temporary revival of letters under Constantine Porphyrogenitus, at the beginning of the 10th century. He appears to have merely made excerpts from the existing anthologies, with the addition of selections from Lucillius, Palladas, and other epigrammatists, whose compositions had been published separately. His arrangement, to which we shall have to recur, is founded on a principle of cla.s.sification, and nearly corresponds to that adopted by Agathias. His principle of selection is unknown; it is only certain that while he omitted much that he should have retained, he has preserved much that would otherwise have perished. The extent of our obligations may be ascertained by a comparison between his anthology and that of the next editor, the monk Maximus Planudes (A.D. 1320), who has not merely grievously mutilated the anthology of Cephalas by omissions, but has disfigured it by interpolating verses of his own. We are, however, indebted to him for the preservation of the epigrams on works of art, which seem to have been accidentally omitted from our only transcript of Cephalas.

The Planudean (in seven books) was the only recension of the anthology known at the revival of cla.s.sical literature, and was first published at Florence, by Ja.n.u.s Lascaris, in 1494. It long continued to be the only accessible collection, for although the Palatine MS., the sole extant copy of the anthology of Cephalas, was discovered in the Palatine library at Heidelberg, and copied by Saumaise (Salmasius) in 1606, it was not published until 1776, when it was included in Brunck's _a.n.a.lecta Veterum Poetarum Graecorum_. The MS. itself had frequently changed its quarters. In 1623, having been taken in the sack of Heidelberg in the Thirty Years' War, it was sent with the rest of the Palatine Library to Rome as a present from Maximilian I. of Bavaria to Gregory XV., who had it divided into two parts, the first of which was by far the larger; thence it was taken to Paris in 1797.

In 1816 it went back to Heidelberg, but in an incomplete state, the second part remaining at Paris. It is now represented at Heidelberg by a photographic facsimile. Brunck's edition was superseded by the standard one of Friedrich Jacobs (1794-1814, 13 vols.), the text of which was reprinted in a more convenient form in 1813-1817, and occupies three pocket volumes in the Tauchnitz series of the cla.s.sics.

The best edition for general purposes is perhaps that of Dubner in Didot's _Bibliotheca_ (1864-1872), which contains the Palatine Anthology, the epigrams of the Planudean Anthology not comprised in the former, an appendix of pieces derived from other sources, copious notes selected from all quarters, a literal Latin prose translation by Boissonade, Bothe, and Lapaume and the metrical Latin versions of Hugo Grotius. A third volume, edited by E. Cougny, was published in 1890.

The best edition of the Planudean Anthology is the splendid one by van Bosch and van Lennep (1795-1822). There is also a complete edition of the text by Stadlmuller in the Teubner series.

_Arrangement._--The Palatine MS., the archetype of the present text, was transcribed by different persons at different times, and the actual arrangement of the collection does not correspond with that signalized in the index. It is as follows: Book 1. Christian epigrams; 2.

Christodorus's description of certain statues; 3. Inscriptions in the temple at Cyzicus; 4. The prefaces of Meleager, Philippus, and Agathias to their respective collections; 5. Amatory epigrams; 6. Votive inscriptions; 7. Epitaphs; 8. The epigrams of Gregory of n.a.z.ianzus; 9.

Rhetorical and ill.u.s.trative epigrams; 10. Ethical pieces; 11. Humorous and convivial; 12. Strata's Musa Puerilis; 13. Metrical curiosities; 14.

Puzzles, enigmas, oracles; 15. Miscellanies. The epigrams on works of art, as already stated, are missing from the _Codex Palatinus_, and must be sought in an appendix of epigrams only occurring in the Planudean Anthology. The epigrams. .h.i.therto recovered from ancient monuments and similar sources form appendices in the second and third volumes of Dubner's edition.

_Style and Value._--One of the princ.i.p.al claims of the Anthology to attention is derived from its continuity, its existence as a living and growing body of poetry throughout all the vicissitudes of Greek civilization. More ambitious descriptions of composition speedily ran their course, and having attained their complete development became extinct or at best lingered only in feeble or conventional imitations.

