Jansenius were to be found in his works, which were selected for censure by the Sorbonne. Arnauld was excluded by this sentence from the theological faculty, notwithstanding his protests against the injustice and irregularity of their proceedings, in which seventy-two doctors and many bachelors were included besides himself, for refusing to concur in the propriety of his condemnation, which was moreover proposed as a test to future candidates. Upon this, Arnauld retired for many years to Port Royal, until the conclusion of the Jansenist controversy, in 1668, by the peace of Clement IX., when he was presented to Louis XIV., and received by him with great marks of distinction. Arnauld now turned his controversial powers against the Calvinists, and wrote, in conjunction with Nicole, La Perpétuité de la Foi, and other works. But he could not resist the temptation of renewing hostilities with his old enemies, the Jesuits-an inclination said to have been fostered by Harlay, archbishop of Paris, who bore no good will to them; and in 1679 Arnauld was obliged to quit France, after living for some time in concealment and disguise, for which his impetuous and indiscreet temper little fitted him, under the protection of the duchess of Longueville. He now lived in obscurity at Brussels, where he continued to indulge his polemical powers; and, after a life of constant excitement and exertion, his death in 1694 deprived the Jansenists of their most powerful supporter, and the Jesuits of their most dangerous opponent. It is to be lamented that the learning and philosophic spirit of Arnauld should have been so entirely occupied in bitter controversial warfare; but his eager zeal would allow of no repose. Nicole, his friend and companion, as earnest but less impetuous than himself, once confessed to him that he was tired of their constant agitation, and wanted rest. "Rest!" said Arnold; " have we not eternity to rest in ?" Arnold, so violent in his writings, possessed manners of great simplicity and gentleness in private life, and his modesty was remarkable at a time when his reputation was spread over all Europe. A complete edition of his works, in 45 vols, 4to, was published at Lausanne in 1777, &c.: they may be classed as follows-1. Literature and philosophy, including his labours at Port Royal. 2. On the controversy concerning grace. 3. Writings against the Calvinists. 4. Against the Jesuits. 5. His other theological works, which were

numerous. (Biog. Univ. Life in the Lausanne edition of his works. Mosheim.)

ARNAULD, (Antoine,) eldest son of Robert Arnauld d'Andilly, was an ecclesiastic, and assisted his uncle, the bishop of Angers, in the business of his diocese. His Memoirs were published in 1756 (Biog. Univ.)

ARNAULD, (Marie Angélique,) sister of Antoine Arnauld, born in 1591, was abbess of the Port Royal des Champs, and died in 1661. Her sister Agnes also directed the affairs of Port Royal, and died in 1671, leaving one or two religious works. There were four other sisters, all members of the same religious house, and all taking part in the controversy concerning grace. Their niece, Angélique de St. Jean Arnauld, was brought up by them, and was afterwards abbess. She died in 1684. (Biog. Univ.)

ARNAULD, (Antoine,) a French general, (1767-1804,) who served in the invasion of Holland under Pichegru, and distinguished himself in the attack on Baltzeim and at Hohenlinden. (Biog. Univ. Suppl.)

ARNAULD, (Marquis de Pomponne and Abbé de Pomponne.) See POMPONNE..

ARNAULT, (Antoine Vincent,) one of the ornaments of the age of Napoleon, was born in Paris in 1766, and nominated in 1785 secretary of the cabinet of Madame. He made himself known at an early period by his labours in dramatic literature, and his first tragedy, Marius à Minturnes, represented in 1791, met with great success, as well as another entitled Lucrèce. After the 10th August, 1792, he retired, first to England, and subsequently to Brussels. Having returned to France, he was arrested and put in prison as an emigrant, but the committees declared that the law did not apply to such literary men as the author of Marius. After his release, he devoted himself entirely to literature, and published several plays. In 1797 he went to Italy, where Bonaparte charged him with organizing the government of the Ionian Islands. In the former country, at Venice itself, amid the ruins of the institutions it refers to, he composed Les Vénitiens. In the following year he embarked with the Armée de l'Orient; but his brother-in-law, Regnaud de St. Jean d'Angely, having fallen dangerously ill at Malta, Arnault returned to France, but the frigate in which he sailed was taken by the English, by whom he was treated with particular kindness. 1799 his tragedy, Les Vénetiens, was

