own sphere may be concluded from the cir- author of the work “On True Christianity," | is not known; but that he did his duty in his was born 2nd December, 1555, in Ballenstädt, a town at the foot of the Harz mountains. His father, Jacobus Arnd, was the clergyman of the place; his mother was Anna Söchtings. At a very early age Johann lost his father, in 1565. His mother had no fortune left to her, but, through the interest of kind friends, she was enabled to send him to the best schools in the neighbourhood-at Aschersle-wick. Arnd says, in the dedication, that he ben, Halberstadt, and Magdeburg. He intended to devote himself to medicine, but having fallen into a dangerous illness, he made a vow that, if he should recover, he would give himself up to the study of theology. Embued by nature with generous feelings, and inspired by circumstances with a devotional frame of mind, he easily came into that way of thinking about divine matters which characterized Luther, Tauler, Thomas à Kempis, and St. Bernard. In 1576 he went to the university of Helmstädt, and thence to Wittenberg, where he contracted a lasting friendship with professor Polycarpus Lyser, a strong adversary of Calvin on the doctrine of the Eucharist. Johann afterwards visited the university of Strassburg, and finished his studies in Basel, where he heard Simon Sulcer and the celebrated philosopher Theodorus Zwingerus. He also delivered private lectures himself on rhetoric, ethics, physics, and St. Paul's Epistle to the Romans. During his residence here he was saved from being drowned in the Rhine by a pupil. In 1583 he returned to his native place, and became parson of Badeborn, a village not far from Ballenstädt. For seven years he remained in this spot, endearing himself to his parishioners by exemplary attention to his duty and by private charity. They lost his talents and kindness in 1590, when he was deprived of his situation, on account of his firm resolution to use the exorcismal formula at the baptismal service, in spite of the contrary orders of his superiors, who had adopted Calvin's opinion on this point. Arnd did not remain long without a flock. Mansfeld and Quedlinburg invited him to their churches: he accepted the offer of the latter. From 1590 to 1599 he lived in that town, a model of a clergyman, never forgetful of his duty, ill paid as his services In 1611 he was invited, by Duke Ernest of were by the ingratitude of the rich, who Brunswick and Lüneburg, to Zelle, as superwere annoyed by his ascetic life and primi- intendant-general, one of the greatest distinctive manners. In 1598, when the plague tions that can be conferred in the Lutheran broke out, which carried off 3000 men, he church. In this new and enlarged sphere never left the hospitals; he administered Arnd exerted himself with energy and prumedicine and consolation to those who suf- dence in all matters connected with the infered. In 1599 he was invited to Brunswick, struction and moral training of the people. whither he went with the expectation of He published an Anthology of the wise sayimproving his prospects. He was however ings of the Fathers of the Church, for the deceived. That place was then in constant use of students, and a set of Sermons on the agitation, arising from political dissensions, Evangelists. In 1617 he celebrated the at first between the prince and the people, anniversary of the Reformation, by publishand afterwards between different factions. ing a Commentary on the Psalms, of which How Arnd behaved in those party struggles | he was accustomed to say, that the Psalms The effect of this work was just that which might be expected from a book written with a deep conviction of truth, with a wonderful strength of mind, and a capacity to fathom all the depths of a subject, and to comprehend it in its full extent. The tone of this work is so sincere, and, with all its earnestness, so mild, that it lays hold of the reader, and masters both his intellect and feelings. To this must be added, that the work possesses ornaments rarely found in German books of that period, purity of language and clearness of style, which stamp it as a masterpiece of composition. It is no wonder, then, that it gained the author friends and devoted admirers; but it also excited cavilling and enmity among the clergy, particularly among his own colleagues, who henceforth charged him with heresy. This circumstance, and the depravity of his place of residence, in which civil dissension had loosened all the bonds of morals and good manners, induced him to accept, in 1608, the invitation of the Counts of Mansfeld, to take up his abode in Eisleben. In 1609 he published the second, third, and fourth books of his "True Christianity." The plague also broke out in Eisleben during his residence: Arnd's conduct was the same that it had been in Quedlinburg on a former occasion, benevolent and fearless. are in the Bible what the heart is in the human frame. He also added the fifth and sixth books to his "True Christianity;" and he annexed to it, under the title: "Paradiesgärtlein," an excellent prayer-book for all occasions in life. On the 3rd of May, 1621, having preached on the words in Psalm cxxvi. 