The humbler strains of the epigrammatic muse, on the other hand, remained ever fresh and animated, ever in intimate union with the spirit of the generation that gave them birth. To peruse the entire collection, accordingly, is as it were to a.s.sist at the disinterment of an ancient city, where generation has succeeded generation on the same site, and each stratum of soil enshrines the vestiges of a distinct epoch, but where all epochs, nevertheless, combine to const.i.tute an organic whole, and the transition from one to the other is hardly perceptible. Four stages may be indicated:--1. The h.e.l.lenic proper, of which Simonides of Ceos (c. 556-469 B.C.), the author of most of the sepulchral inscriptions on those who fell in the Persian wars, is the characteristic representative. This is characterized by a simple dignity of phrase, which to a modern taste almost verges upon baldness, by a crystalline transparency of diction, and by an absolute fidelity to the original conception of the epigram. Nearly all the pieces of this era are actual _bona fide_ inscriptions or addresses to real personages, whether living or deceased; narratives, literary exercises, and sports of fancy are exceedingly rare. 2. The epigram received a great development in its second or Alexandrian era, when its range was so extended as to include anecdote, satire, and amorous longing; when epitaphs and votive inscriptions were composed on imaginary persons and things, and men of taste successfully attempted the same subjects in mutual emulation, or sat down to compose verses as displays of their ingenuity. The result was a great gain in richness of style and general interest, counterbalanced by a falling off in purity of diction and sincerity of treatment. The modification--a perfectly legitimate one, the resources of the old style being exhausted--had its real source in the transformation of political life, but may be said to commence with and to find its best representative in the playful and elegant Leonidas of Tarentum, a contemporary of Pyrrhus, and to close with Antipater of Sidon, about 140 B.C. (or later). It should be noticed, however, that Callimachus, one of the most distinguished of the Alexandrian poets, affects the sternest simplicity in his epigrams, and copies the austerity of Simonides with as much success as an imitator can expect.

3. By a slight additional modification in the same direction, the Alexandrian pa.s.ses into what, for the sake of preserving the parallelism with eras of Greek prose literature, we may call the Roman style, although the peculiarities of its princ.i.p.al representative are decidedly Oriental. Meleager of Gadara was a Syrian; his taste was less severe, and his temperament more fervent than those of his Greek predecessors; his pieces are usually erotic, and their glowing imagery sometimes reminds us of the Song of Solomon. The luxuriance of his fancy occasionally betrays him into far-fetched conceits, and the lavishness of his epithets is only redeemed by their exquisite felicity. Yet his effusions are manifestly the offspring of genuine feeling, and his epitaph on himself indicates a great advance on the exclusiveness of antique Greek patriotism, and is perhaps the first clear enunciation of the spirit of universal humanity characteristic of the later Stoic philosophy. His gaiety and licentiousness are imitated and exaggerated by his somewhat later contemporary, the Epicurean Philodemus, perhaps the liveliest of all the epigrammatists; his fancy reappears with diminished brilliancy in Philodemus's contemporary, Zonas, in Crinagoras, who wrote under Augustus, and in Marcus Argentarius, of uncertain date; his peculiar gorgeousness of colouring remains entirely his own. At a later period of the empire another _genre_, hitherto comparatively in abeyance, was developed, the satirical. Lucillius, who flourished under Nero, and Lucian, more renowned in other fields of literature, display a remarkable talent for shrewd, caustic epigram, frequently embodying moral reflexions of great cogency, often lashing vice and folly with signal effect, but not seldom indulging in mere trivialities, or deformed by scoffs at personal blemishes. This style of composition is not properly Greek, but Roman; it answers to the modern definition of epigram, and has hence attained a celebrity in excess of its deserts. It is remarkable, however, as an almost solitary example of direct Latin influence on Greek literature. The same style obtains with Palladas, an Alexandrian grammarian of the 4th century, the last of the strictly cla.s.sical epigrammatists, and the first to be guilty of downright bad taste. His better pieces, however, are characterized by an austere ethical impressiveness, and his literary position is very interesting as that of an indignant but despairing opponent of Christianity. 4. The fourth or Byzantine style of epigrammatic composition was cultivated by the _beaux-esprits_ of the court of Justinian. To a great extent this is merely imitative, but the circ.u.mstances of the period operated so as to produce a species of originality. The peculiarly ornate and _recherche_ diction of Agathias and his compeers is not a merit in itself, but, applied for the first time, it has the effect of revivifying an old form, and many of their new locutions are actual enrichments of the language. The writers, moreover, were men of genuine poetical feeling, ingenious in invention, and capable of expressing emotion with energy and liveliness; the colouring of their pieces is sometimes highly dramatic.

