vented in 1846 by Dr. Robinson.
It consists of four hollow cups fastened to the ends of two horizontal iron rods which cross each other at right angles, and which are supported on a vertical rod which turns freely. It looks like four spokes of a wheel, at right angles to each other, each having a cup on the end to catch the wind, and the axle in which they are fitted being set up on end. This axle or rod is connected with a set of wheels, which record the number of revolutions. It was found that the cups whirl round with about a third of the velocity of the wind, and so, from the number of the revolutions, it is easy to calculate the rate of the wind. Another kind of instrument is the pressure anemometer. The best known is Osier's. A brass plate is fastened by springs to a vane in such a way that the varying pressure of the wind on the plate causes the springs to yield in corresponding degrees, and this is recorded on a moving sheet of paper by a pencil fastened to the vane; another .pencil records the changes in the direction of the wind, and usually a third pencil, guided by a rain gauge, shows the amount of rain that has fallen.
Anemone (d-nem'd-ne), called also the wind-flower, is one of the most beautiful of our spring flowers. It grows wild in woodlands and pastures. When growing in the shade, the colors are pink, rose color or purple; in the sun, they appear white or slightly flushed with rose color. The flowers of the wild anemone are single, but they can be doubled by cultivation. At the approach of night or of rain they curl up and go to sleep. The plant is well fitted to be an early spring blossom, for its slender stem bends but does not break in strong blasts. Poetry and myth give many stories of this flower. The Greeks said Anemos, the Wind, sent forth the starry blossoms as heralds of spring. It was believed that only the wind could open the flower—
"The coy Anemone, that ne'er uncloses
Her lips, until they 're blown on by the wind."
It is called Windroschen (little wind-rose) by the Germans. It is widely distributed in Asia, prized by the Chinese, a great favorite in Europe, Canada and the United States.
Aneroid. See Barometer.
Angel'ico, Fra (the angelic), a Dominican monk and the most celebrated of early Italian painters, was so called because of the beauty of the angels and saints he painted. He never would take money for his pictures, and always prayed before commencing a picture. His Coronation of the Virgin is in the Louvre at Paris. His era is 1387-1455.
Angell, James Burrill, LL. D., American educator and diplomat, was born at Scituate, R. I., Jan-u a r y 27, 1829. A graduate of Brown University, he after-ward travel ed abroad and returned to take the professorship of modern languages at his alma mater. In 1866, he became president of the University of Vermont, and five years later exchanged the post for that of president of the University of Michi-igan, resigning the office in 1909. In 1880-81 he acted as United States minister to China, and then he negotiated for the government some important treaties. For a year (1897-98) he was American minister to Turkey; he has also served on international commissions, especially on those dealing with Canadian-American fisheries and deep water-ways.
Angelo, Michael (ml'ka-el an'ja-lo), an Italian sculptor, painter and architect, was born near Florence in 1475. (The great painter's name is frequently written as one word—"Michelangelo"; or, in Italian,"Mi-chelagnolo Buonarroti"). He began to draw as soon as he could use his hands, and his early paintings on the walls of the house where he lived as a boy were once shown. A great merchant prince, Lorenzo dei Medici, opened a garden in Florence filled with statues. Here Angelo went often to draw, and his first piece of sculpture, a copy in marble of a laughing faun, so pleased Lorenzo that he took the boy into his own house, treating him like a son. His Sleeping Cupid brought him to the notice of all Italy, and got him an invitation to come to Rome. Here, besides other statues, he carved his Pieta, the mourning Mary with the dead Christ in her lap, now in a chapel of St. Peter's. From now on his life was of the busiest. A huge block of marble, 18 feet long, lay outside the cathedral at Florence. One sculptor had hacked at it and half spoiled it, but out of it Angelo cut his statue of David, The pope gave him an order for a tomb, and Angelo's design was so magnificent that it was decided^ to rebuild St. Peter's as a fit covering for it, and Michael Angelo was made the architect. The Sistine chapel was to be ornamented, and in 20 months the great painter had covered the whole ceiling with the beautiful frescoes that may be seen there today. It was on the walls of this chapel that he afterward painted his Last Judgment. Michael Angelo was a poet, and wrote beautiful sonnets;
