A N G 
Propagation and Culture. All the forts may be increafed 
by feeds. The common angelica delights to grow in a 
very moift foil; the feeds of this plant fliould be fown 
foon after they are ripe; for, if they are kept until the 
fpring, feldom one leed in forty will grow. When the 
plants are come up about lix inches high, they fliould be 
tranfplanted at a great difiance, for their leaves extend 
very wide. The belt place for this plant is upon the lides 
•of ditches, or pools of water; where, being planted about 
three feet afunder, they will thrive exceedingly. The fe- 
cond year after lowing, they-will fhoot up to flower; there¬ 
fore, if you have a mind to continue their roots, you fliould 
cut down thele Items in May, which will occafion their 
putting out heads from the lides of the roots, whereby 
they may be continued for three or four years ; whereas, 
if they had been permitted to feed, their roots would pe- 
rilli foon after; where it is cultivated for the feeds, there 
fliould be new plantations annually made to fupply the 
places of thole which die, for, wdien they are permitted to 
feed, they lafi but two years. See Hagopodium, Ci-IjE- 
rophvi.lum, Cicuta, Laserpitium, Selinum, and 
Smyrnium. 
Angelica-tree. See Arai.ia. 
ANGE'LICAL, adj. [angelicus , Lat.] Refembling an¬ 
gels.—It difcovereth unto us the glorious works of God, 
and carrieth up, with an angelical fwiftnefs, our eyes, that 
our mind, being informed of his vifible marvels, may con¬ 
tinually travel upward. Raleigh. Partaking of the nature 
of angels : 
Others, more mild, 
Retreated in a filent valley, fing 
With notes angelical to many a harp 
Their own heroic deeds, and haplefs fall 
By doom of battle. Milton. 
Belonging to angels ; Anting the nature or dignity of an¬ 
gels.— It may be encouragement to conlider the pleafure 
of fpeculations, which doravilh and fublime the thoughts 
with more clear angelical contentments. Wilkins. 
AN GE'LIC ALNESS, /. The quality of being angeli¬ 
cal ; refemblance of angels ; excellence more than human. 
ANGE'LICS, or Angelici, in cluirch-hifiory, an an¬ 
cient left of heretics, fuppofed by fome to have got this 
appellation for their exceilive veneration of angels ; and 
by others, from their maintaining that the world was crea¬ 
ted by angels. 
Angei.ics is alfo the name of an order of knights, in- 
ftituted in 1191, by Angelus Flavius Gommenus, emperor 
of Conftantinople. 
Angei.ics is alfo a congregation of nuns, founded at 
Milan, in 1534, by Louifa Torelli, countefs of Guaftalla. 
They obferve the rule of St. Auguftine. 
- AN'GFILITES, in ecclelialtical hifiory, a fed! of Chrif- 
tian heretics, in the reign of the emperor Anafiafius, and 
the pontificate of Symmachus, about the year 494, fo 
called from Angelium, a place in tiie city of Alexandria, 
where they held their firft meetings. They were called 
likewife Severity, from one Severns, who was the head of 
their fed!; as alfo Thcodojians, from one among them named 
Theodofius, whom they made pope at Alexandria. They 
held that the perfons of the Trinity are not the fame; 
that none of them exifts of himfelf, and of his own na¬ 
ture ; but that there is a common god or deity exifting 
in them all, and that each is God by a participation of 
this deity. 
AN'GELO (Michael). There were five celebrated 
Italian painters of this name, who fiourilhed in the 16th 
and 17 th centuries; but the two moft diftinguifhed of them 
are thefe. Firft, Michael Angelo Buonaroti, who 
was a moft incomparable painter, foulptor, and architect, 
born in 1474, in the territory of Arezzi, in Tufcany, He 
was the dilciple of Dominico Ghirlandaio ; and e red ted'an 
academy of painting and fculpture in Florence, under the 
protection of Lorenzo di Medicis; which, upon the trou¬ 
bles of that houfe, was obliged to remove to Bologna. 
Vol. L No. 44. 
