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VEN flight of the pope he remained at Rome, but refused a seat in the constituent assembly. In 1848 he published a pamphlet entitled "The Sicilian Question," dedicated to Ruggiero Settimo, in favour of the administrative independence of Sicily, to show, he says, "that the religion of which I am an unworthy standard-bearer does not destroy patriotism, but renders it more generous and more pure." After the revolution of Rome he removed to Montpelier, and had the mortification of seeing one of his most effective discourses—a funeral sermon for the victims of the revolution of Vienna—placed in the Index. About two years afterwards he went to reside in Paris, where among many other works he published (1853) a discourse entitled "La raison Philosophique et la raison Catholique," and another series of discourses on the miracles of Jesus Christ. In 1857 he published "Le Pouvoir politique Chrétien," a collection of sermons preached at the Tuileries, which excited great attention when delivered, containing an unhesitating laudation of the imperial régime, which appeared to contrast strangely with the earlier views of the preacher. He died on the 3rd August, 1861—F. M. W.  VENTURE,, a celebrated oriental scholar and diplomatist, was the son of a French consul in the Levant, and was born in 1742. He was educated at the college of Louis the Great in Paris, and attained such extraordinary proficiency in the Asiatic and Turkish languages, that at the age of fifteen he was sent to Constantinople to complete his oriental studies in the palace of the French ambassador. He was employed as an interpreter both in Syria and Egypt, and spent six years in the latter country, rendering important services to the political and commercial interests of France. In 1777 he accompanied Baron De Tott in his visit of inspection to the French establishments on the coasts of the Levant and Barbary. He was sent a second time to Egypt in 1778, and in the following year went to Tunis, where he remained four years. He was recalled to Paris in 1784, and appointed joint secretary-interpreter of oriental languages. He was sent to Algiers in 1788, and to Constantinople in 1793, on important missions; and in 1795 was appointed professor of Turkish in the school of modern oriental languages at Paris. Venture now expected to spend the remainder of his life in learned leisure, but his great reputation induced Bonaparte to appoint him first interpreter to the expedition to Egypt in 1798. He died of an attack of dysentery during the retreat from Acre. Venture was the author of a "Dictionnaire Berbére et Francais," folio, and of various publications on Egypt, &c.—J. T.  VENUSINUS,, a learned Dane, was born in the island of Huena. His first settlement was as one of the ministers of the church of the Holy Ghost at Copenhagen, holding at the same time a professorship of natural philosophy in the university. He was afterwards made professor of eloquence and history. On the death of the celebrated Nicholas Cragius the king, Christian IV., gave him the place of historiographer royal. In 1677 he was chosen president of the Academy of Sora, but he died in the January of the following year. Venusinus was reckoned one of the most learned and judicious writers that Denmark had produced. He wrote a work exposing the fabulous elements in history, entitled "De fabulâ quæ pro historia vendidatur," 1605; besides dissertations "De beatitate hominis," 1602; "In Timæum Platonis," 1602 and 1603; "De historia," 1604; and "De Comparandâ, Eloquentia," 1606. He also translated the De Imitatione of A Kempis into Danish, 1599, 1626, and 1675.—R. M., A.  VENUSTI,, one of Michelangelo's scholars, was born at Mantua early in the sixteenth century, and died at Florence before 1585. He studied painting under Perino del Vaga. In the museum at Naples is a fine copy of Michelangelo's Last Judgment by Venusti, executed under the great Florentine's superintendence.—R. N. W.  VERARDO,, was born in 1440 at Cesena, a small town in the Romagna. He was chamberlain and secretary under the popes Paul II., Sixtus IV., Innocent VIII., and Alexander VI.; and died on the 13th December, 1500. He was author of a curious book entitled "Historia Caroli Verardi de urbe Granata, singulari virtute felicibusque auspiciis Ferdinandi et Hellisabes Hispaniarum Regis et Reginæ expugnata," Rome, 1493. This edition, which is illustrated with some very beautiful figures, is very rare. The "Historia" was reprinted at Basle in 1494 and 1533; and is also to be found in the second volume of Andrew Schott's Hispania Illustrata, Frankfort, 1603. It is a dramatized narrative in twenty-three scenes; and, having been written for the amusement of the Romans, was frequently represented in the mansions of the great. The prologue, in iambics, was composed by Bartolino Verardo, nephew of the author.