5 and 6, "They that sow in tears," &c., he said, on coming home to his wife, "I have now preached my funeral sermon. On the 11th of the same month he expired. In the church of Zelle there is a full-length picture of him, with the inscription ARND, JOSUA, the brother of Christian Arnd, was a prolific writer on theology, atiquities, philosophy, and history, and even a poet of some merit. He was born at Gustrow, 9th Sept., 1626. When he was sixteen years of age, he went to Rostock, where he studied Oriental languages, classical litera ture, and theology. He took his degree of Master of Arts in his eighteenth year. From 1645 to 1648 he lived in Copenhagen as tutor to the children of J. N. Lundius. From 1648 to 1651 he continued his studies in Wittenberg, where he was offered the professorship of history. Here also he received the news of the death of his brother, and of his father's wish that he should return to his native country. From 1653 to 1656 he oc "Qui Jesum vidit, qui mundum, Dæmona vicit, Arndius in scriptis vivit ovatque suis." Arnd was married to his wife Ann Wagner in 1583. Lukas Osiander, a divine of Tü-cupied his deceased brother's chair as probingen, was his chief adversary, and published a work against Arnd in 1624, entitled "Judicium Theologicum;" it was answered by Varennius (v. "Wernsdorf" and "Witte," in the "Memoria Theologorum," t. xi. p. 171). | The work "Vom wahren Christenthum" has been translated into nearly all European languages; into English, by Boehm, in 1712, and by William Jaques, in 1815. No book, with the exception of the Bible, has been so often reprinted and read in Germany. The last edition, together with the " Paradiesgärtlein,” appeared in 1 vol. 8vo., 1842, at Leipzig, with an introductory preface and a life of the author, by Dr. F. W. Krummacher. Besides the four works already mentioned, Arnd wrote, 5. "Catechismus predigten." 6. "Informatorium Biblicum" (which Wernsdorf says is not by him). 7. "De Unione Credentium cum Christo." 8. "Seelenarzney wider die Pestilenz." 9. "Geistliches Brodkörblein." 10. "Haus- und Herz-Kirch." 11. " Predigten von den 10 Egyptischen Plagen." 12. "Geheimniss der Bosheit," in the shape of a preface to the "Reformatio Papatus." 13. "Grosses Geheimniss der Menschwerdung Christi des ewigen Wortes." 14. " Iconographia, oder Bericht von den Bildern, deren Ursprung und Gebrauch und Missbrauch im Alten und Neuen Testament," Halberstadt, 1596. 15. "Bedenken über die Deutsche Theologie." 16. "Christianismus genuinus ex sacra Scriptura unici nostri Salvatoris vita, interno conscientiæ, externo naturæ testimonio repræsentatus," 1616 and 1658. 17. "Spirituale. Itinerarium Israelitarum in Palæstinam," 1664. Besides these, Arnd has edited and prefaced, 1. Jo. Tauler's "Postille." 2. Thomas a Kempis "Deutsche Theologie und Nachahmung Christi"; and, 3. Alexandri a Sachten, "Tractat. de vera medicina, s. carmen de lapide philosophorum." (Wernsdorfius, Dissertatio de Arndii vero Christianismo; Jöcher, Allgem. Gelehrten Lexicon, and Suppl.; Chaufepié, Nouveau Diction. Historique; "Johann Arnd, ein biographischer Versuch," von Fr. Arndt, Berlin, 1838, 8vo.) A. H. VOL. III. | fessor of logic in Rostock; but in 1656 he 66 5. ÅRNDT, GOTTFRIED AUGUST, was born at Breslau, on the 24th Nov., 1748. He studied in Kloster Bergen, near Magdeburg, and afterwards at Halle and Leipzig. At Leipzig he became Master of Arts in 1773, and collegiate of the Frauen Collegium. In the same year he undertook a journey through Germany, by which he made 2 P himself acquainted with the constitutions of The second volume, compiled by Arndt himthe different states, and with the judicial self, appeared in 1750. It embraces 361 years, proceedings of the imperial tribunal. After from 1201 to 1562, and treats of the history of his return he was made extraordinary pro- | Livonia under its grand masters. There are fessor of philosophy in 1780, and in 1791 or- annexed to it several tables: 1, of the names dinary professor of moral philosophy and poli- of the archbishops and bishops of Riga, Retical economy. In 1809 he gave up this pro- vel, Dorpat, and Esel; 2, the seals of the fessorship for one newly founded, in order to grand masters of the Teutonic order; and, 3, teach the science of politics and police (Staats the arms of the Livonian cities. Besides this und Polizeiwissenschaft). He died 10th Oct., work, Arndt wrote a programme: "Ueber 1819, after having devoted forty years of an den Anfang der Schönen Wissenschaften in industrious life to his students, and to the su- Liefland," 1756, in 4to., and many historical perintendence of the Frauen Collegium. He treatises in the weekly periodical of Riga, was three times rector of the university of from the year 1762. (Ersch and Gruber, Leipzig, and enjoyed the highest civic ho- Allgemeine Encyclopädie der Wissenschaften; nours, having been made senior of the Frauen Jöcher, Allgem. Gelehrten Lexicon; GadeCollegium in 1789, decemvir in 