1819. He is the author of numerous historical and juristic works. (Ersch and Grüber's German Encyclopædia.)
ARNDT, Johann, one of the most popular religious writers that the Lutheran church has produced, and a man whose life exhibits the spirit of his times, both in the good it achieved and the controversy it provoked. He was born at Ballenstadt in 1555, and in 1576 was a student at Helmstedt. In 1577 we find him at Wittemberg; for a brief period he sojourned at Strasburg, and afterwards at Basle. In 1583 he was settled as pastor at Badeborn, but violent opposition forced him to resign, and he retired to Quedlinburg, and was some time afterwards both at Brunswick and Eisleben. In 1611 he was called to be general-superintendent at Zelle, where he died on 11th May, 1621, four hours after having preached his last sermon from the text, "They that sow in tears shall reap in joy," a true account of his own labours, and a prophetic picture of their results. His publications were numerous, all of them bearing, more or less directly, on practical Christianity or vital godliness. The most famous of them is his book in four parts, on "True Christianity," "Vom wahren Christenthum." It produced a powerful reaction in Germany, and has been translated into all the European tongues, and even into some of the languages of the East. It was a manly protest against the cold scholastic orthodoxy which reigned about him, and excited on all hands the most virulent controversy. Arndt felt that Christianity was neither a ceremonial to be observed, nor simply a creed to be believed, discussed, analysed, and defended, but a life to be possessed and cherished. He was, in early life, attracted toward the mystics, such as Kempis, Tuler, and the author of the "German Theology," a tractate recently translated into English by Susannah Winkworth. His central idea is Christ in us, rather than Christ for us. He sought to turn men from the noisy and pugnacious divinity of the schools to the earnest and experimental religion of the heart. He was addicted to chemistry and medicine in his younger years; and in the third and fourth books of his "True Christianity," many figures taken from these sciences give his language a peculiar mystical or Rosicrucian tinge, detracting from its clearness and precision. The so-called pietism of Arndt and his followers has had an immense influence on the Continent, both directly and indirectly, on the study of theology. An excellent edition of his principal work, with some minor pieces, was published by Krummacher in 1852; and an English translation of the "True Christianity" appeared in London in 1815.—(See an excellent article by Tholuck, in Herzog's Real-Ency.)—J. E.
ARNDT, Johann Gottfried, author of "Chronicles of Livonia," and other works on subjects connected with the same country. Born at Halle in 1713; died at Riga in 1767.
* ARNDTS, Ludwig, a German writer on jurisprudence, was born in 1805. In 1837 he became professor extraordinary at Bonn, and in 1839, professor ordinary at Munich. During a residence in Italy in 1834-35, he undertook a new collation of the Farnesian manuscripts of Festus, which served as the basis for the subsequent edition of that author by Ottfried Müller. The juristic department to which Professor Arndts principally devoted himself, was that of Roman law. He has published a manual on the Pandects, and contributed largely to Weiske's "Rechtslexicon." In 1848 he was elected deputy from Straubing to the Frankfort National Assembly, from which he seceded on the 12th May, 1849.—A. M.
ARNE, Michael, an English musician, son of Dr. Arne, was born in 1741. He showed early a predilection for music, which, not being opposed as his father's had been, induced so rapid a development of his talents, that at ten years' old he was noted for his performance on the harpsichord. In 1764 he wrote, in conjunction with Battishill, an opera called "Alcmena," which was produced at Drury Lane theatre without success. His most noted work, the opera of "Cymon," was brought out at the same theatre in 1767; and it is upon this that his reputation as a composer rests. About 1780 he applied himself assiduously to the study of chemistry, and zealously prosecuted a series of experiments, in the hope of discovering the philosopher's stone, for which he built a laboratory at Chelsea; he ruined himself, however, in this quixotic pursuit, but had the discretion to return to the practice of his profession to retrieve his broken fortune, when he wrote several light compositions for Covent Garden theatre, and for Vauxhall and Ranelagh gardens, many of the songs in which obtained great popularity. He died about 1806.—(Biog. Dict. Mus. Fètis, Schilling, Hogarth.)—G. A. M.