In

represented at Paris, and Arnault nominated a member of the Institute. He took some part in the events of the 18th Brumaire. He went with Lucien Bonaparte into Spain, and pronounced before the Madrid Academy a discourse, in which he urged the same intimate connexion between the learned of the two countries, as then existed between their governments. On his return to France he was, during eight years, the colleague of the famous and learned Fourcroy, director-general of public instruction. As president of the Institute, he complimented Napoleon on his return from the field of Austerlitz. In 1808 he was named secretary-general to the university. Arnault was also one of the members charged with the preparatory labours of the Dictionnaire de l'Académie, as well as one of those who had to make the reports of the Institute concerning the great prix décennaux. After the first abdication of Napoleon, Arnault went to meet the new king at Compiègne. Still, he lost all his appointments in January, 1815. Napoleon, more generous, or more politic, than Louis XVIII., replaced Arnault, at his return from Elba, in his former situations, and even added some new ones. Arnault assisted the ceremony of the Champ de Mai, and was elected member of the Representative Chamber. In this quality he was sent to the army as commissary. He was also one of the members who, finding the doors of the corps legislative shut, assembled at Lanjuinais and protested against this arbitrary act of Napoleon. After the second restoration he lived away from Paris, or in exile. At the reorganization of the Institute, his name was expunged from the list of its members. In 1816 he produced his tragedy of Germanicus, intended to gain him credit with the new dynasty, but the representation gave rise to the most violent demonstrations, and a mere play assumed really the importance of a state affair. Its author had, in the mean time, contributed also to several periodicals; and the greatest part of those superior articles on morals, literature and philosophy inserted in the Belgian Libéral, from 1816 to 1820, are from his pen. After he had been permitted to return to France, in 1819, he was one of the four editors of the Biographie des Contemporains. Napoleon left him by his will 100,000 fr. Between the years 1824 and 1827 he published a complete edition of his works, in 8 vols, 8vo, amongst which,

Guillaume de Nassau, and a number of essays, are new, and some of the latter interesting. The name of Arnault, as a dramatical writer and a public functionary, will be always respected in France. (Eymery, Biog. d'Arnault. Michaud. Euvres d'Arnault.)

ARNAULT DE NOBLEVILLE, (Louis Daniel,) a French physician, born 1701, died 1778, was the author of some publications on Natural History, Botany, and Medicine.

ARNAULT DE LA BORIE, (François,) archdeacon and chancellor of the university of Bordeaux, died in 1607, and was the author of Antiquités de Périgord, 1577. (Biog. Univ.)

ARNAVON, (François,) was born about 1740, in the Venaissin district. In 1773 he published a discourse against Rousseau's Contract Social; and in 1790 was deputed to Rome, by the representative and national assembly sitting at Carpentras, to obtain the continued annexation of the Venaissin to the papal states. His mission was naturally terminated by the reunion of the province to France in 1791, and the Abbé Arnavon never received the expenses of his journey; but in 1802 he was named titular canon of the church of Paris, and devoted himself to the writing of works on the fountain of Vaucluse. He died in 1824. (Biog. Univ. Suppl.)

ARNAY, a miscellaneous French writer, who professed the belles-lettres and history at the Academy of Lausanne in the middle of the 18th century. He has been sometimes confounded with Simon Auguste d'Arnay, or d'Arnex, a Swiss, known by several translations from German into French. (Biog. Univ. Suppl.)

ARNDT, (Joh.) born Dec. 27th, 1555, at Ballenstadt in Anhalt, was a Lutheran divine, who distinguished himself by his preaching and writings, in which he laboured to substitute piety and genuine faith for that lifeless theological dogmatism and polemical spirit which had so long been mistaken for religion. His work, entitled Das Wahres Christenthum, has been translated into many languages, and, among others, into the Russian by Turgenev, in five volumes, of which the first edition was published in 1784, another in 1810. A modernized edition of it appeared in Germany in 1816. Notwithstanding his piety, practical as well as doctrinal,—and limited as were his means, he was most charitable towards the poor,

he was decried by Osiander and others

as promulgating mystical and unsound tenets. After being successively preacher at Quedlinburg, Brunswick, and Eisleben, he was appointed superintendent of the diocese of Celle, where he died May 11, 1621.

