474
GOLDSCHMIDT.
Review. Of Putnam's Magazine, he was for a considerable time the piincipal editor, and always a con- tributor. Two volumes of critical and miscellaneous essays in this magazine have been collected under the title, " Out of the Past," 1870. Besides his almost continuous jour- nalistic labour, he has translated and edited Goethe's Autobiography," Zschokke's " Tales ; " "Undine;'* "Sintram and his Companions;" and compiled a " Handbook of Universal Biography" (1851 ; new ed. entitled '* CyclopaBdia of Bio- graphy." 1871) ; and has written, among other works, "A Popular View of the Doctrines of Fourier " (1844) ; " Constructive Democracy ;" and " Vala, a Mythological Tale " (1851). Many years ago he began an elaborate " History of France," of which only the first volume has been published. During the ad- ministration of President Polk he was Deputy Collector of New York, but subsequently entered the Re- publican party on its formation.
GOLDSCHMIDT, Madame, better known by her maiden name of Jenny Lind, is the daughter of a teacher of languages in Stockholm, in which city she was born Oct. 21, 1821. At three years of age she could sing correctly any piece she had once heard, and at nine she was placed by the advice of Madame Lundberg, a celebrated actress at Stockholm, under Croelius, a famous teacher of music. Count Piicke, manager of the Court Theatre, felt disinclined to act on CroeUus's re- commendation of his youthful pupil, on account of her want of personal attractions ; but after hearing her sing, he caused her name at once to be entered at the Musical Academy, where she made rapid progress. She acted repeatedly in children's parts on the Stockholm stage until her twelfth year, when her upper notes lost their sweetness. For four ye-ars she studied music theoreti- cally, until on one occasion, when the fourth act of Meyerbeer's '* Ro-
bert le Diable " was to be perf or
at a grand concert, and the hui
part of Alice was declined by
female vocalists of the city, £
the director of the a<»demy, apj
to Jenny Lind. Her perform
showed that every note of
register had recovered its p<
and purity, and she was gre
with enthusiasm. Her next sue
was in the part of Agatha, in " 1
schatz," and for a year and a
she continued the star of the o
at Stockholm. Having, by a S(
of concerts in the principal t<
of Norway and Sweden, obta
the means of going to Paris,
studied, not witiiout some prei
discouragement, under Garcia
year after her arrival in Paris
was introduced to Meyerbeer,
was anxious to engage her
Berlin, but she preferred retur
to her native city, where she en j
a great triumph on her reap]
ance. In 1844 she went to Dret
in 1845 sang at the fStes on
Ehine during the Queen of I
land's visit to Berlin, and a
wards at Frankfort, Cologne,
Vienna. She first appeared h*
a London audience in May,
as Alice, in "Robert le Dia
followed by a series of unparal
triumphs in the " Sonnamb
- ' La Figlia del Reggimei
" Puritani," &c. She sang in
for the first time in a sacred oral
" Elijah," which was given at E;
Hall for the purpose of four
musical scholarships in honoi
Mendelssohn. She visited
York in 1860, under the auspic
Mr. Bamum, and was enthus
cally received, but dissolved
eng^agement prematurely in
and was married to M. Otto <
Schmidt, a skilful pianist and
ductor, and retired from the i
She reappeared in 1855, in
in 1863, and in 1864 for a lii
period. She has shown a gen.
disposition, and has been ii
mental in adding many thoui
of pounds to the charitable in