—R. M., A.  * VERBOECKHOVEN,, an eminent Belgian painter, was born at Warneton, West Flanders, in 1799. M. Verboeckhoven has painted a few portraits, including some of distinguished artists. He has also modelled some figures and rilievi; but these are mere by-play. His true avocation is that of an animal painter; his specialty cattle and sheep, in which line he has long been regarded as the first in Europe. He has painted a great number of pictures, many of which are of large dimensions, and full of figures: in some instances the animals are the size of life. Cattle markets and fairs, farm-yards, meadows with sheep and cattle, are frequent subjects of his pencil. After completing, three or four years ago, one of the largest and most elaborate of his paintings, "Cattle leaving a Farm-yard," M. Verboeckhoven unhappily lost his sight. He is a knight of the order of Leopold and of the legion of honour, and was long president of the administration of the Museum.—His brother and pupil, *, born at Warneton in 1802, also practised at first as an animal painter, but is best known as a marine painter.—J. T—e.  * VERDI,, the musician, was born in 1813 at Le Roncole, a little village near Busseto, in the duchy of Parma. In 1826 he began his career as a composer, but did not become generally known till 1839, when he produced his grand opera, "Uberto di San Bonifacio," at the Scala in Milan. His only comic opera, "Il Finto Stanislao," was brought out in 1840. After this nothing of his appeared till 1842, when "Nabucodonosor" was given with great success, and very widely extended his fame. It was reproduced in London under the name of "Nino," and afterwards under the name of "Zora," the title being changed on account of English scruples against the introduction of a biblical character upon the stage. "I Lombardi," of which little is known in England besides the immensely popular romance La mia Letitia, was brought out in 1843. All these were first performed in Milan, but Verdi was now engaged to compose for Venice, where in 1844 he produced "Ernani" (the libretto adapted from Victor Hugo's Hernandi). This opera was played at her Majesty's theatre in the following year, it being the first complete work of the composer that was given in London, and its reception at once stamped the great popularity of Verdi in this country, which every succeeding production has served to augment. "I Duc Foscari" (a drama adapted from Byron's tragedy) was first played in 1845 at Rome. In 1846 he gave "Giovanna d'Arco" at Milan, "Alzira" at Naples, and "Attila" at Venice. Scarcely less fruitful was 1847, during which year he brought out "Macbeth" (adapted from Shakspeare) at Florence; "I Masnadieri," (adapted from Die Räuber of Schiller) at her Majesty's theatre in London; and "Jerusalem," a French version, with slight modifications and additions, of "I Lombardi," at the Acadèmie Royale in Paris. From Paris he went in 1848 to Trieste, to bring out "Il Corsaro," and thence to Rome, where was performed "La Battaglia di Legnano," afterwards entitled "L'Assedio di Arlem." "Luisa Miller" (adapted from Schiller's Kabale und Liebe) was first played at Naples in 1849. In 1850 "Stiffelio" was produced at Milan, with little success as compared with Verdi's other operas. He made ample amends to his reputation with "Rigoletto" (adapted from Le Roi s'amuse, of Hugo), which was given in Venice in 1851; in 1853 it was played in London, and has kept the stage here ever since. Still more brilliant and still more extended has been the success of "Il Trovatore" (adapted from a Spanish tragedy of Antonio Garcia Guttierez), which was produced at Rome in 1852. "La Traviata" (adapted from La Dame aux Camélias, of A. Dumas, jun.), has had, in this country at least, a success scarcely inferior to that of the two previous operas. In 1853 "Stiffelio" was reproduced at Florence with some trifling changes, under the name of "Aroldo," and after this Verdi came not again before the public until 1855, when he brought out an original French opera, "Les Vespres Siciliennes," at the Académie Impériale, being present in Paris to superintend its rehearsals. In 1856 "Simone Boccanegra" was given with little effect at Venice. "Un Ballo in Maschera" (adapted from Scribe's Gustavo III., as set by Auber), was Verdi's next opera. The reception of this work in Italy was without parallel in dramatic history. The immense enthusiasm it excited was, however, due in great measure to the political circumstances of the time. Verdi, who had 