n. ii. 8). (5) Son of Jehu,
of the posterity of Judah (1 Chron. ii. 38). (6) A prophet in the reign of
Asa, king of Judah (2 Chron. xv. 1). (7) Two sons of Jehoshaphat, king of
Judah (2 Chron. xxi. 2). (8) King of Judah, also called Ahaziah and
Jehoahaz, son of Jehoram (2 Chron. xxi. 17; xxii. 1, 6). (9) The son of
Jeroham, and (10) the son of Obed, were made "captains of hundreds" by
Jehoiada the priest (2 Chron. xxiii. 1). (11) Son of Hilkiah and
grandfather of Ezra the Scribe (Ezra vii. 1; Neh. vii. 7, viii. 7, x. 2).
(12) Son of Maaseiah, one of those who under the commission of Artaxerxes
restored the wall of Jerusalem (Neh. iii. 23). (13) Son of Hoshaiah, an
opponent of the prophet Jeremiah (Jer. xliii. 2). (14) One of the
companions in captivity of the prophet Daniel, called Abednego by
Nebuchadrezzar, by whom with two companions he was cast into a "burning
fiery furnace" for refusing to worship the golden image set up by that
monarch (Dan. i. 6, iii. 8-30).

AZAY-LE-RIDEAU, a town of western France, in the department of
Indre-et-Loire, on the Indre, 16 m. S.W. of Tours by rail. Pop. (1906)
1453. The town has a fine Renaissance chateau, well restored in modern
times, with good collections of furniture and pictures.

AZEGLIO, MASSIMO TAPARELLI, MARQUIS D' (1798-1866), Italian statesman and
author, was born at Turin in October 1798, descended from an ancient and
noble Piedmontese family. His father, Cesare d'Azeglio, was an officer in
the Piedmontese army and held a high position at court; on the return of
Pope [v.03 p.0080] Pius VII. to Rome after the fall of Napoleon, Cesare
d'Azeglio was sent as special envoy to the Vatican, and he took his son,
then sixteen years of age, with him as an extra attache. Young Massimo was
given a commission in a cavalry regiment, which he soon relinquished on
account of his health. During his residence in Rome he had acquired a love
for art and music, and he now determined to become a painter, to the horror
of his family, who belonged to the stiff and narrow Piedmontese
aristocracy. His father reluctantly consented, and Massimo settled in Rome,
devoting himself to art. He led an abstemious life, maintaining himself by
his painting for several years. But he was constantly meditating on the
political state of Italy. In 1830 he returned to Turin, and after his
father's death in 1831 removed to Milan. There he remained for twelve
years, moving in the literary and artistic circles of th