lungs are in a healthy state, their tissue is distended with air, so that a smart stroke on the elastic walls in which they are inclosed elicits a clear hollow sound. If therefore the sound, on thus striking the chest, be dull instead of clear, the inference is that the lung beneath is diseased. For example, dulness of sound may be occasioned by solid matters filling or compressing the air-cells, or by a liquid in the pleural cavity interposed between the lung and the walls of the chest; and in fact there are few of the various diseases of the lungs which do not occasion more or less deviation from the normal sound of percussion. Again, over the region of the heart the sound is naturally dull, inasmuch as the heart contains no air; but as the normal extent of this dull sound is well defined, a deviation from its natural | limits is an important sign for distinguishing the disease.

Auenbrugger's mode of percussion did not differ materially from that which is now in general use, but he preferred having a glove on his hand, or a shirt drawn tight over the chest. In the present day, percussion is performed by the naked fingers, either on the naked chest or on the fingers of the other hand of the operator closely applied to the chest. It has recently been proposed by M. Piorry that the percussion should be made on a small plate of ivory, which he has named a pleximeter, but this instrument has not been generally adopted.

TheInventum novum" seems to have been well received at the time of its publication. It is highly spoken of in the "Göttingische Anzeigen" and the "Commentarii Lipsienses" of that period; it was translated into French by Rozière de la Chassagne, and published at the end of his "Manuel des Pulmoniques," 12mo., Paris, 1770; and, as Sprengel states ("Histoire de la Médecine," tom. vi.) the discoveries were in part confirmed by Isenflamm, in a dissertation "De difficili in observationibus anatomicis epicrisi," 4to., Erlangen, 1773. Yet strange as it may seem, notwithstanding this early recognition of the value of percussion, its practice remained almost in abeyance until, in 1808, Corvisart published a French translation of the original work, together with long commentaries of his own on each of its paragraphs (8vo., Paris). The example and precepts of this professor established percussion as a common practice in France at a time when it seemed to have been almost forgotten in the land of its discovery. In England it was little known and less practised so late as 1824, when a translation of Auenbrugger's work and Corvisart's Commentaries was published by Dr. John Forbes, together with some original observations and illustrative cases. In the present day percussion is universally regarded as an indispensable process for discriminating disorders of the chest ; and

its employment, in conjunction with the more recent invention of Laennec, auscultation, has led to a rapid advance in our knowledge of such diseases.

Percussion has also been practised of late years with great advantage in the exploration of diseases of the abdomen, and its application to this purpose has been brought to remarkable perfection by M. Piorry.

The "Inventum Novum" has very recently been republished at Vienna under the title "Leopold Auenbrugger's Neue Erfindung mittelst des Anschlages an den Brustkorb als eines Zeichens verborgene Brustkrankheiten zu entdecken. Im Latein. Original herausgegeben, übersetzt und mit Anmerkungen versehen von Dr. S. Ungar: begleitet mit einem Vorworte von Jos. Skoda," Vienna, 1843. The original and the translation are printed opposite to one another; and excellent remarks are given by Dr. Ungar, partly for illustration of some difficulties in the original, partly for critical comparison with the more recent results of acoustic examinations of the chest.

Auenbrugger was the author of two works relating to insanity ::-1. Experimentum nascens de remedio specifico sub signo specifico in maniâ virorum," Vienna, 1776, 8vo. 2. "Von der Stillen Wuth oder dem Triebe zum Selbst-morde, als einer wirklichen Krankheit," Dessau, 1783, 8vo. Of the former of these works there is a notice in the "Göttingische Anzeigen," May 21st, 1778, p. 277, containing long extracts from the original. The form of insanity of which it treats is characterised by a peculiar state of the male generative organs, and the specific for its relief is camphor. The author relates in an orderly well-written style the histories of twelve insane persons in whom the peculiar symptom was observed, and of whom eleven were restored to reason; and he states that their recovery took place speedily, and by the same degrees as the restoration of the generative organs to their normal appearance. The treatment was not confined to the administration of camphor, but this was regarded as the principal and specific remedy, and was continued for some time after apparent recovery. The cures were rapid, and the cases altogether very remarkable.

Auenbrugger contributed an article to the "Wienerisch-Beyträge zur praktischen Arzneikunde," 2nd vol. for 1783. Its subject was an epidemic dysentery at Vienna: "Heilart einer Epidemischen Ruhr im Jahre 1779." There is an abstract of this memoir in vol. i. of the "Göttingische Anzeigen" for the year 1784, p. 235.

He wrote also a drama entitled "Der Rauchfangkehrer." He died at Vienna, May 18th, 1809. (Auenbrugger, Works; Göttingische Anzeigen; Biographie Médicale.)

