the comforts of friendship, Jan. 22, 1800.

He was buried

in the chapel at Poplar, where, in the north aile there is a monument to his memory by Flaxman, and some encomiastic verses by Mr. Hayley, the truth of which may be questioned. Let us hear, however, what has been ad

vanced in his favour:

"Though Mr. Steevens," says an eulogist, "is known rather as a commentator, than as an original writer, yet, when the works which he illustrated, the learning, sagacity, taste, and general knowledge which he brought to the task, and the success which crowned his labours, are considered, it would be an act of injustice to refuse him a place among the first literary characters of the age. Mr. Steevens possessed that knowledge which qualified him, in a superior degree, for the illustration of Shakspeare; and without which the utmost critical acumen would have proved abortive. He had, in short, studied the age of Shakspeare, and had employed his persevering industry in becoming acquainted with the writings, manners, and laws of that period, as well as the provincial peculiarities, whether of language or custom, which prevailed in different parts of the kingdom, but more particularly in those where Shakspeare passed the early years of his life. This store of knowledge he was continually encreasing, by the acquisition of the rare and obsolete publications of a former age, which he spared no expence to obtain; while his critical sagacity and acute observation were employed incessantly in calling forth the hidden meanings of the great dramatic bard, from their covert; and consequently enlarging the display of his beauties.

"Mr. Steevens was a classical scholar of the first order. He was equally acquainted with the belles lettres of Europe. He had studied history, ancient and modern, but particularly that of his own country. He possessed a strong original genius, and an abundant wit; his imagination was of every colour, and his sentiments were enlivened with the most brilliant expressions. His colloquial powers surpassed those of other men. In argument he was uncommonly eloquent; and his eloquence was equally logical and animated. His descriptions were so true to nature, his figures were so finely sketched, of such curious selection and so happily grouped, that he might be considered as a speaking Hogarth. He would frequently, in his sportive and almost boyish humours, condescend to a degree of ribaldry but

little above O'Keefe with him, however, it lost all its coarseness, and assumed the air of classical vivacity. He was indeed too apt to catch the ridiculous, both in characters and things, and indulge an indiscreet animation wherever he found it. He scattered his wit and his bumour, his gibes and his jeers, too freely around him, and they were not lost for want of gathering. Mr. Steevens possessed a very handsome fortune, which he managed with discretion, and was enabled by it to gratify his wishes, which he did without any regard to expence, in forming his distinguished collections of classical learning, literary antiquity, and the arts connected with it. His generosity also was equal to his fortune; and though he was not seen to give eleemosynary sixpences to sturdy beggars or sweepers of the crossings, few persons distributed bank-notes with more liberality; and some of his acts of pecuniary kindness might be named, which could only proceed from a mind adorned with the noblest sentiments of humanity. He possessed all the grace of exterior accomplishment, acquired at a period when civility and politeness were characteristics of a gentleman."

Some other particulars of Mr. Steevens's character, and respecting the sale of his library, &c. may be seen in our authorities.'

STEFFANI (AGOSTINO), an eminent musical composer, was born in 1655, as the German authorities say, at Leipsic, but Handel and the Italians make him a native of Castello Franco, in the Venetian state. In his youth he was a chorister of St. Mark's, where his voice was so much admired by a German nobleman, that, obtaining his dismission, he took him to Munich in Bavaria, and had him educated, not only in music under the celebrated Bernabei, but in literature and theology sufficient, as was there thought, for priest's orders; in consequence of which, after ordination, he was distinguished by the title of abate, or abbot, which he retained until late in life, when he was elected bishop of Spiga. In 1674, at the age of nineteen, he published his "Psalms," in eight parts. He likewise published "Sonate a quattro Stromenti," but his chamber duets are the most celebrated of his works, and indeed, of that species of writing. In his little tract, "Della certezza Dei principii della Musica," he has treated the subject of musical

1 Nichols's Bowyer.-Boswell's Life of Johnson.-Dibdin's Bibliomania.Preface to vol. VII. of Murphy's Works.-Wool's Life of Warton, p. 398, &c.

imitation and expression, according to Martini, like a philosopher, and agreeable to mathematical principles. This work was so admired in Germany, that it was translated into the language of that country, and reprinted eight times. He composed several operas likewise between the years 1695 and 1699, for the court of Hanover, where he resided many years as maestro di capella, and these were afterwards translated into German, and performed to his music at Hamburgh. About 1724, after he had quitted the court of Hanover, where he is said to have resigned bis office in favour of Handel, he was elected president of the academy of ancient music at London. In 1729, he went into Italy to see his native country and relations, but returned next year to Hanover; and soon after having occasion to go to Francfort, he was seized with an indisposition, of which he died there in a few days, aged near eighty. There are, perhaps, no compositions more correct, or fugues in which the subjects are more pleasing, or answers and imitations more artful, than are to be found in the duets of Steffani, which, in a collection made for queen. Caroline, and now in the possession of his majesty, amount to near one hundred.1