1811, and busch, Abhandlung von den Liefländischen senior of the Polish nation in 1815. Geschichtschreibern.) A. H. Of his numerous works connected with the ARNE, CECILIA, the wife of Dr. Arne, history of Germany, the following are the was one of the most celebrated singers of her principal:-1. "Quatenus Taciti de Germania time. After the decease of Purcell, the Englibello fides sit tribuenda," Leipzig, 1775, lish dramatic school, which he had created 4to. 2. "Programma, Quibus causis com- and nurtured, gradually declined the singers motus Henricus I. rex Germanorum, urbem who had enjoyed the benefit of his instrucMisenam condiderit," 1776, 4to. 3. "Voll- tion were successively removed by death, or ständige Sammlung politischer Schriften zur found their talents no longer in request-the Geschichte von Baiern, seit dem Tode des Italian Opera enjoyed the exclusive favour Kurfürsten Maximilian III.," Frankfort and of the public, and, within a few years after Leipzig, 1778, 1779, 5 vols. 8vo. 4. "Die the arrival of Handel in this country, the Wahlcapitulation, die Ferdinand I. am 7ten race of English singers was nearly extinct. Jan., 1531, bei seiner Erwählung als Römi- | In 1714 Geminiani came to England, who, scher König unterzeichnet," 1780, 4to. 5. although chiefly known as an instrumental "Archive der Geschichte von Sachsen," composer and performer, yet devoted himself 1 vol., 1784; 2 vol., 1785; 3 vol., 1786, occasionally to vocal instruction. His most 8vo. 6. "Neue Archive der Geschichte von celebrated pupil was Miss Cecilia Young, Sachsen," 1804, 8vo. 7. 66 Progr. Varia- whose first appearance was at Drury-Lane rum observationum statum regni Saxoniæ Theatre in 1730. In 1740 she married Mr. publicum cum pristinum tum hodiernum Arne; but it formed no part of the policy illustrantium," 1808, 1809, 2 Partes, 4to. of the English managers of that time to 8. "Progr. de Pactione Ferdinandi regis patronise musical talent of any kind, and the Romanorum ac Mauritii ducis Saxoniæ, composer of the music in "Comus" and his Praga, d. 16 Octob. 1546, confecta," 1815, wife were alike unable to obtain employment 4to. (Hallische Allgem. Literatur Zeitung, from them. After a residence of two years Jahr 1819, iii., p. 415, and p. 847; Meusel, in Ireland, where they were kindly and corGelehrte Deutschland; Denina, Prusse litté-dially received, Arne and his wife returned raire, t. i. p. 118, sq.; Weidlich, Biographische Nachrichten, t. iii. and iv.) A. H. ARNDT, JOHANN GOTTFRIED, the first historian of Livonia, who is still worth reading, was born 12th Jan., 1713, in Halle, and brought up in the orphan asylum of that place. In 1737 he went as a tutor to Livonia, and he was made rector of the school at Orensburg, in the island of Esel, in 1740, and in 1748 conrector of the Gymnasium at Riga, where he died 1st Sept., 1767. He translated, 1760, into German, the "Origines Livoniæ Sacræ et Civiles," which had then been edited by J. D. Gruber. Arndt filled up the blanks in the Latin text from another manuscript, and accompanied the whole with notes, and published it under the title "Der Liefländischen Chronik erster Theil," Halle, 1740, in fol. This volume comprises the period of 130 years, from 1196 to 1226, and contains the history of Livonia under its bishops. was to England, to enter upon an engagement with the manager of Drury-Lane Theatre. But though engaged, Arne was little employed as a composer, and Mrs. Arne's name only appears at her own benefit, March 20th, 1744, when her husband's "Alfred" performed; while on the same occasion, in the following year, no attempt was even made to perform an opera, and Otway's "Orphan was represented for the benefit of the principal singer. Notwithstanding the few opportunities which Mrs. Arne enjoyed of establishing herself in the public favour, she appears to have largely acquired it; for on this occasion the boxes and pit were laid together, as the demand for places was more than double what the boxes would contain. In 1745 she was engaged with her husband at the newly-opened Vauxhall Gardens, and here she introduced to the public some of those songs which exhibited her husband's powers as a melodist, and which, after the lapse of a century, have lost none of their original power to charm: among them, "Where the bee sucks," "To fair Fidele's grassy tomb," and "Gentle youth, ah! tell me why," all of which, though originally written for Vauxhall Gardens, were afterwards used by Dr. Arne at the theatre. Mrs. Arne's prime was passed in the struggles of the English lyric drama to regain its former station, and in the latter part of her life she was succeeded by her husband's younger pupils, especially by Miss Brent. She died in 1776. (Busby, History of Music; Periodicals of the time.) E. T. ARNE, MICHAEL, the son of Dr. Arne, inherited much of the musical taste and no inconsiderable portion of the talent of his father. Like him, too, his love for music displayed itself early; for at the age of eleven years he had acquired sufficient command of finger to execute the harpsichord concertos of Scarlatti