G. E. P.

JOHANN PAUL AUER, born at Nürnberg in 1636, distinguished himself as an historical and as a portrait painter. He went in 1654 to Regensburg, and placed himself for four years with G. C. Eimart the elder, an eminent painter of that place. After the expiration of the four years he returned to Nürnberg; and in 1660 went to Venice, and studied some time with Pietro Liberi, called Libertino. From Venice he went to Rome, where he remained four years; from Rome he went to Paris, where he delayed some time, and finally returned to Nürnberg in 1670. Auer enjoyed a great reputation in his day, both as historical and portrait - painter. Sandrart praises his works. He painted, says Doppelmayr, several electors and other princely personages; and many beautiful histories, large and small. He coloured in the style of Liberi. He died at Nürnberg, in 1687. Auer was the first husband of Susanna Maria, daughter of the engraver Jacob von Sandrart, the nephew of Joachim von Sandrart, author of the "Teutsche Academie," &c. Jacob Sandrart and the younger Eimart haveetched a few plates after Auer; and the younger Joachim von Sandrart engraved his portrait.

ANTON AUER, a painter on porcelain, was born at Munich in 1778. His parents kept a public-house at Nymphenburg, near Munich; and, through the inspector Aulizeck, Anton obtained, in 1795, admission into the porcelain manufactory of that place, in which his abilities procured him employment as a painter. He was instructed by Melchior, who succeeded Aulizeck; and made such progress that he was sent, in 1807, by Maximilian I., King of Bavaria, to Vienna, to study painting in the imperial academy there. He returned to Munich in 1808, and was appointed principal painter to the above-mentioned porcelain manufactory; and Ludwig, the present King of Bavaria, a well-known patron of the arts, ordered Auer to paint a table-service for him, upon each piece of which he was to make a copy of one of the best pictures in the Munich gallery. Auer, however, had little more than commenced his laborious task, in which he was assisted by J. Reis, when death put an end to his labours, in 1814, in his thirty-sixth year. The work was suspended for some years, and was not recommenced until the accession of Ludwig I.; and it is now being proceeded with by the following painters: Christian Adler, Max. Auer the son of Anton, K. T. Heinzmann, and K. F. le Feubure. According to Soeltl, Auer was born in 1777; and was sent to Vienna in 1809, and returned in the same year: the dates given are those of Lipowsky. He is considered the founder of the present school of Bavarian porcelainpainters. (Sandrart, Teutsche Academie der

mayr, Historische Nachricht von den Nürnbergischen Mathematicis und Künstlern; Lipowsky, Baierisches Künstler Lexicon; Soeltl, Bildende Kunst in München.) R. N. W.

AUERBACH, JOHANN GOTTFRIED, a German portrait-painter, born at Mühlhausen in Saxony, in 1697. He settled in Vienna, and attained the rank of court-painter there. There are two pictures in the gallery of the Belvedere of Vienna by him, a full-length portrait of the Emperor Charles VI. as Knight of the Golden Fleece; and a large equestrian portrait of Prince Eugene of Savoy, in the apartment containing the pictures of his battles, by Parrocel. Auerbach painted also the heads of Charles VI. and the Count Althan, in Solimena's picture of that emperor receiving from the count the inventory of the gallery, in 1728, which is placed in the hall of the grand staircase of the lower Belvedere. Several of his portraits have been engraved; and his own, in folio, by A. J. von Prenner. He also etched a plate of himself painting his wife. He died at Vienna, in 1753, aged fifty-six, leaving a son, Johann Karl Auerbach, who was likewise a portrait-painter. (Heineken, Dictionnaire des Artistes, &c.; Mechel, Catalogue des Tableaux de Vienne.) R. N. W.

AUERELL, WILLIAM. [AVERELL, WILLIAM.]

AUERNHAMMER. [AURENHAMMER.] AUERSPERG, or AUERSBERG, HERBARD, BARON VON, hereditary marshal of Krain, the defender of south-eastern Germany against the Turks, in the sixteenth century. The family of Auersperg derives the name from the castle of Auersperg, or more correctly Auersberg, in Suabia, where their ancestors became known among the nobility as early as the tenth century. They afterwards settled in Krain, then a province belonging to the duchy of Kärnthen, or Carinthia, and one of those countries which, being originally a conquest from foreign nations, received the name of " Marken," or frontierprovinces, had a particular administration, and were governed by "markgrafen," or margraves. For some time Krain formed part of the Windish Mark, a name which is still given to a tract along the frontier of Hungary. In 1463 the Emperor Frederick III. conferred upon the chief of that family the hereditary dignity of Marshal of Krain and the Windish Mark. John Weichard Auersperg was created a count of the empire in 1653, and took his seat in the provincial diet of Suabia, for the county of Thengen, which was made a principality in 1654, in consequence of which he became a prince of the empire and was admitted to the imperial diet. He also acquired the principalities, afterwards duchies, of Münsterberg and Franken