STELLA (JAMES), an eminent painter, the son of Francis Stella, a Fleming, was born in 1596 at Lyons, where his father had settled on his return from Italy. Although he was but nine years old at his father's death, the latter had successfully initiated him in the principles of the art, which he afterwards improved in Italy. At the age of twenty, being at Florence, the great duke Cosmo de Medicis, perceiving him to be a man of genius, assigned him lodgings and a pension equal to that of Callot, who was there at the same time; and here, during a residence of seven years, he exhibited many proofs of his skill in painting, designing, and engraving. Thence he went to Rome, where he spent eleven years, chiefly in studying the antique sculptures, and Raphael's paintings. Having acquired a good taste, as well as a great reputation, in Rome, he resolved to return to his own country; intending, however, to pass thence into the service of the king of Spain, who had invited him more than once. He took Milan in his way to France; and cardinal Albornos offered him the direction of the academy of painting in that city, which he refused. When he ar

1 Burney's list. of Music ;-but more fully in Hawkins's.

rived in Paris, and was preparing for Spain, cardinal Richelieu detained him, and presented him to the king, who assigned him a good pension and lodgings in the Louvre. He gave such satisfaction here, that he was honoured with the order of St Michael, and painted several large pictures for the king, by whose command the greatest part of them were sent to Madrid. Being very laborious, he spent the winter-evenings in designing the histories of the Holy Scriptures, country sports, and children's plays, which were engraved, and make a large volume. He also drew the designs of the frontispieces to several books of the Louvre impression; and various antique ornaments, together with a frieze of Julio Romano, which he brought out of Italy. He died of a consumption in 1647. This painter had a fine genius, and all his productions were wonderfully easy. His talent was rather gay than terrible his invention, however, noble, and his design in a good style. His models were evidently Raphael and Poussin. He was upon the whole an excellent painter, although somewhat of a mannerist. Sir Robert Strange has a fine engraving from a "Holy Family" by this artist.'

STENO, or STENONIUS (NICHOLAS), a Danish anatomist, was born at Copenhagen, Jan. 10, 1638. His father was a Lutheran, and goldsmith to Christian IV. He himself studied under Bartholin, who considered him as one of the best of his pupils. To complete his knowledge he travelled in Germany, Holland, France, and Italy, and in the latter place obtained a pension from Ferdinand II. grand duke of Tuscany. In 1669 he abjured the protestant persuasion, having been nearly converted before by Bossuet at Paris. Christian V. who wished to fix him at Copenhagen, made him professor of anatomy, and gave him permission to exercise the religion he had adopted. his change produced disagreeable effects in his own country, and he returned to Italy: where, after a time, he became an ecclesiastic, and was named by the pope his apostolical vicar for the North, with the title of bishop of Titiopolis in Greece. He became now a missionary in Germany, and died at Swerin in 1686. He made several discoveries in anatomy, and his works that are extant are chiefly on medical subjects, as 1. "Elementorum Myologiæ Specimen," Leyden, 1667, 12mo. 2. "A Treatise on

1 Argenville, vol. IV.-Pilkington.-Strutt.

But

1

the Anatomy of the Brain," in Latin, Paris, 1669; and Leyden, 1671. He also wrote a part of the Anatomical Exposition of Winslow, to whom he was great uncle.'

STENWYCK, or STEENWYCK (HENRY), called THE OLD, was born at Steenwyck, in 1550, and was the disciple of John de Vries, who excelled in painting architecture and perspective. In imitation of the style of his master, Stenwyck chose the same subjects; but surpassed him and all his contemporaries, in the truth, neatuess, transparence, and delicacy, of his pictures. His subjects were the insides of superb churches and convents, of Gothic architecture, and generally views of them by night, when they were illuminated by flambeaux, tapers, or a number of candles fixed in magnificent lustres, or sconces. He was a thorough master of the true principles of the chiaroscuro, and distributed his lights and shadows with such judgment, as to produce the most astonishing effects; but as he was not expert at designing figures, those that appear in any of his compositions were inserted by Brueghel, Van Tulden, and other eminent artists. The genuine pictures of this master, who died in 1603, aged fifty-three, are extremely scarce, and very highly prized in every part of Europe.

9

STENWYCK, or STEENWYCK (HENRY), the YOUNG, son of the preceding, was born about 1589, and, by studying the works of his father from his infancy, and also receiving excellent directions from him, he adopted the same manner and style; and, by some very competent judges, was thought to have often equalled, if not surpassed, his father. Vandyck, who admired his works, introduced him to the court of king Charles I. where he met with such a degree of encouragement as was due to his extraordinary talents, and found employment in England for several years. His usual subjects were the insides of churches and grand edifices; but at last he quitted the dark manner, which he had originally acquired by imitating the manner of his father. He sometimes painted the back grounds of Vandyck's portraits, as often as they required ornamental architecture; and it is the portrait of the younger Stenwyck which was painted by Vandyck, and perpetuated by his hand among the distinguished artists of his time. He died at London, but when is not known; and his widow, who

1 Fabroni Vitæ Italorum.-Life by Manni, published in 1775.-Eloy, Dict. Hist. de Medecine.