supposed at one time to be that of Kinmont Willie,' may really commemorate 'Christie's Will.' The William Armstrong to whom it refers died in 1658 at the age of 56. The ballad of Christie's Will,' published by Sir Walter Scott in Minstrelsy of the Scottish Border,' is, according to Sir Walter, not to be regarded as of genuine and unmixed antiquity. [Scott's Minstrelsy of the Scottish Border.] T. F. H. ARNALD, RICHARD (1700-1756), a distinguished divine, was born in 1700. He was a native of London, and received his education at Bishop Stortford School, whence he proceeded in 1714 to Corpus Christi College, Cambridge. After graduating B.A., he removed to Emmanuel College, where he was elected to a fellowship on 24 June, 1720, and took the degree of M.A. While resident at Emmanuel he printed two copies of Sapphics on the death of George I, and a sermon (on Col. ii. 8) preached at Bishop Stortford school-feast on 3 Aug. 1726. In 1733 he was presented to the living of Thurcaston in Leicestershire, and was afterwards made prebendary of Lincoln. He published in 1746 a sermon on 2 Kings xiv. 8: 'The Parable of the Cedar and the Thistle exemplified in the great Victory at Culloden;' and in 1760, a 'Sermon on Deuteronomy xxxiii. 8. The work by which he is remembered is his critical commentary on the Apocryphal books. This learned and judicious work was published as a continuation of Patrick and Lowth's commentaries. It embraces a commentary on the Book of Wisdom, 1744; on Ecclesiasticus, 1748; on Tobit, Judith, Baruch, History of Susannah, and Bel and the Dragon, with dissertations on the two books of Esdras and Maccabees, with a translation of Calmet's treatise on the Dæmon Asmodeus, 1752. An edition was published in 1822 under the care of M. Pitman. Arnald died on 4 Sept. 1756, and was buried in Thurcaston church. His widow died in 1782. William Arnald, his son, was fellow of St. John's College, Cambridge, in 1767, and head-tutor in 1768. He became chaplain to Bishop Hurd in 1775, and precentor of Lichfield Cathedral. By Hurd's influence he was appointed in 1776 preceptor to the Prince of Wales and the Duke of York, and was made canon of Windsor. In January 1782 signs of insanity appeared, and he continued insane till his death on 5 Aug. 1802. It was, indeed, an unfortunate family. One of his brothers,' says Cole, 'was drowned, and his sisters ill married or worse.' By the directions in his will, a sermon that he had ARNALL, WILLIAM (1715?-1741 ?), political writer, was bred as an attorney, but took to political writing before he was twenty. He was one of the authors in Walpole's pay who replied to the 'Craftsman' and the various attacks of Bolingbroke and Pulteney. He wrote the 'Free Briton' under the signature of Francis Walsingham, and succeeded Concanen in the British Journal.' One of his tracts, in which he disputes certain claims of the clergy in regard to tithes, is reprinted in The Pillars of Priest craft and Orthodoxy shaken.' 'A letter to Dr. Codex [Dr. Gibson] on his modest instructions to the Crown,' and 'Opposition no proof of Patriotism,' upon Rundle's appointment to the see of Londonderry, are attributed to him. The report of the committee of inquiry into Walpole's conduct states that in the years 1731-41 a sum of 50,0777. 188. was paid to the authors of newspapers from the secret service money, and from a schedule appended it seems that Arnall received in four years 10,9971. 68. 8d. of this sum. It does not appear whether he received any part of this on behalf of others or for printing expenses. Arnall is also said to have received a pension of 4007. a year. He is said to have died at the age of twenty-six in 1741, though 'other accounts' say 1736. Pope attacked him in the Dunciad' (Bk. ii. 315), where his name was substituted for Welsted's in 1735, and in the epilogue to the 'Satires' (Dialogue ii. 129): Spirit of Arnall, aid me whilst I lie!' [Chalmers's Biog. Dict.; Pope's Dunciad; Maty's Miscellaneous Works of Chesterfield, p. 5.] ARNE, CECILIA (1711-1789), the eldest daughter of Charles Young, organist of Allhallows, Barking, was a pupil of Geminiani. Her first appearance at Drury Lane took place in 1730, and in 1736 she married Dr. Arne. She took the part of Sabrina at the first performance of her husband's setting of 'Comus' at Drury Lane, 4 March 1738, and she also sang at Clieveden 1 Aug. 1740, when 'Alfred' and the 'Judgment of Paris' were produced before the Prince and Princess of Wales. In 1742 Mrs. Arne accompanied her husband to Dublin, where she sang with great success both in operas and concerts. On her return, Alfred was performed for her benefit at Drury Lane, 