Cambridge, and there or elsewhere acquired a considerable knowledge both of the classics and of the earlier literature of England. Johnson's first edition of Shakspeare appeared in 1765, and in the following year Steevens made his first contribution to Shakspeare literature, "Twenty of the plays of Shakspeare, being the whole number printed in quarto during his lifetime," reprints of old quartos, with various readings—a work useful in its day, though the younger Boswell pronounces it to be "grossly incorrect." Steevens intended at this time to prepare an edition of Shakspeare; but becoming acquainted with Johnson, who lacked his peculiar lore, a coalition was formed, and the result was the Shakspeare known as "Johnson and Steevens," 1773, reprinted in 1778, and again in 1785 under the care of Isaac Reed. Steevens was at first a cautious editor and diligent collator, but after his quarrel with Edmund Malone (q.v.), he became an innovator; new-modelling Shakspeare's metre, and rejecting the first folio of 1623, he honoured with his peculiar favour the second of 1632. The results of this revolution were given to the world, in 1793, in a new edition of Shakspeare. To correct the proofs of this edition Steevens, it is said, nearly every day for eighteen months left his house at Hampstead at one in the morning, and walked to Isaac Reed's chambers (in Staple inn) to which he was allowed a key, and where he found a library of reference. To his friend of Staple inn Steevens bequeathed his own corrected copy of Shakspeare, which formed the basis of Reed's edition of 1803. In all respects Steevens was a peculiar man, ready to take offence and persistent in his enmities. His habits were latterly unsocial and recluse. He delighted in attacking littérateurs whom he disliked; and one favourite mode of annoyance was through anonymous and malicious paragraphs in the St. James' Chronicle. He was a master of mystification and literary hoaxing. The elder D'Israeli (Curiosities of Literature) affirms that the romantic story about Milton asleep under the tree at Cambridge, and the admiring Italian ladies, was an invention of Steevens'. He died at Hampstead in 1800. Steevens wrote the commentary on Hogarth's works attached to Nichols' Biographical Anecdotes of the painter, and he contributed largely to the Biographia Dramatica. Cole describes him as not only "well made, black, tall," but as "much of a gentleman, well-bred, civil, obliging," for in society he was politeness itself, and was specially courteous to the victims of his anonymous malice or of the ironical praise lavished in his notes to Shakspeare.—F. E.
STEFANO, called il Furentino, painter, the grandson and disciple of Giotto, was born at Florence, 1301, and died at Pisa in 1350. Vasari says he greatly excelled his master, but all his works, except a Virgin and Child at Pisa, have perished. He is said to have understood and practised the rules of perspective better than any one before his time.
STEFFANI, Agostino, a musician, was born at Castello-Franco, a small frontier town in the territory of Venice, in the year 1655. In his childhood he was a singer in some neighbouring cathedral; but he had not served more than two years in the choir, when a German nobleman was so much pleased with his voice and figure, that he procured his discharge, and took him into Bavaria. At the expense of this nobleman, Steffani was instructed in all the branches of useful and ornamental literature. The direction of his musical studies was committed to Ercole Bernabei. In compliance with the request of his patron, who was desirous of rendering his learning of further advantage to him, he took holy orders, and was soon afterwards made an abbate. In the course of his studies he had composed several masses, motets, &c., which after his promotion were performed in the chapel at Munich. The reigning duke of Brunswick, the father of King George I., was so greatly delighted with them, that he invited Steffani to the court of Hanover, and conferred on him the office of chapel-master. He also committed to his care the management of the opera, an entertainment which had then but lately found its way into Germany. After his settlement in Germany, Steffani applied himself wholly to the study of secular music, and composed many operas. These were performed at Hamburg between the years 1694 and 1700. He composed also a few madrigals in five parts, some of which are excellent. But the most celebrated of all his works are his duets for two voices. Of these compositions it is, perhaps, the best praise that Handel professed to imitate them, in twelve duets which he composed for Queen Caroline. The musical talents of Steffani, though great, were far from being the only distinguished part of his character. His great natural endowments enabled him to act in a sphere that few of his profession ever attained. He became a diplomatic character, and was frequently employed in negotiations to foreign courts. For his conduct in the scheme of erecting the duchy of Brunswick-Luneburg into an electorate, he received from the elector a pension of one thousand five hundred rix-dollars per annum; and by Pope Innocent XI., he was promoted to the bishopric of Spigna. Being now a statesman and a dignitary of the church, he forbore any longer to set his name to his compositions, adopting that of his secretary, Gregorio Puia; and perhaps influenced by the same motives, he in 1708 resigned his employment of chapel-master in favour of Handel. About 1724 the Academy of Ancient Music in London elected him their president. He died at Frankfort in the year 1730, after an indisposition of only a few days' continuance.—E. F. R.