ARNDT, (Johann Gottfried,) born at Halle, Jan. 12th, 1713, died at Riga Sept. 1st, 1767, is a writer who has done very much for the history of Livonia by his Lieflands Chronik, Halle, 1747-53, which may be considered as the chief source of our present information relative to the antiquities and early periods of that country. It consists of two parts, the first of which contains a translation of Heinrich, a chronicler of the thirteenth century; the other a continuation of it, down to 1561, by Arndt himself; and although a mere chronicle in regard to style and narrative, the latter has the merit of being trustworthy, because founded upon a number of curious authentic documents in his possession, which have since disappeared."

ARNDT, (Christian,) 1623-1683, wrote Dissertatio de Philosophia Veterum, Rostock, 1650; Discursus Politicus de Principiis Constituentibus et Conservantibus Rempublicam, ib. 1651; De vero Usu Logices in Theologiâ, ib. 1650.

ARNDT, (Joshua, 1626 1685,) brother of the preceding, whom he succeeded in the chair of logic at Rostock, was a Lutheran divine and ecclesiastical antiquary, and published many works on philosophy, history, and controversial divinity, of which a list is given by Niceron, vol. xliii. ARNDT, (Charles,) son of the preceding,(1673-1721,) was Hebrew professor at Rostock, and the author of several learned works.

ARNDT, (Gottfried Augustus,) born at Breslau, 1748, died in 1819, was professor in the university of Leipsig, and the author of several learned historical and antiquarian works, principally relating to the history of Saxony. (Biog. Univ.)

ARNE, the name of five persons noted in the musical world.

1. Thomas Augustine, (May 28, 1710March 5, 1778,) the most eminent of the family, a composer and musician, was the son of an upholsterer in King-street, Covent-garden, London, at whose house the Indian kings lodged in the reign of queen Anne, as mentioned by Addison in the Spectator, No. 50. He was sent to Eton, where he early evinced his predilection for music; for to the annoyance of his schoolfellows he was constantly practising, when not engaged in his ex

ercises, upon a miserable cracked flute; and after he left that place, he has himself stated that he was accustomed to borrow a livery of a servant, and thus gain admittance to the gallery of the Opera House, then appropriated to domestics. At home he had contrived to secrete a spinet in his room, upon which, when the family were asleep, he used to practise, after muffling the strings with a handkerchief.

At length he was compelled to serve a three years' clerkship to the law, but even during this servitude he dedicated every moment of leisure he could obtain to the study of music. Besides practising upon the spinet, and studying composition by himself, he managed even at this time to acquire some instructions on the violin from Festing. Upon this instrument he made such progress, that soon after he had quitted his legal master, his father, calling accidentally at a gentleman's house in the neighbourhood, was astonished to find his son in the act of playing the first fiddle in a musical party. Finding it vain to contend against so powerful an inclination, the father permitted him to receive regular musical instruction.

On discovering that his sister had a sweet-toned voice, he gave her such instruction as soon enabled her to sing for Lampe in his opera of Amelia ; and finding her well received, he quickly prepared a new character for her by setting Addison's opera of Rosamond, in which he employed his younger brother likewise as the page. This musical drama was first performed, March 7th, 1733, at the theatre in Lincoln's-inn Fields. He next composed music for Fielding's Tom Thumb, which he got transformed into a burlesque opera in the Italian manner, and it was performed with great success at the theatre in the Haymarket, many members of the royal family being present on the early nights of its performance.

In 1738 Arne established his reputation as a lyric and dramatic composer by the admirable manner in which he set Milton's Comus. In this he introduced a light, airy, original, and pleasing melody, wholly different from that of Purcell or Handel, whom all English composers had hitherto pillaged or imitated. Indeed, the melody of Arne at this time, (and of his Vauxhall songs afterwards,) forms an era in English music; it was so easy, natural, and agreeable to the whole kingdom, that it had an effect upon the national taste.

