and Theodoret, which were condensed by Cassiodorus, and published as the celebrated Historia Tripartita, in twelve books. He also translated Epiphanius' (of Cyprus) commentary on Solomon's Song, Didymus on the Proverbs and Catholic Epistles, and especially the Codex Encyclicus, a collection of synodal letters to the Emperor Leo I., in defence of the synod of Chalcedon. His version of the three historians is lost.—S. D.
EPISCOPIUS, Simon, properly Biscop, a celebrated Arminian theologian, was born at Amsterdam in 1583 of pious parents, and repaired in 1600 to the university of Leyden, where he took his degree in arts in 1606. In theology his two principal teachers were James Arminius, and his determined opponent Francis Gomarus, and he took the side of the former with decision in opposition to the Calvinistic system of the national church of Holland. This attachment to the new doctrines stood in the way of his advancement for several years. At Leyden, at Amsterdam, and at Franeker, he felt the effects of the hostility of the orthodox party, and it was not till 1610 that he obtained a settlement in the church, as pastor of Bleyzwick, a village near Rotterdam. In 1611 he was one of six remonstrants who took part in the fruitless conference of the Hague with five of the orthodox divines, and from the activity and talent which he displayed on that occasion his name became one of the most famous and feared of the new school. When Gomarus soon after resigned his chair at Leyden, Episcopius was named his successor, and for some time, notwithstanding the Calvinistic views of his colleague Polyander, he was allowed to enjoy considerable repose in this influential office. But such a man in such a position was a dangerous enemy to the orthodoxy of the church, and his troubles kept pace with the growth of his influence and the spread of the hated doctrines, of which, since the death of Arminius in 1609, he had become the foremost champion. At the synod of Dort in 1618 he appeared at the head of twelve other Arminian divines to plead in defence of the new opinions; but ail his eloquence and ability could not avert the solemn condemnation of the synod, or prevent sentence of banishment being passed upon him and the other twelve. From this time till 1626 he remained in exile, sometimes in Brabant, and sometimes in France, and occupied himself with the preparation of several works, the chief of which were the "Confessio seu declaratio sententiæ pastorum qui in fœderato Belgio Remonstrantes vocantur, super præcipuis articulis religionis Christianæ"—which was published in 1622, in name of all the divines of the Arminian party—and the "Paraphrasis et observationes in viii. ix. x. et xi. capita epistolæ ad Romanos." In 1626 he returned home, and settled for several years as pastor of a remonstrant congregation at Rotterdam. In 1634 he was appointed professor of the Arminian college of Amsterdam, and there he continued till his death in 1643. It was in this last office that he prepared his two most important works, those in which the principles of Arminianism attained their fullest development, and assumed their final form as a dogmatic system—namely, his "Institutiones Theologicæ," and his "Responsio ad quæstiones theologicas lxiv. ipsi a discipulis in privato disputationum collegio Amstelodami propositas." The former work was left unfinished, but the latter serves as a supplement to it. In these works Arminianism is carried far beyond the point originally reached by Arminius himself. It had ceased to be a mere modification of Calvinism, and had become an entirely distinct and independent system of rationalizing theology, a sort of middle term between the evangelical doctrine of the reformers, and the anti-evangelical Rationalism of later times. The collected works of Episcopius were published by Stephen Curcellæns and Arnold Polenbrugh, 1650-65, and his life by Philip Limborch was published in Latin in 1701.—P. L.
EPPENDORF, Heinrich von. The date of his birth is not recorded; he died in 1553. We first find him at Strasburg studying law. From Strasburg he went to Basle, where he had a squabble with Erasmus, to which accident is to be ascribed his being mentioned in literary history. He accused Erasmus of injuring his reputation with the duke of Saxony. A reconciliation was proposed, and one of the terms insisted on by Eppendorf was, that Erasmus should dedicate to him a book which he was then publishing, and should write to the duke to remove the unfavourable impressions he had created. Erasmus said he would write to the duke's chancellor. Eppendorf dissented, and the old wound bled anew. Eppendorf returned to Strasburg, where he employed himself in publishing tracts against Erasmus, and executing translations for the booksellers.—J. A., D.