20 March 1745. In the same year she was engaged at Vauxhall Gardens, where she increased her reputation by her admirable singing of her husband's songs and ballads. Soon after this she seems to have given up singing in public, as her place was taken by Dr. Arne's pupils, of whom Miss Brent was the most distinguished. She survived her husband, by whom she was left badly off, and died at the house of Barthelemon at Vauxhall, 6 Oct. 1789. In the judgment of her contemporaries, Cecilia Arne was one of the most pleasing of the English singers of her day. She was often called 'the nightingale of the stage,' and her voice was said to be unequalled for melody, fulness, and flexibility.' [Grove's Dictionary, i. 84; Dibdin's Musical Tour, 1778; Davies's Memoirs of Garrick, ii. p. 171, 1808; Gentleman's Magazine, 1789; Genest's History of the Stage, 1832.] W. B. S. philosopher's stone. Ruined and bankrupt, he was before long forced to return to music. In 1770 he was living at Mr. Doron's, facing the Vine, near Vauxhall.' He published several volumes of songs, which were sung at Vauxhall Gardens, where his first wife supported him by singing until her death (which occurred before 1775), and he also supplied music for several dramas. In 1779 he obtained an engagement at Dublin, but in 1784 he was once more in London, and died at South Lambeth, 14 Jan. 1786, leaving his second wife in a state of great destitution. Burney (in Rees's Cyclopædia ') says of Michael Arne that 'he was always in debt, and often in prison; he sung his first wife to death, and starved the second, leaving her in absolute beggary.' [Grove's Dictionary, i. 83; Rees's Cyclopædia, vol. ii., 1819; British Museum Catalogue; Dib din's Musical Tour, 1788; European Magazine, vols. vi. and ix.; Garrick's Correspondence in Forster Bequest at South Kensington Museum; Kelly's Reminiscences, 1826.] W. B. S. ARNE, MICHAEL (1741 ?-1786), musician, the son of Dr. Arne, was born either in 1740 or 1741. His father wished to make him a singer, and his aunt, Mrs. Cibber, brought him on the stage when very young, in the part of the page in Otway's tragedy, 'The ARNE, THOMAS AUGUSTINE (1710– Orphan,' but giving evidence of more talent 1778), musical composer, was the son of as an instrumentalist than a vocalist he Thomas Arne, an upholsterer, who lived in henceforth came before the public principally King Street, Covent Garden, where his shop as a performer on the harpsichord, in which was known as the Crown and Cushion,' or, capacity he played at a concert when he was according to some authorities, as the Two only eleven. His performance of Scarlatti's Crowns and Cushion.' Thomas Arne is said Lessons and his facility in executing double to have been the upholsterer with whom the shakes are noted by his contemporaries. His ‘Indian kings' lodged, as chronicled in the first published composition was a volume of 'Spectator,' No. 50, and the 'Tatler,' No. 171, English songs, by Master Arne,' and after and some biographers have identified him producing several similar collections, in 1763 with one Edward Arne, who was the original he wrote music for The Fairy Tale' and of the political upholsterer of Nos. 155, 160, Hymen' (performed at Drury Lane). In and 178 of the Tatler,' although it is sufficithe following year Michael Arne, in collabo- ently obvious that the latter do not refer to ration with Jonathan Battishill, set the opera the same individual as is mentioned in the of Almena,' which was produced at Drury earlier numbers. Thomas Arne was twice Lane 6 Nov. 1764, and was played six times. married; by his second wife, Anne Wheeler, At this time he was living at 14 Crown to whom he was married at the Mercers' Court, Russell Street, Covent Garden. On Chapel in April 1707, he had Thomas Augus20 March 1765 he was elected a member of tine, who was born 12 March 1710, Susanna the Madrigal Society, but in the following Maria (afterwards celebrated as Mrs. Cibber), year his membership ceased. He was re- and other children. Thomas Augustine was elected on 16 Dec. 1767 (Records of Madrigal educated at Eton, where he does not seem Soc.). On 5 Nov. 1766, he married Miss to have distinguished himself otherwise than Elizabeth Wright, who sang in her husband's as a performer on the flute, and on leaving next work, Cymon,' a spectacular drama, school was placed by his father in a lawyer's written by Garrick, which was successfully office. During this period of his life, the produced at Drury Lane 2 Jan. 1767. love of music which had characterised his was now living at Mr. O'Keeffe's, at the Eton career speedily developed, although Golden Unicorn, near Hanover