In 1740 he set Mallet's masque of

Alfred, in which Rule Britannia is introduced a song and chorus, which has been justly said to have wafted the fame of Arne over the greater portion of the habitable world. The same year he married Miss Cecilia Young, a vocal performer of considerable reputation; and upon her engagement, in 1745, at Vauxhall, he became composer for that place of amusement. In 1742 he had visited Ireland, where he remained two years, and in 1744 was a second time engaged as composer for Drury-lane Theatre, his previous engagement there having been in 1736. In 1759 he was created a doctor in music by the university of Oxford. The opera of Artaxerxes, the most celebrated of his works, was produced in 1762; it is composed in the Italian style of that day, consisting entirely of recitative, airs, and duets. Its success was complete, and from that time to this it has kept possession of the lyrical stage. The opera of Love in a Village contains many songs by him, and he is said to have arranged the music for performance. His latest productions were the opera of the Fairies, the music to Mason's tragedies of Elfrida and Caractacus, additions to the music of Purcell in King Arthur, songs of Shakspeare, and music for the Stratford Jubilee. His oratorios were never successful, for it is said his conceptions were not sufficiently great, nor his learning sufficiently profound, for that species of composition. He died of a spasmodic complaint, and was buried in the church of St. Paul, Covent-garden. He had been educated in the tenets of the Roman-catholic church, and though he had neglected his religious duties, he was on his death-bed strongly aroused to a sense of his situation, and, sending for a priest, died in a devout and penitent state of mind. It is said he sang a "hallelujah" about an hour before he expired. The only productions of Arne which had decided and unequivocal success were Comus and Artaxerxes, which were produced twenty-four years from each other, though of nearly one hundred and fifty musical pieces brought on the stage at the two theatres, from the time of his composing Rosamond to his decease, a period of little more than forty years, thirty of them at least were set by him.

Dr. Burney says of his style,-" The general melody of our countryman, if analyzed, would perhaps appear to be neither Italian nor English, but an agreeable mixture of Italian, English, and Scots. Many of his ballads, indeed, were

Mr. Hogarth observes, "His melody is more uniformly sweet, flowing, and graceful than that of Purcell; but he was far from possessing that illustrious man's grandeur of conception, deep feeling, and impassioned energy. He never fails to please, and often charms the hearer; but never dissolves him in tenderness, or rouses him with such spirit-stirring strains as those of Purcell;" and a writer in the Musical Review has said, "There was in Arne's compositions a natural ease and elegance, a flow of melody which stole upon the senses, and a fulness and variety in the harmony which satisfied, without surprising, the auditor by any new, affected, or extraneous modulation. With this composer ended the accession of new principles to the art of dramatic writing. Whatever of novelty has since been appended to our musical drama will not be found to suit beyond the original cast which particular composers have given to their air or accompaniment. Arne's use of instruments was certainly delicate, but he is neither so scientific nor powerful as later composers." The same writer objects to the instruments in some of the airs of Arne being in unison with the voice, as it adds nothing to the harmony, whilst it hazards, from many circumstances, the breaking of the accord, and so interrupting the effect. The date of his birth is by some said to have been about the year 1704, but 1710 seems to be the correct period.

2. Cecilia, the wife of Dr. Arne, as mentioned above. She was a pupil of Geminiani, and sang for the first time in public at Drury-lane in 1730, and was considered the first English female singer of her time. She died about 1795.