ARNE, Thomas Augustine, a musician, was the son of an upholsterer of London, where he was born on the 12th of March, 1710. At the usual age he went to Eton college, from whence date the first accounts of his musical predilection in the complaints, by his fellow-students, of his constant practice of the flute. Considering that it would distract his attention from more serious pursuits, his father forbade him to study music, so that he could only indulge his love for it in secret. Accordingly, he hid an old spinet in an unfrequented room in the house, and, muting the strings with a handkerchief, he pursued his favourite study when the family was asleep. His pocket-money being limited, and his desire to hear music unbounded, he borrowed a suit of livery, and went nightly in the disguise of a footman to witness the performances at the Opera in the gallery, to which, at that time, the servants of the gentry, who went to their boxes, had gratuitous admission. While serving a three-years' clerkship to a respectable solicitor, he received lessons on the violin from Michael Festing (the leader of the nobility and gentry's concerts at the Crown and Anchor Tavern, and musical director at Ranelagh), from which he profited so rapidly, that in a few months he was able to lead some private concerts. At one of these his father first became aware of his proficiency, and of the earnestness of his devotion to music; the elder Arne now relinquished his fruitless opposition, and his son prosecuted his studies with redoubled ardour. His unrestricted practice inoculated the whole household with musical propensities, and his sister, afterwards popular as Mrs. Cibber, displaying a voice as beautiful as her taste was refined, became his pupil, and he brought her out when she was but eighteen, at the theatre in Lincoln's-Inn-Fields, in Lampe's opera of "Amelia." Her success was decided, and this led to Arne's writing his first opera of "Rosamond," for her to represent the heroine. It was produced at the theatre where she had made her first appearance, on the 7th of March, 1733, and it immediately gave its composer a forward rank in general esteem. Two months later he brought out at the little theatre in the Haymarket, a burlesque opera, adapted from Fielding's "Tom Thumb, or the Tragedy of Tragedies," and now called "The Opera of Operas,"—it was a travestie of the Italian dramatic style, then at the height of fashion, and the public entered warmly into its humour. His younger brother, who had already appeared in his "Rosamond," sustained the character of the hero in this production. In 1736 he married Cecilia Young, a pupil of the celebrated Geminiani, and a popular vocalist. In the same year he wrote "Zara," and, in 1738, produced under Garrick's management, at Drury Lane theatre, the work which stamped his character as a musician, his music for the revival of Milton's "Masque of Comus." In 1740 he wrote the music of Thomson and Mallet's "Masque of Alfred," out of which the noble tune of Rule Britannia has retained the popularity it at once acquired, that will carry it down the stream of time, as it has borne it across the broad ocean to wherever Englishmen inhabit, as one of our most characteristic national melodies; this work was performed at Clifden, the residence of Frederick, prince of Wales, on the 1st of August, the anniversary of the Hanover accession, to celebrate the marriage of the princess of Brunswick; it was produced in public in 1746, and reproduced with some alterations in 1751. In 1742, Arne and his wife went to Ireland, both to exercise their profession, she as singer, he as composer. In 1744, Garrick engaged him as composer at Drury Lane, and in the next year he and his wife commenced their engagement, for the recess of the theatrical season, at Vauxhall Gardens, which was then one of the most fashionable places of resort in the metropolis. On the death of Mr. Gordon, he was appointed principal violin at Drury Lane. On the occasion of Garrick's revival of several of Shakspeare's plays, Arne set such of the lyrics in these as had not popular music associated with them; thus he produced, "Blow, blow thou winter wind" and "Under the greenwood tree." "Where the bee sucks," which was one of the songs he wrote for Vauxhall, will ever deserve to be esteemed as one of those genuine inspirations which, more than all the results of study and elaboration, prove the existence of real genius. About this time he took his degree of doctor of music at Oxford. It is said that he gave oratorios during the lenten season in opposition to Handel; but the advertisements in the journals of the day prove this statement to be incorrect, since he only gave a few performances of his oratorio of "Abel," which was first produced at Drury