EPPONINA, a celebrated Gallic woman, died in a.d. 78. Her husband, Julius Sabinus, having gained over the Ligones to his purpose, attempted to deliver Gaul from the Roman yoke. After sustaining a signal defeat, he hid himself with two domestics in a subterraneous retreat, where he remained nine years. The frequent visits of Epponina to the cave discovered his place of concealment, and they were both dragged before the Emperor Vespasian, who, in spite of the most pathetic appeals, condemned them to death.—R. M., A.
ERARD, Sebastian, the eminent pianoforte-maker, was born at Strasburg, April 4, 1752, and was the eldest of the four children of an upholsterer. At the age of eight years he commenced the study of architecture, perspective, linear design, and practical geometry, in the schools of his native city; and his mind, fertile in invention, was continually suggesting to him new problems, and devising its own means of resolving them. Erard himself confessed, that it was to his early acquaintance with drawing and the principles of mechanics that he owed his success. His father, having married very late in life, was surprised by death before his children reached an age at which they could be useful to their mother, or support themselves. Sebastian Erard became the head of a family at the age of sixteen As his native town did not afford him the scope of which he felt the need, he set off courageously for Paris. He arrived there in 1768, and obtained employment with a harpsichord-maker, whose chief workman he soon became, and whose jealousy he as quickly aroused by the superiority of his workmanship. His master, wearied by Erard's constant inquiries respecting the principles upon which instruments were constructed, and, in fact, unable to furnish the information sought for, first reproached him with wanting to know everything, and concluded by dismissing him from his service. Another celebrated manufacturer of harpsichords being called upon to make an instrument which demanded something beyond his mere every-day routine, and finding himself not a little puzzled how to answer the unusual demand, sought out young Erard, whose reputation was already budding, and proposed to him to undertake the construction of the instrument for a certain sum of money, allowing the person of whom it had been originally bespoke to affix his name to it. Erard consented, and the instrument was completed; but when it was delivered, the purchaser, who probably had no very great confidence in the ability of the manufacturer he had employed, demanded some explanation of the mechanism. The nominal maker was forced to refer to his assistant. This anecdote soon circulated among the musical circles of Paris, and drew attention towards the rising artist, who shortly after made himself still further known by his mechanical harpsichord, a masterpiece of invention and workmanship, which produced a most lively sensation among the professors and amateurs. Sebastian Erard was hardly twenty-five years old when his reputation was so fully established, that whoever wished to have any new ideas carried into execution applied to no one but him. He was sought out by the most distinguished men, and introduced to the duchess of Villeroi, a lover of the arts, a protectress of artists, and, above all, passionately fond of, and having a highly cultivated taste for, music. The duchess wished Erard to remain in her employ, and offered him an advantageous engagement; but preferring independence, and having besides already conceived the i dea of a visit to England, he declined the offer, consenting, however, to stay with the duchess till he had executed some plans of her invention; occupying during that time an apartment in the hotel Villeroi, but with perfect liberty and command of his own movements. In his old age he still delighted to recall to mind the goodness of Madame Villeroi, and express the gratitude with which she had inspired him.
It was in the hotel Villeroi that Erard made his first piano. This instrument had been known for many years in England and Germany, but was still little used in France; and the few instruments that were to be found in Paris were imported from Augsburg, Ratisbon, and London. It was the fashion in some great houses to have these foreign instruments. Madame Villeroi asked Erard whether he could construct a piano. He had already conceived the idea of making one, and his answer was prompt and decided in the affirmative. He set immediately to work, and his first, like everything else he made, showed that it came from the hands of a man of taste and invention. It was heard in the saloon of Madame Villeroi by all the distinguished artists and amateurs of Paris. Numerous