3. Michael, son of Dr. Arne, was born about the year 1740, and was brought up by his aunt, Mrs. Cibber. He showed so early a genius for music, that at ten or eleven years of age he was able to play on the harpsichord all the lessons of Handel and Scarlatti with great correctness and rapidity, and it was thought that even then he could play at sight as well as any

performer living. In 1764, in conjunction with Mr. Battishill, he produced at Drurylane Theatre the opera of Alcmena; but it was not very successful. He afterwards produced at the King's Theatre the opera of Cymon, from which he derived both profit and fame. A short time subsequently he became a convert to the ridiculous folly of those who believe in the transmutation of metals and the philosopher's stone; but after having thus spent all his money, he had sufficient wisdom to resume his professional duties, and composed music for Covent-garden, Vauxhall, and Ranelagh. As a composer, Michael did not possess that happy taste nor that power of writing beautiful melody, which were so conspicuous in his father; yet there is a certain good sense which pervades all his works, though it must at the same time be observed, that if some of them were less complex, they would perhaps be more pleasing. Upon the whole, however, his merits very justly entitle him to a high and distinguished rank amongst English composers.

4. Susannah Maria, the sister of Dr. Arne, spoken of in his Life, for whom see CIBBER.

The foregoing articles have been compiled from Burney's History of Music, vol. iv., Musical Biography, Dictionary of Musicians, Rees's Cyclop. article Arne, and Hogarth's Musical History, &c.; and Memoirs of the Musical Drama, by the same author.

ARNEMANN, (Justinian,) a physician of Lunenburg, born 1763, died 1807, was the author of several works on medicine and physiology, especially that of the nervous system, all published at Gottingen from 1785 to 1801. He committed suicide. (Biog. Univ. Suppl.)

ARNGRIM, (Jonasen,) an Icelander, who studied under Tycho Brahe, and was afterwards priest at Melstadt, and coadjutor of the archbishopric of Hola in Iceland. He had the offer of a bishopric, which, however, he refused, saying that the king must offer this dignity to some one who had less love of study than he. He wrote several works descriptive of Iceland, one of which was an abridgement (anatome) of a work by Dithmar Blefkenius; Epistola pro Patria Defensoria; two works on the Runic Letters, and the Northern Divinities; and a work on Greenland, in Latin, of which the original was never printed; an Icelandic translation appeared at Skalholt in 1688, and a German one at Copenhagen in 1,732, to which latter were appended some

other works on Greenland. He left in MS. Historia Norvegica Historia Ionis Bergensium, which is in the Royal Library at Paris. He died at the age of ninety-five, having married a young wife at ninety-one.

ARNGRIM, (Vidalin,) a grandson of the preceding, died in 1704. He presented to the Danish government, an Essay on the Discovery of Greenland, which was never printed.

ARNGRIMSEN, (Torchillus,) born at Melstad, where his father Angrim Jonasen was priest. He translated Thomas à Kempis de Imitatione Christi into Icelandic.

ARNIGIO, (Bartolomeo,) an Italian physician and poet, the son of a blacksmith of Brescia, with whom he worked till his eighteenth year, was born in 1523. His talents were discovered, and he was sent to the university of Padua by some friends; and on returning to Brescia he was introduced to practice as a physician under the patronage of Conforto; but he was obliged to fly for his life in consequence of the fatal results of some dangerous experiments upon his patients. After this he gave up the profession of medicine, and cultivated literature and his poetical talents. He died in 1577, leaving some poetical and other writings. (Biog. Univ. Mazzuchelli.)

ARNIM, (Ludwig Achim,) a popular and original German writer, born at Berlin Jan. 23, 1781, applied himself at first to physics and natural history, and in 1799 published his Theorie der Electrischen Erscheinungen, which excited the attention of the learned world; a singular début with his pen for one who afterwards distinguished himself by works of fiction and the productions of his inventive fancy, among the earliest of which was his Ariels Offenbarungen, 1804. The popular poetry and poetical traditions of his countrymen next engaged his attention; and in 1806 he published Des Knaben Wunderhorn, a collection of ballads and other pieces, in three volumes. In 1809 he produced a series of novellettes and tales, and another of legends, &c., under the title of Trost der Einsinkeit, and in the following year his History of the Countess Dolores, a work that obtained the notice of Jean Paul, by whom it was praised as being the most interesting of its class, and in some parts unrivalled. In his Halle und Jerusalem, 1811, and his Schaubuhne, or dramatic pieces, 1813, his humour is somewhat too unrestrained and powerful at times. Of the same date as the former of these pub