Street, Long his passion had to be concealed from his Acre,' but about this time, according to father. He privately took lessons on the some accounts during a visit to Dublin, he violin from Michael Festing, and practised became engrossed in the pursuit of alchemy, the spinet at night on an instrument he had and built a laboratory at Chelsea in order secretly conveyed to his room, the strings to carry on his attempts to discover the of which he muffled with handkerchiefs. He work Arne already shows himself a master of the peculiarly English style which is the great charm of his music; he entered thoroughly into the spirit of Milton's masque, his setting of the words of some of the songs showing a degree of poetical and musical insight which is surprising at the period at which he wrote. Considering the beauty of the music and the strength of the cast, it is surprising to find that 'Comus' was played only about eleven times, though it was subsequently frequently revived at both houses, and has kept the stage almost until the present day. Arne's next works were settings of two masques, Congreve's 6 He also devoted himself to the study of harmony and composition, and, disguised in a borrowed livery, used to frequent the opera-house galleries to which servants had free admittance. His musical progress was so marked that he was soon able to lead a chamber band of amateurs, and it was when so engaged that young Arne was one day found by his astonished father. The discovery of his son's musical talents was at first met with a considerable display of wrath on the part of Thomas Arne, but eventually he had the good sense to recognise that the boy was more fitted for a musician than a lawyer, and after some hesitation to allow him to cultivate the talentsJudgment of Paris,' and Thomson and which he so decidedly displayed. Not content with cultivating his own abilities, Arne henceforward turned his attention to the dormant faculties of his sister and brother, to the former of whom he gave such instruction in singing as to lead to her appearance on the operatic stage in Lampe's opera 'Amelia' in March 1732. Encouraged by the success she achieved, he wrote new music for Addison's opera Rosamond,' which was produced at the Lincoln's Inn Fields theatre, on 7 March 1733, with Mrs. Barbier, Miss Arne, Mrs. Jones, Miss Chambers, Leveridge, Corfe, and the composer's younger brother in the principal parts, and was played for ten nights successively. His next work was a version of Fielding's 'Tom Thumb,' altered into 'The Opera of Operas,' a musical burlesque, which was produced at the Haymarket, 31 May 1733, and was acted eleven times. In the same year he produced (19 Dec.) at the same theatre a masque, Dido and Eneas,' in which both his brother and sister sang. Early in the following year the Arne family were engaged at Drury Lane, Miss Arne and young Master Arne' as singers, and the composer in some capacity which is not recorded, though, from the fact of his having benefits on 29 April and 3 June, he must have already had some recognised post. In April 1734 Susanna Arne married Theophilus Cibber [see CIBBER, MRS.], and in 1736 Arne wrote music for the play of Zara,' in which she for the first time appeared as an actress. In the same year Arne married the singer Cecilia Young [see ARNE, CECILIA]. On 4 March 1738 Milton's Comus,' with additions and alterations by Dr. Dalton, was produced at Drury Lane, the principal parts being performed by Quin, Milward, Cibber jun., Mills, Beard, Mrs. Cibber, Mrs. Clive, and Mrs. Arne. For this performance Arne wrote his well-known and charming music, which still retains the freshness and delicacy of its melody. In this Mallet's Alfred.' Both of these were per- he occupied until his death. In 1745 Mrs. Arne was engaged at Vauxhall Gardens, while Arne was also commissioned to write songs for the concerts held at the same place. For Vauxhall, Marylebone, and Ranelagh he for many years wrote an immense number of detached songs and duets, many of which, though now forgotten, are well worth revival. In 1746 he wrote songs for a performance of The Tempest' at Drury Lane, amongst which is the charming setting of Where the Bee sucks,' which, after Rule Britannia,' is probably now the best remembered of his compositions. Two years later, on the death of Thomson, Mallet determined to remodel' Alfred;' in its altered form it was produced at Drury Lane in Feb. 1751, on which occasion three additional stanzas were added to 'Rule Britannia;' these extra verses were said to have been written by Bolingbroke a few days before his death (DAVIES, Memoirs of Garrick, London, 1808). About this