endeavours, by drawing attention to Christ's life _in_ His people, to correct the purely forensic side of the Reformation theology, which paid almost exclusive attention to Christ's death _for_ His people. Like Luther, Arndt was very fond of the little anonymous book, _Deutsche Theologie_. He published an edition of it and called attention to its merits in a special preface. After _Wahres Christentum_, his best-known work is _Paradiesgartlein aller christlichen Tugenden_, which was published in 1612. Both these books have been translated into English; _Paradiesgartlein_ with the title the _Garden of Paradise_. Several of his sermons are published in R. Nesselmann's _Buch der Predigten_ (1858). Arndt has always been held in very high repute by the German Pietists. The founder of Pietism, Philipp Jacob Spener, repeatedly called attention to him and his writings, and even went so far as to compare him with Plato (cf. Karl Scheele, _Plato und Johann Arndt, Ein Vortrag, &c._, 1857). A collected edition of his works was published in Leipzig and Gorlitz in 1734. A valuable account of Arndt is to be found in C. Aschmann's _Essai sur la vie, &c., de J. Arndt_. See further, Herzog-Hauck, _Realencyklopadie_. ARNE, THOMAS AUGUSTINE (1710-1778), English musical composer, was born in London on the 12th of March 1710, his father being an upholsterer. Intended for the legal profession, he was educated at Eton, and afterwards apprenticed to an attorney for three years. His natural inclination for music, however, proved irresistible, and his father, finding from his performance at an amateur musical party that he was already a skilful violinist, furnished him with the means of educating himself in his favourite art. On the 7th of March 1733 he produced his first work at Lincoln's Inn Fields theatre, a setting of Addison's _Rosamond_, the heroine's part being performed by his sister, Susanna Maria, who afterwards became celebrated as Mrs Gibber. This proving a success was immediately followed by a burletta, entitled _The Opera of Operas_, based on Fielding's _Tragedy of Tragedies_. The part of Tom Thumb was played by Arne's young brother, and the opera was produced at the Haymarket theatre. On the 19th of December 1733 Arne produced at the same theatre the masque _Dido and Aeneas_, a subject of which the musical conception had been immortalized for Englishmen more than half a century earlier by Henry Purcell. Arne's individuality of style first distinctly asserted itself in the music to Dr Dalton's adaptation of Milton's _Comus_, which was performed at Drury Lane in 1738, and speedily established his reputation. In 1740 he wrote the music for Thomson and Mallet's _Masque of Alfred_, which is noteworthy as containing the most popular of all his airs--"Rule, Britannia!" In 1740 he also wrote his beautiful settings of the songs, "Under the greenwood tree," "Blow, blow, thou winter wind" and "When daisies pied," for a