Page:Encyclopædia Britannica, Ninth Edition, v. 2.djvu/152

Rh 138 A N T A N- T various subjects, many of them being apparently a moralis ing interpretation of the poems of Homer. We can base our estimate of Antisthenes only on the sayings attributed to him, and, above all, to his follower Diogenes. The great age of Cynicism in Greece is the century from 400 to 300 B.C. Diogenes, who succeeded Antisthenes, carried the exaggeration still further, and yet, in the story of the education of the children of Xeniades -by him, there are traits which anticipate the educational theory of Rabelais and Rousseau. Crates, who succeeded Diogenes, voluntarily abandoned his possessions ; and Hipparchia was so enamoured of Cynical life, that she refused her wealthy suitors, and married the landless and ill-favoured Crates. They were both notable features in the school, which includes the names of Monimus (a slave who was attracted by the fame of Diogenes), Onesicritus, Metrocles, and Menippus. In Menedemus the Cynical succession disappears, perhaps combining with the Megaric. For more than three centuries the name continued a tradi tion, when in the 1st and 2d centuries of the Christian era it was revived. The majority of the Cynics of that date were a worthless set of vagabonds, who used the garb and the name as a cover for all iniquities. They may be compared to the mendicant orders in the worst days of their corruption. But amongst them two or three names have a brighter light thrown upon them. Demetrius is lauded by his contemporary Seneca, and about a hun dred years later Demonax is enthusiastically presented to the world by Lucian. There is much of the old Cynic in these descriptions ; biit the men were more eclectic, and had in some respects followed the advance of the general culture. Cynicism lasted for a few centuries longer, but never contributed anything to philosophy properly so called. It was a mode of life rather than a theory ; and. it sank before the monasticism and asceticism which marked certain directions in the history of the Christian church. (w. w.) ANTITHESIS (&amp;lt;W0rts) is, in rhetoric, the bringing out of a contrast in the meaning by an obvious contrast in the expression, as in the following : &quot; When there is need of silence, you speak, and when there is need of speech, you are dumb ; when present, you wish to be absent, and when absent, you desire to be present ; in peace you are for war, and in war you long for peace ; in council you descant on bravery, and in the battle you tremble.&quot; Anti thesis is sometimes double or alternate, as in the appeal of Augustus : &quot; Listen, young men, to an old man to whom old men .were glad to listen when he was young.&quot; The force of the antithesis is increased if the words on which the beat of the contrast falls are alliterative, or otherwise similar in sound, as &quot; The fairest but the falsest of her sex.&quot; There is nothing that gives to expres sion greater point and vivacity than a judicious employ ment of this figure ; but, on the other hand, there is no thing more tedious and trivial than a pseudo-antithetical style. Among writers in our own language who have made the most abundant use of antithesis, are Pope, Young, Johnson, and Gibbon ; and, to an egregious extent, Lily in his Euphues. It is, however, a much more common feature in French than in English ; while in German, wij^ some striking exceptions, it is conspicuous by its absence. ANTITYPE (di/TiYi TTos) denotes a type or figure corre sponding to some other type. It is in this sense of copy or likeness that the word occurs in the New Testament (Heb. ix. 24; 1 Peter iii. 21). By theological writers antitype is employed to denote the reality of which a type is the prophetic symbol. Thus, Christ is the antitype of many of the types of the Jewish ritual. By the fathers of the Greek Church antitype is employed as a designation of the bread and wine in the sacrament of the Lord s supper. ANTIUM, a city on the Italian coast, about 33 miles S. from Rome. Its site is now occupied by the village Porto d Anzio, or d Anzo. Founded, it is supposed, by Pelasgians, it became connected with the Latin League, and about the beginning of the 4th century before Christ passed into the hands of the Volsci. As the chief city of this people it continued, in spite of repeated defeat, to carry on, with intervals of peace, a pertinacious war against the Romans till the year 338 B.C., when it was finally sub dued, and garrisoned by a Roman colony, its ships being destroyed, and their rostra or beaks sent to ornament the speaker s platform in the Forum. Towards the close of the republic it was again a beautiful and flourishing town, greatly resorted to by the wealthier Romans. There was a magnificent temple to Fortune, and others to ^Esculapius, to Venus, and to Apollo. It was patronised by the em peror Augustus, and became the birth-place of Caligula and Nero. The latter enriched it with a fine artificial harbour, and it was afterwards indebted to Antoninus Pius for an aqueduct. It seems to have fallen into decay about tho 5th century ; and the attempts made in the 17th by Innocent XII. to restore it had only a temporary suc cess. It is now the property of the Borghese family, and is a favourite bathing-place in the early summer months. Among the ancient remains that have been discovered here are the Apollo Belvedere, and the Borghese or Fighting Gladiator. ANTIVARI, or BAR, a town of Turkey, in Albania, situated on the Adriatic Sea, 18 miles N.W. of Scutari. It possesses a castle that is now of no value as a fortifica tion, and a good harbour for vessels of light draught, which accommodates a considerable trade in the products of Albania. It is the seat of a Roman Catholic bishop. Population about 6000. ANTONELLO DA MESSINA. Of the events of this celebrated painter s life we know little more than that he was probably born at Messina about the beginning of the 15th century; lived and laboured at his art for some time in his native country; happening to see at Naples a paint ing in oil by Jan Van Eyck, belonging to Alfonso of Aragon, was struck by the peculiarity and value of the new method ; set out for the Netherlands to acquire a knowledge of the process from Van Eyck s disciples; spent some time there in the prosecution of his art ; returned with his secret to Messina about 1465; probably visited Milan; removed to Venice in 1472, where he painted for the Council of Ten; and died there about 1493. His style is remarkable for its union not always successful of Italian simplicity with Flemish love of detail. His sub jects are freqiiently single figures, upon the complete representation of which he bestows his utmost skill. There are still extant besides a number more or less dubious twenty authentic productions of his pencil, consisting of &quot;Ecce Homos,&quot; Madonnas, saints, and half-length portraits, many of them painted on wood. The finest of all is said to be the nameless picture of a man in the Berlin Museum. Antonello exercised an important influence on Italian painting, not only by the introduction of the Flemish invention, but also by the transmission of Flemish ten dencies. ANTONIDES, HANS [JAN VAN DKR GOES], a Dutch poet, was born April 3, 1647, at Goes, in Zealand, of poor but respectable parents. They removed to Amsterdam when he was about four years old, and he there enjoyed the tuition of Hadrian Junius, and James Cocceius. He was only nineteen when he attracted attention by his tragedy, Trazil, of overrompelt Sina Trazil, or the Con quest of China. The venerable Vondel called him his son, and said he would have been proud of being the author of his Bellone aan Band. His parents designed him for an