and Handel with facility and correctness; and even then he had the reputation of being one of the best performers on his instrument at sight in the kingdom. His first attempt at dramatic composition was in 1764, when, in conjunction with Battishill, he produced the opera of "Almena." Arne wrote the overture and some of the songs, the rest of which and the choruses were supplied by his coadjutor. The drama is such a jumble of absurdity and insipidity, that the excellence of the music was thrown away, and the piece was soon laid aside. On Garrick's return from his continental tour, he wrote an entertainment in which the attractions of scenery, processions, and dances, were added to that of music. Its title was Cymon," and it was founded on Dryden's fable of "Cymon and Iphigenia." The drama was not owned by Garrick, but he was generally understood to have been the author, and he employed Michael Arne to compose the music. It was produced Jan. 2, 1767, when the principal vocal parts were sustained by Vernon, Champness, Miss Wright, Mrs. Baddeley, and Miss Reynolds. The success of this opera must be ascribed to the composer, the singers, and the scene-painter, rather than to the author of the drama, which is feeble and uninteresting. Several of the songs acquired and retained deserved popularity, especially "This cold flinty heart," and "These flowers, like our hearts," as well as the duet "Take this nosegay, gentle youth." Young Arne, on whom his father's talent had evidently descended, seemed now likely to occupy the position which the latter had already filled for forty years, when, in pursuit of an ignis fatuus, he gave up all his professional avocations and prospects. He built a laboratory at Chelsea, where for some years he occupied himself in the vain endeavour to discover the philosopher's stone, and when at length he became convinced 575 66 how hopeless was the pursuit in which he had engaged, it was abandoned, and his musical career recommenced. But, like many other members of the same profession, he was taught by dear-bought experience that a musician who abandons the field and withdraws his name from public attention can rarely expect to regain his former position. Michael Arne quitted the tide of popularity “at the flood;" other competitors, more alert and more persevering, had succeeded him; and on his return to professional life, his place was occupied. He wrote no more for the theatres, except a few occasional songs in comedies and farces. At Vauxhall and Ranelagh he still found occasional occupation, and some of the songs which he composed for Mrs. Weichsel, Mrs. Kennedy, Mrs. Martyr, and Mrs. Arrowsmith, were among the most popular of their day, especially "Sweet Poll of Plymouth," "The topsails shiver in the wind,” and “ Homeward bound." He died in 1785. (Victor, History of the English Stage; Bingley, Musical Biography; Davies, Life of Garrick; Play-bills of the time.) E. T. ARNE, THOMAS AUGUSTINE, was the son of an upholsterer in King-street, Covent-Garden, London. His father, designing him for the legal profession, sent him to school at Eton, where his musical propensities first disclosed themselves. The study of the law was afterwards reluctantly, and therefore unsuccessfully, pursued; every hour that could be stolen from the desk, and many from sleep, were devoted to musical study and practice. He secreted a spinnet in his bed-room, and there acquired his first knowledge of a keyed instrument, which fear of his father's displeasure obliged him to practise with muffled strings. He continued to take lessons of Festing on the violin; and his father, accidentally calling at the house of a friend, caught young Arne in the fact of leading a party of amateur performers. Anger and remonstrance were alike vain, and he was at length allowed to follow the path which inclination so clearly pointed out. His sister possessed a similar degree of musical enthusiasm, and, gifted with a remarkably sweet voice, she willingly derived from him sufficient instruction to qualify her for a public singer. The English lyric drama at this period had reached its lowest point of declination. Under the management of Wilkes, Cibber, and Booth, Drury-Lane Theatre, which had been the scene of Purcell's triumphs, was closed against any attempts to connect music with the stage. Addison's unfortunate alliance with a shallow coxcomb named Clayton, in his opera of “ Rosamond," and its merited failure, with some other efforts as ill-advised and as abortive, seconded the views of the managers: the public sympathy for the national opera was never aroused; the race of English dramatic singers was nearly extinct; Purcell's operas were thrown 2 P 2 aside as barbarous and obsolete; Handel had | beautiful descriptions and images run through succeeded to the management of the Italian it as are to be found in any of his other writOpera, having under his command the finest ings. The adapting this Masque to the singers in Europe: the decision of the best stage, and introducing some vocal music, was judges and the voice of fashion were, for