time Mrs. Arne left off singing in public, her place being henceforth taken by the numerous pupils whom Arne brought before the public. As a teacher he enjoyed a great and deserved reputation, one secret of his success being the great importance he attached to the clear enunciation of the words in singing. His most distinguished pupil was Miss Brent, for whom he composed a number of bravura airs, which, being generally written for the display of her remarkable powers of execution, are of less value than the refined and delicate songs he wrote at an earlier period for his wife. For these occasional songs and airs he received twenty guineas for every collection of eight or nine compositions (Add. MS. 28959). On 12 March 1755, he produced his first oratorio, 'Abel;' but neither this nor a subsequent work, Judith' (produced at the chapel of the Lock Hospital, Pimlico, on 29 Feb. 1764) achieved any success, mainly, it is said, owing to the inadequacy of the forces at his disposal for the performances. On 6 July 1759, the university of Oxford conferred upon Arne the degree of doctor of music. The relations of Arne with Garrick at this period seem to have become rather strained. Garrick was no musician, and Arne, whose talent was beginning to suffer from overproduction, had written one or two works for Drury Lane (then under Garrick's management) which had been decided failures. It is therefore not surprising to find that in 1760 Arne transferred his services to the rival house of Covent Garden, where, on 28 Nov. 1760, his Thomas and Sally' was played with Beard, Mattocks, and Miss Brent in the In chief parts. Arne's next venture was a bold one, but, as the result proved, perfectly successful. Determined to give Miss Brent an exceptional opportunity for the display of her powers, he translated the Abbate Metastasio's 'Artaserse,' setting it to music in the florid and artificial style of the Italian opera of the day. The opera was produced at Covent Garden on 2 Feb. 1762, the parts of Mandane, Arbaces, Artabanes, Artaxerxes, Rimenes and Semira being respectively filled by Miss Brent, Tenducci, Beard, Peretti, Mattocks, and Miss Thomas. The work was immediately successful, and long kept the stage, yet Arne, when it was printed, only received from the publisher the trifling sum of sixty guineas for the copyright. · Artaxerxes' was followed by several works of no great importance, the chief of which were Love in a Village,' a successful pasticcio produced in 1762; and a setting, to the original Italian words, of Metastasio's 'Olimpiade," a work which was produced at the Haymarket in 1764, but was only performed twice. 1765 Arne was for a short time a member of the Madrigal Society (Records of the Madrigal Soc.). In 1769 Garrick, with whom Arne, though never on very good terms, seems to have always kept up some sort of intercourse, commissioned the composer to write music for the ode performed at the Shakespeare jubilee at Stratford-onAvon. For this setting of Garrick's verses Arne received 637., and in addition to this a performance of his oratorio 'Judith' at the parish church was somewhat incongruously included in the programme of the festivities in honour of Shakespeare. Arne now remained on tolerably good terms with the managers of both houses, and the record of the rest of his life consists of little more than a chronicle of the production of numerous light operas and incidental music written for different plays. During these years (from 1769 until 1778) he composed and wrote music for the following works: The Ladies' Frolic,' 'The Cooper,' 'May Day,' 'The Rose' (said to have been written by an Oxford student,' but generally attributed to Arne), 'The Fairy Prince,' 'The Contest of Beauty and Virtue,' 'Phoebe at Court,' 'The Trip to Portsmouth,' and Mason's tragedies of Elfrida' and 'Caractacus.' The latter work was published in 1775, with a preface and introduction in which Arne shows a curious insight into the relationship between dramatic poetry and music. He expresses opinions on the subject, the truth of which, though couched in the stilted language of the period, is only beginning to be recognised at the present day. The overture to the same work is a singular attempt at programme music, and the minute directions as to the constitution of the orchestra and manner of performance almost forestall the similar annotations to be found in the works of Hector Berlioz. During the latter years of Arne's life he achieved but few successes. He was fond of writing his own libretti, which were, unfortunately, anything but good, and the failure of his pupils at one opera-house--particularly if another