It would be hard to exaggerate the substantial value of the Anthology, whether as a storehouse of facts bearing on antique manners, customs and ideas, or as one among the influences which have contributed to mould the literature of the modern world. The mult.i.tudinous votive inscriptions, serious and sportive, connote the phases of Greek religious sentiment, from pious awe to irreverent familiarity and sarcastic scepticism; the moral tone of the nation at various periods is mirrored with corresponding fidelity; the sepulchral inscriptions admit us into the inmost sanctuary of family affection, and reveal a depth and tenderness of feeling beyond the province of the historian to depict, which we should not have surmised even from the dramatists; the general tendency of the collection is to display antiquity on its most human side, and to mitigate those contrasts with the modern world which more ambitious modes of composition force into relief. The constant reference to the details of private life renders the Anthology an inexhaustible treasury for the student of archaeology; art, industry and costume receive their fullest ill.u.s.tration from its pages. Its influence on European literatures will be appreciated in proportion to the inquirer's knowledge of each. The further his researches extend, the greater will be his astonishment at the extent to which the Anthology has been laid under contribution for thoughts which have become household words in all cultivated languages, and at the beneficial effect of the imitation of its brevity, simplicity, and absolute verbal accuracy upon the undisciplined luxuriance of modern genius.

_Translations, Imitations, &c._--The best versions of the Anthology ever made are the Latin renderings of select epigrams by Hugo Grotius.

They have not been printed separately, but will be found in Bosch and Lennep's edition of the Planudean _Anthology_, in the Didot edition, and in Dr Wellesley's _Anthologia Polyglotta_. The number of more or less professed imitations in modern languages is infinite, that of actual translations less considerable. French and Italian, indeed, are ill adapted to this purpose, from their incapacity of approximating to the form of the original, and their poets have usually contented themselves with paraphrases or imitations, often exceedingly felicitous. F.D. Deheque's French prose translation, however (1863), is most excellent and valuable. The German language alone admits of the preservation of the original metre--a circ.u.mstance advantageous to the German translators, Herder and Jacobs, who have not, however, compensated the loss inevitably consequent upon a change of idiom by any added beauties of their own. Though unfitted to reproduce the precise form, the English language, from its superior terseness, is better adapted to preserve the spirit of the original than the German; and the comparative ill success of many English translators must be chiefly attributed to the extremely low standard of fidelity and brevity observed by them. Bland, Merivale, and their a.s.sociates (1806-1813), are often intolerably diffuse and feeble, from want, not of ability, but of taking pains. Archdeacon Wrangham's too rare versions are much more spirited; and John Sterling's translations of the inscriptions of Simonides deserve high praise. Professor Wilson (_Blackwood's Magazine_, 1833-1835) collected and commented upon the labours of these and other translators, with his accustomed critical insight and exuberant geniality, but damaged his essay by burdening it with the indifferent attempts of William Hay. In 1849 Dr Wellesley, princ.i.p.al of New Inn Hall, Oxford, published his _Anthologia Polyglotta_, a most valuable collection of the best translations and imitations in all languages, with the original text. In this appeared some admirable versions by Goldwin Smith and Dean Merivale, which, with the other English renderings extant at the time, will be found accompanying the literal prose translation of the _Public School Selections_, executed by the Rev. George Burges for Bohn's Cla.s.sical Library (1854). This is a useful volume, but the editor's notes are worthless. In 1864 Major R.G. Macgregor published an almost complete translation of the Anthology, a work whose stupendous industry and fidelity almost redeem the general mediocrity of the execution.

_Idylls and Epigrams_, by R. Garnett (1869, reprinted 1892 in the Cameo series), includes about 140 translations or imitations, with some original compositions in the same style. Recent translations (selections) are: J.W. Mackail, _Select Epigrams from the Greek Anthology_ (with text, introduction, notes, and prose translation), 1890, revised 1906, a most charming volume; Graham R. Tomson (Mrs Marriott Watson), _Selections from the Greek Anthology_ (1889); W.H.D.

Rouse, _Echo of Greek Song_ (1899); L.C. Perry, _From the Garden of h.e.l.las_ (New York, 1891); W.R. Paton, _Love Epigrams_ (1898). An agreeable little volume on the Anthology, by Lord Neaves, is one of Collins's series of _Ancient Cla.s.sics for Modern Readers_. The earl of Cromer, with all the cares of Egyptian administration upon him, found time to translate and publish an elegant volume of selections (1903).

Two critical contributions to the subject should be noticed, the Rev.

James Davies's essay on Epigrams in the _Quarterly Review_ (vol.

cxvii.), especially valuable for its lucid ill.u.s.tration of the distinction between Greek and Latin epigram; and the brilliant disquisition in J.A. Symonds's _Studies of the Greek Poets_ (1873; 3rd ed., 1893).