be settled, and the heads were finally sent to Laibach in Krain, where they were buried with the bodies, accompanied by the lamentations of the inhabitants. (Hammer, Geschichte des Osmanischen Reiches, vol. iii. pp. 400, 433, 511, iv. 22, &c.; Almanac de Gotha; Ersch and Gruber, Allgemeine Encyclopädie, &c.; Schönleben, Genealogia Illustrissima Familiæ Principum, Comitum et Baronum ab Auersperg, Laibach, 1681, fol.; George Khis de Kaltenbrunn, Herbardi Auerspergii, Baronis, Vita et Mors, &c. Laibach, 1675.) W. P. AUFFMANN, JOSEPH ANTON XAVER, Kapellmeister at Kempten about the middle of the eighteenth century, published three Concertos for the organ, under the title of "Triplus concentus Organicus," Augsburg, 1754. E. T. AUFFRAY, JEAN, a French economist, was born at Paris in 1733. His first known production was published in April, 1753, in "Le Mercure," and consisted of reflections upon printing and literature. In this paper he endeavoured to prove that the art of printing had caused more injury than benefit to learning-to enforce the propriety of admitting none to the profession of an author without an examination-and to restrain the printing of all books not acknowledged to be useful, and necessary for the advancement of literature. In answering objections to these views he afterwards undertook to show that the art of printing itself was retrograding throughout Europe. So limited a conception of the value of printing introduces him, not very favourably, as an economical writer; but though at no time an author of much merit or consistency, he has given to the world some just opinions. An advocate for restrictions in literature, he was nevertheless in favour of unlimited freedom in commerce. He proposed the suppression of apprenticeships, corporations and guilds ( jurandes); | and, unmindful of the bonds he had prepared for authors, he argued "that the artisan ought not to be restrained any more than the artist." With much error and some truth in his speculations, he wrote several treatises upon political economy. He laboured with some of the most eminent of the economists of his day in the preparation of the Ephémérides and Gazettes of agriculture and commerce, and published separately the following works:-1. “ Idées patriotiques sur la necessité de rendre la liberté au Commerce," 8vo. Lyon, 1762. 2. "Le Luxe considéré relativement à la Population et à l'Economie," Lyon, a work in which he recommends the often-tried experiment of sumptuary laws. 3. Discours sur les avantages que le Patriotisme retire des Sciences économiques," 8vo. Paris, 1767. 4. " Considérations sur les Manufactures dans les Villes maritimes et commerçantes," Paris, 1768. 5. "Essai sur les moyens de faire du Colisée un établissement

national et patriotique," Paris, 1772. 6. "Vues d'un Politique du Seizième Siècle sur la Législation de son temps," Paris and Amsterdam, 1775. 6. "Louis XII., surnommé le Père du Peuple, dont le présent règne nous rappelle le souvenir," Paris, 1775.

None of these works appear to have attracted much notice in his own time, and they are now scarcely known. They are not mentioned either in Brunet or Watt, nor are any of them in the British Museum. He was elected a member of the Academy of Metz in 1767, and of Marseille some few years afterwards. He died in obscurity about the year 1788. (Biographie Universelle, Suppl.; Précis des travaux de l'Académie de Rouen.)

T. E. M.

AUFFSCHNAITER, BENEDICT ANTON, was kapellmeister at Passau in the beginning of the eighteenth century, and composed largely for the church. Gerber gives the following list of his published works:-1." Concors Discordia," Nürnberg, 1695. 2. "Dulcis fidium harmonia." 3. Memnon sacer ab oriente sole animatus, a 4 voc. Violinis, &c.," Augsburg, 1709. 4. Five Masses, Augsburg, 1711. 5. “Duodecim Offertoria de venerabili Sacramento, 4 voc. et inst." Passau, 1719. 6. "Cymbalum Davidis, vespertinum seu vespera pro festivitalibus, &c., 4 voc. et inst." Passau, 1729. (Gerber, Lexicon der Tonkünstler.) E. T.

AUFI'DIA GENS was plebeian. The cognomina of this gens were Lurco, Orestes, Gemellus, and Rusticus, but Rusticus is doubtful. (Orelli, Onomasticon; Rasche, Lexic. Rei Numaria.) G. L.

AUFIDIUS BASSUS. [BASSUS.]

AUFI'DIUS CHIUS, a jurist, is quoted in the "Fragmenta Vaticana" (s. 77) as citing an opinion of Atilicinus. Nothing is known of his period, but he must have been either a contemporary of Atilicinus or after him. [ATILICINUS.] G. L.

AUFI'DIUS, CN., was quæstor B.C. 119, and tribune B.c. 114. He lived to be very old, and Cicero knew him in the latter part of his life. Though he became blind, he used to speak in the senate, and give his friends his advice; and he employed himself on a Greek history (Græca Historia) (Cicero, Tusc. 5, 38, 112). This history was probably a history of Rome from the earliest times to his own period. This Aufidius was not the person who proposed the Lex Aufidia de Ambitu, on bribery at elections; this lex was proposed by M. Aufidius Lurco, B.C. 61. (Cicero, Ad Attic. i. 16.)

Pliny (Hist. Nat. viii. 17) mentions Cn. Aufidius, a tribune who proposed a measure which repealed an old Senatusconsultum against the importation of wild beasts from Africa, so far as to allow the importation for the Ludi Circenses. In Harduin's note on Pliny, it is stated that the Cn. Aufidius who proposed the repeal of this Senatusconsul