thought an attempt not likely to answer: but once, in accordance, and the fate of English the fact is the very reverse; for every night dramatic music appeared to be sealed. It that it has been performed the audience have was under circumstances so unpropitious, and received it with the utmost satisfaction and with means so slender, that young Arne delight, and were nowhere more attentive attempted to revive the long-dormant taste than in those scenes and passages which conof his countrymen for their national music. tain such fine moral lessons." His first attempt was to reset Addison's "Rosamond," which was brought out in 1733 at the theatre in Lincoln's-Inn-Fields. The cast of this piece, singularly enough, united two singers of different generations and schools, yet equally celebrated in their day: old Leveridge, for whom Purcell had written some of his finest bass songs, and who was the last survivor of that great master's dramatic corps; and Miss Arne, afterwards the celebrated Mrs. Cibber, for whom Handel wrote some of the most beautiful airs in his Oratorios. The piece ran ten nights, a degree of success which, under existing circumstances, was thought encouraging; and Arne next brought out a version of Fielding's "Tom Thumb," under the title of "The Opera of Operas." The first opera which raised Arne to general popularity was "Comus." The bold attempt to adapt Milton's exquisite Masque to the stage was made by Dr. Dalton, who produced it at Drury-Lane in 1738. Arne had little to do with the text of Milton, for the songs on which he was employed are chiefly additions by the adapter, and are, almost exclusively, sung by Comus and his "crew." For this task he was well fitted. To the shout of midnight revelry and to the invitation of pleasure he could give appropriate musical expression, but to sublimity he could make no approach. His mind had no sympathy with that of Milton: he was fitted and he was content to walk in a lower region; and if music had been required for the more elevated portions of "Comus," Arne was not the man to have supplied it. Estimating aright his own powers, he succeeded. The admirable models which the Italian stage now presented to the imitation of English artists had revived the race of native singers, and Arne was fortunate enough to unite the talents of his wife (late Miss Young), Mrs. Clive, and Mr. Beard in the cast of "Čomus." In the "Gentleman's Magazine" for May, 1738, is the following notice of the piece, curious for the information which it was then thought necessary to give, and for the writer's apparent ignorance that all the part of the original Masque which Milton designed for music had been set by his friend Henry Lawes : "The Masque of Comus,' now exhibiting at Drury-Lane Theatre, was written by Milton. It is a pastoral kind of poem; and some of as "Comus" continued to be played for several successive months; and Arne's pleasing melodies were sung and admired throughout the kingdom. They were of the genuine English school, of which Lawes may be said to have been the founder, and which was adopted and perpetuated by Eccles, Weldon, and occasionally by Purcell. "The production of 'Comus,' " Burney rightly observes, "forms an æra in English music: its songs were so easy, natural, and agreeable, that they had an effect upon our national taste; and, till a more Italianized style was introduced in succeeding pasticcio operas, were the standard of perfection at our theatres and public gardens.' The success of "Comus," however, failed to procure for Arne any permanent or immediate engagement at either of the theatres; which, perhaps, may be attributed to the appearance of Garrick, and the consequent exclusive attention of the public to tragedy and comedy. In 1740 he married Miss Cecilia Young; and, in 1742, went with his wife to Ireland, where they remained two years. In 1744 they returned to London, when Arne was engaged, as successor to Gordon, to lead the band at Drury-Lane Theatre, where his talents as a composer were rarely employed. Meanwhile another field of exertion was presented to him. Mr. Jonathan Tyers, who had a few years before opened the Vauxhall Gardens as a place of summer amusement, engaged Arne as his composer, and Mrs. Arne, Lowe, and Reinhold as his principal singers. During this connection Arne published a yearly collection of his songs, under the title of "Lyric Harmony," the first volume of which contains several airs whose popularity is not yet ended; among them Ariel's song in "The Tempest." In the year 1740 he also published the music to the songs in "As You Like It" and "Twelfth Night." In the same year he was employed as a dramatic composer, although not for the public stage. Thomson and Mallet had been commanded by Frederick, Prince of Wales, to produce an entertainment in celebration of the birth of his daughter Augusta; and the result was "The Masque of Alfred," which was performed for the first time on the 1st of August, 1740, in the Gardens of Cliefden. The music was throughout composed by Arne. It was afterwards, in an altered form, |