_Latin Anthology._--The _Latin Anthology_ is the appellation bestowed upon a collection of fugitive Latin verse, from the age of Ennius to about A.D. 1000, formed by Peter Burmann the Younger. Nothing corresponding to the Greek anthology is known to have existed among the Romans, though professional epigrammatists like Martial published their volumes on their own account, and detached sayings were excerpted from authors like Ennius and Publius Syrus, while the _Priapea_ were probably but one among many collections on special subjects. The first general collection of scattered pieces made by a modern scholar was Scaliger's _Catalecta veterum Poetarum_ (1573), succeeded by the more ample one of Pithoeus, _Epigrammata et Poemata e Codicibus et Lapidibus collecta_ (1590). Numerous additions, princ.i.p.ally from inscriptions, continued to be made, and in 1759-1773 Burmann digested the whole into his _Anthologia veterum Latinorum Epigrammatum et Poematum_. This, occasionally reprinted, was the standard edition until 1869, when Alexander Riese commenced a new and more critical recension, from which many pieces improperly inserted by Burmann are rejected, and his cla.s.sified arrangement is discarded for one according to the sources whence the poems have been derived. The first volume contains those found in MSS., in the order of the importance of these doc.u.ments; those furnished by inscriptions following. The first volume (in two parts) appeared in 1869-1870, a second edition of the first part in 1894, and the second volume, _Carmina Epigraphica_ (in two parts), in 1895-1897, edited by F. Bucheler. An _Anthologiae Latinae Supplementa_, in the same series, followed. Having been formed by scholars actuated by no aesthetic principles of selection, but solely intent on preserving everything they could find, the Latin anthology is much more heterogeneous than the Greek, and unspeakably inferior. The really beautiful poems of Petronius and Apuleius are more properly inserted in the collected editions of their writings, and more than half the remainder consists of the frigid conceits of pedantic professional exercises of grammarians of a very late period of the empire, relieved by an occasional gem, such as the apostrophe of the dying Hadrian to his spirit, or the epithalamium of Gallienus. The collection is also, for the most part, too recent in date, and too exclusively literary in character, to add much to our knowledge of cla.s.sical antiquity. The epitaphs are interesting, but the genuineness of many of them is very questionable. (R. G.)

ANTHON, CHARLES (1797-1867), American cla.s.sical scholar, was born in New York city on the 19th of November 1797. After graduating with honours at Columbia College in 1815, he began the study of law, and in 1819 was admitted to the bar, but never practised. In 1820 he was appointed a.s.sistant professor of Greek and Latin in his old college, full professor ten years later, and at the same time headmaster of the grammar school attached to the college, which post he held until 1864.

He died at New York on the 29th of July 1867. He produced for use in colleges and schools a large number of cla.s.sical works, which enjoyed great popularity, although his editions of cla.s.sical authors were by no means in favour with schoolmasters, owing to the large amount of a.s.sistance, especially translations, contained in the notes.

ANTHONY, SAINT, the first Christian monk, was born in Egypt about 250.

At the age of twenty he began to practise an ascetical life in the neighbourhood of his native place, and after fifteen years of this life he withdrew into solitude to a mountain by the Nile, called Pispir, now Der el Memun, opposite Arsinoe in the Fayum. Here he lived strictly enclosed in an old fort for twenty years. At last in the early years of the 4th century he emerged from his retreat and set himself to organize the monastic life of the crowds of monks who had followed him and taken up their abode in the caves around him. After a time, again in pursuit of more complete solitude, he withdrew to the mountain by the Red Sea, where now stands the monastery that bears his name (Der Mar Antonios).

Here he died about the middle of the 4th century. His _Life_ states that on two occasions he went to Alexandria, to strengthen the Christians in the Diocletian persecution and to preach against Arianism. Anthony is recognized as the first Christian monk and the first organizer and father of Christian monachism (see MONASTICISM). Certain letters and sermons are attributed to him, but their authenticity is more than doubtful. The monastic rule which bears his name was not written by him, but was compiled out of these writings and out of discourses and utterances put into his mouth in the _Life_ and the _Apophthegmata Patrum_. According to this rule live a number of Coptic Syrian and Armenian monks to this day. The chief source of information about St Anthony is the _Life_, attributed to St Athanasius. This attribution, as also the historical character of the book, and even the very existence of St Anthony, were questioned and denied by the sceptical criticism of thirty years ago; but such doubts are no longer entertained by critical scholars.