A N G , 697 
About this time he made an image of Cupid, which he 
carried to Rome, broke off one of its arms, and buried the 
image in a place he knew would foon be dug up, keeping 
the arm by him. It was accordingly found, and fold to 
cardinal St. Gregory for an antique ; until Michael, to 
their confulion and his own credit, difeovered his artifice, 
and confirmed it bv the deficient arm which he produced. 
His reputation was fo great at Rome, that he was employ¬ 
ed by pope Sixtus to paint his chapel; and by the com¬ 
mand of pope Paul III. executed his moft celebrated piece 
The lajl Judgment. He has the’character of being the 
greateft defigner that ever lived; and it is univerfally al¬ 
lowed that no painter ever underftood anatomy fo v eil. 
He died immenfely rich at Rome, in 1564. In the begin¬ 
ning of the prefent century, the fenator Buonaroti caufed 
the vault to be opened at Florence in which his body was 
depofited ; it was found perfect; and the drefs of green 
velvet, and even the cap and flippers, in which lie was bu¬ 
ried, were entire. He appeared to have been a (mall well- 
let man, with a countenance of great feverily. 
Tlie late prefident of the Royal Academy carried his 
veneration for this great man fo far, that he tiled to feal 
his letters with his head ; and, in the picture which lie- 
painted of himfelf for the Royal Academy, lias reprefent- 
ed himfelf Handing near a buff of Michael Angelo. So 
imprelfed was Sir Joftnia Reynolds with the tranfeendent 
powers of Michael Angelo, that in the lafi fpeech, which, 
unfortunately for the lovers of art, he delivered as prefi¬ 
dent of the Royal Academy, he thus concludes : “ Gen¬ 
tlemen, I reflect, not without vanity, that thefe difeourfes 
bear teftimony of my admiration of this truly divine man; 
and I fliould defire, that the lafi words which 1 fheuld 
pronounce in this academy, and from this place, might be 
the name of Michael Angelo, Michael Angelo!” 
One of the great ornaments of the prefent Englifh fchool 
of painting, who has fiudied the works of this fublime ar- 
tift with the greateft attention, and who has imitated them 
witli the greateft fuccefs, (Mr. Fufeli,) gives the follow¬ 
ing character of his matter and his model. “ Sublimity 
of conception, grandeur of form, and breadth of manner, 
are the elements of Michael Angelo’s ftyle. By thefe 
principles he feleCted or rejected the objects of imitation. 
As painter, as fculptor, as architect, lie attempted, and 
above any other man fucceeded, to unite magnificence of 
plan and endlefs variety of lubordinate parts with the 
utmoft fimplicity and breadth. His line is uniformly grand. 
Character and beauty were admitted only as far as they 
could be made fubfervieot to grandeur. The child, the 
female, meannefs, deformity, were by him indiferiminately 
flumped with grandeur. A beggar rofe from his hand the 
patriarch of poverty; the hump of his dwarf is imprefled 
with dignity ; his women are moulds of generation ; his 
infants teem with the man ; his men are a race of giants. 
This is the ‘ terribil via’ hinted at by Agoftino Caracci, 
but perhaps as little underftood by him asby Vafari, his 
blind adorer. To give the appearance of perfeCt eaie to 
the moft perplexing difficulty, was the exclufive power of 
Michael Angelo. He lias embodied fentiment in the mo¬ 
numents of St. Lorenzo, and in the chapel of Sixtus tra¬ 
ced the characteriltic line of every paffion that fways the 
human race, without defeending to individual features, 
the face of Biagio Cefena only excepted. The fabric of 
St. Peter, fcattered into an infinity of jarring parts by Bra- 
mante and his followers, he concentrated, fufpended the 
cupola, and to the moft complex gave the air of the moft 
fimple of all edifices. Though as a fculptor he expreffed 
the character of fiefh more perfectly than all that went be¬ 
fore or came after him, yet he never fubmitted to copy an 
individual ; whilft in painting he contented himfelf with 
a negative colour, and as the painter of mankind rejected 
all meretricious ornament. Such was Michael Angelo as 
an artift. Sometimes he no doubt deviated from his prin¬ 
ciples, but it has been his fate to have had beauties and 
faults aferibed to him which belonged only to his fervile 
copyifts or unlkilful imitators.” 
8 P Secondly, 
