posal concerning ecclesiastical property. After the
September Convention (1864) Antonelli organized the Legion of Antibes to
replace French troops in Rome, and in 1867 secured French aid against
Garibaldi's invasion of papal territory. Upon the reoccupation of Rome
by the French after Mentana, Antonelli again ruled supreme, but upon the
entry of the Italians in 1870 was obliged to restrict his activity to
the management of foreign relations. He wrote, with papal approval, the
letter requesting the Italians to occupy the Leonine city, and obtained
from the Italians payment of the Peter's pence (5,000,000 lire)
remaining in the papal exchequer, as well as 50,000 scudi--the first and
only instalment of the Italian allowance (subsequently fixed by the Law
of Guarantees, March 21, 1871) ever accepted by the Holy See. At
Antonelli's death the Vatican finances were found to be in disorder,
with a deficit of 45,000,000 lire. His personal fortune, accumulated
during office, was considerable, and was bequeathed almost entirely to
members of his family. To the Church he left little and to the pope only
a trifling souvenir. From 1850 until his death he interfered little in
affairs of dogma and church discipline, although he addressed to the
powers circulars enclosing the Syllabus (1864) and the acts of the
Vatican Council (1870). His activity was devoted almost exclusively to
the struggle between the papacy and the Italian _Risorgimento_, the
history of which is comprehensible only when the influence exercised by
his unscrupulous, grasping and sinister personality is fully taken into
account. He died on the 6th of November 1876.

ANTONELLO DA MESSINA (c. 1430-1479), Italian painter, was probably born
at Messina about the beginning of the 15th century, and laboured at his
art for some time in his native country. Happening to see at Naples a
painting in oil by Jan Van Eyck, belonging to Alphonso of Aragon, he was
struck by the peculiarity and value of the new method, and set out for
the Netherlands to acquire a knowledge of the process from Van Eyck's
disciples. He spent some time there in the prosecution of his art;
returned with his secret to Messina about 1465; probably visited Milan;
removed to Venice in 1472, where he painted for the Council of Ten; and
died there in the middle of February 1479 (see Venturi's article in
Thieme-Becker, _Kunstlerlexikon_, 1907). His style is remarkable for its
union--not always successful--of