The Greek _Vita_ is among the works of St Athanasius; the almost contemporary Latin translation is among Rosweyd's _Vitae Patrum_ (Migne, _Patrol. Lat_. lxxiii.); an English translation is in the Athanasius volume of the "Nicene and Post-Nicene Library." Accounts of St Anthony are given by Card. Newman, _Church of the Fathers_ (Historical Sketches) and Alban Butler, _Lives of the Saints_ (Jan.

17). Discussions of the historical and critical questions raised will be found in E.C. Butler's _Lausiac History of Palladius_ (1898, 1904), Part I. pp. 197, 215-228; Part II. pp. ix.-xii. (E. C. B.)

ANTHONY OF PADUA, SAINT (1195-1231), the most celebrated of the followers of Saint Francis of a.s.sisi, was born at Lisbon on the 15th of August 1195. In his fifteenth year he entered the Augustinian order, and subsequently joined the Franciscans in 1220. He wished to devote himself to missionary labours in North Africa, but the ship in which he sailed was cast by a storm on the coast of Sicily, whence he made his way to Italy. He taught theology at Bologna, Toulouse, Montpellier and Padua, and won a great reputation as a preacher throughout Italy. He was the leader of the rigorous party in the Franciscan order against the mitigations introduced by the general Elias. His death took place at the convent of Ara Coeli, near Padua, on the 13th of June 1231. He was canonized by Gregory IX. in the following year, and his festival is kept on the 13th of June. He is regarded as the patron saint of Padua and of Portugal, and is appealed to by devout clients for finding lost objects.

The meagre accounts of his life which we possess have been supplemented by numerous popular legends, which represent him as a continuous worker of miracles, and describe his marvellous eloquence by pictures of fishes leaping out of the water to hear him. There are many confraternities established in his honour throughout Christendom, and the number of "pious" biographies devoted to him would fill many volumes.

The most trustworthy modern works are by A. Lepitre, _St Antoine de Padoue_ (Paris, 1902, in _Les Saints_ series: good bibliography; Eng.

trans. by Edith Guest, London, 1902), and by Leopold de Cherance, _St Antoine de Padoue_ (Paris, 1895; Eng. trans., London, 1896). His works, consisting of sermons and a mystical commentary on the Bible, were published in an appendix to those of St Francis, in the _Annales Minorum_ of Luke Wadding (Antwerp, 1623), and are also reproduced by Horoy, _Medii aevi bibliotheca patristica_ (1880, vi. pp. 555 et sqq.); see art. "Antonius von Padua" in Herzog-Hauck, _Realencyklopadie_.

ANTHONY, SUSAN BROWNELL (1820-1906), American reformer, was born at Adams, Ma.s.sachusetts, on the 15th of February 1820, the daughter of Quakers. Soon after her birth, her family moved to the state of New York, and after 1845 she lived in Rochester. She received her early education in a school maintained by her father for his own and neighbours' children, and from the time she was seventeen until she was thirty-two she taught in various schools. In the decade preceding the outbreak of the Civil War she took a prominent part in the anti-slavery and temperance movements in New York, organizing in 1852 the first woman's state temperance society in America, and in 1856 becoming the agent for New York state of the American Anti-slavery Society. After 1854 she devoted herself almost exclusively to the agitation for woman's rights, and became recognized as one of the ablest and most zealous advocates, both as a public speaker and as a writer, of the complete legal equality of the two s.e.xes. From 1868 to 1870 she was the proprietor of a weekly paper, _The Revolution_, published in New York, edited by Mrs Elizabeth Cady Stanton, and having for its motto, "The true republic--men, their rights and nothing more; women, their rights and nothing less." She was vice-president-at-large of the National Woman's Suffrage a.s.sociation from the date of its organization in 1869 until 1892, when she became president. For casting a vote in the presidential election of 1872, as, she a.s.serted, the Fourteenth Amendment to the Federal Const.i.tution ent.i.tled her to do, she was arrested and fined $100, but she never paid the fine. In collaboration with Mrs Elizabeth Cady Stanton, Mrs Matilda Joslyn Gage, and Mrs Ida Husted Harper, she published _The History of Woman Suffrage_ (4 vols., New York, 1884-1887). She died at Rochester, New York, on the 13th of March 1906.

See Mrs Ida Husted Harper's _Life and Work of Susan B. Anthony_ (3 vols., Indianapolis, 1898-1908).