pupil had been successful at the rival house caused little bickerings which jarred upon his sensitive nature. In August 1775 he wrote to Garrick, complaining of the latter's neglect: These unkind prejudices the Doctor can no other wise account for than as arising from an irresistable Apathy,' a statement to which Garrick replied a few days later: 'How can you imagine that I have an irresistable Apathy to you? I suppose you mean Antipathy, my dear Doctor, by the construction and general turn of your letter-be assur'd as my nature is very little inclin'd to Apathy, so it is as far from conceiving an Antipathy to you or any genius in this or any other country,' in spite of which polite assurance Garrick wrote in the same year: 'I have read your play and rode your horse, and do not approve of either;' endorsing the pithy note, Designed for Dr. Arne, who sold me a horse, a very dull one; and sent me a comic opera, ditto' (GARRICK's Correspondence, Forster Collection). These few glimpses of Arne's personal characteristics hardly carry out the statement of a contemporary that his cheerful and even temper made him endure a precarious pittance' (DIBDIN, Musical Tour, letter lxv.); yet after his death it seems generally to have been considered that during his lifetime his genius was never sufficiently appreciated, and that as a musical hack, expected to supply music for the ephemeral plays produced at both Covent Garden and Drury Lane, he frittered away the talents which ought to have been devoted to better work. His death took place on 5 March 1778. According to the account of an eye-witness (Joseph Vernon, the singer) he died of a spasmodic complaint (Gent. Mag. vol. xlviii.) in the middle of a conversation on some musical matter, with his last breath trying to sing a passage the meaning of which he was too exhausted to explain. He was buried in St. Paul's, Covent Garden. The best portrait extant of Arne is an oil painting by Zoffany, now in the possession of Henry Littleton, Esq., but there is also an engraving of him after Dunkarton, and another (published 10 May 1782) after an original sketch by Bartolozzi. A caricature of Rowlandson's, entitled 'A Musical Doctor and his Pupils,' is also probably meant for Arne. Manuscripts of his music are now rarely found, most of them having been destroyed when Covent Garden theatre was burnt in 1808, but the full autograph score of 'Judith' is preserved in the British Museum (Add. MSS. 11515-17). [Grove's Dictionary of Music, i. 84; Burney's Life of Arne, in Rees's Cyclopædia, vol. ii., 1819, Genest, vols. iii. and iv.; Busby's Concert-room Anecdotes, 1825; Busby's History of Music, 1819, vol. ii.; Registers of Westminster Abbey; Victor's History of the London Theatres, 17611771; Parke's Musical Memoirs, vol. i., 1830; the Harmonicon for 1825; Notes and Queries (2nd series), iv. 415, v. 91, 316, 319; and the authorities quoted above.] W. B. S. ARNISTON, LORDS. [See DUNDAS.] His ARNOLD, BENEDICT (1741-1801), American and afterwards English general, was born at Norwich, Connecticut, 14 Jan. 1740-1. (The date usually given of 1740 seems to have originated from a confusion between the new and old styles.) family, of respectable station in England, had emigrated from Dorsetshire; his great grandfather had been governor of Rhode Island; his father, a cooper, owned several vessels in the West Indian trade. From his infancy he manifested a mischievous and ungovernable disposition, of which several characteristic traits are recorded. On attaining man's estate he entered into business as a bookseller and druggist at New Haven, Connecticut, married, adventured like his father in the West Indian trade, and acquired considerable property, partly, there is reason to suspect, by smuggling. Upon the outbreak of the dissensions between the colonies and the mother country he took a leading part upon the side of the patriots, and immediately on receiving the news of the battle of Lexington (19 April 1775) put himself at the head of a company of volunteers, seized the arsenal at New Haven, and marched to Cambridge, Massachusetts, where, with true military instinct, he proposed to the committee of public safety an expedition to capture Ticonderoga, on Lake George, and Crown Point, on Lake Champlain, the keys to the communications between Canada and New York. The plan was approved, and Arnold was despatched to Western Massachusetts to raise troops. While thus engaged he learned that another expedition, under the direction of Ethan Allen, was proceeding from Vermont with the same design. He hurried to join it, and claimed the command, which was refused him, and he had to be |