Charles François d'Abra de Raconis
Physical Effects of Abstinence
Acacius, Patriarch of Constantinople
Diocese of Ascoli, Satriano, and Cirignola
Acclamation (in Papal Elections)
The Ass (in Caricature of Christian Beliefs and Practices)
Assemblies of the French Clergy
Assistant at the Pontifical Throne
Right of Voluntary Association
Association of Priestly Perseverance
Little Sisters of the Assumption
Feast of the Assumption of the Blessed Virgin Mary
Vicariate Apostolic of Athabasca
François Hédelin, Abbé d'Aubignac
Teaching of St. Augustine of Hippo
Works of St. Augustine of Hippo
Augustinians of the Assumption
Pierre du Bois, Baron d'Avaugour
John Emerich Edward Dalberg Acton, Baron Acton
Ad Apostolicae Dignitatis Apicem
Adam in Early Christian Liturgy and Literature
Administrator (of Ecclesiastical Property)
Advocates of Roman Congregations
Charles Constance César Joseph Matthieu d'Agoult
Heinrich Cornelius Agrippa of Nettesheim
Michael and Nicetas Akominatos
Bl. Albert Berdini of Sarteano
Diocese of Alessandria della Paglia
Alpha and Omega (in Jewish Theology)
History of the Christian Altar
Fernando Alvarez de Toledo, Duke of Alva
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Pre-Columbian Discovery of America
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Bl. Angelo Carletti di Chivasso
Early Christian Representations of Angels
College and Church of the Anima (in Rome)
Annunciation of the Blessed Virgin Mary
Feast of the Annunciation of the Blessed Virgin Mary
St. Anselm of Lucca, the Younger
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Vicariate Apostolic of Antofogaste
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Apostolic Union of Secular Priests
Diocese of Aquino, Sora, and Pontecorvo
Prefecture Apostolic of Araucania
Commission of Sacred Archæology
Born in Rome c. 1567; died. c. 1620. He spent four years as a chorister at St. Peter's, under Palestrina. He was in turn choirmaster to Sigismund III of Poland, 1609, and at the cathedral of Verona, 1610; but he soon after went to Rome as musical instructor at the Seminario Romano, and from 1613 to 1620 was choirmaster at the church of Santa Maria de' Monti. In 1616 he took holy orders. Anerio was among the first Italian composers to use the eighth note, or quaver, and its subdivisions. He left a large number of works, embracing all the usual forms of sacred music, the list of which may be found in Vogel's "Weltliche Vokalmusik Italiens" and Eitner's "Quellen-Lexikon." A peculiarity of his was the use of fantastic titles for his collections such as "Ghirlanda di Sacre Rose" (Rome, 1619); "Selva armonica" (Rome, 1617); "Diporte musicali" (Rome, 1617). He also arranged Palestrina's celebrated "Missa Papae Marcelli" for four voices, making it more practicable than in its original form of a six-voice mass. His style is partly based on the traditions of the sixteenth century, partly on the innovations of the seventeenth which introduced solos with a figured bass.
RIEMANN, Dict. of Music; GROVE, Dict. of Music and Musicians; NAUMANN, Geschichte der Musik.
J.A. VÖLKER