Among the more recent curiosities of German medical literature, we find that Jos. Heinrich Beisen of Quedlinburg, has written a work on homœpathy as applicable to the diseases of swine. J. Hoppe of Magdeburg, has set forth another, entitled Linen and cotton Garments considered in a medical light, which is highly recommended by a competent judge. C. Gerold, of Vienna, publishes for the Count (and physician—we know not which is the more honorable title)—Von Feuchtersleben, a singular book, entitled Zur Diätetik der Seele, Valere aude! which is not, however, as one might infer from the title, a theory of the method whereby the health of the soul itself may be preserved; but the art of regulating our physical well being by a correct management and strengthening of our mental powers. Count Feuchtersleben had already attained a reputation as a writer, and the work referred to, though in many particulars superficial, is not without merit. Last and least, Dr. Gideon Brecher, hospital physician at Pressnitz, publishes through Asher & Co., in Berlin, an octavo on Transcendental Magic, and the supernatural methods of curing Disease, as given in the Talmud, in which he enters largely into Theo-Dæmon and Angelology; as well as dreams, visions, biblical seraphims, cosmic and magic influences of the soul, with a scattering fire of amulets, spells and charms. We congratulate the medical faculty on this important addition to the literature of the healing art.
No department of ancient art is more interesting, or indeed more necessary to the student, than that relating to theatres and other aids to the practical illustration of dramatic art. No characteristic of modern continental life, is so striking to the traveller as the earnestness with which the opera is discussed by all classes, and its powerful influence upon social life in nearly every relation. But even the earnest attention which is directed at the present day in Naples or Vienna to some new incarnation of the all governing spirit of amusement, is nothing when compared with the same as it existed among the ancients, to whom it was literally life. 'Panem et circenses'—bread and the public games—with these the Roman citizen of the later empire, like the modern lazzarone, with his maccaroni and San Carlino, could dream away life and be happy. Mindful of the importance of this branch of ancient art in its manifold relations, Fried. Wieseler has recently set forth a book,[13] declared by competent authority to be the best in the world on this subject. He has chosen judiciously from the immense mass of material extant; and according to the prescribed limits conveyed all the information possible. "The first part of the work embraces a series of well executed plans and outlines of ancient theatres, of different countries and ages, with every requisite detail, followed by engravings and descriptions of every particular pertaining to the representation of plays. This is succeeded by an admirable collection of masks, scenes, figures and costumes, illustrative not only of the ancient drama, but also of its subdivisions of comedy, tragedy, the satyr-drama and the Italian phylace, with singing and music. The illustrations are admirably accurate—more particularly the colored plates of the Cyrenæan wall paintings, and the mosaics of the Vatican, by which the rare and costly work of Milli is rendered unnecessary." More than one eminent German authority speaks in terms of high praise, of the accuracy and unwearied erudition which characterize the accompanying test.
The second and third parts of the Holzschnitte Derühmter Meister, or woodcuts of celebrated masters, have made their appearance, containing, 1st. smaller woodcuts by Hans Holbein the younger (A. D., 1498-1554), being selections from the Dance of Death, and the Peasants' and Children's Alphabets; 2d. a large engraving after Michael Wohlzemuth (1434-1519), being the Glorification of Christ, and a Madonna and child of Hans Bürkmayer's; also, from the Dutch school, after Dirk de Bray (ob. 1680), a portrait of the artist's father, and the celebrated engraving of Rembrandt's, known as the philosopher with the hour-glass. For the information of artists we mention that these copies are executed with exquisite accuracy, and that the work, though gotten up in every particular in the most elegant manner, is afforded at a very moderate price.
Recent German poetry offers little for remark. Tellkampf has published a poem in hexameters in the style of Goethe's Hermann and Dorothea, founded upon an incident in the battle of Leipsic, called Irmengard. It has passed into a second edition. Emil Leonhard, a poet not unknown, has written a poem upon Bürger, whose wild life had already furnished Müller subject for a romance and Mosenthal for a drama, and which is too unpleasant to be made attractive even by the poetic talent of Leonhard. We note, however an interesting work, entitled Prussia's Mirror of Honor, a collection of Prussian national songs, from the earliest period to the year 1840. They have much allusion to old Fritz, and are interesting as an indication of the popular feeling, which is always expressed in such songs, toward that national hero.
An interesting contribution to contemporary history is I. Venedy's Schleswig-Holstein in 1850. A diary.