STEFFENS, Heinrich, was born at Stavanger in Norway, on the 2nd of May, 1773. He received his early education at Helsingör, whither his parents had removed in 1779, and in 1790 he entered the university of Copenhagen, where he greatly distinguished himself. Some years afterwards he went to Jena, and became a disciple of the philosophy of Schelling, acquiring also at Freiburg the friendship of the celebrated geologist Werner. He returned to Denmark in 1802, but two years later accepted a professorship in the university of Halle. In the great German war of independence Steffens played a conspicuous part, joining the Prussian ranks as a volunteer, and by his spirit-stirring speeches for liberty driving the students into the field of battle. Subsequently to the liberation campaigns, he became professor of physics and natural history at Breslau. In this capacity he remained there till 1831, when he was removed to a similar post at the university of Berlin. In the latter city his decease occurred, on the 13th of February, 1845. Steffens was a man of much mental originality, gifted with a brilliant imagination, and throwing around most of the themes which he treated the charm of a rich and vivid eloquence. His accomplishments were numerous and varied, and he wrote on many subjects, embracing the widely different fields of natural philosophy, theology, and lighter literature. Some of his more important works are "Gremdzüge der philosophischen Naturwissenschaft" (Principles of the Philosophy of Natural Science), and the "Anthropologie," in which he attempted philosophically to elucidate man's existence in connection with the universe. His novels, "Walseth and Leith," "Malcolm," and "The Four Norwegians," are remarkable for their vivid pictorialism and the deep religious sentiment that pervades them. Steffens has left an interesting autobiography, "Was ich erlebte," in ten volumes.—J. J.
STEIBETT, Daniel, a musician, was born at Berlin in 1755, where his father was established as a manufacturer of pianofortes. His early talents attracted the notice of Frederick of Prussia, under whose patronage his musical studies were pursued. On the death of that monarch, Steibett quitted Berlin for Paris, where he remained some years; then came to London, and continued there till 1799, about which time he returned to Germany. He shortly after travelled into Russia, and took up his residence at St. Petersburg. When the Emperor Alexander ascended the throne, he appointed Steibett his chapel-master—a high and lucrative office, which determined the composer to settle finally in the capital of the great northern empire, where, after a lingering illness, he died in 1823. His compositions for the pianoforte are numerous, though most of them have been written with a view to extensive sale; or in other words, having been produced from pecuniary motives, are of a light kind, had their day, and are now forgotten. But those on which he meant to build his reputation show a vigorous and original genius, as well as a command of the resources of harmony. Among these are his grand sonata for pianoforte, dedicated to Madame Bonaparte; his sonata, op. 30; his concertos "La Chasse," and the universally known "Storm;" his two sonatas (op. 80), dedicated to Prince Galitzin; his first Fantaisie; the "Pot-Pourri;" his "Etudes," &c. Nor must his two beautiful ballets, "Le Retour du Zephyr" and "La Belle Laitiere," be passed unnoticed. He was the author of three operas—"Romeo and Juliet," written in the early part of his life; and "Cinderella," and "The Judgment of Midas," composed for the Imperial French theatre at St. Petersburg.—E. F. R.
STEIN, Henrich Friedrich Carl, Baron of, a celebrated German statesman, was born on the 15th of October, 1757, of an old and noble family, at Nassau on the Lahn. His father
