“Hans Sachs.” (1494-1576.) “Honest Hans Sachs,” as he was called, was a cobbler of Nuremberg, who had learned verse-making from a _meistersänger_ of Munich. His verses included every style of poetry known, but the “Shrove-Tuesday plays” were the best, being full of strong characters and striking situations. The hymn mentioned, “Why art thou cast down, O, my soul?” is but one of several by him. “Leibnitz,” līp´nits. (1646-1716.) Educated at Leipsic, he says of himself, that before he was twelve, he “understood the Latin authors, had begun to lisp Greek and wrote verses with singular success.” After taking his degree he went to Frankfort under the patronage of a wealthy gentleman; here he devoted himself to composing treatises on religion, philosophy, law, etc. All manner of projects interested him. He tried to bring about a union between the Catholic and Lutheran Churches, to introduce a common alphabet for all languages, to urge the king of France to conquer Egypt, and other plans, more or less Utopian. In the latter part of his life he received high honor from Hanover, Vienna, and Peter the Great. His correspondence was voluminous, and his works covered almost the whole field of human thought. “Klopstock,” klop´stok. (1724-1803.) “Wieland,” wee´land. (1733-1813.) “Lessing,” lĕs´ĭng. (1729-1781.) “Oberon,” ŏb´er-on. The Oberon of Shakspere. The king of the fairies and the husband of Queen Titania. “Agathon,” ag´a-thon. A tragic poet of Athens, who died about 400 B. C. “Pietist,” pī´e-tist. The name was applied to a certain class of religious reformers in Germany, who sought to restore purity to the Church. P. 67, c. 1.—“Herder,” hĕr´der. (1744-1803.) “Kant.” (1724-1804.) “Kritik.” Critique of pure reason. “Fichte,” fik´teh. (1797-1879.) “Hardenburg.” (1772-1801.) “Wilhelm von Schlegel,” shlā´gel. (1767-1845.) “Friedrich.” (1772-1829.) “Tieck,” teek. (1773-1853.) “Fouquè,” foo=´=ka´. (1777-1843.) “Schleiermacher,” shlī´er-mä-ker. (1768-1834.) “Feuerbach,” foi´er-bäk. (1804-1872.) “Schopenhauer,” sho=´=pen-how´er. (1788-1860.) “Freytag,” frī´täg; “Heyse,” hī´zeh; “Spielhagen,” speel´hä-gen; “Reuter,” roi´ter. READINGS IN ART. The papers on Sculpture are compiled from Redford’s “Ancient Sculpture” and Lübke’s “History of Art.” P. 75, c. 1.—“Mycenæ,” my-ce´næ. “Cesnola,” ches´no-la. Born in Turin in 1832. He served in the Crimean war, and afterward in the war of the Rebellion. Having been made an American citizen he was appointed consul to Cyprus, where he discovered the necropolis of Idalium, a city which ceased to exist two thousand years ago. He began excavations, opening some eight thousand tombs, but an edict from the sultan stopped the work. Cesnola had already, however, gathered a magnificent collection of antiquities, which, in 1872 was purchased for the Metropolitan Museum of New York. “Harpy.” The reliefs on this monument represent harpies, fabulous monsters in Greek mythology, carrying off children.